Concise.pdf - Brugge Plus
Concise.pdf - Brugge Plus Concise.pdf - Brugge Plus
Neighbourhood and world More than any other cultural projects, participation-based projects are open to involvement, dialogue, interaction, time intensiveness, and a faltering search for balance between creativity, quality, involvement and accessibility. Despite a lively neighbourhood and community life in Bruges on the one hand, and a solid package of cultural and artistically minded initiatives on the other, the two worlds seemed to exist disassociated from each other. In any case, participation in the current sense of the word was not very noticeable in Bruges at the end of the twentieth century. It was very much BRUGGE 2002’s intention to make socio-artistic projects possible within its field of action. To this end a full-time programme employee was recruited. BRUGGE 2002 was on the one hand fearful of a superficial and quantitative participation discourse and on the other hand of the detrimental side effects that all socio-cultural or socio-artistic initiatives that are of an overly one-off or short-term character leave behind in community life. Therefore dialogue and confrontation were by no means avoided. What was actually done with the projects at the end of the day depended as much on the effort put in in the field as the work done by the BRUGGE 2002 team. It has always been our conviction that there is no point at all in setting up projects in which there is no basic dynamic among the organisations or in the neighbourhoods themselves. And fortunately we were never averse to a generous dose of festive content. 37 CONCISE Under the title “Neighbourhood and World” we can distinguish three kinds of project: • BRUGGE 2002 initiatives in which co-operation was sought with neighbourhoods and cultural partners (“Wijk-Up” [a play on words with the English, using the Dutch word “wijk” meaning “district”], “Streets of Style”). • Initiatives originating from middlemen, often action groups or amateur companies developing a large-scale event in dialogue with BRUGGE 2002 (Bridges with the South, Solidarity Day, Amateur Art Week, Assebroek Totaal, Dance schools, etc.). • Initiatives for which organisers sought co-operation with BRUGGE 2002 in order to go about thinking and working on the basis of participation and reflection (’t Kl!kt, Oral History, Congress “On soon… and now”). Most of these projects were very successful and moreover mobilised thousands of people. As regards participation and action to break down barriers, this is certainly of importance. Via these projects, for example, many hundreds of people came into contact with the Concertgebouw, the Public Library or one of the many BRUGGE 2002 initiatives. © JEAN GODECHARLE The most all-embracing project was certainly Wijk-Up. In three Bruges districts – Sint-Pieters, Zeebrugge and Sint-Jozef – a genuine festival was organised, lasting five days in each case and including a whole host of activities. Some were organised in the three districts, whilst others were specifically organised in and by a particular district. The Escale Circus Tent was the constant feature, travelling from one neighbourhood to another. The “Cinemobile” was also deployed three times. The (e)migrants
On each occasion the official opening in the three districts featured speeches by local residents and a self-chosen cultural programme. In Sint-Pieters this was the Flat Earth Society with a tattoo fanfare, in Zeebrugge an art route was mapped out and Sam Louwyck provided for a dance and motion theatre, and in Sint-Jozef Johan Debruyne had put together an arts itinerary with work by artists who had been working in the district for many months. People played “Push Corner”, a special game of football played with a square ball, devised by the contemporary artist Fabrice Hybert. The three weeks of Wijk-Up also saw the Kamishibai touring round. This narrative bicycle gathered stories that eventually resulted in three splendid children’s books with stories from the three districts. But the programme was even more wide-ranging than that, with free platforms, discover-the-star competitions, children’s performances, local dance, and above all a festive feel. 38 BRUGGE 2002 Streets of Style also worked on that festive feeling and put the Langestraat in Bruges in the spotlight for an entire weekend. This street is described as one of the most diverse streets in Bruges – you find all kinds of businesses here, from expensive restaurants to cybercafés. An open-topped bus took visitors past flamboyant tableaux depicting facts, legends and falsehoods, with actors from the districts playing the part of local noblemen or village idiots. More serious was the “off” section, where residents and traders, local service centres and organisations opened their doors so that visitors could come and meet them and find out about them and their activities. ’t Kl!kt was a remarkable project for a cultural capital. With this initiative we wanted to give semi- and unskilled persons the chance to participate in BRUGGE 2002. On the one hand people from this target group were familiarised with new means of communication such as the Internet and e-mail, by means of training and exchange of experiences. On the other hand the BRUGGE 2002 programme was used as the opportunity to communicate to people and, moreover, to prompt these people then to take part in that programme. Many who would otherwise not have stepped into the Concertgebouw or visited an exhibition, now did just that, because they felt they were better prepared and could arrange to go together. With “Wijk-Up” and Streets of Style, BRUGGE 2002 experimented with new forms of popular culture, something to which people are currently asking for considerable attention to be given, and rightly so. We opted for projects that came into being in dialogue with and face to face with the residents, but which also contained an extra value – be it artistic or otherwise – in respect of the familiar and the everyday. © PETRI VIRTANEN, KIASMA MUSEUM OF CONTEMPORARY ART © A PRIOR Peter Jonckheere (De Slang, as part of Octopus) Brian Eno (.WAV)
- Page 1 and 2: concise
- Page 3 and 4: (ENCORE) PLUS EST EN VOUS...
