annual report 2009 by BOZAR

ANNUAL REPORT 2009

ANNUAL REPORT 2009 CENTRE FOR FINE ARTS, BRUSSELS

EXPO. Calle Sophie ÂŠKleinefenn

STAYING THE COURSE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 A more assertive international role . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 INTERNATIONAL MISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 NEW AUDIENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 An open house . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 ARTISTIC DEPARTMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 January-February-March . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 April, May, June . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 JULY, AUGUST, SEPTEMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 October, November, December . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Cultural partners in Belgium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Cultural partners abroad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 BOZAR FUNDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 THE CENTRE FOR FINE ARTS IN THE PRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 BOZAR COMMUNICATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 BOZARTICKETS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 BOZAR PLANNING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 BOZARSHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 HUMAN RESOURCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 ORGANOGRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 ICT – Technical Department – Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Rediscovering Horta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 ARCHIVES of the Centre for FIne Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Legal structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Financial report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

STAYING THE COURSE Despite the stormy weather of the past year, I never for a moment doubted that the Centre for Fine Arts would stay the course. That it did so confirms the maturity it has acquired over the years and which is enabling it to withstand the headwinds. There is of course the economic context: the Centre for Fine Arts does not live on subsidies alone. Early last summer, the Centre nearly suffered the sudden closure of an entire exhibition circuit, following the discovery of woodworm. This mishap could have seriously jeopardized the organization of our summer exhibitions and have tarnished our international reputation. Instead it became an opportunity to demonstrate, once again, our steely dynamism and the unwavering solidarity of our teams. Through the efforts of everyone involved and with the support of the Prime Minister’s office, this setback delayed the opening of the summer exhibitions by no more than a fortnight. In mid-2009, the three federal cultural institutions – La Monnaie/De Munt, the National Orchestra of Belgium and the Centre for Fine Arts – returned under the tutelage of the Prime Minister, assisted by the Secretary of State for the Budget. In this supporting environment it was possible to resume a calm institutional dialogue and to conclude a second management contract for our still young company, founded in 2002. We can also state unhesitantly that all the targets in the first contract have been met. The Centre for Fine Arts as an international, multicultural centre, accessible to all, is now an established fact. The second management contract, which covers the period 2009-2013, seeks to consolidate these gains. It picks up the main directions of our current management, allowing us to continue on the same path, determined to do even better. These are not empty words: you will read in the following pages the exceptional abundance of activities that took place in 2009. From classical to contemporary, in all creative fields. The renewal of the building itself is also a reality: our large concert hall and two exhibition circuits are now fully restored to international standards. This is an essential aspect of our success. The popularity of our autumn exhibitions, reinforced by our excellent visitor reception conditions, is clear proof of this. Moreover, the reception of our visitors – from all walks of life - is the priority of the coming years. This includes the security both works and visitors, facilities for visitors with reduced mobility, and a mission to be open to the socially disadvantaged. We would point here to the many high quality exhibitions which can be accessed free of charge, and which are organized throughout the season. Let us also welcome the increasing numbers of visitors to our BOZARSHOP, proving both the relevance of the original conception and the drawing power of the Centre for Fine Arts. There remains one project which is close to my own heart: a restaurant worthy of the name that will complete the reception capacities of our great institution. I am working on it.

formulas, it is also a natural team-mate for an ever growing number of partners and other promoters of the arts. Some of these are particularly privileged, like CINEMATEK, the Royal belgian Film Archive, which returned in 2009 to brand new facilities. This construction was made possible by the intervention of the Centre for Fine Arts. This has proved an immediate and continuing hit with audiences. In this way a new public, shared by CINEMATEK and BOZAR, is being formed. Another striking example of partnership was the Cobra exhibition, the first stone of a new long-term collaboration between the Centre and the Royal Museums of Fine Arts of Belgium, two cultural driving forces of the Mont des Arts district. The arrival of a new neighbour will also enhance the future of the Centre for Fine Arts. This is SQUARE, the former Congress Palace, which has been redesigned and rebuilt from A to Z. It is now managed by GL events, one of the most dynamic international groups in the events organization world. Capturing the thousands of international congress delegates who will be crowding there is an opportunity to be seized for developing and consolidating interest in our concerts and exhibitions. This winning collaboration between a private partner and public partner is already evidenced by an underground connection between the two buildings and by joint communication. I will finish by stressing that this large organization requires sufficient funding. And for that we can count on the support of our authorities. La Monnaie /De Munt, the Belgian National Orchestra and the Centre for Fine Arts have, as such, jointly presented a common argument to sensitize authorities to the strategic need for a high quality cultural mission in Brussels - a fortiori in an economic and political context that is calling for a new impetus. Our voice has been heard. For this let us gratefully thank our public authorities, as well as our sponsors and patrons who have remained faithful to us.

étienne Davignon Chairman of the Board of Directors Minister of State

The Centre for Fine Arts itself puts on many of its own events. With its many rooms and its à la carte

3. 1. EXPO. Repromotion © Jan De Cock | 2. Étienne Davignon. Chairman of the Board of Directors | 3. Ningbo Historic Museum (EXPO. Architecture as a resistance. europalia.china) © Iwan Baan | 4. Affiche of EXPO. The State of Things. Brussels/Beijing (europalia.china) | 5. The Centre for Fine Arts | 6. Korean choreographer Ahn Eun-me mixed tradition and modernity in her performance Princess Bari | 7. Opening of the CINEMATEK © Jiri Szeppan | 8. Nocturne Eni-Distrigas | 9. Queen Paola en Paul Dujardin visiting the exhibition From Van Dyck to Bellotto © Didier Vandenbosch

A more assertive international role 2009 was one of the most difficult years in the recent history of the Centre for Fine Arts. The economic crisis that bore down with hurricane force on all sectors of society demanded a forceful response. With spending cuts amounting to ¤ 1.8 million in the various departments, the Centre made it through this difficult time unscathed. The decrease in resources forced us to be creative. The artistic offering remained as broad and its quality as high as ever. The public, in turn, was not really aware of these major efforts. Despite these constraints, 2009 was, both operationally and artistically, a year of development for our institution. The number of cultural players keen to be centres of excellence, each in their own field, has risen steadily in recent years. Flanders in particular has invested in solid structures like concert halls or museums. What then is BOZAR’s role in this well-equipped Belgian cultural landscape? Brussels, as capital of Europe, is pointing increasingly to our mission and position as a European cultural platform, in constant dialogue with other cultures. It is precisely within this widening European context that the cultural heritage and artistic dynamics of our communities, regions and municipalities find both their position and legitimacy. The search for a more assertive profile has involved much building and transformation work (both literally as figuratively) over recent years. This work is now as good as completed. A transparent and reliable management model, investment in a sustained restoration of the building, a strong management team composed of specialists, an undisputed commitment to meeting the stringent international standards which museums operate under, these are the foundations on which BOZAR is continuing to develop.

Thus, 2009 was the year in which the Centre for Fine Arts anchored itself as a cultural platform with a both Belgian and European dynamic. It has became the symbolic location par excellence where our communities are called to dialogue. In its 2009-2013 policy statement, the Flemish government has confirmed its intention of collaborating with the Centre for Fine Arts. Our house is also asserting itself as a place of meeting and cooperation at the European level. While the European Union is offering to our attention topics such as multiculturalism, education and the cultural industry, BOZAR positions itself as a home of cultural diplomacy. Within the European Concert Hall Organisation (ECHO) network, the Centre for Fine Arts is helping mark out the path forward. As new European countries affiliate to this network, the centre of gravity is shifting away from large co-productions to much needed training programs and solidarity initiatives.

May 2010 Luc Tuymans and Ai Weiwei’s The State of Things will be on display, or again Le Magasin in Grenoble where Jan De Cock is presenting Repromotion. As part of our ‘international mission’, we are establishing, in effect, a large number of collaborations (see below). The unwavering support of the public authorities at both the federal and the communities needs to be highlighted. This support remains the essential cornerstone upon which the financial stability of the institution rests. We wish to thank first of all the Federal Government. The intervention of the Federal Holding and Investment Company, the funding arranged through Beliris, and the cooperation agreement between the federal and regional authorities have made it possible to undertake the necessary infrastructure and renovation works at the Centre. We wish to express our gratitude to all of them. We express our gratitude also to the members of the Flemish Government, of the Walloon Region, of the Brussels-Capital Region and of the Government of the French Community, whom we have been able to convince of the value of our project and who have supported us over the past season. Attractive synergies have been achieved with our immediate neighbours, the SQUARE convention centre and the CINEMATEK which, like the Royal Museums of Fine Arts of Belgium and the brand new Magritte Museum, are our visible partners on the Mont des Arts/Kunstberg.

