• Romy Achituv[US/IL]

    Cataract Gorge, 2015

    Romy Achituv creates an artificial storm on the otherwise placid waters of Bruges. Floating on the turbulent waters is a structure in the form of a Gothic crow-stepped gable house. The work refers both to the city’s economic heyday hundreds of years ago and to the current stagnation of a city that seems to exist solely for the purpose of entertaining tourists. Strict regulations intended to preserve the city’s heritage act as brakes to evolution and a dynamic future.
  • Atelier Bow-Wow[JP]

    Canal Swimmer’s Club, 2015

    The Tokyo architecture firm Atelier Bow-Wow is all too familiar with the myriad issues of major cities and limited living spaces. It merges architecture and urbanism seamlessly with art and politics. For Bruges, Atelier Bow-Wow conceived a floating lounge at the confluence of the Spinolarei-Potterierei and Sint-Annarei canals. The venue is designed to provide locals and visitors with a pleasant place to relax, take a refreshing dip in the water, attend lectures, visit exhibitions and put on their own events.


  • Nathan Coley[UK]

    A Place Beyond Belief, 2015

    The text sculpture A Place Beyond Belief was originally created for New York after 9/11 and refers to the need for the city to reinvent itself and become “a place beyond belief”. In other contexts, these words remain highly topical and acquire new layers of meaning. The new work, Palace, consists of five separate words. They can be interpreted as a motto for Bruges but they also refer to the five rights that everyone has according to Islam.


  • Daniël Dewaele[BE]

    The Passage Room, 2015

    Daniël Dewaele tackles the Triennial’s hypothetical question about what would happen if Bruges’ 5 million visitors should suddenly decide to stay with three projects. He interviews visitors about their hopes and dreams as potential residents of Bruges, asks about the aspects of their own cultures that they feel attached to and sends people on to the streets with badges that identify them as the 5 millionth resident of Bruges. Dewaele’s projects engender more questions than they do easy answers.
  • Song Dong[CN]

    Wu Wei er Wei, 2015

    Song Dong is installing a rock garden with a miniature landscape beside St. Salvator Cathedral. The giant bonsai sculpture is made from the windows of demolished Chinese buildings. In large neon letters above the sculpture is written ‘Wu Wei’, a concept of Taoism that means ‘inaction’. This work expresses the tension between the unstoppable growth of megapolises and the treatment of heritage and nature.


  • Monir Shahroudy Farmanfarmaian[IR]

    Khayyam Fountain (Fountain of Life), 2018

    In Fountain of Life (Khayyam Fountain), Monir Shahroudy Farmanfarmaian gathers together various aspects of her visual alphabet, inspired by Sufi mysticism. The geometrical patterns are piled up as multilayer volumes to form a glass fountain. The three-, four- and even eight- or nine-sided shapes are alternately twisted and cut out into a hollow sculptural installation. Each element has its significance, such as the triangle, which can represent the human being. With four points on the circumference of a circle, you can draw a square, the angles of which point in the four cardinal directions; the sides of a pentagon can stand for the five senses and the angles of a hexagon symbolize virtues. Inspired by mirror mosaics and stained glass in ancient palaces and temples in Iran, the artist uses light and glass to create a fantastical play of refractions, with an evocation of water as a symbol of clarity and life.


  • Rainer Ganahl[AT/US]

    Uber Capitalism, 2015

    Rainer Ganahl’s installation on the Burg is a chocolate sculpture of the medieval Huis ter Beurze, the first stock market in the world. The words ‘UBER CAPITALISM’ rotate above it, a reference to today’s fast-growing sharing economy. The perishable material used recalls the darker aspects of the chocolate trade and expresses a growing ambivalence towards the seductive new face of capitalism in our time.
  • Nicolas Grenier[CA]

    Vertically Integrated Socialism, 2015

    Vertically Integrated Socialism is an experimental housing concept that integrates the social class pyramid into one single building. Tenants who live off state support live free of charge on the ground floor of an apartment building. The floors above house increasingly better-off social classes, which each pay the rent of the class below them. This architectural model acknowledges the social and economic inequalities of the contemporary neoliberal metropolis and provides opportunities for social integration and upward mobility.


