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© JOHAN JACOBS Anima Eterna © JAN FABRE © ICTUS - PHOTO: MYRIAM DEVRIENDT American Air Swan Lake © JAN DARTHET “Culture Van” which travelled from school to school, and the “Den” in the cellar of the House 2002 – Perez de Malvenda, which turned into a creative haven for all youngsters in the city.
Contemporary art The place of contemporary art in Bruges was already a thorny issue before 2002, and remains so thereafter. Bruges is not an obvious place for modern art, with various players and counter-players, harbouring a desire for a real arts centre, and a new, cool and clinical white space. But by whom will this be created, and for what 20 BRUGGE 2002 Bruges is a city with a compelling historical cultural quality. This means that modern art is faced with the permanent – and admittedly extremely fascinating – challenge of integrating itself on an equal footing. BRUGGE 2002 showed that such integration is possible through a diversity of initiatives, some of which have had a lasting impact. BRUGGE 2002 deliberately opted to use the city itself as a stage. A whole host of projects were organised at unexpected locations and in streets and squares, the aim being to surprise Bruges residents and visitors and acquaint them with contemporary art in the city. The projects all had a cosmopolitan slant, which latched onto and surpassed the context of the city. Uncertainty as richness Attachment+ was the opening exhibition of BRUGGE 2002. Roland Patteeuw, the driving force behind the Kunsthalle Lophem, created a highly individualistic exhibition featuring work by 56 artists, displayed the length and breadth of the lovely Neo-Gothic teacher training college in the Sint- Jorisstraat (hardly an obvious choice as a venue). The exhibition placed the emphasis on the evergrowing sensitivity to time and Concertgebouw the process-like aspect in modern art, or how uncertainty is experienced as richness – at once an enthralling statement in a city like Bruges. 12,531 visitors found their way to this exhibition, which can quite simply be termed a success. © ANIMOTIONS Views of urban space and mobility <strong>Brugge</strong> Inside Out and Lost Locations were two photography projects, staged in six car parks and in the station, respectively. Bruges Inside Out displayed photos of Bruges residents and their interiors. This exhibition was created by Joost Goethals in cooperation with the Municipal Academy. The photographers included both professionals and students. Lost Locations was a project put on by A Prior in co-operation with the Nederlands Foto Instituut. Two Belgian and two Dutch photographers travelled to Japan to photograph urban spaces, landscapes or situations at neglected spots. The two projects had a huge impact, not just because hundreds of thousands of passers-by were confronted with it, but also because the cultural capital was Old and New Belgians
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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: A discovery of the world, then and
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 and 38: © HANNS JOOSTEN © A PRIOR Octopus
Page 39 and 40: On each occasion the official openi
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
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Music and Architecture © MICHAEL M
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MANAGEMENT, ORGANISATION AND BUDGET
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Overview of total budget BRUGGE 200
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was also enough room within the com
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Ticket sales The Province of West F
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IMPACT STUDY BRUGGE 2002 - SUMMARY
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Cultural impact The cultural impact
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press also proved important. The in
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Colophon EDITORS Hugo De Greef, Jan
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