We can not stress enough the importance of sponsorship and private patronage, and the generous support of our BOZAR PATRONS, for the Centre for Fine Arts project. Without their contribution and their loyalty, many of our achievements would not have been possible. In turn, our many cultural partners, both at home and abroad, contribute to the intense activity which, in turn, strengthens the impact of our cultural events. They deserve our thanks. This upward élan would never have existed, however, without the great dedication of all employees of the house. The year 2009 passed without major disturbance or disaster. Instead, it was a time of breakthrough, in which the Centre for Fine Arts met the crisis by looking the future straight in the eye in a context that is at once Belgian and European. Paul Dujardin Director-General CEO & Artistic Director

It is therefore not surprising that our outreach is becoming more and more international. The number of potential partners has grown significantly. In 2009, BOZAR had direct contacts with cities in the Middle East, the Far East and the Arab world for large scale projects focusing on culture and heritage. Also new is the way BOZAR has revealed itself as a creative producer of exhibitions, strong in its belief in the need to offer Belgian artists an international base. We have established collaborations with renowned institutions, including the Whitechapel Art Gallery in London which in 2010 is hosting the Robbrecht & Daem exhibition, the National Art Museum in Beijing, where in

International mission In 2009 the Centre for Fine Arts placed itself even more firmly on the map as a house with an international vocation par excellence. This is reflected not only in the various bilateral and multilateral cooperative ventures with various partners, but also in the way it profiles itself. BOZAR presents itself as an instrument and lever of cultural diplomacy, a space for reflecting on the role of culture in a European and international context, and as an initiator and driving force for greater cross-border as well as community and regional cultural cooperation.

Examples: - T he Centre for Fine Arts’ work in the field of architecture is becoming increasingly known outside Belgium. For example the London Whitechapel Art Gallery has decided to take over the exhibition Robbrecht & Daem. Pacing through Architecture exhibition. - In 2009 the Centre for Fine Arts collaborated with partners in Italy (From Van Dyck to Bellotto) and China (europalia.china) and worked intensively on upcoming comprehensive large-scale projects with and / or concerning Mexico, Spain, Africa and Asia. - More and more countries are realizing the Centre’s potential as a multi- and inter-disciplinary house of the arts at the heart of Europe. Our infrastructure and geographical location in Brussels – a hyperactive political and diplomatic hub, meeting city and negotiating centre – makes it for these countries an excellent place for showing themselves to the world. - For European Union countries the Presidency of the Council of the Union (and the system of the trio presidencies) offers an attractive starting point. During 2009 the Centre continued to work on cultural programmes to accompany the Presidencies of Spain (2010), Belgium (2010), Hungary (2011), Poland (2011), Denmark (2012), Cyprus (2012) and Lithuania (2013). - Besides the 27 Member States of the Union, the Centre for Fine Arts also offers a forum for candidate countries like Turkey and Iceland, as well as other countries for which Brussels is the ideal place to present themselves to the world. In 2009 the Centre put the final touches to the ¡Viva Mexico! Festival that in 2010 will bring a wide range of Mexican art production to the Centre to commemorate the 200th anniversary of the country’s independence and the 100th anniversary of the beginning of the Mexican Revolution. - Besides this the Centre for Fine Arts is working consciously to expand the cultural offering in Brussels to countries or regions, like Central and Latin America and Central Asia, which until now have been little represented.

- I nternational networks are increasingly important for the functioning of cultural institutions. The Centre for Fine Arts continues in this way to play a leading role in ECHO (European Concert Hall Organisation). In particular it is promoting the active involvement of the new EU member states in this concert organizers’ network. -T he Centre for Fine Arts also seeks to insert itself into the calendar of international historic commemorations and political opportunities. The goal is always to strike out on previously untrodden paths in terms of content and organization. Thus were laid the foundations for a series of activities to highlight the contemporary and historical heritage of 17 African states that are commemorating 50 years of independence, including a reflection on urban development in the same region and a focus on the African diaspora. -T he Centre for Fine Arts is being increasingly solicited for its expertise in cultural diplomacy, its collaborations with very diverse international partners and its cultural governance that it makes available across borders to fellow institutions at home and abroad and to political players. In 2009 the Centre defined more explicitly its mission to share this experience. The Centre is committed to a more prominent role for culture in European decision-making bodies. -T he Centre for Fine Arts also invested increasingly this year in its own production unit that enables us to better respond to the many requests abroad to show our productions beyond our borders. Thus the groundwork was laid for an Ensor exhibition in Mexico and we signed up to partner a Luc Tuymans retrospective that will be visiting four U.S. cities in 2009 and 2010 before being shown in Brussels. Thanks to the efforts of the Centre for Fine Arts, Cranach will also be travelling to Budapest. - Belgian diplomacy, the Federal Foreign Ministry and the international policy departments of our regions and communities are using the international turntable that the Centre for Fine Arts is increasingly becoming as a place that can par excellence carry and disseminate the image of federal Belgium and its federated entities more to the world beyond the country’s borders.

An anthology of the BOZAR movies and quotes that were posted on You Tube and Facebook

New audiences

An open house

The Centre for Fine Arts perfected this year its strategy for attracting new target groups. This strategy it undertakes from a position of strength, with a high quality, broad-based artistic project, but also an eye-catching infrastructure that is nearing completion.

The Centre for Fine Arts was built as a multi-disciplinary home of the arts, a total work of art in which a wide variety of disciplines meet and mutually enrich each other. The Centre for Fine Arts team fulfils this programme, in contemporary mode, along two main lines: transversality and multidisciplinarity.

With the Brussels Electronic Music Festival (BEMF) the Centre took an important step towards expanding its festival offerings. The long way that BOZAR has already come here was proved by the success of Balkan Trafik!, with 7,000 visitors during a single weekend. Or look at the figures for europalia.china, where the exhibitions alone drew 185,000 visitors to the Centre for Fine Arts. New and promising partnerships are emerging. Like with SQUARE, the new Convention Centre, located close to the Centre for Fine Arts and connected to the complex via an underground passageway. With the Henry Le Boeuf Hall, the SQUARE immediately increases its capacity by 2,200 seats. Communications and public relations have also explored new territory, with the china@bozar multimedia platform and the audio studio for BOZAR BROADCAST. All this significantly broadens its range of action. Never before have diverse cultural target groups been so intensively addressed through their favourite channels like Facebook or YouTube. The new media give BOZAR an enormous opportunity to be present everywhere in virtual format and to address new and dynamic target groups. MUSIC BOZAR completed an intensive exercise of rethinking the presentation of the classical season. This is now considerably more streamlined. The approach should produce in 2010 a new dynamism and expand the general audience project that has received the title La Musica.

Transversality occurs when programmes are bound together by a single theme. The Centre for Fine Arts seeks cross-pollination between art forms or else the common denominator in the cultures of different regions and countries. Examples are the focus on the young Italian dance scene or the Korea Festival. europalia.china was of course the opportunity par excellence. This interaction is also reflected in shorter-term projects, like a concert given to illustrate an exhibition. Multidisciplinarity comes into being where two or more disciplines join hands in a unique event. Examples are Paul Auster presenting his first film with a literary encounter, jazz musician Kris Defoort accompanying the film Lâ&#x20AC;&#x2122;Hirondelle et la mĂŠsange or our focus on the rich film oeuvre of theatre producer Pippo Delbono. In this category belong also the ambitious programmes of the Brussels Electronic Music Festival (BEMF), Balkan Trafik! or the Moussem festival. An open house requires a creative vision. A wide potential audience needs also to be addressed for the many parallel artistic lines. Nor should one underestimate the logistical preparation involved. Take Museum Night Fever (06.03), an event which took place at eight different locations in the Centre. This required careful and rigorous planning. All reception, maintenance, technical and artistic teams were kept very busy, during, before and after the event. Because after the passage of 6,000 celebrating young people, the building must be back in perfect shape for the first visitors the next morning.

ARTISTIC DEPARTMENTS BOZAR EXPO

BOZAR LITERATURE

BOZAR EXPO has a diverse programme of five to six exhibitions each season (spring, summer and autumn), closely aligned with current events and reflecting intensive collaborations with various partners. As a federal institution the Centre for Fine Arts welcomes artists from the various national communities, but each season also looks far beyond the country’s borders. Contemporary art, ancient art, thematic and monographic exhibitions, artistic interventions, architecture and photography were all well represented in 2009, continuing the previous years’ trend of reaching out to a particularly varied audience. The summer exhibitions targeting a younger audience are today a permanent feature.