  • HeHe[UK/DE]

    Undercurrent, 2015

    The art collective HeHe drops a massive high-voltage electricity pylon into the canal at Oud Sint-Jan (Old St John’s). A crackling, flashing sculpture that draws the attention to something that – in a self-consciously medieval city like Bruges – would normally be neatly tucked away. This sight of the naked infrastructure of our electricity supply causes a ripple of shock. The ‘foreign body’ in a preserved old city tackles various other metropolitan issues such as noise, light pollution and unsustainable energy use.


  • Vibeke Jensen[NO]

    1:1 Connect: DiamondScope, 2015

    An octagonal structure with an amazing shell of mirror glass stands across from the Belfry on the Market Square. Inside, there is space for one visitor and one resident of Bruges. They meet as strangers in an intimate space, can observe the people outside but are not themselves visible to onlookers. 1:1 connect is a fascinating work on the power of the gaze and on the shared use of public space.


  • Tadashi Kawamata[JP]

    Tree Huts in Bruges, 2015

    The courtyard of the Bruges Beguinage is a place that exudes peace and tranquility. Tall trees grow from a central lawn surrounded by ancient houses and the Beguinage church. Tadashi Kawamata has installed a dozen tree houses in the courtyard, fragile wooden anomalies that appear to hover like kindly watchers over the Beguinage and all who pass there.
  • Jarosław Kozakiewicz[PL]

    BRUG, 2018

    With the many bridges that span the canals in the city centre and link neighbourhoods with each other, BRUG by Jarosław Kozakiewicz is a contemporary interpretation with another function. Instead of bricks and cobblestones, the artist uses metal profiles and canvas to create a bridge on which you can cross from one side or the canal to the other. This does not mean, however, that you can simply continue your journey. The bridge brings you closer to the statue of Niobe by Constant Permeke, to a place where you can pause briefly but then have to retrace your steps. The installation is a place of encounter, an alternative spot to cross paths and even start a conversation. The structure’s design is based on a proportional system in which every intersection of two lines points to a point on a human face. Every corner, every connection is a snapshot of a movement: two faces approaching each other and meeting in a kiss. A geometric representation of a romantic moment.


  • Wesley Meuris[BE]

    UrbanModeL, 2018

    With UrbanModeL, Wesley Meuris has placed a new pavilion in the middle of the city: amidst the trees on the Burg square. A number of panels of wood and glass frame English terms that analyse the requirements for an ideal society, such as Sustainable Interaction, Immersive Environments, Fulfilling Needs, Innovative Services or Communication Prostheses. The title of the work, UrbanModeL, refers to the concept of UML (Unified Modeling Language), a graphic modelling language that is often used to categorise and schematically represent phenomena or processes. Meuris used this method in his design. He wished to create a space where one can discuss architecture, infrastructure and urbanism, and at the same time to create a restful place where being present, looking and encountering are at the core.


  • Renato Nicolodi[BE]

    ACHERON I, 2018

    With ACHERON I, an installation in the water, Renato Nicolodi suggests a link between our contemporary society and the mythological underworld. Acheron, derived from the Greek word achos, in mythology symbolizes the ‘river of sorrow’. The mythical river is the way to the underworld, where the dead cross over under the guidance of Charon. Acheron is also a real river in northwestern Greece, which flows partly underground. This natural phenomenon may be the basis for the myth. In Bruges, Nicolodi’s artwork embodies this transition which forms a link between life and death. The surface of the water serves as a boundary. The sculpture is a haven, a gateway, a port between the present, the future and the past.
  • NLÉ[NG/NL]

    MFS III – Minne Floating School, 2018

    MFS III – Minne Floating School is the ultimate version of the floating school. It serves as a prototype for a structure that meets our physical and social needs in the light of the ever-growing challenges that climate change presents us with. It is not only a mobile building that can be adapted worldwide to the changing tides and is sturdy enough to withstand floods and defy violent storms. It is also a source of inspiration for giving shape to potential alternatives involving renewable energy and solution for land reclamation. On the iconic Minnewater, this school becomes a place for collaboration, where Bruges schoolchildren can have classes and exhibit their work. MFS III is a versatile, flexible structure that can be a classroom, exhibition space and a meeting place built on the water; an architectural project that is ready for the liquid future.


