annual report 2008 by BOZAR

ANNUAL report 2008

A second youth _ _______________________________________________________________________________ A new start ____________________________________________________________________________________ International mission ___________________________________________________________________________ New audiences _________________________________________________________________________________ An open house _________________________________________________________________________________ Artistic departments ____________________________________________________________________________ Highlights of 2008 _ ____________________________________________________________________________ Eightieth anniversary of the Centre for Fine Arts ________________________________________________ Highlights of 2008 __________________________________________________________________________ January, February, March ____________________________________________________________________ April, May, June ____________________________________________________________________________ July, August, September _ ____________________________________________________________________ October, November, December _ _____________________________________________________________ Cultural partners in Belgium _____________________________________________________________________ Cultural partners abroad _ _______________________________________________________________________ BOZAR FUNDING ___________________________________________________________________________ The Centre for Fine Arts in the Press _ ____________________________________________________________ BOZAR COMMUNICATION _ ________________________________________________________________ BOZAR TICKETS _ ___________________________________________________________________________ BOZAR PLANNING __________________________________________________________________________ BOZARSHOP _________________________________________________________________________________ Human Resources ______________________________________________________________________________ ICT – Technical Department – Safety _____________________________________________________________ Rediscovering Horta ____________________________________________________________________________ Legal structure of the Centre for Fine Arts _________________________________________________________ Financial report ________________________________________________________________________________

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A second youth In 2008, the Centre for Fine Arts celebrated its 80th anniversary. In the

Moreover, in its aim to provide visitors the best possible comfort and

last few seasons, a new wind has been blowing through the institution,

service, the Centre pursued the refurbishment of its infrastructure at

aimed at infusing it with a second youth and a renewed dynamism.

a steady pace in 2008, including the construction of the Paul Willems

A unified legal framework, a simplified governance model, the

Auditorium for Le Rideau de Bruxelles, the completion of the new

renovation of the building, a funding structure which blends private

Cinematek space, the renovation of the roofs and the Southern

partnerships and public funding, a cross-disciplinary approach at all

exhibition galleries. All these efforts will contribute to making the

levels of the programming: in fact, no effort has been spared to ensure

Centre a more welcoming and efficient institution and finally serve to

that the Centre for Fine Arts benefits from the quality that it merits.

anchor the Centre for Fine Arts in a potent and visible manner on the Brussels urban landscape. At the same time, such efforts will contribute

Etienne Davignon, Chairman of the Board of Directors

Our efforts have not been in vain. In welcoming almost one million

to bringing the Centre in line with the Zeitgeist, as a result of the quality

visitors a year, the Centre for Fine Arts has managed to firmly establish

of its modernised infrastructure and its pertinent choices. The Centre

itself on the national and international cultural landscape as an

for Fine Arts is a perpetually moving, living, growing organism that is

undisputed reference. Moreover, its programming has been underscored

adapting its function to a changing world.

by major projects, which have contributed to establishing the Centre’s own reputation, as well as that of Belgium beyond our borders.

The positive outcome of this evolution will determine our choices for the years to come and consolidate our goals, which, above all, must be to

Daring to be bold, fuelling unusual journeys, facilitating the knowledge

strive for excellence. All this would not be possible without the crucial

of works, opening consciences to world cultures, focusing the debate on

support of the authorities responsible for the Centre, Beliris’s decisive

societal aspects: here are but a few of the challenges of the past season.

contribution and the co-production agreements with our cultural

Now that the year has ended we can take stock of the work accomplished,

partners. And of course, nothing would have been realised without the

which included a high number of top-class events. The Centre for Fine

commitment and dedication of the Centre for Fine Arts’s staff, which,

Arts has thus been able to fully enjoy the benefits following from the

every day again, rises to the challenge of excellence.

governance principles that have been in place for several years. The productions and collaborations with arts centres abroad, which have seen a constant rise over the past years, have helped us realise important projects. The exhibition Treasures old and new from Wallonia. A Curious Land, shed new light on a familiar region. This exhibition, which focused on heritage while developing a present-day vision, proudly reaffirmed the fact that the Centre for Fine Arts is the natural place for Belgium’s Communities and the Regions where their efforts will be amplified within our structure.

So please allow me to end on a note of warm thanks to all of them.

A new start 2008 and the new year are all about the eightieth anniversary of the

to be one of our priorities. While programming large-scale prestigious

Centre for Fine Arts. This anniversary, which marks a second youth, is

events, the Centre for Fine Arts must also serve as a house for artists,

celebrated by a host of events and enhanced by a sumptuous book that

where the seed of the creation of quality finds the good earth it needs to

retraces the institution’s extraordinary human, artistic and economic

blossom and thrive.

adventure. This introspective look at the past makes us more aware of our role of as purveyors of culture and reveals more about our prospects.

The constant support of the federal and regional authorities must be

Photo : Jérôme Latteur

forcefully underscored. It also serves as the indispensable cornerstone

Paul Dujardin, Director-General

At the start of my second mandate as Director General of the Centre for

of our institution’s budgetary equilibrium. As a result, we should first

Fine Arts, there are some fascinating challenges ahead in coming years:

be grateful to the Federal Government. The intervention of the Federal

the refurbishment of the Centre’s infrastructure, the consolidation of

Participation and Investment Society (SFPI) and the funding obtained

the cultural project, improved management procedures, etc. If it is at

thanks to Beliris and the cooperation agreement between the federal

all possible to achieve such a task today, then this is largely due to past

and the regional authorities have also enabled us to undertake the re-

achievements, and thanks to the efficient governance model which has

quired infrastructural works for the renovation of the Centre for Fine

been set up since 2002. A lot of progress has been made since I accepted

Arts. We would like to take advantage of this opportunity to thank eve-

this position and the goals that we set ourselves at the time have, for the

ryone concerned.

most part, been achieved. But the site itself is enormous and merits all our attention in the future.

Likewise, we would like to extend our gratitude to the members of the Flemish, Walloon and Brussels governments, who have shown their

The continued refurbishment of our building and the important invest-

support for our activities during the past season and whom we have been

ments that have been agreed are essential so that, in the medium term,

able to convince of the relevance of our project. And let us not forget the

we will have a resource at our disposal that is capable of welcoming an

crucial role of sponsorships, of the patronage of private individuals and

increasingly large audience, providing them with the best possible com-

the indefatigable support of our BOZAR PATRONS in a project like

fort and security, a building that meets the highest standards as regards

that of the Centre for Fine Arts. Without their contribution and their

to the exhibition of works of art but also for the presentation of con-

loyalty, many projects would simply not have been created. Likewise,

certs and performances. A refurbished infrastructure, which magnifies

our numerous cultural partners, both in Belgium and abroad, contrib-

Victor Horta’s architectural gesture and restores the building’s original

ute to feeding the intense activity which underpins the influence of our

meaning and legibility and which frees up spaces so that they may once

cultural events. We are, of course, very grateful to them. The success of

again be dedicated to artistic creation.

such an enterprise can only be accomplished with the enthusiasm and the dedication of the people in charge of the many daily tasks related

The consolidation of the artistic aspects, at international level with

to running a prestigious cultural venue. I would like to express my grati-

major prestigious projects and at national level, with a programme that

tude to them and invite them to continue to work with the same passion

focuses on artists from Belgium’s communities and regions, continues

and unyielding motivation, in the face of these new challenges.

The Centre collaborated with at least 68 countries in 2008.

International mission

Belgium. A cultural project – be it an exhibition or a festival – provides political and diplomatic leverage. It represents a considerable amount

A unique position. As an institution, which continues to be a federal

of symbolic capital. Several countries choose Brussels as a centre to

institution, even in the “new Belgium”, the Centre for Fine Arts is

promote themselves to the world. BOZAR wishes to capitalize on this

the place of choice for our country, as well as for people beyond our

potential and further develop it. The international agenda is slated to

borders to showcase our respective diversities. To Belgians, but also to

become even more intense in coming years.

people from beyond our borders. In so doing, it serves as a crossroads and a meeting place for the various communities that live and work

Recent achievements. The Policy Unit and the Federal Public Service

in Belgium. Moreover, the Centre for Fine Arts is considered to be a

Foreign Affairs have been working with the Centre for Fine Arts for

neutral land, in between the communities and the regions. That is why

several years. This collaboration has been quite beneficial. The Turkey

it is essentially the only body to be able to convey Belgium’s image, with

Festival (2005), for example, was a courageous initiative. Not only

the necessary respect for the role of the regions and the communities,

did it highlight the country’s cultural heritage, but it also opened up

and to disseminate this image beyond our borders. Specific assets

a discussion on human rights, the position of women in Turkey and

include the Centre’s infrastructure and location in the capital of Europe.

other important social and political themes. The prestigious exhibition,

All these elements contribute to making the Centre for Fine Arts

Yearning for Beauty. The Wiener Werkstätte and the Stoclet House, was

the partner of choice for countries and regions wishing to present

organized in the frame of the Austrian Presidency of the EU (2006).

themselves to Brussels’ and international audiences. Next to this, the

The India Festival, inaugurated by Sonia Gandhi, put the country in the

Centre for Fine Arts wishes to be the driving force behind initiatives

limelight for three months (2006). The China exhibition, The Forbidden

aimed at consolidating the cultural ties between Belgium and/or the EU

Empire - Visions of the World by Chinese and Flemish masters -, was shown

and its various partners worldwide. The political calendar may present

in Brussels and in Beijing (2007). In the frame of the German EU

opportunities to do this, but is never a reason per se to do so. Even

Presidency, the Centre created the exhibition, Blicke auf Europa (Views

though they are autonomous, the Centre for Fine Arts’ cultural and

on Europe). Chancellor Angela Merkel inaugurated the exhibition in

artistic activities may provide leverage for our international partners to

Brussels, from where it also travelled to Munich (2007). Encompassing

raise attention for other interests and to facilitate solutions.

the globe. Portugal and the world in the sixteenth and seventeenth centuries was created during the Portuguese EU Presidency (2007). This was followed

Cultural crossroads. Brussels is a hyperactive political and diplomatic

by the interdisciplinary festivals on Iceland (2007-2008) and Korea

crossroads. The city has the largest concentration of diplomats, lobbyists

(2008), which are discussed at length elsewhere in this annual report.

and journalists worldwide. Brussels plays a key role as a meeting city and a place for negotiating international trade transactions. As well as being an economic union, the European Union has also become a political union, with a diplomatic potential that should not be underestimated. This situation has given rise to numerous valuable bilateral contacts for

6 Photo : Danielle D’Haese

New audiences Developing loyalty among the existing audience as well as attracting

Next to the attention for a younger audience, the Centre for Fine Arts

new audiences are two key elements of the Centre for Fine Arts’s

also tread a more multicultural line. The various festivals (in 2008:

mission. The duty of any self-respecting cultural institution is to provide

Iceland and Korea) generally contribute to an influx of new visitors.

access to qualitative culture to the highest possible number of visitors, thereby enriching their universe and helping them become more active,

A second example is the emphasis on world music within BOZAR,

committed and mature citizens. This is a daunting challenge at a time

providing other cultures with a forum for cultural, artistic and (at times

when the traditional means of conveying culture (school, family) have

implicit) political expression. Finally, there was also the conscious and

changed and when cultural consumer patterns call for or respond better

proactive approach of the French press and French audiences at the

to commercial formatted products rather than a more artistically and

beginning of 2008 by means of a press conference in Paris.

symbolically charged creation. In the last five years, the Centre for Fine Arts has also opened its doors The various BOZAR departments focus on tapping into new audiences,

to organisations and companies wishing to organise events that, at first

mainly aimed at rejuvenating and diversifying the Centre’s audience. It

glance, may not be linked to the arts. BOZAR FUNDING and BOZAR

achieves this through the themes with which it deals and the partners

PLANNING thus welcome a diverse audience, often making its first

with which it works.

visit to the Centre for Fine Arts, which may give rise to more visits. In 2008, the Centre, for example, hosted the biggest international

A first example is the BOZAR EXPO exhibition ‘It’s not only Rock ’n’ Roll,

accountants’ congress (organised by the International Fiscal Association

Baby !’, which even served as a case study for the Centre for Fine Arts’s

or IFA) with 9,000 participants from all over the world, as well as the

new audiences strategy. In fact, the number of first visits (31% compared

annual marketing students’ congress of Stichting Marketing.

with an average of 15 to 20%) was impressive. The number of young visitors (43% of the 42,215 visitors was -26) for a major exhibition was even unheard of. The marketing (promotion on Facebook, for example, as well as exhibition merchandising) proved to be very efficient, as it was entirely developed in function of a young audience. Another important factor that contributed to audience enlargement was the start of the residency of DJ Darko and his electro Statik Dancin’ deluxe evenings for BOZAR MUSIC. This has allowed the Centre to tap into the YUCHs (Young urban culture hoppers) segment, which had been identified as a potential development target in our market surveys.

This was the percentage of visitors under the age of 26 for the summer exhibition ‘It’s not only Rock’n’Roll Baby!’ (compared to 15% average) 7

Photo: Lydie Nesvadba

“

was extremely honoured and happy with the invitation that the Centre for Fine Arts extended a few years ago to create Treasures old and new from Wallonia. A Curious Land. Such a project requires several years of reflection and production, as you might have guessed. I wanted to create an exhibition that would allow me to narrate the lives of Walloons between the twelfth and the sixteenth centuries. It had to convey a certain sensibility. That is why I chose not to use the most prestigious objects, instead focusing on objects that would stir people’s emotions! During the years of preparation, I was fortunate enough to have the ideal companionship of several people attached to the Centre for Fine Arts, who helped me change or fine-tune my approach as I progressed. This was essential to succeed in conveying the strong sensibility that I was striving for.”

Laurent Busine, curator of the exhibition Treasures old and new from Wallonia. A Curious Land and Director of the Musée des Arts Contemporains (MAC’s) of the Site of Le Grand-Hornu. 8

An open house The Centre for Fine Arts has a unique asset: every artistic discipline

Finally, the Centre for Fine Arts also positioned itself with its

can be found here under one roof. Architecture thus becomes the

geographical focus on cultures. In the spring, our guest was Iceland, with

cornerstone of a major and diverse transversal construction, in which

a broad spectrum of visual art, dance, theatre, literature and music. In the

the search for confrontation and cross-pollination is a constant. Victor

autumn, Korea offered an extensive array of concerts, performance arts

Horta designed the Centre for Fine Arts as an open house for the arts.

and fringe exhibitions, on the central theme of Korean Buddhism. Both

The in-depth restoration project underscores the building’s many

festivals benefited from extensive attention during festive weekends.

possibilities once again. Artists are increasingly turning to different media, are working with colleagues in other disciplines, or refer to the

BOZAR’s cross-disciplinary approach serves to make art and culture,

art from which they drew inspiration for their own work.

which are not always that evident, accessible to a broad and diverse audience that is capable of finding its way to the Centre for Fine Arts.

Several exhibition projects illustrate this ambition. French composer and conductor, Pierre Boulez, for example, served as guest curator for an exhibition on Paul Klee and his special affinity with music and theatre. During two concerts, the general public was confronted with the sound spectrum of Klee’s contemporaries. Meanwhile, It’s not only Rock ‘n’ Roll, Baby! put the art of rock musicians, who had trained as visual artists, in the spotlight. A rehearsal as exhibition: for one month, New York duo, Fischerspooner, practiced their new show as a ‘live act’. Visual art by the duo was also on show in the exhibition. Treasures old and new from Wallonia. A Curious Land by Laurent Busine served as a source of inspiration for a cross-disciplinary programme: concerts by the Capilla Flamenca and the Huelgas Ensemble and a literary evening. During the season, several collaborations were set up. With Al Kamandjati, BOZAR THEATRE launched a production that brought together Norwegian classically trained musicians with Palestinian musicians and the video work of Marco Dinoi for a stirring tale about the sublimating role that art can play in a conflict with no outcome. BOZAR CINEMA worked on a special project with DJ Buscemi and the silent film of Vertov’s The man with the movie camera. The Centre also hosted dual talents: Paul Auster’s work as an author and a film maker were reviewed at the Centre.

983,873

total visitors in 2008 : nearly a million.

8,957

concerts and events in 2008. 9

Artistic departments The Centre’s diverse exhibition programme is heavily

There is a clear line and continuity to the programme, which features 250

tuned to current events. It is the outcome of an intense

concerts every year and which can count on the enthusiastic approval of

collaboration with various partners; collaborations

a broad and loyal audience. Concerts take place in the Centre’s Henry Le

that are more than the sum of all the individual parts.

Boeuf Hall as well as in other locations such as the Royal Conservatory of

As a federal institution, the Centre for Fine Arts

Brussels and the Eglise des Minimes. BOZAR MUSIC’s aim is to ensure

welcomes art and artists from the various communities. But each

that music lovers - and approximately 400,000 join us every season – enjoy

season, the Centre also looks beyond the borders, by presenting age-

their favourite repertoire and artists, as well as pointing them towards to

old traditions and contemporary culture. A new feature this year is the

relatively unknown composers and works. Next to classical music, the

partnership between BOZAR and the Royal Museums for Fine Arts

Centre is increasingly programming other genres. The efforts made in

of Belgium, including intense artistic consultation and a coordinated

2008 to this end are paving the way for a new audience.

communication strategy. The summer exhibitions have become a fixed feature, including the biennial Summer of Photography. With It’s not only Rock ’n’ Roll, Baby!, in the summer of 2008, BOZAR EXPO lifted

At the Centre for Fine Arts, the performing arts’

the barriers between disciplines and genres and explicitly targeted a

programming is developed as much as possible in line

young audience for the very first time ever.

with the themes of BOZAR EXPO and with in-house festivals.

Multidisciplinarity

and

interculturality

are traditional themes for theatre and dance. The The Centre for Fine Arts prides itself on a long-standing

Centre also focuses on continuity and on long-term

tradition with its concert programming, which is widely

collaborations with various partners. The “Lunchtime

considered one of the most prestigious and renowned

Theatre” cycle, every other Tuesday - alternating

in Europe, adhering to quality requirements that are

with the “Lunchtime Literature” cycle - continues to

appreciated the world over. Renowned names are

be a fixed feature of the Centre’s programming. The

combined with young and up-and-coming talent. International top

lunchtime performances have been a feature of the

artists receive a warm welcome, but BOZAR MUSIC also continued its

Centre’s programme for many years and have earned

collaboration with various Belgian partners in 2008, such as the major

their place in the cultural offer in the Belgian capital

Belgian orchestras and ensembles, as well as with festivals such as Ars Musica and the KlaraFestival. Themes and residencies define the season. During the 2008-2009 season, the emphasis was on three deeply religious

This young department, which was established in 2004,

composers: Bach, Stravinsky and Messiaen. Simon Rattle was invited to

introduces film and video to the Centre for Fine Arts. To

conduct three concerts; Christophe Coin was also offered a residency.

this end, BOZAR CINEMA is working with the other

In Baroque music, the emphasis was on the French seventeenth- and

departments and with the Royal Belgian Film Archive.

eighteenth-century repertoire and on Rameau in particular.

Belgacom provides financial support for all the projects.

BOZAR CINEMA explores this art form in all its aspects. This includes

BOZAR LITERATURE hosts events to honour and

film for a broad audience, but also experiments and events, which explore

deepen the central theme of our festivals. Writers

the boundaries between film and other art forms. In this way, it is hoped

are free thinkers who rely on their sharp perceptions

that film will eventually hold a central position in the Centre for Fine Arts’

and insightful opinions. In 2008 António Lobo

multidisciplinary programme. BOZAR CINEMA capitalises on such

Antunes, Hallgrímur Helgason and Kwang Sok-yong

important assets as the event aspect and exclusivity. The power of this

illuminated the sociocultural evolutions happening in their countries

programme resides in the location’s prestige, the quality of the welcome,

through their novels. From a second point of view, literature has the

and the privilege of the encounter with an artist. The ‘Film Events’ series

malleability to combine with other disciplines, evident through the stage

programmes previews and homages to key figures in the film world, in

performance of Icelandic poets or in the works of the double-talented

the presence of important directors or actors. Next to this, there are also

Paul Auster. The series Literatuur op de Middag and Jeudis Lire give a

retrospectives and films for a family audience such as the Young Film

voice to the authors from Flanders, Brussels and Wallonia.

Fans series. In Expanding Cinema, the emphasis is on film as a versatile artistic discipline, often in relation with concerts, theatre, architecture

The art education department is inspired by the artistic

or contemporary art. The documentary series, in collaboration with the

programme’s incredible diversity. Visitors are invited to

Belgian public TV broadcasters, VRT and RTBF, is currently being

explore the Centre for Fine Arts. Families and children,

developed. Finally, BOZAR explores new resources and techniques, as

schools, teachers, teens and tweens, young and older

was the case during the ‘Pocket Film’ Festival.

senior citizens: there is an activity tailored to suit every visitor. BOZAR STUDIOS has its own space in the Centre for Fine Arts: a reception space, multifunctional workshops and a pick-nick

BOZAR ARCHITECTURE is a collaboration

space for schools and families. There is a crèche for very young visitors.

between the Centre for Fine Arts, the Belgian

The BOZARSUNDAYS programme attracted 1,150 adults and

Architects’ Order and A+, a Belgian architecture

children. The Centre aims to serve a delicious cultural Sunday

magazine. Since the 2006-2007 season, the

morning (BOZARSUNDAYS GOOD MORNING) to families. The

architecture debate has been integrated in the Centre

afternoon programme BOZARSUNDAYS GOOD AFTERNOON

for Fine Arts, with exhibitions, lectures and debates.

mainly concentrates on exhibitions. A STUDIO is an interactive

The programming continues a 30-year tradition of A+ as the leading Belgian

space in the exhibition circuit, targeting anyone aged 6 or over. This

architecture magazine and a turbulent history of architecture debates and

special activity-based exhibition, comprises a host of materials and an

exhibitions at the Centre for Fine Arts. Since September 2008, BOZAR

interactive documentation corner. With the BOZARSTART formula,

ARCHITECTURE also provides a platform for young, promising Belgian

young people can attend activities at a special tariff. In 2008, BOZAR

architects in the NICHE series. A scale model of a recent project remains

STUDIOS also developed social artistic projects, such as PÔZE II, in

at the Centre after every lecture. As a result, the Centre is gradually building

the frame of the Summer of Photography. Every major exhibition ends

a retrospective of recent Belgian architectural productions.

with the infamous ‘Finissage’ for a young audience.