This department develops programmes that critically examine the themes of the various BOZAR festivals. As Carlos Fuentes stated in announcing the 2010 Festival of ¡México!: writers are by definition free thinkers with sharp perceptions and opinions. Mo Yan and Gao Xingjian were guests of the Centre as part of europalia.china. The Literatuur op de Middag and Jeudis Lire series gave the stage to authors from Flanders, Brussels and Wallonia.

BOZAR MUSIC The Centre for Fine Arts has a long tradition of concerts. With an average of 250 performances per season, its programme is viewed as one of the most prestigious and renowned in Europe, meeting world level quality standards. Essential names are billed alongside up-and-coming talent. Concerts are held in the Centre’s Henry Le Boeuf Hall and also, under the auspices of BOZAR MUSIC, at various other concert venues in Brussels like the Music Conservatory, Flagey and the église des Minimes. Next to classical music the Centre is increasingly programming other genres. The efforts made in this direction in 2009 are opening the way to a new audience.

BOZAR CINEMA This department, established in 2004, brings film and video into the Centre for Fine Arts, working with the other departments and with the Royal Belgian Film Archive/CINEMATEK. Programming is aimed at the general public, at film lovers and at fans of multimedia experiments. In so doing the Centre for Fine Arts has captured a unique new position on the Brussels film scene. The number of visitors rose from 12,352 in 2008 to 13,194 in 2009. The offering includes previews of interesting documentaries, family events and cross-disciplinary projects in which film is accompanied by music, theatre, architecture or contemporary art.

BOZAR THEATRE and BOZAR DANCE Both departments operate within the artistic framework of the house, linking in with the exhibition and festival themes. Both departments bring a varied offering in which multidisciplinarity (artists like Ariane Loze and Erik Joris who weave in and out of various disciplines) and multiculturalism (Sahika Tekand, Wu Wenguang) are fixed values. Focal points are continuity and long-term collaborations with various partners like Moussem, Europalia, Charleroi/Danses and Kunstenfestivaldesarts. Theater op de Middag, with its long tradition, remained in 2009 a fixed feature of the Centre’s programming.

BOZAR ARCHITECTURE This is a collaboration between the Centre for Fine Arts, the Belgian Order of Architects and A+ Belgian Architectural Review. Since the 2006-2007 season, the broad architectural debate has taken a permanent place in the activities of the Centre for Fine Arts, with exhibitions, lectures and debates. The program builds on A+’s more than thirty years’ tradition as a leading Belgian magazine for architecture and on a lively history of architecture debates and exhibitions at the Centre for Fine Arts.

BOZAR STUDIOS The art education department of the Centre for Fine Arts offers something for every visitor. Through it the artistic programmes are deepened and made accessible to a wide and diverse audience. BOZAR STUDIOS organizes special programmes and events that show the Centre for Fine Arts to be open to everyone. Special attention is paid to groups for which contact with art is more difficult and/or who find it harder to understand: children, young people, families, seniors, persons with disabilities and minority groups.

The Smile of Buddha • Robbrecht & Daem • From Van Dyck to Bellotto • Maurizio Cattelan • Alessandro Baricco • Cesare Pavese • Russian National Orchestra • Les Musiciens du Louvre • Concertgebouworkest Amsterdam • Lorenzo Ghielmi • Nikolai Lugansky • Murray Perahia • Andras Schiff • Nelson Freire • Quatuor Ébène • The Belgian National Orchestra • Carlos Fuentes • Tsilla Chelton • Agnès Varda • Sophie Calle • Bernar Venet • Jacques Charlier • Orchestre Royal de Chambre de Wallonie • Augustin Dumay • Kris Defoort • Esa-Pekka Salonen • Rotterdams Philharmonisch Orkest • Jordi Savall • Grigory Sokolov • Radu Lupu • Arcadi Volodos • Frank Peter Zimmermann • Piotr Anderszewski • deFilharmonie • Orchestre Philharmonique de Liège • Boris Berezovsky. • Ricercar Consort • Collegium Vocale Gent • Ry Cooder • Nick Lowe • Steve Paxton • Jean-Philippe Toussaint • Pierre Mertens • Jan De Cock • Crepax • Cuvelier • Forest • Peellaert • Luc Tuymans • Ai Weiwei • Guangzhou Symphony Orchestra • Yo-Yo Ma • Gilberto Gil • Cecilia Bartoli • Valery Gergiev • Gao Xingjian • Julia Fischer • Mariss Jansons • Audrey Tautou • Marie Gillain … 12

Highlights BOZAR EXPO Sophie Calle’s phantasms 2009 was a strong exhibition year. The Centre for Fine Arts profiled itself as an artistic gathering place for the countries holding the reins of Europe, and for top meetings between special artists and their audiences. In the first category was Maurizio Cattelan’s olive tree in the Horta Hall. In the second, Calle Sophie, an exhibition of an artiste extraordinaire. Her autobiographically-tinted stories set viewers’ fantasy into motion, taking them straight to the big questions of art. In a more complex and hermetic register, Jan de Cock led the public through a maze of unfinished modules to everything outside the box.

Millet were the big-name guests on the literary podium as part of the Passa Porta Festival. The theatre season was marked by the shocking self-portrait from Pippo Delbono, a house artist for years, and the latest Fabre production at the Kaaitheater. Young Brussels artist Ariane Loze, filmed as Audrey Hepburn in the corridors of the Centre for Fine Arts, also gave a performance. But the strongest images came from choreographer Steve Paxton and his endlessly pliable backs in front of the camera.

BOZAR FESTIVALS Europalia invites China, BOZAR invites itself to China

BOZAR MUSIC The sound of BEMF One can safely say that the Centre for Fine Arts, having clocked up more than 140 seasons, rhymes with classic. Testifying to this were the fleet of pianists - Perahia, Staier, Schiff and Freire in February alone –, also Beethoven’s Ninth in the version of the Berlin Philharmonic and Simon Rattle, the arrival of young conductor Gustavo Dudamel, the unforgettable Salonen – Gergiev duel at the Klara Festival, and Grétry’s Andromaque to celebrate the eightieth anniversary of the Henry Le Boeuf Hall. There were also special intruders, among them Paolo Fresu, the Italian Miles Davis, Kris Defoort with his improvisations, Baudelaire set to music by Benoît Mernier, guitarists Ry Cooder and Nick Lowe, and Yo-Yo Ma and his Silk Road Project. The most attractive debut was the Brussels Electronic Music Festival (BEMF), competing with Sonar in Barcelona. Electronic music, in the footsteps of pioneers like Pierre Henry and Pierre Schaeffer, appears solidly rooted in Brussels. During the BEMF, it shook off its club image with concerts that turned into both acoustic and visual experiences. Hats off to Darko, first DJ in residence at BOZAR.

Festivals are steadily emerging as the true celebrities of the season, masterfully composed. In most cases they centre around a major exhibition, running off from there in every conceivable direction. The starting point is in many cases a theme supplied by a country entitled to claim the European Presidency. In this way we had the ‘Italian Spring’, with the major exhibition From Van Dyck to Bellotto, but also Maurizio Cattelan, slow-food guru Carlo Petrini, the Sagna dancing sisters, Pipo Delbono, Alessandro Barrico and Paolo Fresu. There was also a special focusing on Turkey, the concluding part of Made in Korea, the electronic music festival, Ars Musica that celebrated its twentieth birthday, Balkan Trafik!, the Short FilmsFestival, the Klara Festival with much Asian flair, or the Silk Road. The highlight was europalia.china, that drew 110,000 visitors for Son of Heaven and the famous jade shroud. The strategic exhibition The State of Things put contemporary art from China and Belgium side by side... and went on to set up its tent in Beijing in summer 2010. Putting the Centre of Fine Arts really right in the centre of the world. Full details on our artistic programming can be found on our website www.bozar.be. Further programme information prior to March 2005 is available on archives@bozar.be.

BOZAR THEATRE, DANCE, LITERATURE and CINEMA Cinema, the third pillar Along with exhibitions and concerts, cinema is a cornerstone of the Centre for Fine Arts. That is now clear. Starting with the previews with the necessary glamour like Coco avant Chanel or Soeur Sourire. Documentaries followed in quick succession, with striking successes for Strip-Tease in January, Katanga Business or the new colonialism as seen through the eyes of Thierry Michel, or again Patrick Jean’s inveterate Domination masculine. Cross-disciplinary projects too, like L’Hirondelle et la mésange to music by Kris Defoort or the PostFlux forum. Carlos Fuentes, Alessandro Barrico and Catherine

January-February-March

Korea: exhibition closing

Het archief van de Verbeelding, FotoMuseum Provincie Antwerpen, Mercatorfonds, Antwerpen, 2002. Support/sponsorship: Brussels-Capital Region, National Lottery, Léon Eeckman Fine Arts Insurance n.v.|s.a. Venue: Foyers adjoining the Henry Le Boeuf Hall. Admission: free. Visitors: Approx. 7,500.