- Page 5 and 6: © BAYERISCHE NATIONALBIBLIOTHEK M
- Page 7 and 8: 6 NOTHING REALLY ENDS! BRUGGE 2002
- Page 9 and 10: also that the cultural-historical w
- Page 11 and 12: 10 BRUGGE 2002 “It’s a miracle.
- Page 13 and 14: 12 BRUGGE 2002 The new “look & fe
- Page 15 and 16: PROGRAMME
- Page 17 and 18: tural year we were able to boast a
- Page 19 and 20: A discovery of the world, then and
- Page 21 and 22: Contemporary art The place of conte
- Page 23 and 24: Jan Broes organised the poetic Ston
- Page 25 and 26: © ROLAND PATTEEUW Attachment+ 24 t
- Page 27 and 28: BRUGGE 2002 also conceived new fest
- Page 29 and 30: Pop, rock and underground BRUGGE 20
- Page 31 and 32: 30 BRUGGE 2002 De Werf: productive
- Page 33 and 34: 32 BRUGGE 2002 New media and techno
- Page 35 and 36: Film and media We cannot get round
- Page 37: © HANNS JOOSTEN © A PRIOR Octopus
- Page 41 and 42: kamishibai books, in which popular
- Page 43 and 44: However, in addition to this specif
- Page 45 and 46: © RANDOALD SABBE © MARK MORRISROE
- Page 47 and 48: | HANZE@M4DICI BRUGES, CROSSROADS O
- Page 49 and 50: Project publications | IMPACT 1902
- Page 51 and 52: COMMUNICATION
- Page 53 and 54: cation department. A project and to
- Page 55 and 56: © PATRICK DE SPIEGELAERE 54 BRUGGE
- Page 57 and 58: importance to press releases. In 19
- Page 59 and 60: Koninklijk Filharmonisch Orkest van
- Page 61 and 62: 60 BRUGGE 2002 design, whilst the l
- Page 63 and 64: The public network Introduction Nob
- Page 65 and 66: BRUGGE 2002 as an opportunity for (
- Page 67 and 68: © JAN VERNIEUWE 66 BRUGGE 2002 Jua
- Page 69 and 70: this formula has potential for the
- Page 71 and 72: Music and Architecture © MICHAEL M
- Page 73 and 74: MANAGEMENT, ORGANISATION AND BUDGET
- Page 75 and 76: Overview of total budget BRUGGE 200
- Page 77 and 78: was also enough room within the com
- Page 79 and 80: Ticket sales The Province of West F
- Page 81 and 82: IMPACT STUDY BRUGGE 2002 - SUMMARY
- Page 83 and 84: Cultural impact The cultural impact
- Page 85 and 86: press also proved important. The in
On each occasion the official opening in the three districts featured speeches by local<br />
residents and a self-chosen cultural programme. In Sint-Pieters this was the Flat<br />
Earth Society with a tattoo fanfare, in Zeebrugge an art route was mapped out and<br />
Sam Louwyck provided for a dance and motion theatre, and in Sint-Jozef Johan<br />
Debruyne had put together an arts itinerary with work by artists who had been working<br />
in the district for many months. People played “Push Corner”, a special game of<br />
football played with a square ball, devised by the contemporary artist Fabrice Hybert.<br />
The three weeks of Wijk-Up also saw the Kamishibai touring round. This narrative<br />
bicycle gathered stories that eventually resulted in three splendid children’s books<br />
with stories from the three districts. But the programme was even more wide-ranging<br />
than that, with free platforms, discover-the-star competitions, children’s performances,<br />
local dance, and above all a festive feel.<br />
38<br />
BRUGGE 2002<br />
Streets of Style also worked on that festive feeling and put the Langestraat in Bruges<br />
in the spotlight for an entire weekend. This street is described as one of the most<br />
diverse streets in Bruges – you find all kinds of businesses here, from expensive<br />
restaurants to cybercafés. An open-topped bus took visitors past flamboyant tableaux<br />
depicting facts, legends and falsehoods, with actors from the districts playing the part<br />
of local noblemen or village idiots. More serious was the “off” section, where residents<br />
and traders, local service centres and organisations opened their doors so that<br />
visitors could come and meet them and find out about them and their activities.<br />
’t Kl!kt was a remarkable project for a cultural capital. With this initiative we wanted<br />
to give semi- and unskilled persons the chance to participate in BRUGGE 2002. On the<br />
one hand people from this target group were familiarised with new means of communication<br />
such as the Internet and e-mail, by means of training and exchange of<br />
experiences. On the other hand the BRUGGE 2002 programme was used as the opportunity<br />
to communicate to people and, moreover, to prompt these people then to take<br />
part in that programme. Many who would otherwise not have stepped into the<br />
Concertgebouw or visited an exhibition, now did just that, because they felt they were<br />
better prepared and could arrange to go together.<br />
With “Wijk-Up” and Streets of Style, BRUGGE 2002 experimented with new forms of<br />
popular culture, something to which people are currently asking for considerable<br />
attention to be given, and rightly so. We opted for projects that came into being in dialogue<br />
with and face to face with the residents, but which also contained an extra value<br />
– be it artistic or otherwise – in respect of the familiar and the everyday.<br />
© PETRI VIRTANEN, KIASMA MUSEUM OF CONTEMPORARY ART<br />
© A PRIOR<br />
Peter Jonckheere (De Slang, as part of Octopus)<br />
Brian Eno (.WAV)
Change language