Visite started from a personal desire to watch films together with an audience and to provide screenings within a broader context. Over the years, Visite has grown into a temporary and reciprocal collage of experimental, political, and documentary cinema, bringing together short and feature-length films in which emerging filmmakers are presented alongside historical works, as well as lectures, performances, and exhibitions. Each edition is shaped by a specific context, theme, or collaboration.

Visite has a nomadic character: it is transformable, flexible, fluid, dynamic, and sometimes chaotic, yet it always strives to be a social space for encounters and exchange — a place where people get to know one another and keep coming back for each other, for the artworks, the food, and the conversations.

The name Visite refers to both visiting and inviting and does not translate easily into English. It marks a protected moment in time and space for lingering and reflection. A place for rest, politics, and playfulness — to listen, to catch up, to argue, to reconcile, to flirt, to kiss. For a short time, you are with others, sharing and borrowing each other’s time, space, and presence. You invite someone into your space, or you become a guest in someone else’s. You take care of others, or you are taken care of. You bring something to the table: food, a gift, flowers, drinks, an engaging conversation, or simply your presence. Visite unfolds in this spirit, as a shared space of encounter through cinema and beyond.

In collaboration with Pilar, Visite will delve into Love & Lightning: A Collection of Queer and Feminist Manifestos. Compiled by Girls Like Us and author Sarah Van Binsbergen, the publication brings together the many forms a manifesto can take — from classical activist formats to more poetic and associative gestures. It unfolds as a collection of texts from different places and times, presented in full or as fragments, glimpses, and summaries. The publication is both an ode to and an acknowledgement of the many writers, thinkers, and activists who have shaped the multifaceted queer and feminist thinking we know today, while embracing ambiguity and polyvocality. It is an invitation to read more, to speak more, to learn more, to question more, to love more, and to care more.

Each evening in the Love & Lightning series, we will read a manifesto together and watch a film that formally or thematically resonates with the text. 

The radical feminist text SCUM Manifesto, self-published by Valerie Solanas in 1967, became widely known a year later when the first commercial edition was released following Solanas’ infamous attempt to kill Andy Warhol. In it, Solanas begins her political satire by describing human males as genetically deficient due to the Y chromosome, rendering them “incomplete females.” Generally seen as a radical declaration of war on capitalism and patriarchy, SCUM Manifesto can also be read as a rejection of stereotypical ideas about femininity.

A blistering rallying cry issued loud, clear, and unapologetically queer, Lizzie Borden’s explosive postpunk provocation is a DIY fantasia of female rebellion set in America ten years after a revolution that supposedly transformed the country into a social-democratic utopia. In reality, racism, sexism, and economic inequality are as virulent as ever, and a band of radicals—led by Black, lesbian, and working-class women—join forces to fight back. 

Told through a furiously fractured, kinetically edited flurry of television news broadcasts, pirate radio transmissions, agitprop, and protests shot guerrilla-style on the streets of New York City, Born in Flames is a shock wave of feminist futurism that’s both an essential document of its time and radically ahead of it. 

Driving force behind Visiste is Eva van Tongeren an artist and filmmaker, curator and educator. As a freelance curator she creates film, art and performance programmes around bodypolitics, feminist perspectives, gender issues, pleasure activism, sex and violence.

In her artistic practice, she incorporates her social and anthropological interests into personal stories with universal themes. While her cinematic works vary in form, they connect through the shared subject of caring. Her films have screened at festivals worldwide such as IFFR, Videonale, Ann Arbor, EMAF, Oberhausen, Courtisane, Images Toronto and others. 

Her installations were on view in solo shows at Gallery Nadežda Petrović and MAS and in group exhibitions at Kunsthalle Osnabrück, Kunstmuseum Bonn, Kunsthal Mechelen and Extra City.