STUDIOS

Image/construction

The Buddha’s Smile exhibition concluded in a manner worthy of the Made in Korea festival with a finissage (Club Korea - 16.01) consisting of a visit to the exhibitions and an after-party with Red Bull, interspersed with Korean percussion, taekwondo, meditation, Noraebang (karaoke) and a photo studio.

16.01 > 31.03.2009 Can the construction of images bring into being a discussion about city and countryside? That question was examined in the 3 Cities project via three monumental photomontages from the Bureau Baukunst - Adrien Verschuere. 3 cities produced an ex absurdo report of the critical state of affairs of the cities of Liège, Bruges and Brussels.

LITERATURE During Korea Today (13.01) we invited two generations of Korean writers. After an evening spent around post-war Korea the younger generation produced an image of contemporary Korea, with cult author Kim Young-ha, Jung Young-Moon and poetess Yi Won articulating each in their own way the clash between traditional, patriarchal society and ultra-capitalism.

Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Foyer 4, Horta Hall. Admission: free.

THEATRE

EXPO. Robbrecht & Daem. Pacing through Architecture

Korea concluded its festival with a Korean version of A Midsummer Night’s Dream by the Yoghanza Theatre. Colourful Korean choreographer Ahn Eun-me too mixed tradition and modernity in her Princess Bari performance. On 03.06 BOZAR DANCE closed the season with a creation combining Belgian and Korean ingredients. Sidi Larbi Cherkaoui, Michèle Anne De Mey, Thomas Hauert and Arco Renz had each created a solo for a young Korean performer – Namjin Kim, Kyung Hee Woo, Eun-Kyung Lee, and Hyun-Jung Wang – around the ideas of encounter, openness and exchange. The world premiere took place in May 2009 in Seoul to mark the Belgian economic mission led by Prince Philippe of Belgium.

12.02 > 16.04.2009 Robbrecht & Daem. Pacing through Architecture was the first exhibition in a new series presenting Belgian architects at the Centre for Fine Arts. In five short films cineast Maarten Vanden Abeele brought to life key projects by Paul Robbrecht and Hilde Daem, in dialogue with the exhibited sketches, plans and photographs. A confrontation between the slowness of the creative process and the varying rhythms of the buildings in use. Curators: Stefan Devoldere and Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Terarken Hall 2 and 3. Admission: € 5.00. Visitors: 7,106.

EXPO. The Archive of Imagination

Architecture lectures

Reality as a ruin. A selection from the collection of the FotoMuseum, Provincie Antwerpen 23.01 > 08.03.2009 The latest in the Archive of Imagination series, a series of exhibitions, put on in cooperation with the Antwerp FotoMuseum, is based on the eponymous book. The series of photos provided an analysis of the act of looking. While primarily informative, the exhibition was not without aesthetic highlights. Photos of ruins, from 1840 until today, confronted us with the fundamental imperfection of reality, but at the same time enabled us to handle this. The perception of reality as a ruin is both tragic and comforting. A selection of 100 photographs from the collections of the Antwerp Museum of Photography, including work by Roger Fenton, Felice Beato and James Robertson, Giacomo Brogi, Ernest Huybrechts, Andre Adolphe-Eugene Disderi, C. Hermann, Joseph-Emiel Borrenbergen, Julia Pirotte, Gilbert Fastenaekens, Jan Kempenaers, Joseph Mascré, Willi Moegle, Paul Citroen, Niels Donckers and Richard Misrach.

This series was continued from 2008 with the following speakers: Martha Schwartz. One of today’s greatest landscape architects was the Centre’s guest on 22.01. Her exuberant style, interweaving concept, humour and rigour, brings a breath of fresh wind to a profession until now dominated by a horticulturist approach.

Willem Jan Neutelings (Neutelings Riedijk Architects) has for the past ten years specialized in architectural projects for the culture industry. Recent projects by the practice featured at the Centre included an Opera House for Ljubljana, a Museum for Antwerp, a Casino in Las Vegas, an Art Museum for Cincinnati, a Sports Tower for Adidas, a Fashion Centre for Moscow, a Media Centre for Hilversum, a Hotel for Paris, a Concert Hall for Ghent and a Library for Groningen (09.03).

Concept: Johan Pas. Selection: Lander Vanneygen (Antwerp Museum of Photography). Coordinator: Frank Vanhaecke. Production: BOZAR EXPO, FotoMuseum, Provincie Antwerpen. Catalogue: see publication:

Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Henry Le Boeuf Hall. Admission: € 7.00|4.00 (-25|60+).

Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Chamber Music Room.

Paul Robbrecht came on 26.03 to give a lecture in relation with the exhibition Robbrecht & Daem. Pacing through Architecture. He explained the work of his architects’ practice based on the projects published in the exhibition catalogue and a number of art references.

Flemish Government, Ministero degli Affari esteri, Regione Piemonte, Comitato Italia 150, Compagna di San Paolo, Istituto Italiano di Cultura, Cività. Léon Eeckman Fine Arts Insurance n.v.|s.a. Venue: Ravenstein Circuit. Admission: € 9. Visitors: 55,735.

Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Chamber Music Room. Admission: € 7.00|4.00 (-25|60+).

EXPO. Maurizio Cattelan. Installation

The NICHE exhibition of young Belgian architecture was again held in 2009. For each lecture and micro exhibition a 16-page visitor guide was also published. First off the blocks was Jan Mannaerts from 360 Architecten (15.01). Their first major assignment was the Vlerick Management School in Leuven, co-produced with Stéphane Beel.

20.02 > 17.05.2009 Maurizio Cattelan is a leading contemporary artist. Provocative, out-of-the-rut work is his trademark. This monumental installation looks ironically and almost surreally at the museum as an institute. An olive tree and the large clod of earth containing the roots together form the Senza titolo (Untitled) installation. The olive tree is traditionally associated with divinity, symbolizing in Christian culture the renewed covenant between God and man. In an artistic context, the tree reminds the viewer of the use of natural materials and primary energies, typical of the language of Arte Povera.

Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Studio. Admission: € 3.00.

Coordinator: Léonore Branche. Production: BOZAR EXPO. In cooperation with: Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino. Venue: Horta Hall. Admission: free.

NICHE – Young Belgian architecture at BOZAR

DANCE

FESTIVAL. An Italian spring EXPO. From Van Dyck to Bellotto. Splendour at the Court of Savoy 20.02 > 24.05.2009 Following the success of the Ensor to Bosch exhibition, the Centre for Fine Arts and the Flemish Art Collection teamed up once again, this time with a third partner, the Sabauda in Turin, home of the magnificent art collections of the House of Savoy. This unique partnership spotlighted the attraction that the Flemish masters exercised on the family that provided Italy with its first king. The exhibition featured masterpieces by Velvet Brueghel, Peter Paul Rubens, Anthony van Dyck and their Italian colleagues from the 15th to 18th centuries like Andrea Mantegna, Orazio Gentileschi and Bernardo Bellotto. Bellotto, who inherited a photographic eye from his teacher Canaletto, was represented with his splendid View of Turin from the Royal Garden. Certain masterpieces were on display for the first time ever in Belgium: four paintings by Rubens, four Brussels tapestries and manuscripts from the city of Turin archives. In preparation for the move in 2011 to the Royal Palace in Turin, the works had also been carefully restored prior to their arrival in Brussels. Curator: Carla Enrica Spantigati. Coordinator: Alberta Sessa. Production: BOZAR EXPO, Ministero per i Beni e le Attività Culturali, Direzione Regionale per i Beni Culturali e Paesaggistici del Piemonte, Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici del Piemonte. Exhibition design: Jan Thomaes. Catalogue: Van Van Dyck tot Bellotto. Luister aan het hof van Savoye|De Van Dyck à Bellotto. Splendeurs à la cour de Savoie. BOZAR BOOKS by UMBERTO ALLEMANDI & C., Centre for Fine Arts, Brussels, 2009. In cooperation with: Royal Museums of Fine Arts of Belgium, Flemish Art Collection, Sabauda (Turin). Support/sponsorship: Eni-Distrigas (Italy), Ministero per i Beni e le Attività Culturali,

Turin is home to choreographer sisters Caterina and Carlotta Sagna. On 12.03 Caterina Sagna was the Centre’s guest with her latest project P.o.m.p.e.i., a collective work about immortality, focusing attention on archaeological remains and the memory of the body. Her sister Carlotta Sagna formerly danced with Rosas and Needcompany. Now she was back in Brussels with the solo Ad Vitam. Tourlourou, a solo she created for Avignon in 2004, was performed here by dancer Lucy Nightingale. Teodora and Agata Castellucci, two other choreographer sisters, presented À Elle vide. Sonia Brunelli who, like Dewey Dell, is connected the Fies Factory One workshop for young artists, closed the evening with A NNN A, a piece for three dancers.