Jan Fabre • Around the Globe • Tom Lanoye • Paul Klee • Eric Delayen • London Symphony Orchestra • Carlos Saura • Pierre Boulez • Leif Ove Andsnes • Sidi Larbi Cherkaoui • Jan Decorte • Erna Omarsdóttir • Martin Scorsese • Yoko Ono • José Van Dam • Patti Smith • Alfred Brendel • David Byrne • Yves Lion • europalia.europa • Alban Berg Quartett • Brian Eno • Hélène Grimaud • Bae Bien-U • André Kertesz • Bent Van Looy • Joachim Patenier • Bianca Cassady • Dj Buscemi • René Jacobs • Alechinsky • Beat Streuli • Siri Hustvedt • Pete Doherty • Het Concertgebouworkest • Michel François • Iceland Dance Company • Cindy Sherman • Guy Debord • Jordi Savall • Vladimir Jurowski • Made in Korea • Hervé Niquet •

DJ Darko • Kris Defoort • Angel Vergara • Maria de Medeiros • William Christie en Les Arts Florissants • Baltasar Kormákur • Tarek Halaby • Frank Braley • It’s not only Rock ’n’ Roll, Baby! • Mísia • Ken Loach • Masarat Palestina • Harold Lloyd • Gilberto Gil • Nikolaus Harnoncourt • Orla Barry • Filip Dujardin • Alfred Stieglitz • Marcel Broodthaers • A Curious Land • Ivan Fischer • Mariza • William Cliff • Capilla Flamenca • Maurice Maeterlinck • Emile Verhaeren • Karel Appel • Vadim Repin • Ólafur Elíasson • Cobra & co • Robert Mapplethorpe • Orchestre National de Belgique | Nationaal Orkest van België • Cecilia Bartoli • Johan Muyle • Paul Auster • Valery Gergiev • Nam June Paik • Ramzi Aburedwan • Leon Fleisher • …

Highlights of 2008

Eightieth anniversary of the Centre for Fine Arts In May 1928, the Centre for Fine Arts opened its doors to the general

spring of 2009, for example, the Centre will be organizing an exhibition

public. Victor Horta’s multi-disciplinary temple of the arts was finally

on artist’s portraits. The start or the end of a career also merited a label.

ready. Eighty years later, the Centre still stands for a diverse arts offer

Alfred Brendel celebrated his farewell in the Henry Le Boeuf Hall,

and the building is gradually being restored to its former glory thanks to

which was filled to the rafters for the occasion.

the management’s initiatives.

The Al Kamandjati event, the tale of a Palestinian who was confronted

BOZAR LXXX 1.

2. 1. The book BOZAR LXXX 2. Image of the campaign “Life is so BOZAR” 3. The construction of the Centre for Fine Arts (04.08.1925)

Thanks to the collaboration of the Centre’s archives, Lannoo Publishers and Luc Derycke, who was in charge of graphic design, a book entitled

with the hard reality of the Palestinian/Israeli conflict at a tender age and who subsequently set up music schools for children, was chosen as an official moment of celebration.

BOZAR LXXX was published in November 2008. It provides a full

The “Life is so BOZAR” image campaign

overview of the Centre for Fine Arts’s history. The broader scheme,

The Centre for Fine Arts’ eightieth anniversary also coincided with the

the original design and the Centre’s multi-lingual approach reflect

fifth anniversary of BOZAR as a culture brand. An excellent occasion

Victor Horta’s design and the Centre’s vision. The texts were written

to reflect on the brand’s identity. At the request of the Centre for Fine

by experts, who discuss the Centre’s architecture, its cultural and

Arts, an independent research firm organized a survey concerning the

architectural evolution and the history of the Centre as an institution.

brand’s popularity. The results were positive: 95% of the Centre’s

They revive the varied and exuberant programme once again. The

visitors recommended a visit.

many illustrations - souvenirs, details of the buildings, mementoes

The Centre also commissioned a new image campaign. Advertising

of extraordinary events and renowned artists – serve to emphasise

agency Choco devised a concept capable of conveying the multidis-

the building’s multi-disciplinary character. Exhibitions, concerts,

ciplinary and accessible character of Belgium’s biggest cultural in-

theatre, literature, poetry, architecture and film: it is all covered in

stitution. “Life is so BOZAR” embodies the idea that all roads lead

BOZAR LXXX, which preserves the memories of a unique place with a

to BOZAR: it basically amounts to a game of six degrees of separa-

resplendent past and a promising future.

tion, associating a random word with a second, a third, etc. leading to

80 events

BOZAR. At the end of November 2008, the campaign was launched nation-wide.

An eightieth anniversary is a perfect excuse for a magnificent celebratory

A sequel is scheduled for autumn 2009 and will mark the end of the

programme. Eighty events from various art disciplines received a special

eightieth anniversary festivities.

label, based on various criteria. The event or the artist concerned also had to celebrate an anniversary. In 2008 and 2009 respectively, Leon Fleisher and Gustav Leonhardt, both 80 years old, visited the Centre to give a recital. Another option was a major prestigious event: a flamboyant Cecilia Bartoli with her Rossiniana, for example. Or the programme needed to have a clear link with the Centre’s history or tradition. In the

events for the 80th anniversary

1928

Historic date of the inauguration of the Centre for Fine Arts (photo of the construction taken on August 4, 1925)

Highlights of 2008 BOZAR EXPO Rejuvenation It is extremely difficult to choose one out of the extensive array of exhibitions at BOZAR in 2008. For instance, there was the exhibition dedicated to Paul Klee, with Pierre Boulez as guest curator. The refinement of the objects from Wallonia, which, in many cases, left museum depots for the first time ever. The Smile of Buddha, featuring masterpieces shown for the first time ever in Belgium of Korea’s national treasures. But 2008 will be mainly remembered as the year of the exhibition, It’s not only Rock ’n’Roll, Baby! It has shown that rock stars can also excel at the visual arts. Visitors navigated their way past Yoko Ono’s tombstones, and discovered amazing works by such artists as Patti Smith, David Byrne or Brian Eno, in an exhibition designed by

2008 was another exciting year full of activities. The music, visual arts, architecture, theatre, dance, literature and film programmes – and we have not even included the educational efforts to bring young people in contact with all these artistic initiatives in this list – were quite diverse.

curator, Jérôme Sans. On this occasion, Le Monde discovered BOZAR as a ‘European reference’. During his visit, Jan Hoet, the former curator of S.M.A.K. in Ghent, selected the nudes by Bent Van Looy, Pete Doherty’s self-portrait and Bianca Cassady’s amazing installation. Half of the visitors to this exhibition were younger than 26: there is a new opportunity here for BOZAR.

BOZAR MUSIC Tears for Alfred Brendel As has been the case in past years, the 2008 music season was equally extraordinary. There were more than a few firsts, including DJ Darko as artist in residence, the cycle with young conductors such as Vladimir Jurowski, Händel’s Royal Fireworks, which Hervé Niquet introduced to a hall full of with young listeners, the revelation of part of Kris Defoort’s new opera by the National Orchestra or the mini festival, dedicated to Rameau. But 2008 was also a year of farewells. The Alban Berg Quartett visited 1.

us for the last time, two years after the death of viola player and fetish

figure, Thomas Kakuska. On 17 November, Alfred Brendel sat down at

manner in which Örn Benediktsson, Sjón & friends reached for the

the piano for the last time ever in the Centre for Fine Arts. The public

sublime. Their pure energy has coloured ‘BOZAR 80’, an anniversary

appreciated the incredible intensity with which he performed works of

year, which started in the autumn with two festivals, Made in Korea and

Viennese classic composers. The perfection of his art seemed almost

Masarat Palestine. A year during which Belgian orchestras came to the

evident. Tears flowed.

Centre for Fine Arts to debate their future, and in which an ambitious collaboration between BOZAR and the Royal Museums for Fine Arts

BOZAR THEATRE, DANCE, LITERATURE, CINEMA Europe at the foot of the wall

of Belgium was launched with a Cobra exhibition. A cross-disciplinary approach is clearly still the Centre’s biggest asset.

An unexpected Europalia festival, on the occasion of the fiftieth anniversary of the Treaty of Rome, ended with a performance by director, Johan Simons. Flemish author, Tom Lanoye, dipped his pen in vitriol when he wrote Fort Europa. While refugees try to find a way into Europe to no avail and candidate Member States knock on Europe’s door in vain, seven Europeans try to flee Fort Europa – that ‘used up continent’. No phrase-mongering and total freedom for the artist: that is the Centre for Fine Arts’ motto as a cultural platform. Special events

1. Opening of the exhibition It’s not only Rock ’n’ Roll, Baby! 2. Paul Klee, Monument im Fruchtland, 1929, 41. Zentrum Paul Klee, Bern © SABAM Belgium 2008 3. Iceland on the edge Festival. Originally a drinking horn later changed into a brennivíns or powder horn. (1600-1700)

that upheld this motto in 2008 included the reconstruction of the 1968 occupation, the films by Guy Debord, the autobiographical film Ezra of former child-soldier, Newton Aduaka from Sierra Leone and Origine by choreographer, Sidi Larbi Cherkaoui.

BOZAR FESTIVALS Iceland on the edge All the artists of the “Iceland on the edge” festival deserve a warm homage. They dared to set aside the island feeling and force through - climatological and other - barriers to show their art in the heart of Europe. Interesting memories include the visionary power in the films of Baltasar Kormákur, Olafur Eliasson’s architectural gesture, the extreme physical metamorphoses of choreographer Erna Omarsdóttir or the

5,431 artists hosted in 2008 by the Centre for Fine Arts

8 0 0 2 . 5 0 . 8 1 2>

w e N d 14.0 n a d l O s e r u s a . Tre a i n o l l a W m d fro n a L s u o i r u AC 18

Highlights and cross-disciplinary approach in 2008

January, February, March

standing ovation by a numerous audience. Anna Vinnitskaya, the laureate of the Queen Elisabeth Piano Competition, as well as Nicolas Angelich

Concerts

and Paul Lewis performed at the Music Conservatory of Brussels.

ORCHESTRAS. The audience enjoyed some wonderful moments in

CHAMBER MUSIC. Chamber music lovers enjoyed Jordi Savall’s

the cycle featuring the National Orchestra of Belgium, thanks to the

Quatuor Belcea, a former Rising Star, and a concert during which the

presence of top soloists such as pianist, Till Fellner; violin player, Frank

Hantaï brothers and the Kuijken brothers joined forces.

Peter Zimmerman and cellist, Marie Hallynck. The NOB also benefited from a new impetus thanks to its new director, Walter Weller. The Orchestre Royal de Chambre de Wallonie accompanied teachers and

europalia.europa: conclusion

students of the Queen Elisabeth College of Music during their annual

LITERATURE. Tom Lanoye & Sam Touzani (09.01.2008). Together with

gala concert. The Orchestre Philharmonique de Liège played an

Europalia, BOZAR LITERATURE organised a bilingual evening, on

American programme at the Centre for Fine Arts, during which Edgard

the eve of the Belgian premiere of Fort Europa by NTGent, entitled In

Varèse’s Amériques made a huge impression. French pianist, Frank

the Crushing Heart of Europe. Tom Lanoye and Sam Touzani shared the stage. THEATRE. Fort Europa/NTGent (11>13.01.2008). A ‘remake’ of

concerts with two Belgian ensembles, which specialise in this genre:

the successful production of author Tom Lanoye and director Johan

Ictus and Musiques Nouvelles. The latter dedicated a programme to

Simons, which premiered in a Viennese train station in 2005. The

Ukrainian composer, Valentin Silvestrov, at the Music Conservatory of

play comprises various dialogues between anonymous Europeans and

Brussels, starring Russian pianist, Alexei Lubimov.

was reworked by the actors of NTGent, on the occasion of europalia.

Printed

on recy

cled pap

Braley, excelled in Gerswhin’s Rhapsody in Blue. CONTEMPORARY MUSIC. Every year, BOZAR MUSIC co-produces

europa.

this season included the concerts of Collegium Vocale and Philippe

THEATRE. Song of songs/Mladinsko Theater (30.01.2008). Jan Decorte

Herreweghe at the Eglise des Minimes (a magnificent Lassus

and Sigrid Vinks were invited by Ursula Cetinski, the new director of

programme), of Paul Van Nevel and his Huelgas Ensemble with a

the Mlandinsko Theatre in Ljubljana, to direct a play. Together with

repertoire that tied in with the exhibition, Treasures old and new from

Belgian scenographer, Johan Daenen, they reworked the Song of Songs

Wallonia. A Curious Land, or even the concert of one of the artists in

for two Slovenian dyed in the wool actors, Robert Prebil and Olga Grad.

ur n | Nam , Name amurois t.187 N ar u l, d e s g cien van ze s Arts an re | Vrij usée de de timb ysage, M xempt pa E n s u e s ll e e dan el | Brux t-Jérôm 00 Bruss 23 - 10 instraat

BAROQUE. Some of the highlights in the Baroque repertory during

residence, Lorenzo Ghielmi, directing the orchestra that he recently

In Slovenian, with Dutch and French subtitles.

founded, La Divina Armonia. The Eglise des Minimes also applauded

DANCE. BOZAR DANCE and europalia.europa invited young

the efforts of young countertenor, Philippe Jaroussky, a real star, and

choreographers that are representative of the contemporary Slovenian

soprano, Nuria Rial, with the Artaserse Ensemble.

dance scene. Maja Delak presented her most recent group choreography,

RECITALS. Belgium’s renowned baritone, José van Dam, presented a

Expensive darlings, in which she managed to undermine the clichés

programme dedicated to French songs. Maurizio Pollini played the first

surrounding contemporary dance in a humorous manner. Emil Hrvatin,

book of Bach’s Das Wohltemperierte Klavier and Hillary Hahn received a

alias Janez Jansa, showed a reconstruction of his 1969, Pupilija, papa

5. 1. Jordi Savall © Laurent Thurin Nal 2. F ranck Peter Zimmermann © Franz Hamm 3. José Van Dam ©Lydie Nesvadba 4. Frank Braley ©King records 5. C ollegium Vocale Gent © Michel Garnier

January, February, March pupilo & the pupilceks (22.04), which caused quite a commotion at the

Film events and Young Film Fans

time. A performance, which continues to be topical and which defends

In the Cinema de prestige series: Preview of It’s a free world by Ken

artistic freedom.

Loach, attended by the director himself (09.01.2009). Co-production:

STUDIOS. Studio Europa (> 20.01.2008) is a production of the

Cinémathèque Royale de Belgique and Cinéart, in collaboration with

educational department BOZAR STUDIOS, took visitors on a tour

The Bulletin and the British Council.

of different European countries, inviting them to rummage through

The Young Film Fans cycle, in co-production with the Film Museum

suitcases and taste the cultural melting pot that is Europe.

and with BOZAR STUDIOS, presents film classics, which also appeal to young viewers (6 years and up). The screenings take place in the Henry

Encompassing the globe : conclusion

Le Boeuf Hall. Safety Last with Harold Lloyd, a film by F. Newmeyer and S. Taylor (USA, 1925) kicked off the series.

LITERATURE. On 15 January 2008, a last encounter was organised in

the frame of the Portugal cycle. Dutch-Portuguese author, J. Rentes

BO ZAR ARCHI TEC TURE

Belgisch tijdschrift voor architectuur Revue belge d’architecture

Orde van Architecten Ordre des Architectes

de Carvalho presented the work of Eça de Queiroz: a prominent

Image/Construction

contemporary Portuguese author and discussed the Portuguese

18.01>31.03.2008

equivalent of Zola.

BOZAR ARCHITECTURE launched a new cycle on architectural

FILM. Preview of the film Fados by Carlos Saura, in the presence of

photography and image construction with the work of Ghent

the director (01.02.2008). Co-production: ABC Distribution, in

photographer, Filip Dujardin. The photographer presented three

collaboration with the Instituto Cervantes Bruselas.

intriguing photo series. Firstly, images of architecture projects

LITERATURE. António Lobo Antunes (02.02.2008). On the occasion

commissioned by Belgian magazine, A+. The second series was

of the exhibition, Encompassing the Globe. Portugal in the sixteenth and

dedicated to the sheds built by farmers and which can be found all over

seventeenth centuries, BOZAR LITERATURE developed a series

the Flemish countryside. And finally, he also showed a series of photo

featuring authors from the Portuguese-speaking world. After three

montages, eye-catching fictions, which were presented to the general

encounters with authors from Brazil, Angola and East Timor in 2007,

public for the first time at the Centre for Fine Arts.

it was finally Portugal’s turn during the closing weekend, with António

Curator: Stefan Devoldere. Visitors: 3,500

be the figurehead of contemporary Portuguese literature.

IMAGE / CONSTRUCTION

CONCERT. That same evening, Mísia performed two fados by Lobo

Architectures lectures

Antunes during the Music and Poetry concert. The fado singer was

BOZAR ARCHITECTURE continued its series of lectures, which

joined by Maria de Medeiros. The Portugal cycle came to a close with a

started in 2006. Next to architects, the 2008 series also invited urban

concert by Mafalda Arnauth. (14.01.2008)

planners and landscape architects. The following speakers gave a lecture

PHOTOGRAPHY BY FILIP DUJARDIN

during the first quarter:

exhibition 18.01 > 31.03.2008

• Yves Lion. One of the most prominent voices in the French

is currently developing the plans for what should become the highest

Art Treasures old and new from Wallonia.A Curious Land

residential tower in Belgium: an apartment building in the Brussels

14.02>18.05.2008

Canal Zone, a stone’s throw from Tour & Taxis. (31.01.2008 – audience

EXHIBITION. Between the 12th and the 16th centuries, illuminators,

of 400).

painters, sculptors, goldsmiths and musicians, all from a region not

• Petra Blaisse. The Dutch designer is renowned for her interior

yet known as Wallonia, helped to mould a culture whose influence

decoration, in which she takes on the space with exuberant and high-

extended throughout Europe. Masterpieces by Joachim Patenier,

tech curtains. She has worked with renowned architect firms such as

Henry Bles, Robert Campin, Jacques Du Broeucq, and Hugo d’Oignies,

OMA, SANAA and Toyo Ito (11.03.2008 – audience of 480).

from renowned museums and unknown collections, present a freely

architectural and urban planning debate. Yves Lion (Casablanca, 1945)

BO ZAR EX PO

drawn portrait of a region whose popular beliefs and stories combine

The Archives of the Imagination

to evoke distinctive ways of seeing life. Through more than 140 outstanding works, Laurent Busine, the exhibition’s curator, presented

The Unreal Image. Emblems, Symbols and Metaphors

a highly individual, personal vision of Wallonia, a vivid image which

25.01>23.03.2008

emerges equally from the works of the past and from contemporary

Fourth exhibition in the series, The Archives of the Imagination, a

contributions (by Orla Barry, Michel François, Jean-Pol Godart, Juan

collaboration with the FotoMuseum Antwerp. The Unreal Image shows

Paparella, Beat Streuli, and Angel Vergara).

the ideal, poetic-philosophic vision on mankind and on society in

Curator: Laurent Busine (director MAC’S, musée des arts contemporains du

photography. As the joint inventor of photography, Henry Fox Talbot

Grand-Hornu). Coordinator: Laurence Leunen. Productie: BOZAR EXPO.

rapidly became aware of its ambiguity. On the one hand, photos are an

Catalogue: Art Treasures old and new from Wallonia. A Curious Land.

objective representation of an anecdotal reality. On the other hand,

BOZARBOOKS by Fonds Mercator and Centre for Fine Arts, Brussels, 258

they are also part of a more encompassing image culture, in which they

pages. Support: Région Wallonne, Ministère de la Communauté française,

can take on a more allegorical, symbolic or metaphorical meaning. With

Communauté Française Wallonie-Bruxelles, Ministerie Vlaamse Gemeenschap.

work by: William Henry Fox Talbot, Charles Nègre, Fernand Khnopff

Sponsor: S.A. Léon Eeckman. Venue : rue Ravenstein exhibition galleries.

, Julia Margareth Cameron, Henry Peach Robinson, Léon Bovier, Léon

Entrance: ¤ 9.00 Visitors: 26,641

25.01 > 23.03.2008

Het Archief van de Verbeelding | Les Archives de l’Imagination | The Archives of the Imagination HET ONWERKELIJKE BEELD. EMBLEMEN, SYMBOLEN EN METAFOREN L’IMAGE IRRÉELLE. EMBLÈMES, SYMBOLES ET MÉTAPHORES THE UNREAL IMAGE: EMBLEMS, SYMBOLS AND METAPHORS

Snyers, Georges H. Seeley, Léonard Misonne, Alfred Stieglitz, André Kertesz, Serge Vandercam, László Moholy-Nagy, Julien Coulommier,

CONCERT. Capilla Flamenca / Dirk Snellings / Joanna Dudley

John Baldessari, Cindy Sherman and others.

(23.02.2008). The successful exhibition, Art Treasures old and new from

Curator: Pool Andries. Coordinator: Frank Vanhaecke. Production: BOZAR

Wallonia: A Curious Land, served as a concert space for just one evening.

EXPO and FotoMuseum Antwerp. Support/Sponsors: Brussels Capital

The four singers of Capilla Flamenca, each of them a Renaissance

Region, National Lottery. Venue: Henry Le Bœuf corridors. Entrance: free

music specialist, provided a musical commentary on the works of art. Reitze Smits accompanied them on the piano. Australian performance artist, Joanna Dudley, directed and provided original interventions and

2. 1. Safety Last with Harold Lloyd 2. Carlos Saura ©Isabelle Pateer

January, February, March interactions with the paintings and the sculptures.

the screening of the film, 101 Reykjavik by Baltasar Kormákur (starring Victoria Abril). Helgason and Kormákur provided a short introduction

LITERATURE. With the series ‘Wie schrijft hier in het Frans?’ the

to the film.

Lunchtime Literature series referred to the exhibition, Art Treasures old and new from Wallonia. A Curious Land. Jacques De Decker provided an

EXHIBITION. Dreams of the sublime and nowhere in contemporary Icelandic

overview of highlights of contemporary prose from the French-speaking

art (27.02>25.04.2008). An exhibition which drew its inspiration from

part of Belgium. Jan Baetens did the same for poetry. Translator-poet,

Icelandic nature, ranging from photos to contemporary multimedia

Stefaan van den Bremt, leafed through the work of two well-known

installations. An endless search for the sublime landscape.

French-speaking Flemish authors: Maurice Maeterlinck and Emile

Curator: Aesa Sigurjonsdottír. Coordinator: Alberta Sessa. Production:

Verhaeren. Henri-Floris Jespers zoomed in on French-speaking

BOZAR EXPO. Support: Landsbanki, Government of Iceland, City of Reykjavik,

Antwerpers, from Georges Eekhoud to Guy Vaes. And then there were

Icelandair, Icelandic Tourist Board, Portus, Trade Council of Iceland. Sponsor:

the encounters between translator-poet, Frank De Crits and William

S.A. Léon Eeckman. Catalogue: Dreams of the Sublime and Nowhere. Art

Cliff, and Koen Peeters and Alain Berenboom.

contemporain en Islande. BOZARBOOKS by L-ink, 2008, 132 pages. Venue: Terarken rooms. Entrance: ¤ 5.00. Visitors: 4,240

STUDIOS. Studio Curieuzzz (16.02>18.05.2008)

For this studio, Emilie Cottam built a fun and unequivocal play about

EXHIBITION. Magicians of nature. Kjarval, Davidsson and Georg Gudni.

the lives of ‘Walloon’ saints in the exhibition.

