WHERE IS YOUR HOUSE: Interview with Agnes Quackels
1. WHERE IS YOUR HOUSE? (small description of BUDA)
BUDA is an Arts Center, located on a small island, the island of BUDA, in Kortrijk, Belgium.
2. WHO ARE YOU? (small presentation of you and your work within BUDA)
BUDA is an Art House Cinema, a residency place and a presentation platform organisator. I’m giving the artistic directions for what concerns the performance arts.
I’m mostly taking decision on who’s coming to work in BUDA and with whom will work to present the works.
3. THE HOUSE Of GEOGRAPHY (How would you describe BUDA, taking in account it’s geographical location?)
BUDA is located in Flanders, West Vlaanderen, Kortrijk and within the Euro-region Lille, Tournai, Kortrijk - Belgium, Europe.
Kortrijk is a small city with already a City Theater that is presenting a lot of different styles.
The position of BUDA within the flemish field is quite specific: it’s a place where the artists are having the time to work in a in-depht way to their creation - by having long technical residencies for example - and where they are often asked to think together with the house about the context wherein their pieces are presented. in reverse, BUDA is also thinking the artistic projects together with the artists, on a productional, technical and sometimes content level.
BUDA is collaborating with a lot of different structures in the region in order to give the most possible extended support to the projects.
BUDA is also part of several Interreg programs (NEXT festival, Trottoirs) on the region and European Networks, such as Départs, but also APAP, ...
4. THE HOUSE OF POLITICS (Having in mind the “solidness“ of belgium dance market, how would you describe the role of Belgium dance in a bigger context of European cultural market? And how do you think the market weight of Belgium affects the production of culture in Europe? Do you tend to think more locally or globally in terms of your strategies?
Since I’m living and working in Belgium it’s maybe difficult for me the estimate the real impact of Belgium dance market outside of Belgium. It’s probably quite dominant, indeed... Let’s say we are talking about Flemish dance, then and not Belgian.It looks important to me that BUDA is giving support to flemish dancers but surely not only - the permeability, the meetings between artists, the openness and the supports of dance makers in Europe, is for me surely of primary importance. I’m normally not looking at the place where the people are coming from to decide if they are producing interesting art pieces or not. But nowadays, giving support to Spanish artists seems to me some how more urgent than to German ones... working on a global level should always have as much possible local effects, no?
5. THE HOUSE OF GOLD (tell us something you consider fundamental about the relationship between money and art) Well, we need both: money and arts, and those two are intimately inter-connected.
but if there is something we should surely invest into, before art, or in order to have better art, but first of all in order to have more people able to read better art, it’s money for (better) education.
the house of gold is the one where the knowledge is freely circulating and distributed to as much people as possible.
6. THE HOUSE OF MEMORY (tell me a small story or describe an event that you consider relevant for Belgium Dance history)
I don’t know what to tell you..., unless that I have the big chance to work in a community where it was a political decision to give proper support to arts, and where a lot is (still) possible and supported: performance arts and the houses that are making a place for it. Those political decisions have without any doubts make the history of Belgian dance so far. It’s still making the history today; I prefer not imagine it could be turned into a memory...
7. THE HOUSE OF ART (Chose one or more Belgium young upcoming artists that you love)
I love so many of them...