THEATRE The theatre part of An Italian spring took us to Bologna with the Teatrino Clandestino and its ‘electrostatic’ show L’Idealista Magico (28.03), in which the protagonist personifies the history of electricity. Pippo Delbono too was back as a guest for the third time on 02.04 with Récits de juin, an intimate monologue about his arch-Catholic upbringing, first love, homosexuality, illness, loneliness, and finally the discovery of the theatre.

LITERATURE Cesare Pavese: Mania di solitudine, a co-production with Behoud de Begeerte, put the world of Cesare Pavese onto stage in text and (video) image. With Alessandro Baricco we had Turin’s most famous author of the day among us (17.03). In his laid-back way the author of Silk told us all about a new zapping and clicking type of human being: I Barbari, the barbarians.

GASTRONOMY Carlo Petrini, renowned wine expert and founder of Slow Food, gave a lecture on 06.03 with extensive tasting of typical Piedmontese products.

80th anniversary of the Centre for Fine Arts EXPO. Portraits of artists

CINEMA Giovanni Pastrone’s spectacle film Cabiria was shown on 02.03 in the presence of Alberto Barbera, director of the Museo Nazionale del Cinema de Torino, and with live accompaniment by pianist Stefano Maccagno.

STUDIOS An Italian Spring also offered a comprehensive programme for schools, families, children, adults and seniors in connection with the exhibition From Van Dyck to Bellotto. With guided tours to the exhibitions, a playful family visit with Duke Carlo-Emmanuele guiding us through his favourite artworks in old Turin. For primary schools there were active discovery tours, for older students day seminars, and for seniors the popular BOZARPLUSDAYS, combining exhibition tour with a concert or theatre production. Sundays were Family Days with BOZARSUNDAYS GOOD MORNING and GOOD AFTERNOON with cooking workshop for children, a restoration workshop for adults and a festive closing with the Party at the Centre on 17.05 at which some 2,069 visitors enjoyed cheerful, baroque and gracious Italy with a range of Italian shows (Piccoli Principi), concerts (Scherzi Musicali, Roberto Giordano, L’Arpeggiata), workshops (music, cooking, drawing workshop around Pinocchio, ...) and other events.

EXPO. United Artists of Italy. Massimo Minini Collection 20.03 > 17.05.2009 Twenty-two Italian photographers brought us celebrities from the Italian art scene of the second half of the 20th century. With: Claudio Abate, Aurelio Amendola, Gabriele Basilico, Sandro Becchetti, Gianni Berengo Gardin, Elisabetta Catalano, Giorgio Colombo, Mario Cresci, Mario Dondero, Federico Garolla, Luigi Ghirri, Mario Giacomelli, Gianfranco Gorgoni, Mimmo Jodice, Nanda Lanfranco, Uliano Lucas, Attilio Marazano, Nino Migliori, Ugo Mulas, Paolo Mussat Sartor, Paolo Pellion, Ferdinando Scianna. Collection: Massimo Minini. Coordinator: Frank Vanhaecke. Production: BOZAR EXPO, Galleria Minini. Catalogue: United Artists of Italy, Massimo Minini. Support/sponsorship: Brussels Capital Region, National Lottery, Léon Eeckman Fine Arts Insurance n.v.|s.a. Venue: Foyers 1, 2, 3, 4, 5. Admission: free.

20.03.2009 > 03.10.2010 During its 80-year history, the Centre for Fine Arts has invited thousands of artists with their artwork, in shape, sound or words, group or solo, to Victor Horta’s multi-facetted building. Every performance and work has represented a liaison dangereuse between the artist and the Centre for Fine Arts, a temporary relationship with risks on both sides. The archive photographs are highly expressive. These are pictures taken in the corridors of the Centre for Fine Arts during the preparations for an event or at an opening or première in the auditoria. Coordinator: Frank Vanhaecke. Assistants: Anne Wauters, Bruno Roelants. Production: BOZAR EXPO. Support/sponsorship: Brussels-Capital Region, National Lottery. Venue: Foyers adjoining the Henry Le Boeuf Hall. Admission: free. Visitors: 9,000.

MUSIC In March listeners had two opportunities to applaud the Russian National Orchestra under Vladimir Jurowski in the Henry Le Boeuf Hall, in a programme devoted to 20th century Russian masters from Stravinsky to Prokofiev. Jurowski was in residence at BOZAR MUSIC during the 2008-2009 season. The Royal Concertgebouw Orchestra with its artistic director Mariss Jansons was a guest performer. In the field of Baroque music, Les Musiciens du Louvre under the baton of Marc Minkowski came by with a concert of Haydn, Purcell and Handel. Lorenzo Ghielmi was again a guest after his residency in the 2007-2008 season, in a Handel programme with his ensemble La Divina Armonia. Other well-known soloists, darlings of Brussels concert-goers, also came to the Centre for Fine Arts, among them Nikolai Lugansky, Murray Perahia, Andras Schiff, Nelson Freire and Elisso Wirssaladze. Gustav Leonhardt, an authority on early music, gave a harpsichord concert. In the Music Conservatory the Quatuor ébène gave three evenings devoted to Haydn and French composers. In the framework of the European Galas, and in co-production with the Festival of Flanders, the Berlin Philharmonic gave a concert with Simon Rattle. In February the National Orchestra of Belgium (ONB) brought to an end the complete set of Schubert symphonies under the baton of Walter Weller. Period instrument ensemble Les Agrémens presented in the Conservatory an original evening entitled Une soirée à l’opéra, including Pierre-Yves Pruvot, winner of the Queen Elisabeth Competition in 2000. The Chapelle Musicale Reine Elisabeth, another partner, presented in January its gala concert at the Centre for Fine Arts. March is traditionally the month of Ars Musica. Various concerts were co-produced with the festival, that was celebrating its twentieth anniversary: a tribute to composer Henri Pousseur, a Berio - Mark André programme and a double recital on the organ with Benoît Mernier and Joris Verdin.

EXPO. A 4. Louise Herlemont. Sans objet 27.03 > 03.05.2009 Louise Herlemont reveals what a space conceals or reveals, what’s alive there right now. She examines clues to emphasize presence or to allow the past to continue to vibrate. In this way each of her interventions is inextricably intertwined with the space containing it. Herlemont accepts the transience of things, and to a large extent grafts herself onto this, in so doing opening the way to a formally diverse, but nonetheless cohesive oeuvre. Curator: Anaël Lejeune. Coordinator: Alberta Sessa. Production: BOZAR EXPO, BPS22 Charleroi. Support/sponsorship: Province of Hainaut, Ministry of the French Community. Venue: BN Auditoria. Admission: free. Visitors: 1,653.

Literature. Passa Porta Festival 29.03.2009 The second Passa Porta Festival opened the doors of the world and of world history, of literature and of world literature. Motto of this edition: The world as a construction site. With eleven programmes the Centre for Fine Arts program was the central venue for the closing Sunday. Top of the bill was Mexican writer Carlos Fuentes, who also announced the ¡Mexico! Festival in 2010. Fuentes closed the Passa Porta Festival in the Henry Le Boeuf Hall with a well-attended lecture on the post-boom generation of Latin American writers. Besides Fuentes and Baricco, other writers including Harry Mulisch, Catherine Millet, Péter Nadas and Ingo Schulze stopped off at the Centre for a chat.

CINEMA Three films were shown in the previews series: Pandora’s Box by Yesim Ustaoglu (06.02) in the presence of chief interpreter Tsilla Chelton, Les Plages d’Agnès by Agnès Varda (25.02) in the presence of Agnès Varda and Katanga Business by Thierry Michel, in the presence the filmmaker (24.03). The series of documentaries included a weekend centred round ‘Strip Tease, 50 TV cult films which have shown Belgium naked’ co-produced with the RTBF. (24 and 25.01.2009) The Expanding Cinema series offered innovations by Guy Marc Hinant and Dominique Lohlé (Fuck You), Pierre Hébert and Bob Ostertag (Special Forces) (30.10), Alan COURTIS (Argentine HomeMovie Cavalcade) (28.02) and Radúz Činčer (Kino Automat) (07.03). The National Orchestra of Belgium accompanied The Fall of the House of Usher ( Jean Epstein, France, 1928) (23.03). For a family audience, Charlie Chaplin’s Modern Times and Richard Fleischer’s 20.000 Leagues Under the Sea (USA, 1954) were screened on 18.01.