Three generations of Icelandic painters (27.02>27.04.2008). Icelandic painter Kjarval (1885-1972) is one of the country’s best-known painters

Festival Iceland on the edge 2. 1. Studio Curieuzzz 2. A Curious land , Graflegging, kunst uit de Maasstreek, 1340. Musée d’art religieux et d’art mosan, Luik 3. 101 Reykjavik 4. National Theatre of Iceland, 5. Ragnar Kjartansson, The Great Unrest 2007

and a source of national pride. He has proved an inexhaustible source of inspiration for many contemporary artists. Björk’s first album, for

27.02>15.06.2008

example, included a tribute to him. His work, together with that of the

CONCERTS. Iceland Airwaves I and II @ BOZAR (15.02.2008 and

artists that he influenced, was on display during this exhibition.

08.03.2008). Bozar and Ancienne Belgique were responsible for the

Curator: Halldor Bjorn Runolfsson. Coordinator: Alberta Sessa. Production:

musical programme of Iceland on the edge.

BOZAR EXPO and National Gallery of Iceland. Support: Landsbanki, Government of Iceland, City of Reykjavik, Icelandair, Icelandic Tourist Board,

LITERATURE/FILM. Baltasar Kormákur (27-28.02.2008). Halldór

Portus, Trade Council of Iceland. Sponsor : S.A. Léon Eeckman. Venue: BN

Laxness (1902-1998) is Iceland’s best-known author. He won the Nobel

Rooms. Entrance: ¤ 5.00. Visitors: 2,795

Prize for Literature in 1955. His biographer, Halldór Gudmundsson, reviewed the life and work of this literary giant based on a number

THEATRE. Peer Gynt, National Theatre of Iceland (01.3.2008). The

of photos. Then Gudmundsson and Hallgrímur Helgason (of 101

multifaceted theatre director and film maker Baltasar Kormákur

Reykjavik fame) discussed the author. Helgason’s novel, The Author of

adapted Peer Gynt for the National Theatre of Iceland. This complex

Iceland, is largely based on Laxness. The evening came to a close with

epic by Norwegian playwright Henrik Ibsen became extremely

ES TI VAL !

IONCELAN THE ED D GE

27.02 > 15.06 Pure . 2 E 0 n 0 e r gy - B 8 Indep ad en

January, February, March accessible thanks to the director’s amazing fantasy and the physical

internationally renowned choreographers to Reykjavik. The openness

acting style of the actors.

within the company has immediately led to worldwide tours and recognition from the contemporary dance scene. The programme in

BO ZAR ARCHI TEC TURE

Belgisch tijdschrift voor architectuur Revue belge d’architecture

Orde van Architecten Ordre des Architectes

Bezoekersgids | Guide du visiteur | Visitor’s guide

THE ICELANDIC NATIONAL CONCERT & CONFERENCE CENTRE, REYKJAVIK

EXHIBITION. Skál. Drinking Horns (16.04>15.06.2008). Visitors

Brussels comprised two choreographies: Helena Jonsdottir’s (Iceland)

gained insight into Iceland’s turbulent history and the many European

Open Source and Happy New Year by Portuguese choreographer, Rui

influences based on original, ornamental drinking horns.

Horta.

Curator: Thorbjörg Br. Gunnarsdóttir. Coordinator: Alberta Sessa. Production: BOZAR EXPO. Support: Landsbanki, Government of Iceland, City of Reykjavik,

FILM. Icelandic Film Week (26.05>31.05.2008). Mini-retrospective

Icelandair, Icelandic Tourist Board, Portus, Trade Council of Iceland. Sponsor :

centring on Icelandic film makers, Olaf De Fleur Johannesson, F.T.

S.A. Léon Eeckman. Venue: Council Room. Entrance: free. Visitors: 1,863

Fridrikkson, Ragnar Bragason and Dagur Kari. Eleven films were screened.

EXHIBITION. The Icelandic National Congress & Conference Centre in

Reykjavik -Olafur Eliasson & Henning Larsen (16.04>15.06.2008). An exhibition in the frame of BOZAR ARCHITECTURE. Henning Larsen designed the prestigious concert building for Reykjavik’s East Harbour. An architectural tour de force in a unique location between the mountains and the fjords. Ólafur Elíasson created the decoration on the TENTOONSTELLING | EXPOSITION | EXHIBITION 16.04 > 15.06.2008

building’s façades, which underscore the play of light and water in the Bay of Reykjavik. Curator: Thorhallur Viljàlmsson. Visitors: 5,483

MULTIMEDIA. Edgy Evening of Bad Taste (30.04.2008). The Edgy Evening

of Bad Taste provided an overview of the multimedia artistic scene in Iceland. Several artists prefer a multidisciplinary approach. Sjón (Sigurjón Birgir Sigursson), who wrote the novel, The Blue Fox (2003) and also was the screaming ‘singer’ of Icelandic band, the Sugarcubes, occasionally also writing lyrics for Björk, was in charge of the literary programme, inviting poets who like to colour outside the lines: Kristín Svava Tómasdóttir, Eiríkur Örn Nordahl, Byrkir and Örvar Smárason. DANCE. Iceland Dance Company (07.04.2008). Katrin Hall, the artistic

director of Iceland Dance Company and an excellent teacher, invited

1. P aul Klee. Untitled (selfportrait), 1922. ZPK, Bern 2. P aul Klee, Genieën (balletfiguren), 1922. ZPK, Bern © Sabam 2009

Paul Klee. Theatre here, there and everywhere 01.03>25.05.2008 EXHIBITION. In its series of monographic exhibitions centring on masters of twentieth-century painting, the Centre for Fine Arts trained the spotlight on Paul Klee’s (1879-1940) work from a new angle. In Klee’s vision on life, the world surrounding him and the theatre were enmeshed. The painter, who originally hailed from Bern, Switzerland, was passionate about the theatre. He saw the world as one great stage, a giant set in which the characters move around. Klee’s theatrical universe teems with spiritual freedom, poetry, fantasy and irony. To a certain extent, this exhibition reprised Überall Theater, devised by Christine Hopfengart of the Zentrum Paul Klee in Bern. The Brussels exhibition, however, added an element of its own: the collaboration with composer and conductor, Pierre Boulez. Klee had originally trained as a musician, developing a study for the Bauhaus in Dessau, in which visual and musical language encountered one another. The exhibition highlighted this pioneering role. Curator: Christine Hopfengart and Pierre Boulez, guest curator, with the scientific collaboration of Michael Baumgartner. Coordinator: Maïté Smeyers. Production: BOZAR EXPO and Zentrum Paul Klee, Bern. Catalogue: re-publication of Überall theater (édition ZPK / Hatje Cantz, 2007) in French and in Dutch. A new chapter, Paul Klee and music, was added, with a text by Pierre Boulez and an interview with the guest curator. On this occasion, Gallimard also republished the work, Le Pays Fertile. Paul Klee (1989) by Pierre Boulez, which was out of print. Support/Sponsors: Brussels Capital Region, Pro Helvetia, Sun-Air of Scandinavia, Swiss Embassy in Brussels in the negotiations with the various partners, S.A. Léon Eeckman. Venue: rue Royale exhibition galleries. Entrance: ¤ 9.00 - ¤ 14.00 (combi-ticket with A Curious Land). Visitors: 63,891

CONCERTS. In March and May, Pierre Boulez was the guest of honour in the BOZAR MUSIC programme. He directed two concerts

January, February, March

BO ZAR EX PO

in March, with the Ensemble Intercontemporain, with violin player,

project centring on Albanian music. The programme combined

Christian Tetzlaff and pianist, Mitsuko Uchida, as soloists; in May he

entertainment, information and quality in a pleasant setting. Several

directed the London Symphony Orchestra. Boulez also attended the

associations set up booths, there was also a wine bar. The audience

Musique et Poésie evening, dedicated to his work, Le marteau et son maître,

numbers were quite high.

performed by Ictus. STUDIOS. During Balkan Trafik, BOZAR STUDIOS organised

Jan Fabre. Borrowed time

workshops for young people and for adults with artists of the circus, dance and music worlds (250 participants).

07.03>18.05.2008

JAN FABRE De geleende tijd | Le temps emprunté The Borrowed Time Helmut Newton, Carl De Keyzer, Robert Mapplethorpe, Jorge Molder, Malou Swinnen, Dirk Braeckman, Maarten Vanden Abeele, Wonge Bergmann, Jean-Pierre Stoop, Pierre Coulibeuf & Filip Van Roe

FILM. In the frame of Balkan Trafik, three musical documentaries

choreographer and artist, Jan Fabre, as seen through the eyes of famous

were shown. Zlatina Rousseva’s Against the stream opened the series

photographers. Helmut Newton, Carl de Keyser, Robert Mapplethorpe,

(28.03.2008), followed by Trumpet’s republic and Sevdah – The bridge that

Jorge Molder, Malou Swinnen, Dirk Braeckman, Maarten Vanden

survived (29.03.2008).

Abeele, Wonge Bergmann, Jean-Pierre Stoop and Pierre Coulibeuf have all photographed his work since the 1980s. The photos were combined with the artist’s scene drawings. The director’s eye as such meets that of the photographers. The outcome is a highly personal view on Fabre’s universe. Recent works highlighted the play that Fabre was commissioned to create for the 2007 Salzburger Festspiele: ‘Requiem für eine Metamorphose’. Coordinator: Frank Vanhaecke. Production: Angelos/Jan Fabre. Troubleyn/ Jan Fabre. BOZAR EXPO. Catalogue: purchase of Le Temps emprunté, French edition, Actes Sud. Support/Sponsoring: National Lottery. Venue: Antechambers (I1, I2, I3). Entrance: free. Visitors: 16,688

Balkan Trafik 28.03>29.03.2008 CONCERTS. The second Balkan Trafik programme was overwhelmingly

successful. Twelve groups and various DJs travelled to Belgium from Turkey, Hungary, Macedonia and Serbia. The programme also included an exchange project between young circus artists, as well as a unique

BO ZAR FESTIVAL ! 27-28-29.03.2008

BALKAN TRAFIK!

07.03 > 18.05.2008

CONCERTS. This exhibition showcased the work of director,

Burhan Öcal • Mostar Sevdah Reunion & Ljiljana Buttler • Ivo Papasov • Parno Graszt • Orkestar Kadrievi • Wickedia Trio Ocarina • Gaetano Fabri... Films • CIRCUS • Workshops • Wine Bar • Party • PLANE TICKETS PALEIS VOOR SCHONE KUNSTEN, BRUSSEL PALAIS DES BEAUX-ARTS, BRUXELLES CENTRE FOR FINE ARTS, BRUSSELS WWW.BOZAR.BE | + 32 (0)2 507 82 00 WWW.BALKANTRAFIK.COM

Photo : Mikaël Falke

ZAR MU SIC

April, May, June

BO ZAR

Concerts ARS MUSICA. As is the custom every year, a concert cycle was presented in collaboration with Ars Musica, a contemporary music festival. In 2008, it exceptionally took place in April. The National Orchestra of Belgium performed a number of excerpts from Kris Defoort’s opera as a

18.05.2008

world premiere, at the request of the orchestra and of BOZAR MUSIC.

Het Paleis wordt 80. Olé ! Le Palais a 80 ans. Olé ! An 80 th birthday. Ole !

Musiques Nouvelles and Ictus each presented a concert (Ictus in the hall of co-producer, Kaaitheater). Free Radicals, an international project in the frame of ECHO (European Concert Hall Organization), collated contemporary music and short films. RISING STARS. During the Sunday morning concerts, the Centre for Fine Arts hosted young up and coming talent from Stockholm and Paris, also in the frame of an ECHO exchange. Students of the Queen Elisabeth College of Music were also given the opportunity to perform in the Henry Le Boeuf Hall during this cycle.

16 > 25.05.2008

ORCHESTRAS. A number of top orchestras visited the Centre for Fine Arts: the Deutsches Symphonie-Orchester, conducted by Ingo

l a v i t s e F Flamencenoa, Carmen Linares

Metzmacher (with soloist Hélène Grimaud), the Budapest Festival

Orchestra conducted by Ivan Fischer, the Scottish Chamber Orchestra, with pianist Piotr Anderszewski, the Staatskapelle Dresden conducted by Myung-Whun Chung. Nikolaus Harnoncourt conducted the Concertgebouw Orchestra, the Groot Omroepkoor and the Nationaal Kinderkoor in a rare performance of Schumann’s Szenen aus Goethes Faust.

bu Eva La Yerbaelen de la Frontera n So a, n li o M o ci o R a, May

RECITALS. Top events during this quarter included the visit of Maurizio Pollini and some of his companions in a programme that included Schönberg, Berg and Nono; recitals by Leif Ove Andsnes (solo and a

M2.erche Esmeralda, B

duo performance with Christian Tetzlaff), and a recital of violin player,

+ Documentary ﬁlms

Sergey Khachatryan and his sister, Lusine, on the piano. Cecilia Bartoli

returned to a large audience, for a reprisal of her concert dedicated to

A co-production with the Film Museum and with BOZAR

Maria Malibran. The Music Academy hosted a concert of young piano

STUDIOS, the Young Film Fans cycle is continued. Children from

talent, Alexei Volodin. And on the occasion of the anniversary of

the age of 6 and upwards are welcome to attend a screening in the

Domenico Scarlatti’s birth, harpsichord fans were treated to the visit of

Henry Le Boeuf Hall.

Andreas Staier and Pierre Hantaï. EASTER. In 2008, the Centre for Fine Arts continued the tradition of

20.04.2008 Peau d’Ane by Jacques Demy (France, 1971).

programming a Bach passion during Lent. This year, Eduardo Lopez-

18.05.2008 The adventure of Robin Hood by Michaël Curtis (USA, 1938).

Banzo conducted Al Ayre Español in the Matthäus-Passion. The Flemish

IOTA Production: five previews of documentaries by Belgian film

Radio Choir and Il Fondamento gave a concert dedicated to Jan

makers, before the documentaries were broadcast by RTBF.

Dismas Zelenka. Philippe Pierlot’s Ricercar Consort invited soprano,

In June 2008, the following documentaries were screened: Coin rouge

Céline Scheen, for a programme dedicated to the Netherlands in the

coin bleu by Alain Marcoen, Histoires de pluie by Isabel Achaval, Une place

seventeenth century.

au village by Tatiana Perlinghi and Jacques Moriau, Le Monologue de la

CHAMBER MUSIC. One of the season’s top events was the farewell

muette by Khady Sylla and Charlie Vandamme and Nord-Sud.com by

concert of the Quatuor Alban Berg, which performed to a large,

François Ducat.

BO ZAR CINE MA

emotional and grateful audience. WORLD MUSIC. The ‘Son del Sur’ Festival invited Carmen Linares to the Centre for Fine Arts with a flamenco programme. During the

Architecture Lecture

Flamenco Festival, the documentaries Morente suena la Alhambra,

BOZAR ARCHITECTURE continued its lecture series with a

Flamenco por Amor de Dios and Bailaores were screened in the Terarken

conference by Finn Geipel of the Berlin and Paris-based architecture

hall (co-production with the Instituto Cervantes).

firm, LIN. Their work includes the renovation of a submarine base into

On 2 April, the former Brazilian Culture Minister, Gilberto Gil, played

an arts centre in Saint-Nazaire, the refurbishment of the Pavillon de

to a small and intimate audience in a sold-out hall.

l’arsenal in Paris and the reconversion of an arms factory into a design complex in Saint-Etienne. (29.04.2008 - 280 audience members) AVANT- PREMIERE - BRUSSELS

Film events

27.05.2008 – 20:00

SHINE A LIGHT

11.04.2008 Preview of Ezra by Newton Aduaka (France, Nigeria,

Kunstenfestivaldesarts

2007) in the presence of the film maker and actress, Marianne N’Diaye.

16.05>20.05.2008

Co-production: BrunBro, Festival Africa XL, Afrika Festival Leuven,

BOZAR THEATRE invited young Walloon theatre maker, Claude

Africalia. In collaboration with Amnesty International.

Schmitz, to the Horta Hall for Le Château, the second part of his

27.05.2008 Preview of Shine a Light by Martin Scorsese on the occasion

diptych entitled The Inner Worlds. This creation was the result of an

of the opening of the exhibition, It’s not only Rock ’n’ Roll, Baby!

intense collaboration with other Brussels institutions, such as Rideau

Regisseur | Réalisateur Martin Scorsese More Rolling Sto nes? 28.05.2008 – 20:00

de Bruxelles, Théâtre National and Les Halles de Schaerbeek, who

Gimme Shelter

1. C ecilia Bartoli © Universal/Decca Music Group 2. Hélène Grimaud 3. Sidi Larbi Cherkaoui © Lydie Nesvadba

April, May, June presented the first part, Le Souterrain, during the first part of the evening.

intimate choreography, which drew its inspiration from the medieval

The performances took place in the frame of Kunstenfestivaldesarts.

music of Hildegard von Bingen. Lebanese singer, Fadia El Hage and the internationally renowned Baroque ensemble, Sarband, provided their

Party time 18.05.2008

support for this original creation.

A colourful party focusing on Flamenco. Performances, exhibitions,

Johan Muyle, Sioux in Paradise

concerts, workshops on making puppets and instruments, flamenco

12.06>21.09.2008

dancing initiations, story-telling, circus, guided tours of the building,

The title is a send-up of See you in paradise, but also refers to an

events in the Horta Hall. All the events attracted more than 3,233 visitors.

untranslatable remark of Achille Chavée (Charleroi 1906-1969): ‘Je suis un vieux peau-rouge qui ne marchera jamais dans une file indienne’. The

De Canvascollectie

exhibition featured twenty recent unpublished sculptures by artist Johan Muyle. The artist showed clones, in the shape of cast self-portraits, as

23.05>16.06.2008

well as dressed life-size skeletons, robots that responded to visitors and

In January, Flemish-language public broadcaster Canvas and the Flemish

mobile chairs with luminescent messages. Finally, there was also a series

sector of the visual arts launched a broad appeal to well-known and

of ‘sculptural wall animations’ on video screens. Previously unseen scale

unknown artists. They were invited to take part in De Canvascollectie,

models and drawings provided an overview of Muyle’s body of work.

a talent search aimed at finding out more about today’s visual arts. No

Curator: Claude Lorent. Partners: ODA Park / Venray Centre for Contemporary

fewer than 4,500 artists responded and registered for the preliminary

Art. Culture Ministry of the French Community, Cecoforma.Venue: Antechambres

selections. A jury criticized and reviewed the work of 250 artists. A

Entrance: free. Visitors: 11,588

selection of their recent work was exhibited at the Centre for Fine Arts. Five artists were awarded a prize. Production : Canvas. Coordinator : Lore Vandebeek. Partners: S.M.A.K.,

Paul Auster

Wiels, MuHKA, Provinciaal Museum voor Moderne Kunst, Z33, CVB,

18.06.2008

KUNSTWERK(t), DKO, BAMART, Radio 1, De Standaard. Entrance : € 1.00.

BOZAR CINEMA, the Film Museum and BOZAR LITERATURE

Visitors : 14,180

invited American author, Paul Auster. Prior to the Belgian premiere of his film, The Inner Life of Martin Frost, Auster discussed his recently

Closer dance season

published novel, Man in the Dark, and the relationship between his penmanship and film at length with VRT (Flemish-language public

03.06.2008

broadcaster) journalist, Annelies Beck in a full Henry Le Boeuf Hall.

For the third time running, Sidi Larbi Cherkaoui closed the BOZAR

Afterwards, Auster and his wife, Siri Hustvedt attended a book signing,

DANCE season with a performance. This year, he presented an

which lasted 1.5 hrs in the BOZARSHOP.

Photo : Lydie Nesvadba

“

had an excellent time in the Centre for Fine Arts of Brussels in 2008. The festival was beautifully organized. I was warmly received by everyone and the nearly 2,000 people who attended my film ‘The Inner Life of Martin Frost’ made it a startling and memorable event in my life. Thank you for everything.” Paul Auster is an American author and film director.

July, August, September

Ono, Patti Smith and Brian Eno to Chicks on Speed, Fischerspooner, Devendra Banhart and Pete Doherty. This summer exhibition, with the exceptional cooperation of Rock Werchter, looked at rock from

Concerts

a different angle. It told the story of rock musicians, who took their

RECITAL. The closer of the season was a recital by pianist, Krystian

first steps in the world of the visual arts. Twenty rock icons attracted

Zimmerman, who limits his concerts and always succeeds into turning

audiences throughout the summer, not for a concert this time, but for a

them into special events.

group exhibition. This was not a new movement, but rather a collective

ORCHESTRAS. Our partners ended the season. The National

denominator: art and music are part of one and the same universe for

of artists who each went their own individual way. With one common Orchestra of Belgium performed with young German violin player,

them.

Alban Gerhardt, who substituted for Truls Mørk at the last minute.

Curator: Jérôme Sans. Coordinator: Laurence Leunen. Production: BOZAR

On July 20 , on the eve of the National Holiday, the orchestra gave

EXPO. Catalogue : It’s not only Rock’n’Roll Baby! (Version EN). Venue:

its traditional free concert in the presence of the Royal Family. The

Ravenstein Circuit. Entrance : € 7.00. Visitors : 42,215

Orchestra of La Monnaie, which completed its symphonic cycle at the Centre for Fine Arts, bade farewell to conductor, Kazushi Ono. He

CONCERTS. The exhibition was linked to a series of concerts, in

received a standing ovation. The Flemish Radio Orchestra, which has

collaboration with Rock Werchter. BOZAR MUSIC welcomed

since been renamed the Brussels Philharmonic, performed with its new

prominent rockers, such as Lou Reed and John Cale.

conductor, Michel Tabacknik and a star soloist, Vadim Repin. MULTIMEDIA. BALEINE 3000 is a sound system that can transform WORLD MUSIC. On 26 June, the large hall of the Centre for Fine Arts

was populated by five mystic ensembles from Syria, Egypt, Morocco,

sound, atmosphere and even the human body. The hyper-efficient sets are all about Zack & Wiki and mix Baile Funk, Kuduro and Wobble

Pakistan and Tadzhikistan for a Sufi night. The audience mainly

Bass. During this first European tour, which ended at the Centre for

enjoyed the Nour Al-Din Khoarshid ensemble of the central mosque in

Fine Arts, BALEINE 3000 was made up of DJ Sun OK Papi KO

Damascus, which was joined by two dancers for this occasion, Moroccan

(Brussels), DJ Afrojaws (Lille) and MC Illreme (Tokyo, comedy rap).

women’s group Akhawat el Fane el Assil and Sheikh Taha from Egypt,

They gave a live music and video performance (06.06.2008).

who closed the evening. STUDIOS. The Family Kit for the summer exhibition, It’s not only

It’s not only Rock’n’Roll Baby!

