Concise.pdf - Brugge Plus

also that the cultural-historical
wealth to which Bruges owes its
splendour to this day is undoubtedly
down to an extremely cosmopolitan
and multicultural period in our history.
True, specialists were already
aware of this, but it is still necessary
to show the public and repeat it.
And if we recall “Cloistered World,
Open Books” once again, we see how
convincingly contemporary art is
able to fit seamlessly into a historical
setting.
© KOEN BROOS
Champ d’Action
8
BRUGGE 2002
Workplace Bruges
A frequent complaint was that there were hardly any contemporary creations in the
city. This primarily involved anything that could remotely be associated with performing
arts. After 2002 it is clear that Bruges convincingly demonstrated that it is
indeed a city where creation is possible. Just think of Josse De Pauw as new artistic
director of Het Net, or Jos van Immerseel and his orchestra Anima Eterna, which
took up residence in the Concertgebouw. Or the many artists who worked here during
a rehearsal period. If you were to examine the whole BRUGGE 2002 programme
in detail again, asking yourself where and when creation occurred, you would, as it
were, trip over the large number of creations.
The idea of “Workplace Bruges” was given form and symbolised in the “Groenplaats”,
a workshop for performing artists that opened in 2002 and is jointly co-ordinated by
Het Net and De Werf.
Another comment we frequently heard when we began our preparations was the lack
of feeling of an active cultural scene in the city. Apart from Musica Antiqua, Cinema
Novo and the Cactus Festival, Bruges was not perceived by the outside world as a city
that is still culturally innovative today. Obviously the museums played their part, but
their reputation, which extended beyond the city itself, was mainly of interest to
tourists. With 2002, however, we have now received many reactions showing that
Bruges is also appreciated as a modern cultural city. Not only have existing initiatives
been able to consolidate their reputation, there are also newcomers that will become
permanent fixtures. The jazz festival, which has everything it takes to become a classic,
certainly comes to mind here. With the 10-CD box set “The Finest in Belgian Jazz”
De Werf created history and produced a reference for our country’s musical history.
Points for consideration and discussion
There were points for consideration that we received as a genuine concern and that
we also wanted to address, but that do not leave us entirely satisfied.
Contemporary visual art, for example. This remains a point for discussion. We are
convinced that every city, in fact every place, must make space for contemporary visual
art. How such a space is to be filled varies, and is defined by the city or place itself.
Our line of approach, to situate contemporary art as evidence in the city, as a natural
extension of a city rich in cultural history, did not contribute to the image of BRUGGE
2002 as a project that also involved alert contemporary art. However cutting-edge an
exhibition such as Attachment+ was or however much the multi-faceted Octopus
became involved in the city or whatever unique works of art other projects introduced,
it remained within a distinct – although on occasions exceptional – quality and
made an inadequate contribution to the image of BRUGGE 2002. We are certainly
responsible for this, but we share this responsibility with our partners and the rele-