DANCE and THEATRE In Germes de Folie the Compagnie Les Empreintes drew hope from the solidarity during the Rwandan genocide (30.01). This production was part of the AFRICALIA festivities around the thirtieth anniversary of the magazine Alternatives Théâtrales in collaboration with Africalia.

Turkish writer/actress Sahika Tekand, already present at BOZAR’s Turkey Festival in 2005, brought on stage five actors who spoke in her Fear of Darkness of their joy, sadness and obsessions, but especially of their fear of the dark (16.02). Mustafa Kaplan, a founding member of the Taldans Company, was again on the guest list (18.02). New elements in his Dokuman were the resonance of sound on textiles and the use of new text elements.

April, May, June ARCHITECTURE Jan De Vylder was the fourth young architect of the season to present a model of his work in the NICHE series (01.04). At the pre-opening of the micro-exhibition, he gave a lecture setting ou his latest project: the production halls of the famous Ballets C de la B (Alain Platel) and Music LOD at the Bijloke site in Ghent. Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Chamber Music Room. Admission: € 3,00.

On 06.05 Alexander Dierendonck was the fifth young architect to present his model. The lecture explained the approach by his practice Dierendonckblancke architecten to a recent project, the Spikkerelle community centre in Avelgem. This presents itself as an pure white industrial volume that dialogues with the church and the castle of Avelgem. It was part of the Belgian selection for the European Union’s prestigious Mies van der Rohe prize. Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Studio. Admission: € 3,00.

EXPO. SOPHIE CALLE 27.05 > 13.09.2009 For her first retrospective in Belgium Sophie Calle opted for an a-chronological and selective presentation of her work. In her well-proven way, she proposes to tell a story - that of her own self - as it unfolds through a series of works, the first of them dating from the 1970s. Sophie Calle places herself at centre of her artistic works, which can be variously literary, cinematographic and visual. The visitor is given a view of the ‘public’ part of her private life, staged in a succession of situations in which Sophie Calle is personally involved. Coordinator: Léonore Branche. Production: BOZAR EXPO. In cooperation with: French Embassy in Belgium. Support/sponsorship: Brussels Capital Region, CulturesFrance and Thalys. Léon Eeckman Fine Arts Insurance n.v.|s.a. Venue: Rue Royale Circuit. Admission: € 8,00. Visitors: 21,347.

EXPO. Bernar Venet and Jacques Charlier. Disorder 27.05 > 30.08.2009 For over fifty years Bernar Venet has been thinking about the identity of art in an oeuvre that combines painting and sculpture with conceptual art, using mathematical data. Venet’s work is based on insecurity and disorder, but is mathematically justified. Along with unpublished work from 2009, the exhibition featured ‘collapses’ of Corten steel arches, the series of Saturations paintings, and the results of a painting performance with the help of a steel bar. Belgian visual artist Jacques Charlier exhibited the unpublished plates of a comic book titled La Courbure de l’art, casting a humorous light on Bernar Venet and the art world. Curator: Claude Lorent. Production: BOZAR EXPO. Coordinator: Léonore Branche. Catalogue: Bernar Venet, Order & disorder, BOZAR BOOKS, Bruxelles, 2009, 28 p. and Jacques Charlier, La Courbure de l’Art, BOZAR BOOKS, 2004, 80 p. Cooperation with: Guy Pieters Gallery. Venue: Horta hall. Admission: free. Visitors: 5,966.

PARTY time On May 17 it was time for a new Party Time at the Centre, in close cooperation with RTBF (Musiq’3). The theme was Italy.

CINEMA AND MUSIC The National Orchestra of Belgium performed Peter Swinnen’s newly created score for silent film The Fall of the House of Usher, in a co-production by BOZAR MUSIC, the NOB and Ars Musica. Further film music could be heard in the concert by the Orchestre Royal de Chambre de Wallonie. This was preceded by Gérard Corbiau’s film about violinist Augustin Dumay, the soloist and conductor of the concert. The Centre for Fine Arts also worked with the media library for a musical film evening on 11.05 with improvisations by Kris Defoort to André Antoine’s L’Hirondelle et la mésange.

MUSIC AND POETRY In the Théâtre Marni an April evening was devoted to Baudelaire, with new work by composer Benoît Mernier, co-produced with Le Rideau de Bruxelles. In May followed an evening around Léopold Sédar Senghor in a co-production with the Théâtre Marni.

MUSIC The Henry Le Boeuf Hall welcomed a host of prestigious orchestras: the Philharmonia Orchestra with Esa-Pekka Salonen, the Rotterdam Philharmonic Orchestra with Yannick Nézet-Séguin, Le Concert des Nations with Jordi Savall. The Czech Philharmonic, one of the best orchestras of Central Europe, presented itself in June in Brussels to mark the Czech Presidency of the European

Union. The concert was part of the European Galas series, a co-production by BOZAR MUSIC and the Festival of Flanders. Spring brought an abundance of great soloists, including pianists Grigory Sokolov, Radu Lupu and Arcadi Volodos, mezzo Angelika Kirchschlager accompanied on the piano by Helmut Deutsch, and German violinist Frank Peter Zimmermann and Polish pianist Piotr Anderszewski performing together for the first time in an unreleased duet. The Orchestre Philharmonique de Liège presented itself in May under the baton of the young Russian conductor Dmitri Jurowski. deFilharmonie brought Mozart and Bruckner conducted by Jaap van Zweden. The Conservatory too welcomed major stars like as pianist Elisso Wirssaladze, the young German violinist Julia Fischer and the flamboyant trio of Dmitri Makhtin, Alexandre Kniazev and Boris Berezovsky. The season was to culminate with Norwegian cellist Truls Mørk. But he had to cancel his tour and was replaced by Pieter Wispelwey. In the Baroque music cycle, French flautist Alexis Kossenko was someone to discover, while the Ricercar Consort put on a Bach program. Works by Lassus were central to a performance by the Huelgas Ensemble and La Fenice with the Choeur de Chambre de Namur. Harpsichordist Christophe Rousset was a guest in the Protestant chapel. In the Minimes church the Collegium Vocale ended the season under the baton of Philippe Herreweghe with a concert around the figure of Morales.

WORLD MUSIC Great moments with a special on the tango in March, a new edition of Balkan Trafik! in April and flamenco evenings in May and June. In March, the first Brussels Electronic Music Festival (BEMF) took place, in collaboration with Livefestival. BOZAR worked together with Greenhouse Talent to put on a concert by legendary singer and guitarist Ry Cooder (22.06), accompanied for the occasion by guitarist Nick Lowe and drummer Joachim Cooder.

DANCE Steve Paxton came to Brussels at 22.04 to lecture about his DVD Material for the Spine. He opened his exhibition with the video installation Phantom Exhibition (22.04 – 08.05), a collaboration between Contredanse, La Bellone, Charleroi/Danses and BOZAR DANCE.

LITERATUUR OP DE MIDDAG Various high points from medieval times and Holland’s Golden Age were on the programme. 27.01 Elvis Peeters spoke about Henrik van Veldeke. Peter Holvoet-Hanssen (03.03) zapped from Vondel to Bredero. Lucienne Stassaert shared her love for Hadewijch (27.02). Klaas Verplancke (17.03) preached as an illustrator about his passion for Reynaert and Josse De Pauw closed the series on 31.03 with Vondel’s Adam in Exile. A co-production with the Middagen van Poëzie en Proza.

JEUDIS LIRE The Thursday meetings with French authors attracted a wide and loyal audience. Promotion des Lettres, Rideau de Bruxelles and BOZAR LITERATURE co-produce an annual series of ten encounters. Guests in 2009 included Jean-Philippe Toussaint (15.10), Pierre Mertens and Jean-Marie Piemme (22.01). Special were the Thursdays devoted to art books and the Architexto - architecture meets literature – series (19.02). Two afternoons were particularly memorable: one introducing an anthology of European literature and one with young poets. With Le Rideau de Bruxelles we organized the Hugo Claus tribute Au Bar Mimosa in response to the presentation of Mort de Chien (9.5).