Rock ’n’ Roll, Baby! guided visitors beyond the boundaries of music and art. Armed with a kit of creative material and a crazy activity book,

17.06>07.09.2008

families discovered how several rock artists made their debut as a visual

EXHIBITION. The exhibition gathered work by rock musicians,

artist. During the summer of 2008, 233 Family Kits were sold and 250

covering the period from the 1970s until the present: from Yoko

children took part in the summer competition.

2. 1. Opening of the exhibition It’s not only Rock ’n’ Roll, Baby! Concert of the band Liquid Architecture. 2. Fischerspooner

SUMMER SCHOOL. Rock ’n’roll was a source of inspiration for young

artists during the BOZAR STUDIOS summer school. The result was performed live for an audience of parents and friends. In total, 185 children took part in the summer school.

X O

FINISSAGE (12.09.2008). The exhibition remained open until 1 a.m.

Young people were offered a free guided tour and could take part in themed workshops. Dance and DJs, as well as performances in the Horta Hall (2,377 participants).

Architectural yearbook 25.06>24.08.2008

The exhibition, Architecture in the Picture, was based on the photography commissioned by the VAI (Flemish Architecture Institute) for the 2006-2007 Flanders Architectural Yearbook, 2008 edition. The exhibition offers a representative image of the architectural output in Flanders, as well as of architectural photography as an art discipline. Curator: Katrien Vandermarliere. Coproduction: BOZAR ARCHITECTURE,

8 0 0 2 . 9 0 . 1 2 6>

Vlaams Architectuurinstituut, Orde van Architecten. Partner: A+. Visitors: 5,113.

S A P A M S O T R E I AB 27.0

Festival ‘Summer of Photography’ 27.06>14.09.2008

During this second biennial, the partners organised a total of 43 exhibitions and other events. Like in 2006, there was no specific theme.

The festival run during the summer months and attracted a total of

125,000 visitors.

e ﬁ a r g o t se fo n a a tine k i a l r e e u m q i A Amér atijnsa

Sony World Photography Awards 2008

27.06>24.08.2008

photographed themselves against the most diverse backdrops. Vincen Beeckman (metro station Anneessens, Recyclart) oversaw 250

Laureates’ exhibition of the biggest photography competition

participants as they expressed themselves artistically during weekly

worldwide, the Sony World Photography Awards, with no fewer than

meetings at the Centre for Fine Arts. The exhibition, in the frame of the

44,641 submissions, from which 11 winners are chosen in 11 categories.

Summer of Photography, showcased the best photos submitted, chosen

The jury selected 97 works for a travelling exhibition. BOZAR EXPO

by Vincen Beeckman, Frank Van Haecke (coordinator photography at

was given the world premiere of the tour.

the Centre for Fine Arts, Brussels) and Danielle Leenaerts (professor,

Coordinator: Frank Vanhaecke. Production: BOZAR EXPO and Sony World

History of Photography at ULB and art critic). Six laureates received the

Photography Awards 2008. Catalogue: brochure. Location: I4, IM, M1 rooms.

Sony Prize : Hélène Amouzou, Anne Citron, Sylvie Lechantre and Luc

Entrance: free. Visitors: 8,792

Grossen, Michel Leger, Fehmi Özkan, Dominique Vankan. Visitors of the exhibition could photograph themselves in the ‘Fotomaton’ photo

Opening Maps. Contemporary Latin American photography

booth. Partner: Vincen Beeckman. Support: Brussels Capital Region. Material: Sony

27.06>21.09.2008

1. PÔZE II © Vincen Beeckman 2. S ony World Photography Awards 2008 Sweet Nothings “Lets go to School” ©Vanessa Winship/Agence VU

This overview of more than 200 photos showcased aspects of the new contemporary Latin American and Caribbean cultural identity. Opening Maps was the outcome of years of research and collaboration between photographers, artists, critics, historians and representatives of Latin American cultural institutions. The exhibition eschewed the traditional themes in Latin American art and gave the floor to the newest generation.

The result is a comprehensive and complex image of (political) freedom that has been won, a continent’s own history, a collective memory. Curator: Alejandro Castellote. Production: BOZAR EXPO and Lunwerg Editores, Madrid. Catalogue: Spanish edition with Dutch and French annexes. Venue: rue Royal Circuit. Entrance: € 7.00. Visitors: 19,501

Plantin-Moretus Prizes 2008 01.07>24.08.2008

Every year, the exhibition of the Plantin-Moretus Prizes puts the

PÔZE II

spotlight on (typo)graphic creation, design and the technical production of books in Flanders.

27.06>07.09.2008

Curator: Johan Van Looveren. Scenography: Hilde Princen Production :

The social-artistic project, PÔZE II, zoomed in on self-portraits.

Vlaamse Uitgevers Vereniging and Plantin Genootschap in collaboration with

Inhabitants of 19 municipalities in the Brussels Capital Region

Boek.be. Venue : Council Room. Entrance: free. Visitors: 1,110

July, August, September

A4 : Eric Delayen 19.09>19.10.2008

performances and interventions by Guy Rombouts, Bissy Bunder, Kurt Ryslavy, Angel Vergara and Raphael Opstaele, Koen Vandenbroek

The theme in Eric Delayen’s work, a young visual French artist, who

and Maria Gilissen. The film Musée d’Art Moderne, Département des

works in Liège, is the relation of power between the fragile arts and

Aigles, Section XIXème Siècle was screened ; Olivier Bacquet showed his

the institutions. The installation showed an ambivalent but fascinating

interpretation of Broodthaers’s Un Coup de Dés Jamais N’Abolira Le

approach, between order and chaos, reality and derailment.

Hasard on a hurdy-gurdy. Original documents, photos and the original

Curator: Nancy Suárez. Coordinator: Alberta Sessa. Production : BOZAR

ULB banners by Roger Somville evoked the occupation of May 1968.

EXPO and BPS22 Charleroi. Venue: Foyers 1, 2, 3 and 4. Entrance: free. Visitors : 1,179

Film event 26.09.2008 A4 : Eric Delayen

BO ZAR CINE MA

Young Architects 30.09.2008

Thierry Decuypere - Bureau vers plus de bien-être (V+). Start of a new series. Since September 2008, BOZAR ARCHITECTURE is offering

Entre les murs by Laurent Cantet, in the presence of François Bégaudeau

young promising Belgian architects a platform under the overarching

(scenario, lead actor and author of the book on which the film was based).

title NICHE. The Brussels architectural practice, Bureau Vers plus de

28.09.2008

bien-être (V+) was the first guest. V+ was founded in 1998 and realised its

Belgacom Event: La Belle au Bois Dormant/ De Schone Slaapster / Sleeping

first large-scale project this year, the Sauvenière in Liège (30.09.2008).

Beauty (Walt Disney) Dutch and French version. Co-production:

After every lecture, the architect leaves a scale model of one of his or her

BOZAR STUDIOS, Buena Vista and Origami.

projects in the Centre for Fine Arts. As a result, the Centre is gradually building a retrospective of young Belgian architecture output. A 16-

Marcel Broodthaers De Bezetting | L’Occupation 27.09.2008

During the project Autour et au-delà BROODTHAERS Onomwonden BOZAR LITERATURE and AmuseeVous organised an event, aimed at AVANT- PREMIERE

examining Broodthaers’s heritage, his close ties with the Centre for Fine

26.09.2008 - 20:00

Arts and the occupation of May 1968. For a whole evening, artists and

ENTRE LES MURS Van | De | By Laurent Cantet

Gesprek na de ﬁlm (in het Frans) met | Entretien après le ﬁlm (en français) avec | Meeting after the movie (in French) with François Bégaudeau (schrijver, scénarist, acteur | écrivain, scénariste, acteur | writer, screenwriter, actor)

audience occupied the Horta Hall. The occasion: the fortieth anniversary of the occupation of the Centre for Fine Arts and – 40 years to the day – the opening of Broodthaers’s Musée d’Art Moderne, Département des Aigles, Section XIXème Siècle. It was a tumultuous ‘free meeting’, with statements,

page visitor’s guide is published on the occasion of every lecture and ‘micro exhibition’ Venue : Studio. Visitors : 210

“

have been touring the world for the past seven years now. My latest record “Terra” is the result of this exciting musical adventure. I´ve met a lot of different musicians, rhythms, sonorities and cultures, which influenced me as an artist and a person. All those experiences were transformed into different influences, and of course are present in “Terra”, which in Portuguese, means among other things land and earth, and now defines my own private perception of home. Belgium has always been part of this adventure and performing at Bozar during the past two years developed this sense of familiarity with your public and the city of Brussels. Thank you all at Bozar for making me and my musicians and crew feel at home. The truth is that we may travel the world, and visit a lot of beautiful places, but we only come back to the ones that are really special. Thank you for having us once again. Saudades ! ”

Mariza, a Portuguese fado singer, has impressed the BOZAR audience several times with her warm voice and charm.

08.10.2008 > 28.02.2009

KOREA FESTIVAL

MADE IN KOREA EXPO - MUSIC - THEATRE - DANCE - LITERATURE - CINEMA - STUDIOS

October, November, December

World orchestras. The Budapest Festival Orchestra with Ivan

Fischer (Mahler), the London Symphony Orchestra with Valery Gergiev

Concerts

(Prokofiev), the London Philharmonic Orchestra with Vladimir Jurowski, the Bamberger Symphoniker with Jonathan Nott and finally,

KLARAFESTIVAL. The music season in Brussels opened as tradition

the Orchestra of the Age of Enlightenment with Simon Rattle (Robert

dictates with the KlaraFestival, in co-production with BOZAR MUSIC.

Schumann’s integral symphonies) all gave memorable concerts. Sylvain

The recital of Italian pianist, Aldo Ciccolini (83), was an eye-catcher,

Cambreling and the SWR Sinfonieorchester Baden-Baden performed a

but renowned orchestras, such as the Mariinsky, conducted by Valery

homage to Messiaen. John Eliot Gardiner and his ensembles (Orchestre

Gergiev, also ventured to the Centre for Fine Arts. Philippe Herreweghe

révolutionnaire et romantique, Monteverdi Choir) put together a

conducted the Orchestre des Champs-Elysées in Bruckner’s Eighth

programme on Brahms and polyphony.

Symphony. Il Giardino Armonico and mezzo soprano, Bernarda Fink, presented a varied Baroque programme, while Alicia Nafé and Girls in

Chamber music. The cycle at the Royal Conservatory offered

Hawai blended belcanto and rock in an original programme.

beautiful moments, thanks to Renaud and Gautier Capuçon, together with Nicholas Angelich. Other memorable performances included those

BELGIAN ORCHESTRAS. The future of the traditional symphonic

of Gérard Caussé and David Guerrier, who, together with the Jerusalem

orchestra was discussed during a debate, organised by the Association

String Quartet, found a new partner in clarinet player, Martin Fröst as

of the Belgian Music Press and BOZAR MUSIC. Jos Van Immerseel

well as the Tokyo String Quartet Quatuor, which brought along pianist,

attended, but that same month, he also conducted his project orchestra,

Markus Groh. Two young ensembles, former ‘rising stars’, confirmed

Anima Eterna, in Beethoven’s Ninth. The concerts of Anima Eterna,

our first impressions: Quatuor Casals and Daedalus. 4.

as well as those of the Huelgas Ensemble and Paul Van Nevel which dedicated its season to Lassus, were presented in co-production with

Baroque. Baroque lovers were in for a treat, with a Rameau weekend

Flagey. Pierre Laurent Aimard’s Messiaen concert in Studio 4 was also

in November. Frédérick Haas played a Hemsch harpsichord that was

co-produced with Flagey.

probably used by Rameau himself. William Christie and Les Arts Florissants did not disappoint the audience either with their version of

BRENDEL. The event of this quarter was Alfred Brendel’s farewell

Les Indes galantes. An evening of ‘Musique et Poésie’ was dedicated to

concert in Brussels on 17 November. The pianist, who ended a career of

Diderot’s Le Neveau de Rameau. Masaaki Suzuki and the Bach Collegium

sixty years, chose to make his last concert a benefit concert for Amnesty

Japan were a revelation for the Brussels audience. The rarely performed

International. Pianist Leon Fleisher, the first laureate of the Queen

opera, Idomeneo, in the version of the Freiburger Barockorchester

Elisabeth piano competition in 1952, also visited the Centre during

and René Jacobs, and the Händel evening with Hervé Niquet and Le

a half-season that was relatively busy, with recitals by Vadim Repim,

Concert Spirituel made quite an impression too. Bernard Foccroulle

Nikolai Lugansky and Cecilia Bartoli, who was accompanied by pianist,

hosted an evening of organ music in the St Lambert Church, together

Sergio Ciomei, in a homage to Rossini.

with his daughter, Alice (voice) and Moneim Adwan (oud).

1. Heavenly King of the West, Joseon, 19th c. National Museum of Korea 2. Sonamu (Pine Tree), Gana Art Gallery, Seoul © Bae, Bien-U 3. Alfred Brendel ©Lydie Nesvadba 4. Valery Gergiev

October, November, December Music and poetry. The year was brought to a close with the Soldiers

History, Brussels. Catalogue: The Smile of Buddha. 1600 years of Buddhist

project, dedicated to the War Poets. Pianist Iain Burnside, tenor John

art in Korea, Bozar BOOKS and Bai. Venue: rue Ravenstein Circuit. Entrance:

Mark Ainsley and actress Fiona Shaw joined forces.

€ 9.00. Visitors: 59,832

World music. Mariza, the queen of fado, tested the borders of

EXHIBITION. Bae Bin-U: Sacred Wood (10.10.2008>18.01.2009).

the genre with music from her new cd. The Haj Mohamed Bajedoub

Bae Bien-U (°1950) is one of Korea’s best-known photographers and

Ensemble provided a memorable evening with mystic poetry from

in his native Korea, he is mainly lauded for his meditative landscape

the thirteenth century to the sixteenth century. Jazz legend Ornette

photography that is reminiscent of calligraphy. Since 1985, he has

Coleman introduced the audience of the Centre for Fine Arts to his free

mainly focused on photographing the emblematic Korean pine tree

jazz.

forests. Curator: Wonkyung Byun. Coordinator: Ann Flas. Production: BOZAR EXPO,

Festival ‘Made in Korea’ EXHIBITION. The Smile of Buddha. 1,600 years of Buddhist art in Korea

The Ministry of Culture, Sports and Tourism of the Republic of Korea, GanaArt Gallery, Seoul. Partner: Espace Louis Vuitton, Paris. Venue: BN rooms. Entrance: with a ticket for The Smile of Buddha

(10.10.2008>18.01.2009).In collaboration with the National Museum of Korea, the Centre for Fine Arts charted the unique history of Buddhist

EXHIBITION. Young-Jae Lee: 111 bowls (10.10.2008>18.01.2009).

art in Korea. Gold jewellery of the royal graves in Gyeongju reflected

Handmade bowls by Korean ceramic artist, Young-Jae Lee, decorated

pre-Buddhist opinions. Buddha and bodhisattva statues in gilt bronze

the Bertouille Rotunda. Each bowl had its own individual character, but

are characteristic of early Buddhism, from the fifth century onwards.

their combination gave rise to an interesting dialogue between these

The bronze representations of pensive bodhisattvas date from the sixth

objects, which differed in size, contours, volume, colour, chiaroscuro

and seventh centuries. Their intriguing smile became the trade mark of

effects.

Korean Buddhas. During the Goryeo period (from the tenth century

Coordinator: Ann Flas. Production: BOZAR EXPO. Partner: Espace Louis

to the fourteenth century), refined paintings, inlaid celadon tableware,

Vuitton, Paris. Venue: Bertouille Rotunda. Entrance: with a ticket for The Smile

ritual objects, bronze clocks and gilded and illustrated manuscripts

of Buddha

conferred additional splendour on Buddhism. Japanese and Mongolian

pillages caused considerable damage. But during the Joseaon period

INSTALLATION. Nam June Paik (10.10>06.12.2008. Nam June Paik

(fifteenth century-twentieth century), the traditions of Confucianism,

was a video art pioneer. His installation, The Hundred and Eight Torments

Buddhism and Shamanism thrived again. A fascinating history brought

of Mankind, on the same number of TV screens, was exhibited in the

to life with 110 masterpieces.

Horta Hall.

Curator: Jan Van Alphen. Coordinator: Ann Flas. Design: Lee Preedy.

Coordinator: Ann Flas. Production: BOZAR EXPO. Partner: Espace Louis

Production : BOZAR EXPO and The National Museum of Korea. Partners:

Vuitton, Paris. Location: Horta hall. Entrance: free. Visitors: not determined.

Espace Louis Vuitton, Paris. Musée Guimet, Paris. Royal Museum for Art and

Zone of Zero (10.10.2008>18.01.2009).

Korean Festival really started with a series of performances including

Kimsooja (1957) is one of Korea’s best-known artists. She enjoys

folkloric music, mask dances, classical music on solo instruments and

international fame and has been working in New York since 1999. Her

for small ensembles as well as a unique rope dance. A family audience

installation, Lotus: Zone of Zero, 2008, was created using two thousand

enjoyed a taste of this refined culture. November 1st was a unique

lanterns, shaped like lotus flowers, which spread out across a circular

experience for the visitors of the Korean Day of the Dead. A large

structural space. It was designed specifically for the Rotunda of the

group of shamans, directed by Kim Kum hwa, performed an impressive

Ravenstein Gallery. In the background, visitors could hear Tibetan,

ritual, in which everyone took part. The large hall was filled with

Gregorian and Muslim chants.

Yeongsanjae, a ritual designed to bring the living and the dead to a state

Coordinator: Ann Flas. Production: BOZAR EXPO and The Ministry of

of enlightenment and eternal peace. The musical highlight of the Korea

Culture, Sports and Tourism of the Republic of Korea. Partner: Espace Louis

Festival was the performance of a large ensemble, presenting a selection

Vuitton, Paris. Location: Ravenstein Gallery, Brussels. Entrance: free. Visitors:

of Imperial court music, rituals characterised by extraordinary grace and

not determined.

refinement, which appealed to a broad audience.

INSTALLATION. Lotus:

ARCHITECTURE. S(e)oul Scape. Towards a new urbanity in Korea

STUDIOS. The family expedition is a new activity for families. BOZAR

(31.10.2008>04.01.2009). Seoul is one of the most densely populated

STUDIOS mapped a creative tour featuring assignments that involved

cities on the planet. Over the last fifty years, this expanding metropolis

observation, activities and drawing. Families were thus able to discover

has swallowed up almost the entire population of the South Korean

the exhibition, The Smile of Buddha.(1,177 visitors under 12)

peninsula. The exhibition presents work by six Korean architectural practices that, between them, are regarded as being the driving force

STUDIOS. Tea ceremony (18.10.2008). The exhibition space hosted a

behind the revival of contemporary architecture in South Korea. All six

tea ceremony, meditation sessions and workshops (bamboo flute and

operate from the Dongchon district of Seoul. Chung Guyon, Joh Sung-

mask dance) with Korean artists.(120 participants)

Yong, and Yi Jong-Ho turned primarily to local traditions for renewal. Kim Young-Joon, Min Hyun-Sik, and Seung H-Sang built up experience

STUDIOS. Korean Family Day (21.12.2008). A Korean-style family day.

abroad before starting up their own practice.

Guided tours, discoveries, workshops, a tea ceremony and meditation in

Curator: Francisco Sanin. Coordinator: Iwan Strauven. Co-production:

the exhibition, The Smile of Buddha. A concert by Esther Yoo. (1,788

BOZAR ARCHITECTURE, Belgian Architects’ Order, A+ Belgian architecture

participants)

magazine. Venue: Foyer 1. Entrance: free. Visitors: 3,746

FILM. (December). Retrospective of new Korean film, with twenty Concerts. On 8 October, Made in Korea opened with the National

films, of which ten had never been presented in Belgium.

Orchestra of Korea, which performed classical and contemporary compositions on traditional instruments. The solo on the ‘cither gayageum’ created a magical atmosphere in the hall. On 18 October, the

1. Nam June Paik, collection : Gyeongju World Culture Expo 2007 2. Contemplative Bodhisattva, Three Kingdoms period, Early 7th century, National Treasure n°83 © National Museum of Korea, Seoul 3. Kimsooja, Lotus: Zone of Zero, 2003. ©Fabrice Kada

Masarat Palestine : behind the wall

THEA TRE

EXHIBITION. Never-Part 19.10.2008>11.01.2009. On the occasion of

‘Masarat Palestine’, this original exhibition tells the story of a narrator who draws inspiration from works inseparable from their authors, each of whom is a Palestinian artist. They form a part of their experience of life and, over time, crystallise the essence of lives lived. A way to capture the intimate side of the torments of a nation in shreds. A respectful look at the diaspora. Curator: Jack Persekian. Coordinator: Alberta Sessa. Production: BOZAR

Dinsdag 02.12.2008 - 20:00

Al Kamandjati

the Brussels Biennial. Catalogue: Bozarbooks by L-ink, Never Part. Histoires de

Multimediale voorstelling

INSTALLATION. Crossing Surda. A Record of Going to and from Work –

Ramzi Aburedwan

BO ZAR

EX PO

EXPO and les Halles de Schaerbeek. In the frame of the Masarat Festival and

In het kader van PALESTINE Behind the Wall (19.10.08 > 11.01.2009)

Palestine, 120 pages. Venue: Terarken 2 & 3. Entrance: € 5.00. Visitors: 3,050

2002 (19.10.2008>11.01.2009). An installation by Emily Jacir, wishing to bear witness of the absurdity of the checkpoints on the road from Ramallah to Birzeit. Coordinator: Alberta Sessa. Production: BOZAR EXPO, in the frame of the Masarat Festival and the Brussels Biennial. Support: Ministère de la

19.10.2008 > 11.01.2009

Never-Part

Palestijnse histories Histoires de Palestine Histories of Palestine

ARCHI TEC TURE

Coopération belge au développement – Le CGRI (Commissariat Général aux Relations Internationales) – Délégation Générale de la Palestine auprès de l’Union Européenne et du Ministère de la Communauté française. Sponsor: Bezoekersgids | Guide du visiteur | Visitor’ s Guide

Decolonizing Architecture

S.A. Léon Eeckman. Venue: Reception salon. Entrance: free. Visitors: 3,050

Scenarios for the transformation of Israeli settlements

ARCHITECTURE. Decolonizing Architecture. Scenarios for the transformation

of Israeli settlements (31.1.2008>04.01.2009). The exhibition broached a fundamental question : how can Israeli colonies and military bases, i.e., the architecture of Israel’s domination be reused, recycled and re-

V.u. | E.r. Paul Dujardin, rue Ravensteinstraat 23 - 1000 Brussel | Bruxelles - Exempt de timbre | Vrij van zegel, art.187

inhabited by Palestinians, irrespective of the military and political power

Printed on recycled paper

1. Actually, I am someone, Tarek Halaby, concept - Aurélia Berthe, photos, graphisme

that occupies it today? The Bethlehem/London based architectural A project by the London/Bethlehem based architectural studio of Sandi Hilal, Alessandro Petti and Eyal Weizman

Tentoontstelling | Exposition | Exhibition 31.10.2008 > 04.01.2009

collaboration of Sandi Hilal, Alessandro Petti and Eyal Weizman, used a series of architectural proposals of the possible futures for Palestine.

