Eyes widen with surprise every time we look at a home-grown artistic initiative. Maybe it is because, when it comes to its cultural and artistic heritage, Belgium is not affected by that kind of inappropriate pride which reduces everything to a cliché-oriented expectation on the final product.

The Belgian artist does not strive to reach his own excellence. Instead, he plays around with that misconception, makes fun of himself and lets his public decide independently on the quality of the product he offers. Art in Belgium is not a mere reinterpretation of the past that leads to a vulgar combination of modernity and tradition. The Belgian artist gets inspired by the world heritage in its entirety, and there lies his strength. Driven by his playfulness and absurdity, he re-invents and transforms in an unsettling manner what would be normally perceived as mediocre or poor, turning it into an innovative artistic expression. Flemish tapestries turn into factories of tattooed pigs in China, Bruges lace becomes the icon of an avant-garde couture, while our music praises Jaques Brel poetry’s cynical spirit through a techno-rap mix. Then what remains – which can also be seen as the common denominator with our past –  is our knowledge of quality, our simplicity, humility, and ability to create beautiful things with few resources.

Belgium and its emerging creative talents are the central topics of our debate. The richness of this nationally spread cultural event lies in the event itself, and it is even more interesting to notice how this event actually reflects reality. We also see Nationa(a)l as a proponent of an intelligent exhibiting and curating process. Nationa(a)l stands for first-rate and carefully selected content that comes to life. Nationa(a)l is a guarantee for quality in the cultural sector and works with the simple and pure aim of letting you discover it.

John Stargasm, Ghinzu