CINEMA In the series of previews: Anne Fontaine’s Coco avant Chanel (in the presence of Anne Fontaine, Audrey Tautou and Marie Gillain) on 11.04, Turneja - La Tournée de Goran Markovic with Goran Markovic (16.04) and Soeur Sourire by Stijn Coninx (in the presence of Stijn Coninx, Cécile de France, Jan Decleir and the whole team) (30.04). Among the documentaries: Carmen Meets Borat by Mercedes Stalenhoef (17.04), presented in the context of Balkan Trafik!, Burma VJ - Reporting from a Closed Country by Anders Ostergaard and Looking for Dragone by Manu Bonmariage on 27.04. In the Expanded Cinema series: Here’s To Love! by Scott Foust with a concert by The Tobacconists on 24.04; At 6am We Become the Police by Adam Egypt Mortimer, with a concert by the No Neck Blues Band (05.55); The Black Album by Michael Morley, with a concert and video projection by Gate. Two films were shown for family audiences: Paul Grimault’s The King and the Bird (19.04) and 20.000 Leagues under the Sea by Richard Fleisher (22.03).

Architecture lectures The BOZAR ARCHITECTURE lecture series closed on 11.06 with a lecture by Roger Diener. The Basel-based practice Diener & Diener is one of the anchors of the contemporary Swiss architecture scene. Under the title From Building Block to Architecture Roger Diener came and explained some of his projects. Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Chamber Music Room. Admission: € 7.00|€ 4.00 (-25|60+).

JULY, AUGUST, SEPTEMBER EXPO. 100 Sexes d’artistes 16.06 > 13.09.2009 The Venice Biennale and the city of Venice turned down 100 Sexes d’Artistes, an artistic project by Jacques Charlier. BOZAR EXPO decided to exhibit all hundred posters during the summer. Jacques Charlier’s controversial project 100 Sexes d’Artistes ran into opposition from both the Biennale’s organizers and the city of Venice. The posters - imaginary portraits of the sexual organs of well-known international artists - present a humorous perspective on the art of the 20th century. By censoring the project, the Biennale denied the public the opportunity to judge for itself, while its organizers demonstrated a patronising attitude to the artists concerned and violated Jacques Charlier’s artistic freedom. The Centre for Fine Arts was therefore happy to support this artistic project. Charlier began the series of 100 Sexes d’Artistes back in 1973. It has become a humorous and satirical anthology of modern art. Coordinator: Léonore Branche. Production: BOZAR EXPO. Venue: Foyer 3. Admission: free. Visitors: 4,127.

EXPO. Young Belgian Painters Award 2009 25.06 > 13.09.2009 The 59th edition of the Young Belgian Painters Award was organized in 2009. This prestigious award has become one of the most important contemporary art events in Belgium. The competition is open to artists from all visual arts disciplines of Belgian nationality or who have resided for at least one year in Belgium and who on January 1 2009 were not yet 35 years of age. The entries were judged by an international panel of professionals from the art world. From the 200 entries the judges selected the work of seven promising artists. Jeroen Hollander’s imaginary maps of cities and imagined networks, Robert Kot’s landscape photographs with their great inner strength, Carline Pekle’s card castle and other works that examine the concept of displacement, and the interactive kinetic sculpture by Els Vermang|LAb[au] ... each represent particular artistic journeys involving architecture, urbanism and technology. Memory is central to the work of Nico Dockx and Helena Sidiropoulos, who went looking for their sources in the Centre for Fine Arts archives, and in Lara Mennes’ photos of garden suburbs. Leon Vranken distorted objects from our daily lives to give them another function. Four prizes were awarded: the Crowet Young Belgian Painters Award (¤ 25,000) went to Lara Mennes, the Young Belgian Painters - émile and Stéphy Langui Award (¤ 12,500) to Nico Dockx, the Centre for Fine Arts Award (¤ 12,500) to Leon Vranken and the ING Prize (¤ 12,500) to Jeroen Hollander. Coordinator: Maïté Smeyers. Production: BOZAR EXPO and The Young Belgian Painters Foundation. Catalogue: Prix de la Jeune Peinture Belge. Prijs Jonge Belgische Schilderkunst. Young Belgian Painters Award, BOZAR BOOKS, Brussels, 2009, s.p. Support/sponsoring: Brussels-Capital Region, ING,

Swift, Fondation Magritte Stichting. Venue: BN-Rooms, Bertouille Rotunda, Banqueting Halls. Admission: free. Visitors: 5,662.

EXPO. Jan De Cock. Repromotion 09.07 > 13.09.2009 Jan De Cock, a key player on the young Belgian art scene, presented a grand new project in Brussels. The 32-year-old artist has a more than an exceptional track record, having already been displayed at the Tate Modern in London and the MoMA in New York. A series of sculptures and photos specially designed for this exhibition decorated one of the Centre for Fine Arts’ major exhibition circuits for an entire summer. Every room, every stage of the exhibition could be seen as a sequence of a fictional movie. De Cock sculpts space in a way that punctures the self-evident nature of our observation. He fathoms the sources of film, playing with movement, repetition and reproduction. After his famous Denkmal series this is a completely new phase in his oeuvre. Repromotion was photographically reproduced and exhibited at the Magasin in Grenoble during the first half of 2010. Unforeseen work to the Ravenstein Circuit meant that the opening of the exhibition, scheduled for 24 June, had to be postponed to 8 July. Curator: Yves Aupetitallot, director of the Magasin, Grenoble. Coordinator: Ann Flas. Production: BOZAR EXPO and Atelier Jan De Cock. Support/sponsorship: Flemish Government, Léon Eeckman Fine Arts Insurance n.v.|s.a. Venue: Ravenstein Circuit. Admission: € 8,00. Visitors: 9,425.

A contemporary summer STUDIOS The installations in the Jan De Cock Repromotion exhibition, the unusual stories of Sophie Calle and the youthful artists of the Young Belgian Painters offered an ideal starting point for young artists aged 6 and up, who were able to follow six weeks of summer courses (almost fully booked, 216 participants) or, with a detective Family Kit go looking for traces of Sophie Calle during an incognito visit to the exhibition (316 Family Kits used by 1,264 young visitors and their parents). A worthy finish to the summer exhibitions was the Finissage Club ConTempo (11.09), as part of the Klara Festival and in collaboration with the Festival of Flanders and Red Bull. The Young Belgian Painting artists received carte blanche. Playful guided tours and performances were given with the help of students from the Lemmens Institute. German brass band The Dorf gave a concert in the Horta Hall, followed by an afterparty with Frères Deluxe & Zohra!

EXPO. Unity takes Shape 21.07 > 30.08.2009 The Unity Takes Shape exhibition, examining the role of the Belgian national flag in art, opened in 2006, 2007 and 2008 on the Belgian national holiday at the Office d’Art contemporain in the

Rue de Laeken in Brussels. The overview exhibition of these three earlier editions at the Centre for Fine Arts attracted much greater media coverage. With the following artists: Manuel Alves Pereira, Elodie Antoine, Isabel Baraona, Marcus Bering, Pascal Bernier, Anthony Berthaud, Jean-Pierre Bredo, David Clément, Michel Clerbois, Jacques Charlier, Dany Danino, Marco Dessardo, Jacques Dujardin, Benoît Felix, Gérard Alsteens (Gal), Bernard Gaube, Bernard Gilcozar, Paul Gonze, Patrick Guaffi, Félix Hannaert, Bénédicte Henderick, Delphine Joly, Babis Kandilaptis, Nicolas Kozakis, Jacques Lennep, François Liénard, Daniel Locus, Jean-Georges Massart, MMC Octave, Mikko Paakkola, Juan Paparella, Dominique Rappez, Marc Rossignol, Kurt Ryslavy, Jean-Marie Stroobants, Camiel Van Breedam, Johan Van Geluwe, Sofi Van Saltbommel, Herman Vanderhulst, Jonas Wille. Curator: Jean-Marie Stroobants. Production: BOZAR EXPO and Office d’Art contemporain (Brussels). Support/sponsoring: French Community of Belgium, City of Brussels Culture Department, Communauté Wallonie-Bruxelles, klet & ko, Léon Eeckman Fine Arts Insurance n.v.|s.a. Venue: Terarken Hall 2 and 3. Admission: € 5,00. Visitors: 1,377.

MUSIC The National Orchestra gave two free concerts, the first 20.06 to mark the Fête de la Musique and the second, on 20.07, to mark the National Holiday and attended by the royal family.