Curator: Lieven De Cauter. Coordinator: Iwan Strauven. Co-production:

THEATRE. Dhakara (13.12.2008). On the occasion of Massarat

Bozar Architecture, A+ Belgian Architecture Magazine. Venue: Foyer 2, 3, 4.

Palestine, BOZAR THEATRE and Les Halles de Schaerbeek jointly

Entrance: free. Visitors: 4,032

commissioned Flemish company de Parade to write a piece. Rudi Meulemans wrote and directed Dhakara. Through the personal tales

MULTIMEDIA. Al Kamandjati – a violin player’s tale (02.12.2008 ). At

of three widows of murdered PLO officials, this piece contributed to

the start of this anniversary year BOZAR 80, the management invited

writing the history of a fragmented nation. The performance, Dhakara

its contacts to this multimedia performance about daily life in Palestine.

(Arabic for ‘remembering’), was played in French in October at Les

It is based on the true story of viola player, Ramzi Aburedwan, who

Halles and in Dutch at the Centre for Fine Arts in December.

played in the West Eastern Divan Orchestra and founded music schools throughout the Arab world. In Al Kamandjati, various Middle Eastern artists joined forces, as is the case in Daniel Barenboim’s orchestra.

Cobra & co. Engravings and prints

The original composition by Franghiz Ali-Zadeh (Azerbaijan) was

07.11.2008>04.01.2009

interpreted by the renowned Trondheim Soloists (Norway). Music

Between 1948 and 1951, Cobra reflected the aspirations and concerns

transcended the political situation in this emotional performance.

of a large group of Northern European artists. This exhibition was held

Israeli journalist Amira Hass, who is a correspondent for Israeli

in parallel with the major COBRA retrospective at the Royal Museums

newspaper, Haaretz, wrote the lines. Music Fund collected several music

of Fine Arts. The works (including engravings, print art and various

instruments that day for the Al Kamandjati schools. The performance

graphic works) of key figures, such as Alechinsky, Dotremont, Asger

was in English; a translation into the Dutch and the French language was

Jorn, Corneille and Karel Appel, were revisited in this exhibition.

included in the programme offered to every audience member.

Curators: Catherine de Braekeleer and Dominique Durinckx. Coordinators: Laurence Leunen and Léonore Branche. Production: BOZAR EXPO and the

This

Centre de la Gravure et de l’Image imprimée de la Communauté française.

choreographer attracted attention to the predicament of the Palestinian

Support: Communauté française. Sponsors: Nationale Loterij, S.A. Léon

people with a two-fold project: the photo series, Actually, I am someone,

Eeckman. Partner: KMSK. Venue: Council Room and corridors of the Henri Le

together with French photographer, Aurélia, and the dance solo, Finally,

Boeuf Hall. Entrance: free. Visitors: 22,061

DANCE/EXHIBITION.

Tarek

Halaby

(December

2009).

I am no one. BOZAR DANCE co-produced this performance with WP Zimmer, les Halles and the Tanzhaus NRW-Düsseldorf.

NICHE

FILM. Salt of the sea (01.10.2008). Preview of the film, Salt of the sea by

Under the overarching title, NICHE, BOZAR ARCHITECTURE

Annemarie Jacir, attended by the film maker herself.

provides, since September 2008, a platform for young promising Belgian architects. After each lecture, a scale model of a realisation by an architectural practice, is exhibited in the Centre for Fine Arts. Gradually BOZAR is thus building a retrospective of young Belgian

COBRA & CIE ESTAMPES ET IMPRIMÉS

October, November, December BO ZAR CINE MA

architecture output. Young Belgian architect, Julien De Smedt, who has

Filmmuseum, deSingel

established his practice in Brussels, gave a lecture that centred on three

24-26.10.2008. Films by Guy Debord: La Société du spectacle (1973),

housing projects in Copenhagen. (17.12.2008)

Réfutation de tous les jugements, tant élogieux qu’hostiles, qui ont été jusqu’ici portés sur le film ‘La société du spectacle’ (1974), Sur le passage de quelques

Debates ‘Tot ’t nut van ’t algemeen’

11.10.2008 - 20:00 DJ BUSCEMI & MICHEL BISCEGLIA ENSEMBLE / DZIGA VERTOV

THE MAN WITH A MOVIE CAMERA

personnes à travers une assez courte unité de temps (1959), Critique de la séparation (1961), In girum imus nocte et consumimur igni (1978).

Together with the Flemish-Dutch House deBuren, BOZAR

16.12.2008. Satie, Cage & Ensor. Treasures from the Film Museum’s

LITERATURE developed a series of debates on the canon. Four events

collection, set to music by Eric De Kuyper.

were scheduled, during which the speaker always came with a stimulating

18.12.2008. De Henri à Chopin, le dernier pape (Frédéric Acquaviva

statement. A choir of voices, made up of experts (professors, journalists,

Maria Faustino, France, 2002-2008, 190’). In the presence of Frédéric

politicians, authors) responded and debated the statement. Journalist

Acquaviva.

Siegfried Bracke moderated the debates. 11.9.2008. The literary canon. Keynote speaker: Geert Buelens, poet, published author and professor of Dutch Literature at the University of

Jeudis Lire

Utrecht. In collaboration with het Beschrijf.

Since the 2008-2009 season, the Jeudis Lire cycle has become a fully-

09.10.2008. The cultural-historic canon. Keynote speaker: Herman

fledged co-production between Promotion des Lettres, Rideau de

Pleij, Prof. Emeritus, Historic Dutch Literature

Bruxelles and BOZAR LITERATURE. Once a month, on Thursday,

17.11.2008 The scientific canon. Keynote speaker: Robbert Dijkgraaf,

the emphasis is on French-language authors who have just published a

professor, mathematical physics, University of Amsterdam, chair of the

book or who have something in common with the programme of Rideau

Bètacanon committee of the Volkskrant, President of the Royal Dutch

or BOZAR. The encounter between Stefan Hertmans and (23.10.2008)

Academy of Science.

Jacques Dewitte was remarkable. On the occasion of the exhibition

08.12.2008. The European canon. Keynote speaker: Frits van Oostrom,

Cobra & Co, Pierre Alechinsky gave a lecture in the Terarken Room,

Professor at the University of Utrecht, Chair of the Committee for the

which was filled to the rafters.

Development of a Dutch Canon.

Expanding Cinema Pocket Film festival

Savage Films Three previews of documentaries by Flemish film makers were shown

05.10.2008. Preview : Puisque nous sommes nés by Jean-Pierre Duret

at the Centre for Fine Arts in November 2008, prior to being broadcast

attended by the film maker. Co-production: Festival du Film

on Flemish TV: Lost in Transition by Thom vander Beken. Wild Beast by

francophone de Namur.

Jeroen Van der Stock. and Pale peku Vantu Mambo Ayikosake by Bram

11.10.2008. DJ Buscemi & Michel Bisceglia Ensemble / Dziga Vertov

Van Paesschen.

The Man with a Movie Camera. Co-production Beursschouwburg,

Film event 10.11. 2008 Film evening with actress, Juliette Binoche, in collaboration with De Munt. Screening of Mauvais sang by Leos Carax.

Pocket Film 06.11.2008

Second Pocket Film Festival, with a screening of the best films, made with a mobile phone. The visitors, including various schools, were shown a number of gems, which won prizes at the Pocket Film Festival in Paris and at Cine Pocket in Brussels. Because this new medium raises a number of ethical questions, there were also lectures by Jan Simons and Alain Fleischer.

â&#x20AC;&#x153;

ow delightful to share an anniversary with the grand old Palais des Beaux-Arts. The memories contained within these majestic walls are unique and irreplaceable. For me, the most memorable moment was that night in 1952 when I was awarded First Prize in the Queen Elisabeth International Piano Competition. I remember standing on that stage with all those bright lights, the presence of the Queen, the sight of the hall and the crowd... An overwhelming experience, burnt in my brain!â&#x20AC;? Leon Fleisher is an American pianist and much-loved guest of the Centre of Fine Arts

Cultural partners in Belgium The number of cultural partners of the Centre for Fine Arts, whether in the frame of occasional partnerships or of structural collaborations, continues to increase, year after year. The majority of the cultural partners, with which the Centre collaborates regularly, operate from the same offices as the team of the Centre for Fine Arts. Each organisation communicates with its own identity and regularly puts on a varied programme, completing the Centreâ&#x20AC;&#x2122;s programming. Their activities ensure a better balance and attract a diverse audience. The terms of the existing agreements, specifically with the Royal Belgian Film Archive, Jeunesse et et Arts plastiques, the Architecture Information Centre, Urban Planning and Design and Rideau de Bruxelles, were duly fulfilled in 2008. The annual agreement with Young Belgian painting (Jonge Belgische Schilderkunst) was also renewed. In anticipation of the completion of the new space for the Royal Belgian Film Archive, most of the films were shown in the Shell Rooms, a little higher up in Rue Ravenstein. Le Rideau de Bruxelles was temporarily housed in the site next to the Centre for Fine Arts, in rue Villa Hermosa.

1001 Valises • Afrika Filmfestival Leuven • Les Agrémens • Amadeo Productions • Amarant • AmuseeVous • Angelos/Jan Fabre • Argos • Ars Musica • ART BASICS for CHILDREN (ABC) • Artexis • Association Plantin • BAMART • Bari • Het beschrijf • Beursschouwburg • BITC • Boek.be • B.P.S.22 Project • Le Botanique • British Council • Broodje Brussel/OPB • BRONKS Jeugdtheater • The Brussels Philharmonic – het Vlaams Radio Orkest • BRUn BRO • Brussels Biennial • Brusselse Museumraad/Conseil Bruxellois des Musées • Carte S • Centre de la Gravure et de l’Image imprimée de la Communauté française • Centre international de formation en arts du spectacle/Bruxelles (CIFAS) • Chœur de Chambre de Namur • Cine Pocket • Koninklijk Muziekconservatorium van Brussel/Conservatoire royal de Musique de Bruxelles • Cultuur en Toerisme/Culture et Tourisme • Sint-Michiels en Sint-Goedelekathedraal/Cathédrale Saints-Michel-et-Gudule • Cultuurcentrum/ Centre culturel ING • Cultuurnet Vlaanderen • CVB • Davidsfonds • deFilharmonie • DKO • Europalia International • Exploration du Monde • fABULEUS • Festival du film francophone de Namur • Festival Africa Taille XL Bruxelles • Festival van Vlaanderen Brussel – Europa • Film museum/Musée du Cinéma • Flagey • Fondation Magritte • Fonds Mercator • FotoMuseum Provincie Antwerpen • Galerie Xavier Hufkens • Gezinsbond • Goethe Institut • Greenhouse Talent • Les Halles de Schaerbeek • ICASD - CIAUD • Ictus • Instituto Cervantes • Internationaal Filmfestival van Vlaanderen / Gent • Jeugd en Muziek Brussel • Jeunesse et Arts Plastiques • Jeunesses Musicales de Bruxelles • Kaaitheater • Klara • KlaraFestival • Klasse • Koninklijk Belgisch Filmarchief/Cinémathèque Royale de Belgique • Koninklijke Muntschouwburg/Théâtre Royal de la Monnaie • Koninklijke Musea voor Schone Kunsten van België/Musées Royaux des Beaux-Arts de Belgique • Kunstberg/Mont des Arts • Kunstenfestivaldesarts • Kunstenplatform • KUNSTWERK(t) • Ligue des familles • MAC’s • Maison des Arts Actuels, Bruxelles • MASARAT • Middagen van Poëzie en Proza • Moussem • MuHKA • Musée de la Photographie à Charleroi • Museum voor Moderne Kunst Oostende (PMMK) • Musiq3 • Musiques Nouvelles • Muziekkapel Koningin Elisabeth/Chapelle Musicale Reine Elisabeth • Internationale Muziekwedstrijd Koningin Elisabeth van België/Concours Musical International Reine Elisabeth de Belgique • Nationaal Orkest van Belgïe/ Orchestre National de Belgique • Needcompany • NICC Antwerpen • Office de Promotion du Tourisme • Onthaal en Promotie Brussel • Orchestre Philharmonique de Liège • Provinciaal Museum voor Hedendaagse Kunst • Symfonisch Orkest van de Munt/Orchestre Symphonique de La Monnaie • Orpheus Instituut • Passa Porta • Patrick De Brock Gallery • Prijs Jonge Belgische Schilderkunst/Prix de la Jeune Peinture Belge • Project2 • Promotion des Lettres belges de langue française • Radiophonic Festival • RASA vzw • ReMuA - Réseau de Musiciens intervenants en Ateliers • Ricercar Consort • Rideau de Bruxelles • Rokerz • RTBF • Musiq’3 (RTBF) • Service de la Promotion des Lettres • S.M.A.K. • Télé Bruxelles • Toerisme Vlaanderen • Troubleyn/Jan Fabre • TV Brussel • Vereniging van Vlaamse Uitgevers • vlaamsekunstcollectie • VlaamsNederlands Huis deBuren • VRT • Wiels • Z33

Cultural partners abroad ECHO members • Het Concertgebouw Amsterdam • The Athens Concert Hall Organization • L’Auditori de Barcelona • Festspielhaus Baden-Baden • Symphony Hall Birmingham • Centre for Fine Arts, Brussels • The Sage Gateshead • Elbphilharmonie & Laeiszhalle Hamburg • Kölner Philharmonie • Salle de Concerts Grande-Duchesse Joséphine-Charlotte de Luxembourg • Barbican Centre London • South Bank Centre London • Cité de la Musique Paris • Théâtre des Champs-Elysées Paris • Konserthuset Stockholm • Gesellschaft der Musikfreunde in Wien • Wiener Konzerthausgesellschaft • Other international partners, with which the Centre for Fine Arts collaborated: • Al Ma’mal Foundation, Jerusalem • Alexander and Bonin Gallery, New York • Amour Fou • AT-Production • BMEP British Music Education Project • British Council • Centrum voor hedendaagse Kunst Venray • Espace Louis Vuitton, Paris • Festival Temps d’Images / EU • Galérie Thadeus Ropac, Paris • Gana-Art Gallery, Seoul • Gyeongju World Culture Expo, Republic of Korea • Klangforum Wien • The Korea Foundation • Korean Embassy to the Kingdom of Belgium and the Korean Mission to the EU, Brussels • London Symphony Orchestra • Lunwerg Editores, Madrid • The Ministry of Culture, Sports and Tourism of the Republic of Korea • Musée Guimet, Paris • National Gallery of Iceland • National Museum of Iceland • The Reykjavik Art Museum • Opéra de Lille • Sarband • Sony World Photography Awards 2008 • Zentrum Paul Klee, Bern • The European Concert Hall Organisation (ECHO) groups the directors

In April 2008, the Centre for Fine Arts programmed Free Radicals, a

of some of Europe’s most prestigious concert halls. The organisation

cross-over project between music and film, devised by Klangforum

has been set up to promote more cultural exchanges and strives to put

Wien and production company, Amour Fou. This unique audiovisual

on performances in various concert halls. In 2008, seventeen concert

experience managed to brilliantly reconcile twentieth-century

halls, including the Centre for Fine Arts, were affiliated with ECHO.

classics by the musical and cinematographic avant-garde with new

The association supports young artists by means of the Rising Stars

contemporary works. Finally, temporary collaboration agreements with

concerts, which are programmed on Sunday mornings at the Centre for

foreign museums and art centres positioned the Centre for Fine Arts in

Fine Arts. Moreover, ECHO also commissions works from composers,

a more international network.

who value multidisciplinary collaborations with other artists.

BOZAR FUNDING The Centre for Fine Arts draws on government subsidies, ticket sales,

Sponsorships

and, to a certain extent, also on its relations with companies and patrons

Approximately half of BOZAR FUNDING’s earnings are derived from

for its funding. These are crucial to the implementation of the Centre’s

sponsorships. The Centre’s structural partners are Belgacom, BMW,

artistic programme and to the building’s renovation, which has been

SONY and Suez, as well as the Belgian National Lottery (laid down

recognised as national heritage. The Centre’s sponsorship policy is

by Royal Decree). BOZAR can also rely on ad-hoc sponsorship where

founded on three principles: a social and cultural-social commitment,

necessary.

return and a long-term vision. BOZAR FUNDING divides its activities into commercial and non-

2008 was a successful year for the sponsorship of exhibitions. Income

commercial activities. The commercial activities include advertising in

amounted to 14 percent of BOZAR FUNDING’s total earnings.

the Centre for Fine Arts’ publications, sponsorships and facility rentals

BOZAR’s summer started with It’s not only Rock ’n’ Roll, Baby!, which was

for corporate events. Non-commercial income is based on the support

sponsored by FORTIS and MINI. At the same time, the Centre also

of foundations and private individuals (Patrons).

scheduled the exhibition, Opening Maps, in the frame of the Summer of

Advertising

Photography, of which SONY was the main sponsor. In the autumn, the Centre hosted the Korean exhibition, The Smile of Buddha. This project

In 2008, earnings from advertising in the Centre’s publications rose

received the support of eight different companies: KIA and Hyundai

by 20 percent compared with 2007. Advertising income amounts to

Motors as title sponsor, with Hyundai Heavy Industries and Kita as co-

3% of BOZAR FUNDING’s total earnings. Ads are published in the

sponsors. Other, equally important partners of this exhibition included

following publications:

Asiana Airlines, Mobis, Jetair and AGC Flatglass.

• BOZARMAGAZINE, a monthly magazine that is published ten times

Concert sponsoring and the business seats formula accounted for 8

a year. Circulation: 81,000 copies.

percent of all income in 2008. Other sponsored events included a

• concert programmes: annual circulation of 200,000 copies.

lecture by British architect David Chipperfield, thanks to the patronage

• annual brochures: BOZAR MUSIC (32,000 copies), BOZAR EXPO

of Würth.

(20,000 copies), BOZAR STAGE AND SCREEN (20,000 copies). The collaboration between BOZAR FUNDING and external media seller, Media Selling Place, which was launched in 2007, is starting to bear fruit. Media Selling Place managed to bring about a 25% increase in the advertising income of BOZAR MAGAZINE compared with 2007, and a 78% increase compared with 2006. The search for new advertisers is labour-intensive, because this market is subject to enormous fluctuations and shifts. As a result, it is more profitable to outsource media sales.

BOZAR FUNDING realizes a turnover of 5 million euros.

Corporate events

The British Royal Collection. They can also take part in exclusive cultural

2008 saw a marked increase in the requests for the rental of one or

trips abroad (in 2008: Bordeaux and Madrid). At the end of 2008, the

more spaces at the Centre for Fine Arts for private events, seminars or

Centre had 250 BOZAR PATRONS.

congresses. As was the case in 2007, the Centre for Fine Arts hosted an information session for FORTIS shareholders on 20 and 21 August

BOZAR CORPORATE PATRONS. This formula, specifically aimed at

2008. The meeting was also broadcast by the media. The Centre for Fine

companies, was launched in 2008 and is aimed at forging a privileged

Arts hosted the congress of the International Fiscal Association (IFA)

relationship between the economic world and the cultural world.

from 31 August until 4 September. Almost all of the Centre’s facilities

Executives enjoy the same benefits as BOZAR PATRONS. They are

were used, except the exhibition galleries, which remained accessible

invited to a dinner with the structural partners where they receive a

to the general public. It was the first congress ever of this stature. In

preview of what the new season has to offer. They can invite clients

2008, the Centre for Fine Arts also welcomed forty other companies,

for exclusive evening visits of exhibitions and enjoy various discounts

which organised staff parties, conferences, receptions, private concerts,

for the corporate hospitality. At the end of 2008, 18 CORPORATE

dinners, award ceremonies, etc. at the Centre. Corporate events make

PATRONS had registered.

up 8% of BOZAR FUNDING’s total earnings. The organisation of such events always respects the Centre’s artistic programming.

Membership and patronage

BOZAR

YOUNG

PATRONS

Every season, BOZAR YOUNG

PATRONS receive forty tickets, which they are free to use during the season. They have unlimited access to the exhibitions and can

The group of patrons of the Centre for Fine Arts provides essential

choose from exclusive guided visits. This formula is much appreciated

support for the Centre’s artistic programming. There are currently three

by members due to the reservation system’s flexibility. In the mean-

categories: the BOZAR PATRONS, the CORPORATE PATRONS

time, members have become acquainted with one another and enjoy

and the YOUNG PATRONS. In September 2008, all three categories

exchanging contacts and sharing artistic moments at the Centre for

were invited to a dinner in the Horta Hall, in the presence of the

Fine Arts. At the end of 2008, the Centre had 61 BOZAR YOUNG

Chairman of the Board of Directors and the Management Team of the

PATRONS.

Centre for Fine Arts. In recent years, the Centre for Fine Arts has also been able to rely on BOZAR PATRONS can attend all concerts, private evenings, exhibition

the support of the Bernheim Foundation, an important partner in the

openings, as well as film, dance and theatre performances. Entrance is

Master Plan. The preliminary architectural studies, among others, were

free for all exhibitions. An additional benefit is that BOZAR PATRONS

funded with the Bernheim’s support. The Porticus Foundation has

can reserve seats at De Munt and at halls that are affiliated with the

supported the Centre’s educational project for several years now.

ECHO (European Concert Hall Organization) network. Thanks to the collaboration with the Royal Museums of Fine Arts of Belgium, BOZAR PATRONS were invited to the private evening viewings of Cobra and

250

BOZAR PATRONS of the Centre for Fine Arts

The Centre for Fine Arts in the press On Al Kamandjati “Muziek is de sleutel om het leven draaglijk te maken, structuur te geven en mooier te maken. Je moet het gezien hebben om het te geloven.”

