Concise.pdf - Brugge Plus

Koninklijk Filharmonisch Orkest van Vlaanderen
© JOHAN JACOBS
journalists came via Toerisme Vlaanderen. The greatest press interest came from
France, followed by Germany and the Netherlands, Spain and Great Britain. The
action in Austria, the USA, Italy, Denmark, Switzerland and Sweden also bore fruit.
Requests were also received from Brazil, Bulgaria, Canada, Chile, Colombia, the
Czech Republic, Denmark, Estonia, Finland, Greece, Hungary, Japan, Latvia,
Lebanon, Luxembourg, Norway, Poland, Portugal, Russia, Slovenia, Turkey, Ukraine,
and Uzbekistan.
BRUGGE 2002 became a talking point in all major international media, albeit mostly
on a once-only basis. Considerable attention was paid in particular to “Jan van Eyck,
Early Netherlandish Painting and Southern Europe” and the three architecture projects
(Concertgebouw, Toyo Ito’s Pavilion and the Coupure Bridge).
Conclusion
The Cultural Capital concept is a well-known formula, so BRUGGE 2002 could automatically
count on press interest from at home and abroad. As regards the foreign
press, most interest was shown by the press from neighbouring countries and countries
that had recently organised a Cultural Capital Year or were scheduled to do so in
the near future.
The press department collected 5004 domestic press articles on BRUGGE 2002
between May 1998 and November 2002. Via Toerisme Vlaanderen, the press department
received 1,540 articles on BRUGGE 2002 that had appeared in the international
press.
Domestic promotion: a coherent discourse
The media campaign
The media plan made provision for three major media waves during the cultural year.
For the three major exhibitions, all the communication tools were deployed a few
weeks before the opening on each occasion. For the development of this project communication,
the services of the Bruges advertising agency d’Artagnan were called on.
They were given the task of giving the exhibitions a face and a recognisable style. The