Chaos is a swear word that we use when matters tend to spiral out of control. It is nearly the worst thing to wish on someone. Chaos is bad and should be avoided at all costs. The opposite of chaos is order. Order is good and forms the basis of all progress in our society. But not for long.

Recent insights show that there is an urgent need to review this opinion. Slowly but surely the realisation is dawning on society that chaos and order are not opposites that cannot exist simultaneously. Chaos and order are two sides of the same medal, and together form a source of creativity.

— F. van Eijnatten
De theorie van het chaosdenken

It is no secret that currently there is relatively little support and place for art and culture in Dutch society. Due to the recession there has been financial cuts in art and culture, and restructuring took place throughout the country. This resulted in even more demand for art and culture in society and this demand is still increasing. “Young artists are self-sufficient, autonomous, cooperative, informal and digital. They are part of the enthusiastic generation that is moving past the traditional institutions with a fresh view and new approach”. This generation “matures in a period in which the public resources dry up and the art climate polarises”. For this generation “passion is the motivation, cooperation is the key and compensation in the form of sharing knowledge, experience and new relations is crucial. They simply start and hunt, setbacks or not, crisis or no crisis, determined to chase their dreams that go beyond a particular career”, Ineke van Hamersveld writes in Peers to Peers, 2014. Partially since the state and its political authorities expect that in a creative manner, which is different from what people are used to, new initiatives come into existence.

Many artists who live in the eastern regions of the Netherlands seem to disappear to the Randstad immediately. Why? The cultural supply simply proves to be infinite there, while the left-wing eastern regions scream for more (more, more, more) art. For this reason the concept of RUIS came into existence. Committed to guide (international) artists towards Nijmegen in order to strengthen and expand the cultural landscape in the east of the Netherlands, the habitat and network of the artists who are situated here. Creating a cultural atmosphere in which the artist and the process of making art gets the place they deserve, is the core of RUIS.

Not the ‘end product’ of the creator, but his research is the focus of RUIS. By showing the process, the vision and the research of artists, RUIS gives an insight into the artist’s lifestyle. The aim is that the visitor is able to identify with the artist and get a better grasp of the creative process. RUIS establishes this by being transparent in her personal development, and welcoming visitors at any given moment. In addition to openings of exhibitions, the visitor is especially welcome during the process leading up to the openings and is able to walk in the room while the artist is at work in the exhibition space as well. Consequently, RUIS creates a platform where people feel connected to the space and the art as well as the artists.

The exchange between the public of RUIS, the artists and RUIS as an organisation focuses on direct contact and dialogue, and aims to bridge the gap between contemporary art and the public. By offering a basis to artists for whom contemporary experimental art plays a central role, RUIS contributes to the cultural climate in the eastern regions of the Netherlands, causing artists to remain interested in settling here. RUIS breaks through the everyday reality and embraces the chaos of the artist’s daily life.