On the exhibition ‘Treasures old and new from Wallonia. A Curious Land.’ “De kwaliteit van de middeleeuwse beelden die in het Paleis voor Schone Kunsten een plaatsje kregen, is superieur. Het is een warme aanrader.” (Jan Van Hove in De Standaard, 14.02.2008)

(Lucas Huybrechts in Knack, 10.12.2008)

“Waalse kunstschatten ontroeren (...). In een periode van communautaire hoogspanning, brengt deze Waalse expositie rust.” (Frank Heirman in Gazet van Antwerpen, 15.02.2008)

On great pianists “A deux jours d’intervalle, le Palais des Beaux-Arts de Bruxelles connaît deux moments d’exception. Lundi soir, Alfred Brendel donnait son dernier concert bruxellois dans le cadre de la tournée d’adieu qu’il a entrepris cette année à l’occasion de ses 77 ans. Et ce mercredi, c’est le grand retour du pianiste Léon Fleisher, un des grands géants de la seconde moitié du XXe siècle, privé 40 ans durant de l’usage de sa main droite. Un fascinant croisement de destins.”

“Trésors anciens et nouveaux de Wallonie », l’exposition conçue par Laurent Busine pour le Palais des Beaux-Arts de Bruxelles, tient toutes ses promesses. Ce curieux pays est effectivement bien curieux. Dans une mise en scène sobre et efficace, Laurent Busine révèle plus d’une centaine d’œuvres médiévales et renaissantes à notre imaginaire. Avec un contrepoint contemporain.” (Jean Michel Botquin in H Art, 06.03.2008)

“Bozar toont de adembenemende onderkant van België: Kunstschatten

On the exhibition ‘Paul Klee. Theatre here, there and everywhere.’ “Het is weliswaar geen retrospectieve, en evenmin een bloemlezing van hoogtepunten, maar de gekozen invalshoek – die van het theater en de muziek – gaat wel naar de kern van het kunstenaarschap van deze fascinerende figuur. De tentoonstelling in het Paleis voor Schone Kunsten is knap opgebouwd.”

On Ornette Coleman “Ornette Coleman’s long overdue return to Brussels ended in three standing ovations. Bozar audiences are notorious for giving standing ovations as standard practice, but this time they were well deserved and came from the heart.” (The Bulletin, 06.11.2008)

(Jan Van Hove in De Standaard, 05.03.2008) “Paul Klee’s ghost-like creatures and luminous color grids are brightening Brussels’s Bozar arts center in a superb show that highlights the Swiss-born artist’s fruitful rapport with theater and music.” (Jim Ruane, Bloomberg, 11.03.2008)

uit Wallonië.” (Knack, 05.03.2008)

(Serge Martin in Le Soir, 19.11.2008)

3,128

press articles concerning the Centre for Fine Arts. Radio and TV mention the activities of the Centre several times a day.

On Europa

On Gautier Capuçon

“En prélude au spectacle Fort Europa que Tom Lanoye présente des vendredi au Palais des Beaux-Arts, le metteur en scène et auteur flamand partagera la scène avec Sam Touzani. Une voix polémique flamande et un Bruxellois francophone d’origine marocaine pour un « two men show » inédit.”

“Le même soir, il recevra le Prix du jeune musicien de l’année, décerné par l’Union de la Presse Musicale Belge en collaboration avec Bozar Music. Rencontre avec un musicien chez qui l’insouciance n’exclut ni la profondeur ni l’exigence.”

318

press dossiers addressed to the national and international press. 38 press conferences took place.

(Martine Dumont Mergeay in La Libre Belgique, 27.10.2008)

On the exhibition ‘It’s not only Rock ’n’ Roll, Baby !’ “Véritable “temple” octogénaire bâti sur le rêve d’une culture exigeante mais ouverte à tous, Bozar, dirigé depuis 2002 par le Flamand et moderniste Paul Dujardin, s’est progressivement mué en un centre pluridisciplinaire ouvert à tous les courants, jusqu’aux plus contemporains.Inscrit dans la réalité d’une ville en mutation, Bozar est aussi devenu un lieu de référence en Europe.” (Le Monde, 24.06.2008)

(Jean-Marie Wynants in Le Soir, 08.01.2008)

“The crowd of visitors, who ranged from teenagers to the elderly, showed intense interest. It might not be lofty art, yet it’s highly enjoyable.” (Jim Ruane, Bloomberg, 12.08.2008)

On Mariza “De Portugese zangeres Mariza bewees in het Paleis voor Schone Kunsten dat ze klaar is om in de voetsporen van de grote Amália Rodriguez te treden. Het publiek was weg van de eigenzinnige fadozangeres.” (Benjamin Tollet in De Standaard, 08.10.2008) “The London Symphony regaled Bozar last week. Valery Gergiev, the Moscow-born principal conductor of the London Symphony Orchestra, led a splendid all-Prokofiev programme at Bozar. From the outset, this was Prokofiev unlike any most of us had heard before.” (The Bulletin, 16.10.2008)

On The Inner Life of Martin Frost van Paul Auster “Paul Auster est non seulement l’écrivain magnifique de Moon Palace ou de Mr Vertigo, mais il est aussi un fou de cinéma qui a déjà participé à deux films et réalisé lui-même deux autres. Il sera la semaine prochaine au Palais des Beaux-Arts et à Passa Porta pour une série de manifestations en son honneur dont la projection de son nouveau film.” (Guy Duplat in La Libre Belgique, 14.06.2008)

On the exhibition ‘The Smile of Buddha’ “ Boeddha’s glimlach laat de bezoeker een voorheen zelden getoonde wereld exploreren van prachtige stukken in erg diverse materialen die bovenal mededogen, troost en rust uitstralen. Absoluut niet te missen dit najaar.” (Catherine Vuylsteke in De Morgen, 10.10.2008)

BOZAR COMMUNICATION This department is charged with informing the general public on all the

exhibition scores 15% in this age group.

activities organised at the Centre for Fine Arts, increasing the number

The exhibition poster was a hit and became the iconic image of the

of visitors and raising BOZAR’s share of voice in the media.

summer. The T-shirt, worn on stage at Werchter by Moby, was even sold out before the end of the exhibition. The web pages on Facebook

BOZAR EXPO – Audience development

and MySpace received many hits. A survey showed that the Internet

The exhibition It’s not only Rock ’n’ Roll, Baby! targeted a young audience

has become one of the most important promotional instruments for

aged between 16 and 30. Promotions were concentrated on the media

exhibitions. Twenty-six percent of the respondents referred to the

and the meeting places frequented by this target audience.

BOZAR website as a source of information for the summer exhibitions

The visibility at Rock Werchter and the collaboration with Live Nation,

of 2008. The audio fragments on BOZARPODCAST were downloaded

a concert organiser, was also measurable. In the week after the festival,

1,776 times.

1,096 visitors took advantage of the special offer: anyone wearing

Fifteen Rock Reps (Rock Representatives) set out to promote the

a Rock Werchter bracelet could enter the exhibition for free. The

exhibition to other young people. They loved their assignment and

promotion of the Flemish Community whereby young people under the

enjoyed the contact with the cultural world. This successful initiative

age of 26 were given the opportunity to visit museums and the Centre

will most certainly be reprised.

for Fine Arts for 1 euro was quite popular. In total, 43% of the visitors of It’s not only Rock ’n’ Roll, Baby! were younger than 26 years. An average

Partnerships Ties have been consolidated with the OPT (Office de Promotion

du Tourisme de Wallonie et de Bruxelles) and the new City Breaks

COMPARISON -26 VISITOR FIGURES (2007 - 2008) Season

2007 Spring Summer Autumn 2008 Spring Summer Autumn

Exhibition

Club. BOZAR is part of the organisation’s new non-profit association

Total visitors

The Forbidden Empire Views on Europe Ingenium Young Belgian Painter Award Europalia Europa Around the Globe Treasures old and new from Wallonia Paul Klee It’s not only Rock ’n’ Roll, Baby! Opening maps The smile of Buddha Never-Part

44.323 21.295 11.434 7.860 78.274 39.229 26.641 63.891 42.215 19.501 59.884 3.050

- 26 4.51% 4.30% 29.44% N.B 13.00% 14.00% 7.54% 17.83% 42.55% 20.78% 17.02% 29.30%

structure. The tourist office promoted the exhibition . Treasures old and new from Wallonia. A Curious Land in Germany, among others. BITC (Brussels International, the Tourism and Congress Bureau) is targeting an audience that is aged between 18 and 30 years and which is interested

349,924

The number of visitors to the Centre’s exhibitions.

in culture with Brussels Mania. BOZAR took part in the first evening

des Familles and De Gezinsbond, the most important national partners,

with a Korean-themed event.

was continued. A separate brochure was published for Partytime, which

Thalys au pays des merveilles (Paris), Brussels Day and ITB (Berlin),

focused on Andalucía. The communication concerning the Korean

FITUR (Madrid) and WTM (London) are the trade fairs, where

Family Day was widely disseminated: by means of the general festival

blockbuster exhibitions are promoted to a specialised audience such as

brochure, directly to the audience of Young Film Fans and there was

tour operators.

also a special offer for MYBOZAR members.

The communication departments of BOZAR and the Royal Museums

The BOZARPASSPORT, launched in 2007, is a free discovery pass,

for Fine Arts of Belgium collaborated on the Cobra exhibitions, with a

which is exclusively distributed at the Centre for Fine Arts to children

joint poster among others. In 2009, they will be organising a sequel of

between the ages of 6 and 12 was further promoted.

the exhibition, Da Van Dyck a Bellotto.

The brochure and posters for schools were widely distributed. Reminder

BOZAR also worked with the Musée Guimet and the Espace Louis

mails are sent for each exhibition season, in September and January

Vuitton in Paris for the Korea exhibition. Never-Part benefited from

respectively.

the partnership with the Masarat Festival (Les Halles de Schaerbeek))

A tasteful campaign was created for BOZARSTART on the theme of

and the Brussels Biennial.

Seduction. One hundred thousand condoms spread the message that

New audiences

the seven fine arts can effectively seduce you. Sales in 2008 doubled compared with 2007.

The Canvas Collection attracted contemporary art lovers and their

The Finissages (closing events) of Club Lisboa and Club Rock ’n’ roll

families, and as a result, they also found out more about BOZAR’s

attracted more than two thousand visitors. An adapted communication

programming. New target audiences in 2008 included the Latin

plan is developed for every closing event, in collaboration with youth

American community (Opening Maps), Iceland and the Palestinian

partners and media, which are highly appreciated by young people (JIM

community (Never-Part). The multidisciplinary programme also helped

TV, Studio Brussel, Pure FM and various Nightlife magazines).

expand the Centre’s target audience. The exhibition on Paul Klee,

The BOZARPLUSDAYS (target audience: senior citizens): the Dutch-

entitled Theatre here, there and everywhere, with Pierre Boulez as guest

speaking associations for senior citizens were also well represented

curator, among others attracted music and theatre lovers. During the

in 2008. On the French-language side, BOZAR worked with Carte

Choirs Festival, the exhibitions remained open to the public until 8 p.m.

S, which once again included its activities in its offer. BOZAR also

on concert evenings.

worked with Le Rideau de Bruxelles for the first time; this association

BOZAR STUDIOS - Audience development

informs its target audience (French-speaking theatre lovers) about the BOZARPLUSDAYS. The results were interesting.

As an art education department, BOZAR STUDIOS in 2008 continued

In the frame of the 2008 Summer of Photography, the second PÔZE

to target diverse target groups with tailor-made formats.

event invited inhabitants of Brussels to photograph themselves. The

The BOZARSUNDAYS, the family Sundays, were announced in a

works of the six laureates were exhibited throughout the summer. This

brochure that is published twice-yearly. The collaboration with La Ligue

project attracted a diverse and new audience.

23,219

BOZAR THEATRE/ DANCE/ LITERATURE/ CINEMA - Audience development

developed focussing on Tom Lanoye’s Fort Europa. Besides ads, radio

The annual brochure, BOZAR STAGE & SCREEN 2008-2009,

contacts through literary partners, such as Passa Porta.

programmes

was mainly founded on the country themes – Korea and Palestine.

8,987

programme was launched in order to raise loyalty among the film-going

posters

971,000 leaflets

Together with this brochure, the BOZARSCREENPASS, a new loyalty audience. The Young Film Fans formula was merged with the BOZARSUNDAYS

ads, and direct mailings, the Centre for Fine Arts also reached out to

BOZAR MUSIC Audience development Classical

GOOD MORNING formula. A joint brochure was created and distributed with Flagey, the Filmmuseum and BOZAR CINEMA. The previews, in the presence of well-known directors, allowed BOZAR

Non-classical

Season tickets Individual tickets

35.386 110.086

21% 65%

145.472

86%

Tickets

23.645

14%

169.117

100%

CINEMA to work with new communication partners and new target groups. Increasingly, the communication for BOZAR CINEMA

Total

is implemented by e-mail and through web communities. The film audience tends to buy tickets online.

BOZAR MUSIC uses structural channels, such as the annual brochure,

Since 2008, BOZAR CINEMA has a profile on Facebook, in order to

the magazine, the website, the newsletter and the plasma screens. The

ensure short-term announcements.

tried and tested formulas are still performing well: season tickets and

The second Pocket Film Festival was once again communicated in

discovery subscriptions (300), Classicarte (297) and a special offer

collaboration with AT Production and Cinepocket. For the first time,

aimed at the academies of the French-speaking community. A specific

schools were asked to take part, with classes creating pocket films using

campaign targeting groups led to the sale of 7,546 tickets at a group

a mobile phone. As a result of technical problems, the website was

rate. News flashes, flyers, brochures and posters were used to promote

launched rather late, which impacted participation.

specific concerts. The channels for last minute offers were expanded. In the run-up to a festival weekend of electronic music in 2009, the Statik

During the Iceland on the edge festival, Björk fans were mobilised by writer

Dancin’ deluxe nights were successfully launched in June 2008. Each of

Sjon, who was part of the extensive festival communication. Fans could

the three evenings attracted between 600 and 1,000 visitors.

also communicate with him through the specially developed blog site. The top event in the 2008 literary programme was the screening of Paul Auster’s film, The Inner Life of Martin Frost, which led to an extensive communication campaign using flyers, radio ads, ads and e-mailings, among others to the film-going audience. In collaboration with europalia.europa, a large-scale campaign was

810,000

BOZARMAGAZINES

MEDIA PLANNING

following exhibitions: Paul Klee; Theatre, here, there and everywhere; and

The collaboration with structural media sponsors, i.e., Roularta Media

Treasures old and new from Wallonia. Ten Korean journalists were invited

Group, RTBF, VRT, TV Brussel, De Morgen and Le Soir was extended.

to the opening of The Smile of Buddha. On 18 January, the new BOZAR

Once again a partnership was negotiated with the French magazine,

season was presented to twenty French journalists in the Senate in Paris.

Connaissance des Arts. The exhibition It’s not only Rock ’n’ Roll Baby! was an excellent opportunity to position BOZAR with young people through

7. WEBSITE

music magazines. A new pool of young film makers was asked to create

In 2008, the emphasis was on evaluation and on structural adjustments.

the television ads, which were shown on television and posted on

After two months of tests, the website was upgraded. The outcome is

BOZAR.be, YouTube and MySpace.

a stable, operational version that is ready to implement MYBOZAR

PRESS OFFICE

online. Information tabs were added. As a result, the artistic programming now

The Press Office was expanded in order to enable it to better handle the

has additional images, background information and video fragments.

numerous requests.

Statistics bozar.be

In 2008, the Centre for Fine Arts once again benefited from a high

• Average number of visitors per working day: 2,500

‘share of voice’, consolidating its position as a cultural player. In 2008,

• Average number of unique visitors a day (unique IPs): 2,050

approximately 3,000 articles were published in the Belgian press. The

• Geographic origin: 77% Belgium

Centre for Fine Arts distributed more than 300 press dossiers, in

6.55% The Netherlands

French, Dutch and English respectively. The Press Office set up 100

4.42% Luxembourg

individual interviews and organised 38 press conferences.

3.45% France

An important moment was the presentation to the press of the book,

1.54% UK

BOZAR LXXX and the image campaign, Life is so BOZAR. On the

1.37% Germany

occasion of the eightieth anniversary, articles were published in De

• Top 10 municipalities/cities: Brussels, Leuven, Ghent, Louvain-la-

Morgen, Le Soir, De Standaard, Sabato (De Tijd/l’Echo), La Libre

Neuve, Heverlee, Antwerp, Amsterdam, Namur, London, Liège

Belgique, Lobby, Le Vif, Pub and Het Laatste Nieuws. The news on

• Average visit length: 5 minutes

RTBF (French-language public broadcaster), the culture programme

• Most popular pages :

50 degrés nord on Arte Belgique, Ramblas on Radio Klara, Musique 3,

1. activity page (through search engines and links on other sites)

Vivacité, Bel RTL, TV Brussel and TéléBruxelles all featured special

2. agenda page (search by calendar)

reports.

3. homepage per discipline

In order to reach the international press, the press office works together

4. information pages

with the foreign offices of the Office du Tourisme de Wallonie et de

• Number of newsletter subscribers: 13,588

Bruxelles and Toerisme Vlaanderen. In 2008, BOZAR welcomed

• FR/NL ratio: 52/48%

twenty French journalists on the occasion of the opening of the

• Male/female ratio: 52/48 %

558,912 visitors to bozar.be

Photo : Candida Höfer - The Brussels Series 58

BOZAR TICKETS In 2008, the box office of the Centre for Fine Arts issued more than

Exploration du Monde, Ars Musica, and the Museums of Fine Arts of

700,000 tickets, the majority of which were related to the various

Belgium is continuing along the same successful lines. New partners

exhibitions.

have been added such as the Flanders Symphony Orchestra, the Royal Conservatory of Brussels and the Le Public Theatre. Big production

BOZAR TICKETS uses two main sales outlets for this gargantuan

houses have also found their way to the Centre for Fine Arts and have

task: the shop in the Ravenstein Gallery and the contact centre. Next

allowed us to complete the box office’s offer with prestigious concerts

to these two points of sales, and to ensure that the various activities

by artists such as Lou Reed, James Taylor, and Tracy Chapman.

function well, BOZAR TICKETS can also set up mobile ticket desks at the various entrances. For sales outside the Centre for Fine Arts, the

Online ticket sales are still on the rise. The big increase in online

ticket office uses IT and automated payment in order to provide the

reservations opened the door to new developments in order to improve

general public with an easy and efficient service.

the access and user-friendliness of the sales interface. This growth has also enabled us to analyze customer profiles in order to better point

Another big novelty is the development of rapid sale software for

them towards the various cultural events that the Centre for Fine Arts

exhibitions. This software was created in collaboration with the

has to offer.

BOZAR TICKETS team. Touch screens, mobility, speed and userfriendliness have allowed the box office to respond to the public’s needs and to ensure that the visitor flow is continuous on busy days such as during Party time or the Balkan Festival. The former call centre, which has since been renamed contact centre, continues to play a vital role, i.e., to deal with all reservations and ticket sales for our various activities. But the contact centre is also taking a more outward-looking approach, by demonstrating its proactive willingness to accommodate the client. Its staff has attended various training courses aimed at developing communication and telemarketing skills. The contact centre will also manage all requests for guided tours or for products such as MYBOZAR member cards and BOZARGIFT, as well as for the various commercial vouchers linked to the Centre for Fine Arts, such as Bongo, Vivabox and Give a do. BOZAR TICKETS is also in charge of all reservations and ticket sales for third parties. The cooperation with Flagey, Le Rideau de Bruxelles,

BOZAR PLANNING

3,770 seats at full occupancy

In 2008, a total of 4,660 public activities were organised at the Centre

Seat occupancy by hall

for Fine Arts, a slight drop in comparison with 2007, which was an

• Henry Le Boeuf Hall: status quo compared with 2007.

exceptional year. If we include activities without the presence of the

• Hall M: slight increase.

general public (such as rehearsals, building and dismantling exhibitions,

• Studio: the most important user continues to be Le Rideau de

recording sessions, tuning sessions, auditions and meetings), then the

Bruxelles, which staged its entire theatre programme in this hall in

total rises to 8,957 activities, as scheduled in the planning software.

2008. The rehearsals account for additional occupancy days.

Public activities include all those activities attended by the general

• Auditorium Paul Willems: an additional hall, which was opened in

public, which are overseen by the reception personnel of the Centre for

autumn 2008, mainly for the productions of Le Rideau de Bruxelles.

Fine Arts. These range from the opening of an exhibition or an evening

In 2009, this will become the company’s permanent location.

visit of an exhibition with a private guided tour, to an artistic activity (concert, theatre, dance, literature and film), a reception, a lecture or an introduction to a concert, and even include an open house day, a guided

6,870

visit of the building or a preview.

potential visitors each night

Seat occupancy per room (2006 to 2008)

600 500

240

Rehearsals

241

400

Public activities

220

300 200 100 0

342 244

319

221

239

188

206

215

196 30 65

2006

2007

2008

Henry Le Boeuf Hall

62 55

2006

2007 Hall M

2008

2006

2007 Studio

2008

2006

2007

2008

Auditorium Paul Willems

BOZARSHOP In December 2007, BOZARSHOP opened its doors and the success was immediate: the frequency of sales in the first few months was extraordinary. The arrival of BOZARSHOP was also referenced in all the reviews or guides, which noted that this place is incomparable in Brussels. The identity of BOZARSHOP was even nominated for the D&AD Awards in London, the worldwide Oscars of communication. BOZARSHOP is an international and multidisciplinary bookshop that places an emphasis on art books. The supply in the Shop depends on the artistic programmes of the Centre for Fine Arts. The catalogues of all the exhibitions are sold here. Therefore, all the windows of the Shop display the catalogues of the various exhibitions, such as Paul Klee or Treasures old and new from Wallonia. A Curious Land, as they are happening. For the summer exhibition It’s not only Rock ’n’ Roll, Baby!, posters, catalogues, window displays, merchandise, and T-shirts were created. The exhibition enjoyed resounding success with the additional installation of a studio photo before its opening and a miniconcert at its close. The BOZARSHOP also held several occasions for autograph signings from well-known authors such as Paul Auster or artists like Hélène Grimaud. Following the music season at the Centre for Fine Arts, the Shop also offered a unique choice of classical, jazz and world music CDs or DVDs, which benefited from the presence of the Film museum. Due to their originality, the sales of these merchandises were very successful. BOZARSHOP also extends its reach into fashion, graphics, design, photography, architecture, and items of interest for children. A huge Photos : Lydie Nesvadba

table of reading material with the possibility of quenching one’s thirst for knowledge augments the agreeable nature of the place. This first year of BOZARSHOP is a success and we expect the same in the years to come.

