Concise.pdf - Brugge Plus
Concise.pdf - Brugge Plus Concise.pdf - Brugge Plus
Jan van Eyck, Early Netherlandish Painting and Southern Europe © MUNICIPAL MUSEUMS BRUGES vant Bruges tenors. After all, it will mainly be down to them to deal with inadequately answered questions in the future. Fortunately the Municipal Museums increasingly want to play a (supporting) role in this. A project like “WHAT A tale in free images” may well provide us with the best information in this connection. This exhibition of video art in the attic of the Memling Museum was absolutely magnificent. It was, however, clear that such an initiative fitted well into the Memling Museum. This fact did not escape the directors of the Municipal Museums. Another tricky part of the programme is the young people’s section. Much was also said about this before 2002. It quickly became clear to us that young people and children would make up a consistent component of the BRUGGE 2002 programme. For this reason we took on three full-time employees purely to prepare the “Young people and children” component. The result was to match. Throughout the year we were bombarded with all manner of initiatives. Various Bruges schools ran the project “Kunstenaars in residentie (KIR)” (“Artists in Residence”). Other projects invited young people from across the whole of Europe for periods of varying duration to get creative here in Bruges: this gave us “Seven Joys, Seven Senses”, “Frontsid[t]e/Back[- ]side” and “Art Connexion”. The Culture Van visited almost every school in Bruges to stir up creative activity in children, and young people in “difficulties” received our full attention in projects such as “Sorry dat...” and “Beet”. We ourselves remained rather focused on the Kaapstad project. Rightly so, we are still finding, although its full potential has not been realised. This is clearly – we can now say – down to a number of failing organisational aspects for which our association was responsible, and to a number of choices related to these aspects. It was not due to the concept of the project, nor to the implementation of its content. It is regrettable that opinion-formers, and above all the press, did not make a distinction in their perception of Kaapstad between on the one hand the value of a concept, the content produced and on the other the organisational flaws. Did you know, for example, that on the Stubnitz, the extraordinary boat from Rostock, as many as 172 young groups, live projects and DJs were able to appear and create, including 120 Belgian acts Nothing like this has ever been seen in Belgium. The Stubnitz, which lay moored at the Coiseau quay for four weeks, was visited by hundreds of young people every evening. 9 CONCISE Above all it is Kaapstad, and its unjustified image of a “failed” project, that affected the image of the whole young people component. There was clearly a problem of perception, since in addition to all the projects already mentioned the film work of young people is forgotten, along with their commitment to Stijlstraten, and also the culture bag Kabba, the “Mini Story” at the exhibitions, the Monk afternoons in the Episcopal Seminary, the children’s rights project in the Vrijdagmarktschool, the Municipal Academy - Department of Photography with “Brugge Inside Out”, and so on. We have achieved a lot with young people and children. But in fact, in this area there is definitely still a demand for continuity, deepening and maximisation. And let us be clear: this will benefit the young people of Bruges. The many projects in 2002 provided sufficient experiences to assess how such continuity can be achieved. Let that be the key merit of BRUGGE 2002.
10 BRUGGE 2002 “It’s a miracle...” What undoubtedly benefits our discussion most is new architecture in Bruges. At the start of the preparations we were faced head on with overwhelming preconceptions. And against these preconceptions stood a number of individuals who were driven in their quest for stepping stones to break all this down. We were glad to assist them in this. And someone who stood out above all others – and still does – is Mayor Moenaert. It was not us who decided to build a concert hall, but we know who did. We wanted to continue working with the same zeal; a number of one-off projects were considered, discussed and decided on. In the many proposals we received, we regularly came across the comment “a bridge over the Coupure”. We found that exciting, and you know what happened next. I myself often went walking around the city. Including on the Kanaaleiland. I discussed my amazement at the discomfort there with the Municipal Green Service, which in turn got to work, followed enthusiastically by many partners. The result you know. The architect’s group Archipel infected me with their enthusiasm for the symbolic spot beneath the trees on the Burg. Some time later, one evening, Mayor Moenaert and I stood at this spot on the Burg. We discussed, considered things. In his own contemplative way he said: “I’m not against it, I’m not against it...”. You now know the result. We did take risks, but got away with it. With these lasting projects Bruges has given an example of how contemporary architecture can best be integrated into historical cities. “It’s a miracle ... Bruges is suddenly on the world map in terms of new architecture in old cities”. This assessment comes not from us, but from bOb Van Reeth, the Flemish government architect. Cultural perception in all layers of society Participation in art and culture must be increased, and space must be provided for socio-artistic projects: these were the two main points for consideration in Minister Anciaux’s cultural policy. But even before these concerns were on the agenda or became trendy, we were busy with the preparation of a project with Dogtroep in the prison, with the involvement of the asylum centre of the Red Cross in BRUGGE 2002, with delineating Wijk-Up, with the start of ’t Kl!kt, with a project in the secure young people’s institution De Zande,... “As if by chance”, it emerged, BRUGGE 2002 was therefore able to produce a number of valuable projects that were clearly rooted in a current concern for cultural perception and involvement in culture. © HERMAN SORGELOOS Rosas: Fase, the film (director: Thierry De Mey)
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10<br />
BRUGGE 2002<br />
“It’s a miracle...”<br />
What undoubtedly benefits our discussion most is new architecture in Bruges. At the<br />
start of the preparations we were faced head on with overwhelming preconceptions.<br />
And against these preconceptions stood a number of individuals who were driven in<br />
their quest for stepping stones to break all this down. We were glad to assist them in<br />
this. And someone who stood out above all others – and still does – is Mayor<br />
Moenaert. It was not us who decided to build a concert hall, but we know who did.<br />
We wanted to continue working with the same zeal; a number of one-off projects<br />
were considered, discussed and decided on.<br />
In the many proposals we received, we regularly came across the comment “a bridge<br />
over the Coupure”. We found that exciting, and you know what happened next.<br />
I myself often went walking around the city. Including on the Kanaaleiland. I discussed<br />
my amazement at the discomfort there with the Municipal Green Service, which in turn<br />
got to work, followed enthusiastically by many partners. The result you know.<br />
The architect’s group Archipel infected me with their enthusiasm for the symbolic<br />
spot beneath the trees on the Burg. Some time later, one evening, Mayor Moenaert and<br />
I stood at this spot on the Burg. We discussed, considered things. In his own contemplative<br />
way he said: “I’m not against it, I’m not against it...”. You now know the result.<br />
We did take risks, but got away with it. With these lasting projects Bruges has given<br />
an example of how contemporary architecture can best be integrated into historical<br />
cities. “It’s a miracle ... Bruges is suddenly on the world map in terms of new architecture<br />
in old cities”. This assessment comes not from us, but from bOb Van Reeth,<br />
the Flemish government architect.<br />
Cultural perception in all layers of society<br />
Participation in art and culture must be increased, and space must be provided for<br />
socio-artistic projects: these were the two main points for consideration in Minister<br />
Anciaux’s cultural policy. But even before these concerns were on the agenda or<br />
became trendy, we were busy with the preparation of a project with Dogtroep in the<br />
prison, with the involvement of the asylum centre of the Red Cross in BRUGGE 2002,<br />
with delineating Wijk-Up, with the start of ’t Kl!kt, with a project in the secure young<br />
people’s institution De Zande,... “As if by chance”, it emerged, BRUGGE 2002 was<br />
therefore able to produce a number of valuable projects that were clearly rooted in a current<br />
concern for cultural perception and involvement in culture.<br />
© HERMAN SORGELOOS<br />
Rosas: Fase, the film (director: Thierry De Mey)
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