  • [O+A][US/AT]

    Quiet is the New Loud, 2015

    Bruce Odland and Sam Auinger open your ears to the peacefulness of a small city like Bruges. In comparison to their respective stamping grounds of New York and Berlin, Bruges doesn’t only look beautiful but it sounds it too. Here, you can still hear the sound of footsteps on cobbles, a duck ruffling its feathers and even someone whispering. [O+A] decode the city’s acoustics. They offer a new, sensual approach to designing the city of the future as a creative space.
  • OBBA[KR]

    The Floating Island, 2018

    The Floating Island is a unique experience on the canals near the Snaggaardbrug. With this structure, the Korean architectural firm OBBA wished to create additional public (active) space within the Bruges city centre. Together with the Bruges firm Architectuuratelier Dertien12, OBBA has designed a floating platform that covers more than 100 square metres. The installation is surrounded by green islands and is open to the public. You can stroll along the bank or take a little break to enjoy the surroundings; elastic nets that simultaneously serve as supports can be used as hammocks or couches that lean right over the water. With this installation, OBBA crosses the border between the street and the canals. The Floating Island breaks through the square, vertical bank with a soft, flowing transition to a navigable waterway.


  • John Powers[US]

    Lanchals, 2018

    For Lanchals, John Powers drew inspiration from the rich history and folklore of Bruges. He found the legend of Pieter Lanchals, an advisor of Archduke Maximilian of Austria, who was killed during a 15th-century popular uprising against urban privileges. City residents tortured and decapitated several key members of Maximilian’s entourage, including Lanchals. The archduke called for revenge, raising an army to plunder the city. Bruges would recover some privileges, but – as legend has it – in memory of the event, the city had to allow 52 swans on the canals. White swans are still a typical feature of the cityscape. For the Bruges Triennial, Powers erected a meter-high sculpture shaped like a swan’s neck on a square alongside the water, although the structure is also evocative of a backbone or a tornado. Every building stone is an equally valuable part of the whole installation, in which each is supported by the other and stretches toward the heaven.


  • raumlabor[DE]

    House of Time, 2018

    House of Time is a long-term project launched by the German architectural firm raumlabor. On an old industrial site along the Ringvaart, the firm went to work with Bolwerk and Brugge(n) voor Jongeren. There, they are working on a house full of time, a place that will be redesigned and turned into a meeting and production space by and for young people. The microindustry will gradually evolve into an open space for discovery, experimentation and learning. Mobile units such as a warm water bath or a series of benches will be added, but the main focus is on immaterial values: a sense of involvement and commitment to active problem-solving at each stage of the creative process. In order to motivate teenagers to use an urban public space on a permanent basis, raumlabor wishes to break through individualism and enable the local youth to work together as a community to find solutions to their social and community problems via art and architecture.
  • Rotor[BE]

    What’s Eating the Chinese Mitten Crab, 2018

    What’s Eating the Chinese Mitten Crab creates an encounter between visitors to two arts festivals held this summer: the Bruges Triennial and Beaufort in Zeebrugge. The starting point for Rotor’s project is the major presence of a nonnative crab species in Bruges’ canals and waterways: the Chinese mitten crab or Eriocheir sinensis. In China this crab is a delicacy, but in Europe it is colonising the waterways and upsetting the natural equilibrium. Scientists are looking for ways to destroy this crab population and researching forms of coexistence with native animal species. Rotor provides discussion and an experience or this fascinating topic in the Poortersloge: the artistic collective installed a natural history observatory with a wide range of photos, newspaper clippings, artefacts and an aquarium. The pop-up version of the URB SEA-cafe on the Zeebrugge beach regularly holds tasting sessions of all sorts of invasive plants and animals, along with discussions with researchers and experts.
  • Ruimteveldwerk[BE]