Photoâ&#x20AC;&#x2030;: Fabrice Kada

Human Resources As the largest cultural centre in Belgium, the Centre for Fine Arts

also aims to be a benchmark for the sector in terms of personnel and organisational policy. The Human Resources service sets out to match recruitment, pay, career development, training, evaluation, etc. to the organisation’s strategy.

Working status ■ statutory ■ contractual

51%

49%

M/F Permanent staff ■ male ■ female

91%

Statistics On 31 December 2008 the Centre had the equivalent of 189.5 full-time employees, not including temporary staff. Total employment reached 348 people. 91% of the personnel are under contract; 91% have the

24%

status of permanent public servants. 24% work part-time: they have opted for a career break, have taken time credit, or have opted to work fewer hours.

Employment system ■ part-time ■ full-time

46%

M/F Management Team ■ male ■ female

56%

M/F Temporary staff ■ male ■ female

54%

76%

There is a good balance between male and female employees at the Centre for Fine Arts: on the permanent staff there are 51% men and 49% women. Within the Management Team the proportions are slightly different: 45.5% women and 54.5 % men. On the other hand, the temporary personnel the balance is the other way around: 56.5%

3% 7%

women and 43.5% men.

Nationalities ■ Belgium ■ other EU countries ■ non-EU countries

44%

90% The Centre for Fine Arts operates an active non-discrimination policy. 90.3% of the personnel have Belgian nationality, 6.8% of the total is made up of people from the rest of Europe, and 2.9% are from nonEuropean countries. The cultural diversity of the staff becomes clearer when one takes a closer look at the origin of the employees: 84.5% were born in Belgium, 6.3% in another European Union country, and 9.2%

outside the European Union.

85%

Origins ■ Belgium ■ other EU countries ■ non-EU countries

Year’s service of permanent staff 6% ■ 0 > 4 y 53% 7% ■ 5 > 9 y ■ 10 > 14 y 4% ■ 15 > 19 y 3% management The BOZAR ■ 20 > 24 y team 7% y the ■ 25 > 29(In consists3% of 46% women. ■ 30 > 34 y corporate world, ■the is 7%). 35 average > 39 y

17%

3% 7%

Nationalities ■ Belgium ■ other EU countries ■ non-EU countries

44% 56%

M/F Temporary staff ■ male ■ female

90%

The average ages of the permanent staff have only changed slightly: the

Permanent staff: years of service

proportion of 35- to 44–year-olds rose from 31 % in 2007 to 34 per cent. The group of 45- to 65-year-olds fell by 3 % to 34 % in 2008. The

Origins age group from 20 to 34 remained at roughly the 6%same level, at 32 %. ■ Belgium 9%were few changes ■with Among the temporary employees, too, there other EU countries ■ non-EU countries respect to the previous year; the proportions, however, were somewhat

53%

different: the 18- to 34–year-olds made up 51 % of the workforce. Only 85%

10 % were aged 60 or over. 20

Age pyramid of permanent staff

Year’s service of permanent staff 6% ■ 0 > 4 y 7% ■ 5 > 9 y ■ 10 > 14 y 4% ■ 15 > 19 y 3% ■ 20 > 24 y 7% ■ 25 > 29 y 3% ■ 30 > 34 y ■ 35 > 39 y

17%

Among the permanent staff the proportion whose length of service is between 0 and 4 years has risen by almost 5 % to 53 %. This rise is for the most part to be explained by the departure of a number of staff

members with considerable seniority. 5

Personnel and recruitment The number of applications remained at roughly the same level as in -20 20-24 25-29 30-34 35-39 Years Years Years Years Years

40-44 45-49 50-54 Years Years Years

55-59 +60 Years Years

Age pyramid of temporary staff

2007. 3,021 candidates applied, either unsolicited or for a vacant post. A total of 333 job interviews were held; these led to 131 new (permanent or temporary) contracts (27 % fewer than in 2007). This fall was due to a more limited number of vacancies for temporary reception

staff while the exhibition circuit at the north end of the building was

with temporary personnel. As in the previous year, the largest share

closed. There was, moreover, a rise in the number of extended contracts of the new contracts was accounted for by the Guest Services service (attendants and reception and box office staff).

Volunteers

The year 2008 marked a major step forward in the development of a 0 -20 20-24 25-29 30-34 35-39 40-44 45-49 50-54 55-59 +60 Years Years Years Years Years Years Years Years Years Years

professionally integrated volunteer policy. The staff member who was taken on for this purpose in May 2008 on a part-time basis was able to

show positive results after just a few months. After intensive recruiting

Internal communication

activity that was in fact almost identical to normal recruiting, 20

In 2008, the existing means of communication were further

volunteers were deployed, spread over a number of different services.

developed and new ones were introduced: the staff newsletter

Volunteers are now involved in everyday activities (such as keeping press

ZORBA, news flashes, staff events, a suggestion box, the intranet via

cuttings up to date) and for specific projects (including the translation

ESS, a welcome brochure, information sessions, and guidelines on,

of job descriptions). In 2008 there were also 42 students working at the

among other things, the use of luncheon vouchers and ESS. Sports@

Centre within the framework of a course project. To replace permanent

BOZAR was introduced: at lunchtime on Tuesdays and Thursdays all

staff during holiday periods, 35 students were employed on a temporary

staff members can take part, free of charge, in yoga or aerobics classes

basis.

under professional guidance.

Development

Social dialogue and the global prevention plan

A total of 7 people changed jobs or were promoted. The recommenda-

A system of luncheon vouchers was introduced in 2008: this was an

tions of the study of training needs that had been carried out in 2007

optimal net gain for members of staff, as luncheon vouchers are not

were implemented in 2008 and resulted in a spectacular increase in

subject to social security contributions. The provision was set out

the number of hours spent on training: 5,309 hours, as against 262

in a collective agreement that – after being approved by the National

hours in 2007 and 838 hours in 2006. More than 66 per cent of these

Social Security Office – was signed on 8 May by the members of the

hours were devoted to language courses. Training was also provided

Joint Committee. Particular attention was paid to clear internal

in IT, safety, and management, as well as in technical and skill-related

communication. A number of the activities of the social service

fields. For most of this training, the services of the federal govern-

were taken over. In the future, the Human Resources service will be

ment’s training body, the IFA, were availed of.

responsible, among other things, for pay advances, Saint-Nicholas gifts,

Job descriptions Job descriptions are an essential tool for the implementation of an

and assistance with BOZAR Studios courses for children and young people.

producing job descriptions: identification of the positions, description,

The Subcommittee for Accident Prevention and Protection in the Workplace

validation, interview, and communication. In total, 96 positions were

The committee met nine times in 2008. The following matters were

identified; 74 per cent of these have since been described and validated.

discussed: the state of the fire detection and fire reporting installations,

In order to limit the number of positions, it was decided to opt for

electrical installations, and emergency lighting; the measures to be

generic descriptions. It is planned to have surveyed all positions before

taken after analysis of workplace accidents; problems related to the staff

the launch of the Development Circles project in the autumn of 2009.

cloakrooms and performers’ dressing rooms; the pressure of work; and

integrated personnel policy. A number of phases are involved in

problems related to waste disposal.

Social security matters and pay administration Since 1 January 2008 BOZAR has been working with a new social secretariat, Partena. The decision was prompted by the growing administrative pressure within the personnel service and by the need to further professionalise our e-HRM service. Partena’s software made it possible to introduce many improvements. Holiday and convalescence applications, for example, are now automated, as is the transfer of data about salary payments to the accounts department. The range of statistics and other reporting tools available has been expanded. A new module has been tested that will make it possible to carry out detailed budgetary monitoring in 2009. In 2009, all heads of service will be able to monitor the hours worked by their staff and, where necessary, make adjustments. The technical preparations for this were carried out over the last year.

The future The Centre for Fine Arts intends to invest further in the development of its staff and in the improvement of working conditions by further developing the HR Optimizer modules for recruitment, training, and evaluation, by carrying out a survey of staff satisfaction, by introducing a charter of values, by expanding the volunteer network, and by making the staff intranet more accessible. The Development Circles project will be launched in 2009. This will develop the skills of staff members – both management and other staff – so that not only the individual, but also the team and the organisation as a whole, will work better and

Photo : Vincen Beeckman

operate optimally.

ORGANISATIONAL CHART The organisational chart was partially modified in the autumn, with the establishment of the Guest Services. This service includes the box office and the Front of House & Production service. This change was introduced with a view to an integrated reception policy.

BUSINESS DEVELOPMENT

P. Dujardin CEO - Artistic Director

GENERAL ADMINISTRATION

FINANCE

HUMAN RESOURCES

FUNDING

Administration & Office Supplies

Accountancy

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Legal Affairs

Legal-Social Affairs

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Front of House & Production

Publications

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ICT

TECHNICS, INVESTMENTS/SAFETY/SECURITY

Investments, Safety & Security Cleaning Maintenance & Repairs

Literature

Stock

Architecture

Exhibitions & Performing Arts

ICT – Technical Department - Safety ICT

The Technical Department was in charge of the building and

The prevention systems and the security procedures that were put

dismantling of the Centre’s own productions in the various halls. This

in place at various levels of the IT system have allowed us to reach an

included setting up the stage, fine-tuning sound and light installations as

exceptional service level (99.9% of global uptime for all systems) and an

well as loading and unloading materials. In a number of cases, specialized

information security level of 100%.

external companies were asked to assist. The growing number of events

The security levels that are related to the use of the Internet in its

also required careful planning in 2008 so quality could be guaranteed

various forms have also been raised and fine-tuned.

and a balance struck between the availability of personnel and the timing of the programming.

In 2009, the formal IT security rules and the implementation of a Disaster Recovery Plan will help us maintain the results obtained

The Technical Department oversaw more than five hundred events and

in 2008 and to prevent a series of new risks that are related to the

performances in various disciplines: theatre, dance, literature, film and

expansion and the opening of the Centre’s network.

above all, music.

Special attention has been given to the service to the users of the

The General Supplies Department was in charge of cleaning the halls

Centre’s IT network. The intervention time and the quality of the

of the Horta Building and the office complex and meeting rooms in

response to users have been visibly improved thanks to a more active

the Ravenstein Gallery. Next to this, it also assured the supply and

presence in the field on the one hand, and the proactive management of

transport of material. The Department ensured that visitors were able

incidents on the other hand.

to attend events during the construction works in the most comfortable conditions.

In 2009, virtualisation projects for a number of servers, the expansion of data storage volume, digital archive management and better access to

A team consisting of a carpenter, a plumber, a technician, painters

the IT network will be implemented.

and electricians took care of small repairs, or were in charge of the assembly of displays for exhibitions as well as the daily maintenance of

Technical Department

the Centre’s technical installations. The painting team applied a fresh coat of paint where necessary in the building, while the electricians

In 2008, the fifty employees of the Technical Department were

maintained electrical installations and the phone system.

confronted with the most diverse questions pertaining to artistic

Since 2005, the management of all technical installations (heating,

activities or to the building’s maintenance. They were also asked to

air conditioning, hoisting equipment, and high voltage) has been

provide assistance in the frame of certain renovation works. The

subcontracted to an external, specialized company, which is available

prevention adviser, a new position in the organizational chart, also gave

24/7.

rise to new tasks as regards safety and prevention.

The Technical Department for exhibitions was in charge of building and dismantling exhibitions, with the assistance of external specialized

companies. The Technical Department also closely followed up

maximum number of people allowed was set for each of the rooms.

a number of dossiers: the installation of air conditioning in the

The most important evacuation scenarios and plans were drawn up.

exhibition rooms, the preparation of the renovation of the offices in the

Problems with fire detection and fire alarm systems, electrical systems

Ravenstein Gallery, the maintenance works in the Horta building and

and emergency lighting were mapped. Wardens and attendant staff

the acquisition of technical materials for the various rooms.

were instructed as to fire fighting and evacuation in case of a fire. The Centre’s waste policy was improved and fuel tanks removed.

Safety In 2008, the Centre for Fine Arts commissioned a ‘Building Information System’ which makes it possible to centrally control the building’s safety and alarm systems. The Centre also started looking for a new partner to manage the building’s technical installations. An intervention plan, developed in close collaboration with the governor, is being drafted. The frequency of contacts with the authorities, with the fire department, with the other institutions on the Mont Des Arts and Leefmilieu Brussel-BIM (the environment and energy services of the Brussels Capital Region) has increased. In the frame of the start of the renovation works on the southern roofs and the future restaurant project, consultations were organized with the safety coordinator and the contractor. Thanks to Beliris, the Centre was able to invest in essential new equipment and an exhaust system for the carpentry department. The whole building was mapped down to the smallest details such as the numbering of doors and locks. Other accomplishments: a new cloakroom for musicians, bigger boxes in hall M, sound amplification for BOZAR STUDIOS in collaboration with TurtleWings, improved acoustics in the Horta Hall and the installation of information screens in the foyer. In 2008, the prevention adviser was in charge of a host of tasks. The

Photo : Danielle D‘Haese

for hall M and the Horta Hall, lighting for the Horta Hall, a new space

Photo : Mikaël Falke

70 Photo : Mikaël Falke

Photo : Barbara Van der Wee

Rediscovering Horta The Centre for Fine Arts, a late masterpiece by architect, Victor Horta,

enter the digital age. They refurbished a number of specific rooms:

is in the process of undergoing a phased and thorough renovation.

‘Wunderkammer’, which revives the pre-history of cinema; ‘Remix’,

The aim is to assure the building’s architectural rehabilitation. In

a playground for young artists who are working with moving images;

2003, a master plan was launched, with the support and funding of the

interactive ‘moviolas’, which give access to archival material that has

Bernheim Foundation. The document comprises a long-term strategy

rarely been shown; and the ‘Viewing Space’, which completes the

for the systematic renovation of the Centre for Fine Arts. The various

programming.

interventions are spread out over time in order to prevent interruptions of the Centre’s artistic activities.

In 2008, the Technical Department was also in charge of overseeing a number of sites from a to z:

In 2008, a number of important sites were started or completed

• The construction of the Auditorium Paul Willems, a temporary theatre

following an in-depth study by the team of architect Barbara Van der

space in a vacant lot near Villa Hermosa. It is directly connected with

Wee. She was assisted in this endeavour by the Ney & Partners for stability, Ingenium for special techniques and Daidalos for engineering. Architect Luc Dubrulle was in charge of all technical and budgetary coordination.

the Centre for Fine Arts. • The renovation of the soloists’ dressing rooms of the Henry Le Boeuf Hall. • The renovation of the Reception Salon. • The installation of a radio studio in a store in rue Ravenstein, which

The renovation of the roofs of the southern exhibition galleries:

connects with the BOZARSHOP.

is aimed at facilitating the use of the exhibition galleries. The inside

• The renovation of the Ravenstein Banquet Hall, a space that became

roofs have been carefully restored. They were then covered with a whole

vacant after the Film Museum’s offices moved. A concrete covering

new roof, with controllable light. Like Horta set out to achieve, once

plate, which created a mezzanine for the storage of the archives, was

again, daylight floods into the exhibition galleries. The installation of

partially demolished.

venetian blinds and filters means light intensity can be adapted. The issue of climate control was also tackled. The rooms now meet the highest standards as regards the safety and preservation of works of art (ICOM standards).

• The installation of a new cloakroom for the exhibition galleries, on the Ravenstein side. • The installation of a camera system in the Henry Le Boeuf Hall, ensuring that artists, the public and the management can follow the concerts from a distance.

The works on the Film Museum, which is scheduled to reopen in

• The application of an acoustic wall covering on the second balcony,

2009 as CINEMATEK, were nearing completion in 2008. Two new

in order to limit sound interference between the Paul Willems

underground screening rooms were dug out. The ground floor space, the former ‘Room for the Applied Arts’, was thus again free to be used. The architects’ team, Robbrecht & Daem, which is in charge

Auditorium and the Henry Le Boeuf Hall to a minimum. • The complete dismantling of the technical infrastructure of the rue Royale exhibition galleries.

of the renovation, also offered CINEMATEK every opportunity to

The glass used for the roofs cover 1 hectare, the equivalent of 2 football fields

Legal structure of the Centre for Fine Arts Legal Status Originally, the Centre for Fine Arts was a private initiative, as it was

In the case of the new company of the Centre for Fine Arts, the

founded on 4 April 1992 as a non-profit organization. In 1984, the

realization of this structure was facilitated by the transfer of all the

Belgian State saved the institution from financial collapse and converted

activities of the main users of the Centre for Fine Arts, the Société

the Centre into a body governed by public law, a type B government

Philharmonique de Bruxelles and the Société des Expositions, the

company, with only one task: to manage the premises of the Centre for

contribution of the government company’s written down value and

Fine Arts, i.e., renting out rooms or halls, providing technical support to

finally the net value of the usufruct of the building.

users as well as maintenance and repair. A series of independent affiliated institutions was in charge of organizing

The new company became operational on January 1st, 2002.

activities. The government company and the affiliated companies, however, operated according to a different logic, without integrated

2008 is therefore the seventh financial year of the new Centre for Fine

management.

Arts.

At the beginning of the 1990s, the Société Philharmonique de Bruxelles, an affiliated company with offices at the Centre for Fine Arts, started

Following the change of status, the Centre for Fine Arts’s objects

rethinking the Centre’s status. It became clear that the management of

have been considerably broadened, contributing to making it a leading

the building and the activities organised in it had to be integrated, in line

cultural player in the fields of music and exhibitions, dance, theatre,

with the structure of international cultural institutions.

literature, film and architecture.

The Centre for Fine Arts was created as a company incorporated under

During this seventh financial year the company has continued to carry

public law, with a non-profit purpose

as established by the Act of 7

out the two main tasks assigned to it under its management agreement:

May 1999. A Royal Decree of 19 December 2001 set out the articles of

managing the building (more than 30,000 m²) - a unique Victor Horta

association, creating a global cultural institution, in charge of managing

building – and implementing a multidisciplinary cultural policy,

the premises and producing events.

underscoring the international impact of Brussels and Europe.

(1),

This choice was inspired by governments’ tendency to modernize their public enterprises, by providing them with a structure and articles of

Together with the Belgian National Orchestra and the Théâtre royal

association conferring more autonomy to them in order to fulfil their

de la Monnaie/Koninklijke Muntschouwburg, the Centre for Fine Arts

mission.

is one of three federal cultural institutions (2). In 2008, the Minister of

The reference document is the management agreement between the

the Interior controlled these three institutions, while the Chancery

share-holding authority and the public enterprise, which defines the public service mission to be realized and the resources granted to achieve this, and which also sets out the other objectives that have to be realized.

(1) Act of 7 May 1999, establishing the Centre for Fine Arts as a limited liability company, incorporated under public law, with a non-profit purpose and its (implementation) decrees of 19 December 2001. (2) Article 150 of the Programme Law of 8 April 2003 and article 1, 1° of the Royal Decree of 21 July 2003.

remained in charge of the administrative and budgetary follow-up.

Share capital At the time of the establishment of the limited liability company in

The governors, the chairman and the vice-chairman of the Board of Governors are appointed by the King, by Royal Decree, which is submitted for deliberation to the Council of Ministers. They are not remunerated for this office.

2002, share capital was set at ¤ 17,500,000 plus an issue premium of ¤ 109,106.34, represented by 17,500 non-par value shares held by the

The first Board of Governors of the Centre for Fine Arts was appointed

Belgian Federal State. This capital essentially represented the net value

by a Royal Decree of 19 December 2001. Half of the members for

of the usufruct of the building but did not provide the company with

six years, the other half for three years. Since then two directors have

any liquid assets.

resigned, to be replaced by two new directors by a Royal Decree of 11

In 2003, in order to ensure the company’s growth, the supervisory

July 2003.

meeting of the shareholders, held on 11 April 2003, the Société fédérale

By Royal Decree of 27 December 2004 the King extended the terms of

de Participations et d’Investissement (SFPI)(3) underwrote a capital

office of the six governors whose original term ended on 31 December

increase of ¤ 5 millions and, in exchange, received 6,481 non-par value

2004 by another six years. Henceforth all governors are appointed for a

shares.

term for six years: the mandates of half of them expired on 31 December

Today, the capital amounts to ¤ 22,500,000.00, represented by 23,981

2007 and the mandate of the other half expired on 31 December 2010.

shares.

A Royal Decree of 15 February 2008(5) provided arrangements for

The shareholder structure

those mandates that expired at the end of 2007. Thus, the mandates of Mesdames Verhaegen and Quix have been renewed, as well as those

As indicated above, the Centre for Fine Arts has two shareholders:

of Messrs Antonis, Praet and Blanpain. Three new governors were also

• the Federal State owns 17,500 shares (73%). The Federal State is

appointed, i.e., Messrs Crombez, Delcor and Drzymala.

represented by the Minister who supervises the three federal cultural institutions; From 2003 until December 2007 this was the Prime Minister, as laid down by the Royal Decree of 21 July 2003. Since 21 December 2007 the Interior Minister has supervised the Centre, as laid down by the Royal Decree of 27 December 2007(4). • t he Federal Participation and Investment Company owns 6,481 shares (27%).

The Board of Governors The Board of Governors of the Centre for Fine Arts is made up of an equal number of Dutch-speaking and French-speaking members.

(3) Name of the former “Société fédérale de Participations”, absorbed (merger by absorption) by the Société fédérale d’Investissement (Act of 26 August, Belgian Official Gazette, 30 August 2006, effective 30 August 2006). (4) Article 4 of the Royal Decree of 27 December, laying down certain ministerial competences, Belgian Official Gazette of 31 December 2007. (5) Royal Decree of 15 February 2008 on the nomination of the Board of Governors of the Centre for Fine Arts (Belgian Official Gazette, 22 February 2008, p. 11634).

Photo : Mikaël Falke

authorities decided to raise the capital. During an extraordinary general

The Board of Governors consists of the following 12 voting members:

Photo : Mikaël Falke

Chairman:

Mr. Étienne Davignon

The Director-General and the Management Committee

Vice-chairman: Mr. Michel Praet

Mr. Paul Dujardin was appointed Director-General of the Centre for

Governors:

Mr. Eric Antonis

Fine Arts by the Royal Decree of 19 December 2001 for a period of six

Mr. Jean Courtin

years, from 1 January 2002 to 31 December 2007, renewable once. His

Mr. John Crombez

mandate was renewed by Royal Decree on 30 April 2007 for a second

Mr. Jean-Pierre de Bandt

term running from 1 January 2008 to 31 December 2013. He is charged

Mr. Jean-Pierre de Launoit

with the daily management of the company, assisted by a Management

Mr. Frederic Delcor

Committee, which he chairs.

