AMBITION

 

  • Ambition must be and/or become the difference – far from false promises about accessibility by choosing radically for the “best” by subjective means of consensus, without blindly following the art market.
  • What is “value” today, starting with the work of Jan De Cock, who has shown, over the last 25 years, that he can produce art autonomously and present it, averse to interference and dictates based on official criteria which, given the composition of the decision-making bodies, (always) return like a boomerang, mainly in the interests of “where” the artist shows, the domain in which market principles discipline our view of art.
  • How can THE BRUGES ART_INSTITUTE, which was set up with our “own” capital at our own risk, open up a bridge to an exemplary operation that does not deny the artists’ biotope?
  • The workshop of the artist is the hub of THE BRUGES ART_INSTITUTE where people work without being influenced. Working to produce art, whereby the form becomes content and the (eventual) content does not needlessly search for a form.
  • The artist’s atelier can and must become a motor, whereby the atelier per se relates problematically to the contemporary concept of art and the (still very traditional) way in which presentation and display models are handled (in our regions).
  • The exhibition, as a “ready-made format”, of accumulations of “names” that act like inevitable logos in an abundant stream of art production.
  • What is an exhibition? These days it is sometimes no more than a passage – a one-day activity with the full focus on the opening, and then another and another and another…
  • How do we regard an exhibition – is it an instrument to be worked with or temporary, dead matter, a still life waiting for a different arrangement?
  • Build an abstract bridge between the idea of an atelier or studio and open space – see a space as a physical place but also a “mental” place from which the “nomadic” springs like the sediment of thoughts that evolve to the cadence of what was once and still “is” today.
  • THE BRUGES ART_INSTITUTE can become a place where, with exceptional eagerness and zeal, “slowness” is possible – exhibitions and presentations that can last a very long time and thereby hold out and withstand the judgements and prejudices of the everyday consumers (students) and the many passers-by from far and wide.
  • THE BRUGES ART_INSTITUTEis a place where uselessness reigns supreme but which manoeuvres itself entirely through culture – culture as that part of our lives that is to a certain extent useful because it contributes to a social need – on the understanding that that culture was once art.
  • THE BRUGES ART_INSTITUTE as a place where uselessness is celebrated with a view to the world.
  • So, what should THE BRUGES ART_INSTITUTE be doing?
  • THE BRUGES ART_INSTITUTE can stretch like an elastic band round the present and the past and “show” that precisely “by keeping the perfect elasticity” the relevance of the contemporary becomes visible.