    G.O.D., 2018

    In the beginning of the 19th century, this former Bruges residence of Saint Bavo’s Abbey, Ghent, and later a part of the Saint Trudo Abbey, was transformed into an almshouse for needy service personnel and the elderly. Nowadays, the almshouse is located very near the tourist centre of the city and is still home to people between 60 and 80 years of age. The typical Bruges houses in the city centre are linked together by two picturesque inner courtyards and by the silence ofthis isolated spot. The Ruimteveldwerk collective involves the residents and visitors in its participative project titled G.O.D. by linking this exceptional setting to an experimental trajectory. This interdisciplinary collective is thus working on an offline zone where, via spatial instruments, the sacred notion of silence is linked to the need for quiet in today’s digital technological rat race.


  • Tomás Saraceno[AR]

    Aerocene, 2018

    This spring, Tomás Saraceno had balloonlike sculptures erected in the historic city centre. The balloons are powered by the heat of the sun and hence can move without creating emissions. With this performance, the artist has activated the public space in Bruges. The event was filmed in full and is being shown at the Poortersloge during the Triennial. The video installation Aerocene fits in with the long-term multidisciplinary project Aerocene, that depicts a new era. As a synthesis of art, technology and environmental awareness, the project embodies a vision of fossil and emissionfree travel and living in the atmosphere. An artistic and scientific analysis of environmental issues.
  • selgascano[ES]

    selgascano pavilion, 2018

    Next to the Coupure, the installation of the Spanish architectural firm selgascano catches the eye. The organic structure with pink transparent walls lends colour to the water and forms an ideal spot to take a rest. Although the canal is still navigable today and forms a link between the Ringvaart and the city centre, the sluice gates here are for the most part kept closed. This floating pavilion will be an ideal place for adults and children to wade in or venture a splash in the Bruges canals.
  • Anne K. Senstad[NO]

    Gold Guides Me, 2015

    As globalised urban dwellers, we are constantly being reminded of money, possessions, commerce and the economy. What value will we have as citizens in the city of the future? The word sculpture Gold Guides Me questions the ethical standards that guide our lives as the spiritual teachings that we formerly abided by are replaced by the fetishism of possessions, power and wealth.
  • Studio Mumbai[IN]

    Bridge by the Canal, 2015

    The architectural firm Studio Mumbai has designed an original bridge house in its studio in India. This bridge sculpture unites several different potential functions: you can live, eat, sleep and hide from the prying eyes of passers by here – but the one thing that you can’t do is to cross over the water. The bridge is located along the side of a canal. This architectural ‘landscape’ transcends any expectations of a bridge and also brings a taste of the metropolis to tranquil Bruges.
  • StudioKCA[US]

    Skyscraper (the Bruges Whale), 2018

    Near the statue of Jan van Eyck, Skyscraper (the Bruges Whale) rises up from the Bruges canals. The gigantic sculpture is more than just a representation of a whale; the animal is made of waste, collected from the plastic soup that floats on the seas and oceans of the world. Working with volunteers from the Hawaii Wildlife Fund and the Surfrider Foundation, StudioKCA combed the beaches of Hawaii to gather up the waste. The installation was built out of those finds. StudioKCA seeks this way to draw attention to the universal problem of pollution that affects us all, and to make viewers aware that individual action is necessary.