Mr. Antoine Drzymala

Mrs. Geertrui Windels

The Management Committee consists of four members, including

Mrs. Marleen Van Waeyenberge

the Director-General. The three other members were appointed by

Mrs. Isabelle Verhaegen

the Board of Governors at the beginning of 2002 for a six-year term, which started at the same time as the Director General’s mandate was

In addition, two non-voting directors have been appointed:

renewed.

Mr. Marc-Yves Blanpain and Mrs. Marie-Paule Quix.

The Secretary-General acts as its secretary. In 2008, the Executive Committee met eight times. The committee can invite advisers or

The following members of staff also attend the meetings of the Board of

heads of department to the meetings. The committee discusses the

Governors: the Director-General, the Secretary-General and the three

cultural and artistic projects and questions related to daily management.

government commissioners (see infra). Finally, there is a weekly ‘Management Team Meeting’, gathering the In 2008, the Board of Governors met on six occasions. During its

ten department heads of the Centre for Fine Arts, as well as the Director

meetings, the Board among others discussed the company’s financial

General, who is in charge of coordinating all the activities.

status (2007 accounts, 2008 budget, quarterly and half-yearly results), the cultural programming as presented by the Director General, new

The government commissioners

major investments in the building (restoration and refurbishment).

The Centre for Fine Arts is subject to the supervision of the following two ministers:

The audit committee, made up of Mrs. Windels, Messrs Blanpain, Courtin and Praet, will examine all the financial documents presented by the management.

• the federal minister who is responsible for federal cultural institutions; until December 2007 this was the Prime Minister; since 1 January 2008 the Interior Minister has been put in charge. • the Budget Minister.

The supervision is assured by three government commissioners, all

Two auditors were appointed by the General Meeting of the Belgian

appointed by the King.

Court of Audit for a four-year term from 1 March 2006 as members of the Board of Auditors.

Two government commissioners, one French-speaking and one Dutch-

— Mr. Jan Debucquoy, adviser;

speaking, were proposed by the Prime Minister and subsequently

— Mr. Franz Wascotte, adviser.

appointed (6). They are Mr. Marc Boeykens and Mr. Renaud Bellen, appointed by a Royal Decree of 31 March 2004, as the programme

The management agreement

law of 8 April 2003, which tightens control over the federal cultural

The Centre for Fine Arts’s management agreement with the Belgian

institutions, took effect.

State was signed on 18 November 2002 and ratified by a Royal Decree its publication in the Belgian Official Gazette, and is valid for a period

Minister: Mrs. Rika Denduyver was appointed by a Royal Decree of 4

of five years, and can be automatically extended until a new manage-

April 2003 (7).

ment agreement, which is currently being negotiated, takes effect.

The government commissioners are invited to all the meetings of

This management agreement governs, amongst other things, the

the Board of Governors of the Centre for Fine Arts and they have an

following matters required by law:

advisory vote (8). They are appointed as long as the government is in

• the modalities of the execution of the Centre’s public service mission,

power and their term of office is renewable . (9)

The Board of Auditors

i.e., a multidisciplinary and integrated cultural programming that contributes to the European and international image of federal Belgium, of its Communities and of the Brussels Capital Region;

A board of four auditors is responsible for controlling the financial

• the modalities related to the building: on the one hand, its management

situation, the annual accounts and the regularity of the transactions that

and maintenance, the cost of which is to be borne by the Centre for

must be reported in the annual accounts.

Fine Arts, and on the other hand, the major repair and renovation

Two auditors are appointed by the General Meeting. They are chosen from among the members of the Belgian Institute of Company Auditors and can be natural or legal persons. During the statutory General Meeting of 25 April 2006, the mandates of the following two auditors were renewed for a term of four years: • T.C.L.M.-Toelen, Cats, Morlie & Co CVBA/SCRL, legally represented by Mr. Jean-François Cats until December 2008; subsequently represented by Mr. Bernard de Grand Ry; • KPMG BCV, legally represented by Mr. William Van Aerde.

works that are funded by the State; • the modalities for collaborations with other institutions, and in (6) Article 151 of the Programme Law of 8 April 2003, effective 19 April 2004, following the application of the Royal Decree of 31 March 2004. (7) Article 14, §1 of the Act of 7 May 1999, establishing the Centre for Fine Arts as a limited liability company, incorporated under public law, with a non-profit purpose (…), as modified by article 156, 1° of the Programme Law of 8 April 2003. (8) Article 14, §3 of the Act of 7 May 1999, establishing the Centre for Fine Arts as a limited liability company, incorporated under public law, with a non-profit purpose (…), as modified by article 156, 2° of the Programme Law of 8 April 2003. (9) Article 5 of the Royal Decree of 31 March 2004, governing the status of the two government commissioners in the federal cultural institutions.

Photo : Mikaël Falke

of 2 December 2002. It took effect on 21 December 2002, the date of The third government commissioner was proposed by the Budget

particular with the regular users of the Centre for Fine Arts; • the arrangements with regard to the endowment from the Federal State; • the Centre’s obligations with regard to internal and external control. Under this agreement, the Centre for Fine Arts undertakes to develop a consistent cultural programme, to pursue an active policy of cultural democratisation and to fulfil a model function at cultural, artistic, professional and technical level. However, the agreement states that these commitments remain directly linked to the financial resources available to the Centre, and in particular to the endowments that it receives for fulfilling its mission.

The joint committee The joint committee was established by a Royal Decree of 19 December 2001. In addition to its Chairman, Mr. Étienne Davignon, it is composed of twelve effective members: six management representatives and six employee representatives (with six substitutes). In 2008, the joint committee met on six occasions. During these meetings, it discussed, amongst other things, the following points: • The evolution of the procedure relative to the new composition of the joint committee • Purchasing power and the promotion and recruitment procedures • The introduction of a meal voucher system • The regulations concerning phone use • The follow-up of the sub-committee for the Prevention and Protection at Work (CPPT) • Public holidays in 2009

Financial report This year it is once again possible to state that the accounts for the

• The services and other goods (¤ 2.2 million), which contain the

2008 financial year are balanced. After all, the losses of the financial

costs for the administrative activities, such as the rental costs and

year, which amount to ¤ 227.863,23, represent only 0.8% of the

insurances.

operating charges on the income statement (¤ 27,378,313.40).

• The remuneration, social security costs and pensions (¤ 11 million), which comprise all the costs related to the personnel.

In the operating charges three items deserve particular attention: • The consumables, raw materials and auxiliary materials (¤ 12.9 million) form the basis for the activities of the Centre for Fine Arts, namely the costs of the total artistic production (¤ 8.6 million) and communication. BALANCE SHEET (in EUR thousands) ASSETS

2008

2007

FIXED ASSETS Tangible fixed assets A. Land and buildings B. Plant, machinery and equipment C. Furniture and vehicles D. Other tangible fixed assets E. Assets under construction and advance payments Financial fixed assets

25.349 25.280 17.518 380 654 5.760 693 968 69

24.725 24.662 17.518 395 680 5.376 670 693 63

CURRENT ASSETS Amounts receivable within one year Short-term investments Cash in hand and at bank Deffered charges and accrued income

9.246 6.279 1.822 627 518

9.890 6.009 997 2.774 110

34.595

34.615

TOTAL ASSETS

LIABILITIES EQUITY Capital Share premium account Revaluation surpluses Loss carried forward Investment grants PROVISIONS AND DEFERRED TAXES Provisions for liabilities and charges CREDITORS Long-Term Liabilities Amounts payable within one year at the latest A. Liabilities B. Trade debts C. Advance payments received on orders D. Taxes, remuneration and social security E. Other amounts payable Deferred accounts TOTAL LIABILITIES

2008

2007

23.095 24.099 22.500 22.500 109 109 385 385 (5.223) (4.995) 5.324 6.100 399 399

888 888

11.101 600 8.972 500 5.275 22 2.801 373 1.530

9.628 8.131 4.342 15 2.940 833 1.498

34.595 34.615

The Centre supports an important part in the cost of the bare

In order to achieve its ambitious artistic programme, the Centre for

property, which includes the cost of the maintenance and uptake of

Fine Arts aims to achieve the greatest possible synergy and cooperation

the building. These have an important impact on the accounts.

by means of co-productions with structural (or occasional) partners, or by attracting projects which are granted external financial support.

For a global vision of the activities in 2008, it is necessary to adopt

Through these different partners, the Centre for Fine Arts strengthens

a consolidated perspective. It is important to take into account the

its global cultural project, which constitutes a significant contribution

contributions and costs generated by the activities undertaken by the

from the perspective of consolidating the accounts.

numerous partners of the Centre for Fine Arts. Such activities include the cultural project and the consensual investments in real estate.

Income statement (in EUR thousands) 2008

2007

OPERATING INCOME I. Turnover II. Other operating income

INCOME STATEMENT

26.175 6.785 19.390

25.569 6.629 18.941

OPERATING CHARGES III. Raw materials, consumables and goods for resale IV. Services and other goods V. Remuneration, social security costs and pensions VI. Depreciation and write-downs VII. Reductions in value on stocks, orders in progress and trade payables VIII. Provisions for liabilities and charges IX. Other operating charges

27.378 12.953 2.229 11.269 1.420 15 489 11

26.595 13.155 3.378 10.111 1.298 87 1.345 12

OPERATING LOSS FINANCIAL INCOME FINANCIAL CHARGES LOSS ON ORDINARY ACTIVITIES BEFORE TAXES EXTRAORDINARY INCOME EXTRAORDINARY CHARGES LOSS FOR THE YEAR BEFORE TAXES INCOME TAXES

(1.202) 881 27 (343) 318 203 (228) 0

(1.026) 859 4 (170) 168 45 (48) 0

(228)

(48)

LOSS FOR THE YEAR

Though the financial support of the different co-producers is essential

Of course, the Centre serves a core purpose for Belgian and

and improves the artistic quality of the projects presented, they also

international interests because of its multifaceted role as both an

lead to higher costs that come from attracting external productions,

investor in and host of many cultural activities. Even though these

both in terms of manpower and technical resources or infrastructure

activities form a key component of our cultural offer, they are not

that has to be made available.

figured into the accounts because they are not integrally financed by the Centre. They consist of recurring or occasional co-productions.

The investments in real estate were possible because of the help of the various intervening parties, in particular Beliris, the SFPI/FPIM, the

Among the recurring co-productions, one can cite all the activities that

Régie des Bâtiments/Regie der Gebouwen, the National Lottery and

are co-produced with some twenty privileged partners including the

also the Brussels Capital Region. Even though not all of the financial

ONB/NOB, Europalia, the Monnaie/Munt, the Festival van Vlaanderen,

help is included in the accounts, the Centre for Fine Arts is responsible

les Halles de Schaerbeek and the Rideau de Bruxelles. The Centre for

for the majority of the management and for managing the work which

Fine Arts is responsible for the design, follow-up and execution of these

can be carried out because of this substantial support.

activities, partly with its partners, but also exclusively on its own strength. This applies not only for the entire technical assistance, but also for the

The cultural project

general services (for example, the communication via the internet site or the publications in addition to security and insurance policies).

The cultural project of the Centre for Fine Arts needs to be considered as part of a global approach.

We also coproduce artistic projects with third parties in the framework of occasional partnerships. For instance, exhibitions such as The Smile

It is important to recognize the part played by the Centre in the

of Buddha, Paul Klee, or even Wallonia were realized with the support of

production of our activities as well as the part of our external partners

such partners. Korea, in particular, played an integral part in The Smile

in co-productions or our own productions.

of Buddha because it took responsibility for the important costs in the transport and insurance of the exhibited collection.

The main activities of the Centre consist of the production or coproduction of cultural events. The music and fine arts exhibitions are

As mentioned before, all the expenses of the Centre for Fine Arts

the most widely known, but the Centre wants to be multidisciplinary.

are accounted completely and truthfully in the accounts, but the

Film, theatre, dance, architecture, literature, and educational projects

total cultural budget of activities that occur in the Centre must be

all play an integral part in our cultural activities and are often joined

considered in a broader framework since the Centre also places its

together across many disciplines during the Festivals. In the financial

infrastructure at disposal.

accounts of the Centre for Fine Arts, these primary activities represent a total sum of ¤ 7.9 million.

The part of our third-party partners in both our co-productions as well as our own productions amount to a considerable sum of ¤ 15.049

million, which is to be added to the Centre for Fine Arts’ own artistic

who use the same rooms (ONB/NOB, Europalia, Rideau de Bruxelles,

production value of ¤ 7.9 million. Together, this comes to a total of

etc.). These rooms are rented out, but the technical personnel of the

¤ 23 million of artistic productions organized in the Centre for Fine

Centre for Fine Arts are responsible for the maintenance.

Arts. The realization of the investments made in the last few years required Beyond this consolidated approach, one must take into account a

the establishment of a structure in the Centre for Fine Arts, even if the

last type of activity: the productions of our numerous other diverse

financing does not go through the accounts of the Centre. Of course,

partners that take place in the rooms of the Centre for Fine Arts.

the Centre for Fine Arts calls upon its partners, such as the Régie

For example, this includes the Queen Elizabeth International Music

des Bâtiments/Regie der Gebouwen, or on external collaboration

Competition of Belgium. In this case, the availability of the rooms is

(architect,...) to help with the management of these investments.

not only limited to renting out rooms: the teams of the Centre for

However, the employees of the Centre for Fine Arts ensure that

Fine Arts (technology, planning, etc.) alone are responsible for the

the dossiers are followed up at the legal, financial, administrative

reception, incorporating the activity amongst the other activities,

and technical levels. This applies with regard to finding investment

the technical management and the successful process. Therefore,

subsidies, determining our own wishes at the design stage, mediation

these activities represent an important task for the Centre, although

during the execution to keep the budget under control up to the

the impact is not reflected in the accounts. It is difficult to provide

handover of the work and learning new skills for the use of new

a correct estimate of the financial value of these activities, but they

technologies. All the departments are involved in some way in the

should be taken into account in the evaluation of the operating costs

management of these investments.

for the Centre for Fine Arts in the consolidated accounts. Important investments have been made since the start of the first

The management and investments in real estate

mandate of Paul Dujardin as the director-general. In the immediate future, new and equally important investments will have to be made,

This section comprises many different and complex activities. To

not only to restore the building, but also for basic considerations

start with the 33,000m of the Centre itself which are more than just

of safety (electricity). They will require the same great effort with

a number of rooms. It also involves the maintenance of the façade

the only advantage being that there is already some experience and

and the splendid and spacious common areas which constitute its

that a suitable structure is available. Nevertheless, these important

glory (hall, stairway, etc.), but which must also be maintained. This is

investments require increasingly complicated legal and financial

exclusively carried out by the personnel of the Centre for Fine Arts,

constructions, amongst other things, with appeals to the private

although these areas are available for everyone, co-producers and third

sector. To this end, it should be added that the evolution of technology,

parties. There are also the administrative offices, a total of 4000m2,

necessary to conform to the European standards which apply to the

with a security system, conference rooms, and various facilities for the

Centre for Fine Arts, require higher and higher qualifications on the

personnel, visitors, the Centre for Fine Arts itself, and also our partners

part of the personnel.

52.3

The consolidated activities of the Centre for Fine Arts amounted to a total of 52.3 million euros.

In order to give some idea of its importance, since 2000, the

also benefit everyone—the Centre for Fine Arts, the co-producers, the

government and the private sector have invested a total of ¤

partners, and, on the whole, all the visitors to these activities.

44,546,000 into the Centre for Fine Arts, which also implies the use of complex financial constructions involving the Régie des Bâtiments/

It can also be said that the consolidated activities of the Centre for

Regie der Gebouwen, Beliris, the SFPI/FPIM, the National Lottery,

Fine Arts (including the contribution of external partners) in 2008

the Brussels Capital Region and the Bernheim Foundation.

amounted to a total of ¤ 52.3 million. This sum corresponds to the total of the operating charges of ¤ 27.3 million (as reflected in the

As indicated earlier, the sum of the investments which were directly

2008 accounts of the Centre for Fine Arts), together with the value of

managed by third parties such as the Régie des Bâtiments/Regie der

the cultural activities which are not produced directly by the Centre

Gebouwen, without the direct financial contribution of the Centre

for Fine Arts, namely ¤ 15 million, and the investments in real estate

for Fine Arts, can be estimated at ¤ 10 million for the year 2008

amounting to ¤ 10 million.

(completion of the northern circuit, BOZARSHOP, Film Archive, etc).

Notes on the assets

• The tangible fixed assets have increased as a result of finalization of

A consolidated budget of ¤ 52.3 million It is clear that in addition to organizing cultural activities and managing the building, the traditional tasks of the Centre entail many

the renovation work on the northern roofs, financed by the Beliris cooperation agreement (Endorsement 9). The fixed assets reflect the cost of the renovations of the organ in addition to the operating charges and studies resulting from building the restaurant.

complex aspects.

• The increase in the financial fixed assets is mainly due to the payment

The cultural activities of the Centre include its own productions, co-

• The amounts receivable within at most one year are stable compared

productions, productions of third parties in the rooms of the Centre

to the previous financial year. Our accounts receivable are decreased

for Fine Arts and artistic projects realized with third parties granted

as the result of our policy to better recover these. Our other accounts

with external financing. The organization which exists in the Centre

receivable consist of subsidies to be cashed, which are increasing in

for Fine Arts must support all these activities, of which a part is not

spite of the delays in recovering certain subsidies awarded to the

of our balance in BOZARSHOP.

reflected in the accounts and the budget of the company.

Centre for Fine Arts. • The short-term financial investments have improved and allow us

The same applies for the management and investments in real estate. Some subsidies for investments are provided by third parties

to meet our obligations, which marks an improvement compared to fiscal year 2007.

(particularly the Régie des Bâtiments/Regie der Gebouwen in 2008),

• The deferred charges of the assets are increasing as a consequence

but, as indicated above, the Centre for Fine Arts makes an essential

of the adjustment of the VAT and obligations which derive from it.

contribution to the achievement of these investments. These efforts

Notes on the liabilities

in the course of fiscal year 2008 to allow the institution to partially

• The loss carried forward result primarily from fiscal years 2002 and

compensate for the effects of external factors (along with human

2003, following the fusion, when a business plan was not yet created

resources).

and the Centre for Fine Arts suffered from structural under-financing.

• The purchases have diminished by ¤ 200,000, which reflects the

• The provisions for liabilities and charges of ¤ 399,000 are divided

willingness of the Centre for Fine Arts to turn towards a policy of

as follows:

reducing expenses. However, it is necessary to take into account the

- Major repairs and maintenance: the provision of only ¤ 257,000 for

fact that the purchases are linked to the functioning of the Centre for

the work on the organ. In 2006, the Centre already made use of the

Fine Arts (the energy, functioning, security...) which increased as the

provision of ¤ 1.2 million for the costs of the work on the northern roof

artistic purchases fell to achieve an overall balance. This profit from

- Other liabilities and charges: the provisions for restructuring and

artistic activities needs to occur without sacrificing the quality of the

litigations were taken back. The provision for litigations had taken

project in order to face up to the structural expenses of the Centre

into account the liaiblity of VAT, which is nonexistent today.

for Fine Arts.

• The trade debts are increasing in tandem with the policy of co-

• The services and other goods have declined, taking into account

productions. These result from a willingness to maintain a permanent

the fact that fiscal year 2007 included the payment of the balance,

level of funds to allow the institution to meet its obligations, in

coming from the National Lottery, to the Régie des Bâtiments/Regie

particular, by increasing the supplier’s credit.

der Gebouwen to cover a part of the work on the northern roofs.

• The debts with regard to taxes, salaries and social security charges

• Taking into account the use of the ¤ 224,000 provision for

are going down thanks to the support of the social secretariat for the

restructuring work, triple indexation that occurred in fiscal year

Centre for Fine Arts.

2008, and the conferment of meal vouchers and end-of-the-year

• The other amounts payable within one year at the latest contain the debts of the box office, vis-à-vis third parties, and are decreasing. • The deferred accounts of the liabilities contain ¤ 242,000 of attributable costs and ¤ 1,287,000 of income carried forward.

bonuses, the payments stayed under control. • The increase in the depreciations is partially compensated by other financial products which take up the Beliris’s capital subsidy. • The provisions for liabilities and charges mainly comprise of the use of the provision for VAT and the provision for restructuring costs.

Notes on the income statement

• The sales and operating charges represent the operational product

• The financial income has increased as a result of better management of the treasury.

of the Centre for Fine Arts and have risen by 2.3% or ¤ 606,000.

• The other extraordinary incomes consist of insurance pay, collected

The box office sales have increased as a result of high attendance at

from the flood damages to the organ. They cover a large part of the

exhibitions. BOZAR FUNDING has enjoyed better results than the

extraordinary charges that were incurred from repairing the organ.

previous fiscal year, in spite of the difficult economic environment. • The other operating income is increasing. This increase is mainly due to an enlargement of the federal endowment, which was added

Some figures 1 hectare of glass used for the roofs • 5 million euros of turnover for BOZAR FUNDING • 14 % of BOZAR FUNDING’s total earnings derived from income • 18 BOZAR CORPORATE PATRONS • 25 % increase in the advertising income of BOZARMAGAZINE • 38 press conferences • 43 % of visitors under the age of 26 for the summer exhibition It’s not only Rock ’n’ Roll, Baby! • 46 % of women comprise the BOZAR Management Team • 52.3 million euros of the consolidated budget • 61 BOZAR YOUNG PATRONS • 80 events for the 80th anniversary of BOZAR • 250 BOZAR PATRONS • 250 children for the summer games • 318 press dossiers • 333 job interviews • 348 total of employees • 1,150 adults and children who participated in BOZARSUNDAYS • 2,500 average number of visitors, per working day, to bozar.be • 3,021 candidates applied spontaneously • 3,128 press articles • 3,770 seats at full occupancy • 4,500 registrations for the pre-selection of the Canvascollectie • 4,660 total public activities organized at the Centre for Fine Arts • 5,309 hours of training • 5,431 artists hosted by the Centre for Fine Arts • 6,870 potential visitors each night • 8,957 concerts and events that took place in the Centre • 8,987 posters • 13,588 subscriptions to the newsletter • 23,219 programmes • 35,386 subscriptions to classical music • 44,641 entries for Sony World Photography Awards 2008 • 72,000 yearly brochures • 349,924 visitors to the Centre’s exhibitions • 558,912 total visitors to bozar.be • 700,000 individual tickets • 810,000 BOZARMAGAZINES • 971,000 brochures • 983,873 total visitors