  • Peter Van Driessche – Atelier4[BE]

    INFINITI23, 2018

    With INFINITI²³ Peter Van Driessche has planned a vertical living space on the water’s edge at the Oud Sint-Jan site. The construction is reminiscent of ‘Metabolism’, a post-war Japanese architectural movement in which capsules were piled up to form tower blocks. With his installation, Van Driessche creates new space: the rectangular units are places for living, working and dwelling. While urban planners and project developers search for space in which to build in the future, the architect suggests a spot where we live closer to each other, are housed in smaller spaces and can move easily on the steadily rising water level. It becomes a temporary anchor within the urban fabric. Van Driessche also involves students in interior architecture in his project in designing this new manner of living.
  • Vermeir & Heiremans[BE]

    Masquerade, 2015

    Vermeir & Heiremans focus on the dynamics between art, architecture and economy. They define their own home as an artwork and create ‘mediated extensions’ that add a public hyper-visibility to their private space. The ART HOUSE INDEX (AHI–), which transforms their home-as-an-artwork into a financial tool, is one such extension. The video installation MASQUERADE, located in the Poortersloge, where centuries ago an international group of bankers and merchants would meet, functions as an AHI- publicity film.


  • Arentshuis

    The Visionary City, 2015

    Although population growth is more explosive today than ever before, the issue has been a subject of discussion since the 20th century. Modernist architects and planners sought innovative solutions to absorb the social change. For Bruges, Huib Hoste and Paul Amaury Michel devised a revolutionary urban renewal plan. In Germany, Oswald Mathias Ungers designed models for the new city, based on Berlin. Both projects are on display in a double exhibition. An installation by the British artist Stanza, which literally reacts to environmental factors in London, is being shown in the hall of the Arentshuis.
  • De Bond

    Unfinished Cities, 2015

    Bruges, with its UNESCO World Heritage-listed centre, is extremely conservative in its approach to its heritage. It can seem as though time has stood still. The Unfinished Cities exhibition, on the other hand, shows cities in the Middle East and Far East undergoing a constant state of flux. Urban development, property speculation, destruction and reconstruction after conflict have left these cities balanced on the border between ruin and building site.
  • Grootseminarie

    Liquid Architecture, 2018

    For its second edition, the Bruges Triennial has invited the Fonds Regional d’Art Contemporain of the Centre-Val de Loire region (France), whose collection is focused on the relationship between art and architecture from the 1950s to today, to mount an exhibit in the church and gardens of the Grootseminarie. The exhibition revisits the efforts – repeated throughout – to render the architectural object and the rigidity of the right angle fluid by means of curved, organic and moving forms. It attests, in particular, to the rise to prominence of this new movement, starting in the 1990s, thanks to the development of digital tools for conception, production and construction. Computer-Aided Design (CAD) software now makes it possible to alter the structural properties of objects by
    manipulating mathematical models. The architect no longer draws: he or she continually modifies virtual models by altering their parameters. FRAC Centre-Val de Loire was one of the first institutions to record the appearance of this trend, known in turns as numeric, computational or digital, and where organic circumvolutions and continues surfaces come together. In turn, FRAC helped call into question an architecture conceived of as definitive, immutable form in favour of a ‘liquid architecture’ (Marcos Novak) that is lively and dynamic.
  • Town Hall

    Imaginary Cities, 2015

    The Town Hall is hosting an exhibition of imaginary cities by four artists. They use their memories, dreams, experiences and materials from diverse cultures to give shape to their fantasy worlds, from the colourful and animated to the monochrome and dystopian. The scale models contain cultural references and personal aspirations. In its entirety, the exhibition stimulates thinking about how cities might look in the future, completely detached from the here and now.
  • Poortersloge

    Liquid City, 2018

    In the Poortersloge, the Bruges Triennial is providing an overview of the installations in the historic city centre. The transitoriness and liquidity of the city are further illustrated here, and all the artworks along the route are situated in the context of the work of the participating artist and architects. In addition, a few new works are also being exhibited. Thus, a video screening of a performance by Tomás Saraceno is being shown, and the Belgian collective Rotor is installing a natural history museum on the topic of the Chinese mitten crab.

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