October, November, December EXPO. Sexties. Crepax – Cuvelier – Forest – Peellaert 25.09. 2009 > 03.01.2010 This exhibition highlights the work of four authors who, through their audacious illustrations and narratives, have been instrumental in the development of the comic strip. In the mid-1960s, the four artists in question found their inspiration in music (rock but also French Yé-yé pop), painting (including the Pop Art movement), cartoon films (Yellow Submarine, etc.), cinema, literature and photography. Through the eyes of these four major artists the exhibition sketched a picture of a fast-changing era. In 1965 Italian artist Guido Crepax (1933-2003) created Valentina, physique inspired by actress Louise Brooks, for the magazine Linus. Publisher Eric Losfeld brought out the album in 1968. Crepax made a name for himself from the outset as the undisputed master of intellectual eroticism. In the following decade, this excellent graphic artist processed, in inimitable black and white, the greatest classics of erotic literature: Histoire d’O, Emmanuelle and also Justine. Belgian Paul Cuvelier (1923-1978) was a leading post-war Belgian comic-strip artist. Jean Van Hamme, a fledgling screenwriter at the time, provided him with the story lines for Epoxy (1968). In this mythological story Cuvelier was able to give full rein to his passion for drawing the human, and especially the female, body. Frenchman Jean-Claude Forest (1930-1988) produced in 1962 a shockwave with Barbarella, published in V magazine. With a physique modelled on Brigitte Bardot, the main character is the incarnation of the modern woman in the era of sexual liberation. The album followed in 1964 and produced a real scandal. Belgian Guy Peellaert (born 1934) enjoyed a brief but legendary career in the comic strip world. His style, very much in keeping with its era, brought pop art into comics. Les aventures de Jodelle (drawn after the image of Sylvie Vartan) first appeared in Hara-Kiri, and in 1966 was published as an album. Two years later Peellaert conjured up a new and equally psychedelic heroine with his pencil: Pravda, la survireuse (this time with Françoise Hardy as the model). He then went on to design movie posters and book covers. Curator: Pierre Sterckx. Coordinator: Léonore Branche. Production: BOZAR EXPO and BGE departement BITC vzw. Exhibition design: ExpoDuo/ Véronique Carlier, Pascale Jeandrain. Catalogue: Sexties. Crepax–Cuvelier–Forest–Peellaert, BITC, Brussels, 2009, 48 p. Support/sponsorship: CINEMATEK, Focus Knack, Le Vif Focus, Le Soir, Office de Promotion du Tourisme Wallonie-Bruxelles, Brussels-Capital Region, La Première, La Deux, Thalys, Toerisme Vlaanderen, Ville de Bruxelles, Commission Communautaire française, Vlaamse Gemeenschapscommissie, Brussels International-Tourism & Congress. Venue: Terarken Hall 2 and 3. Admission: € 5,00. Visitors: 17,883.

europalia.china EXPO. Son of Heaven 10.10.2009 > 24.01.2010 Son of Heaven was the major historical exhibition of europalia.china. 250 pieces witnessed to the power and rituals of more than two hundred sons of heaven. Around half the objects had never before been shown outside China. Museums in Beijing - including those of the Forbidden City - and from six different provinces cooperated in this unique project. 5000 years of China’s glorious past glittered in unprecedented ensembles: bronze sacrificial vessels, prestigious jade objects, including a shroud, cult objects in precious metals, imperial porcelain, silk brocade, ceramics, imperial robes and matching dishes for the offerings to the heavens, the earth, the sun and the moon, astronomical instruments, painted rolls offering a glimpse of the life of the emperors, as well as an ensemble of imperial portraits. Curators: Qian Wei, Art Exhibitions China, Jean-Paul Desroches, Conservateur Général, Musée Guimet. Co-curator: Ilse Timperman. Coordination: Europalia. Production: europalia.china and BOZAR EXPO. Support/sponsorship: Bekaert, GDF-SUEZ, National Lottery. Venue: Ravenstein Circuit. Visitors: 110,783.

EXPO. The State of Things. Brussels/Beijing. 18.10.2009 > 10.01.2010 Contemporary Chinese and Belgian art creation through the eyes of two internationally renowned artists: that was the original approach of The State of Things. Brussels/Beijing. It was also the major exhibition of contemporary art that the Centre for Fine Arts organized as part of europalia.china. Well-known Belgian artist Luc Tuymans and Ai Weiwei, his Chinese counterpart, placed a fifty Belgian and Chinese artists together and compared between the lines the context in which they had been created. The intention from the outset was to show the exhibition both in Belgium and China, in a spirit of an interaction between the two countries and to bring about a genuine cultural exchange. After much negotiation, Ai Weiwei and Luc Tuymans’ exhibition was able to travel from Brussels to Beijing in 2010. The State of Things has thrown a bridge between Brussels and Beijing. Between two art scenes and two cultural institutions: the Centre for Fine Arts and the National Art Museum of China. The exhibition and the accompanying debate on 19.10 brought about a dialogue between different visions of artistic and commercial success. In China culture, industry, market economy and artistic identity band together in harmony. In Belgium the link between art and the art market is a more sensitive one. Co-production: BOZAR EXPO, NAMOC, europalia.china. Curators: Ai Weiwei, Fan Di’an, Luc Tuymans. Co-curator: Philippe Pirotte. Coordinator: Maïté Smeyers. Catalogue: The State of Things. Brussels/ Beijing, LANNOO Publishers and BOZAR BOOKS, Brussels, 228 p. English. Venue: Rue Royale Circuit. Support/sponsorship: GDF-SUEZ, Flemish government, europalia.china. Admission: € 8,00. Visitors: 27,403.

EXPO. Still Life. Chinese Contemporary Photography 18.10.2009 > 24.01.2010 Still Life was not about the usual still life of objects, but the conceptual reality of today’s China, interpreted through a selection of meditative images of Chinese reality. Huang Lei’s silent objects, Hong Lei’s surrealist compositions with quotations from classical Chinese art, or Ling Hua’s drawing-like symbolism are closest, in formal terms, to what we know as still lifes. But the scale model photos of Xing Danwen too must be read in this way: in a hushed scale world, subtle stories are being played out about daily life, play, love and drama, a micro universe that offers a staged view over everyday life in contemporary China. For the landscape pictures and portraits in his Samalada series on the ethnic Yi minority, Adou uses film which is past its use-before date, to produce flecked and grubbier images of the struggle of the Yi. Coordinator: Frank Vanhaecke. Production: Three Shadows Photography Art Centre (Beijing), europalia. china, BOZAR EXPO. Support/sponsorship: Flemish government, GDF-SUEZ, Léon Eeckman Fine Arts Insurance n.v.|s.a. Venue: Foyers 1, 2, 3, 4, 5. Admission: free.

EXPO. The other world. Puppet theatre in China 27.10.2009 > 24.01.2010 There may be no Punch and Judy in Chinese puppet theatre, but there is a Monkey King. He is not critical of society as in Western puppet shows, but he is still very closely associated with rural life and daily traditions in China. This special interactive exhibition showed not only a great variety of dolls and genres, but also the world of mysterious and fascinating puppet theatre scenery. The exhibition was also linked to a number of puppet shows that the BOZAR THEATRE department and europalia.china joint-programmed in Room M of the Centre for Fine Arts. Curators: Yi E, National Art Museum of China (NAMOC); Frank Kouwenhoven, European Foundation for Chinese Music Research. Production: NAMOC, europalia.china, BOZAR EXPO. Venue: BN Rooms Visitors: 2,983.

Architecture lectures Wang Shu (Amateur Architecture Studio) How do you handle the massive demolition and reconstruction of Chinese cities? Chinese architect Wang Shu gave us an overview of his major projects and explained how his Amateur Architecture Studio has been addressing these problems over the past twelve years. (20.10) Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Chamber Music Room. Admission: € 7.00|€ 4.00 (-25|60+).

STUDIOS. China in all its facets Numerous activities and customized programs in the context of europalia.china. A festive opening and (children’s) preview of The State of Things. Brussels/Beijing, with workshops on 17.10. Guided visits, active discovery tours, workshops, two family hunts, day courses, a musical fairy tale The Emperor and the Nightingale in cooperation with the National Orchestra of Belgium, Jeugd en Muziek

Brussels, Jeunesses Musicales de Bruxelles, Chinese shadow puppet theatre of the Chinese Shadow Puppet Company and BOZAR SUNDAYS. Adults immersed themselves into a workshop on contemporary art: experiments with the techniques of certain Belgian and Chinese artists (in collaboration with Jeunesse et Arts Plastiques). During the weekend of 05-06.12 - Traditional Voices - various workshops, family shows and events were on the programme: workshops on vegetable carving, calligraphy, origami, make-up with the artists of the Kunqu opera, puppetry, tea and tea ceremonies, the Chinese lion dance, plus a singing workshop with Eastern Voices and a Chinese sounds game for little ones from 3 years up.

DANCE. (Un)silenced Voices. Chinese insights & witnesses 14.11 > 15.11.09 Non-official film makers, theatre producers and writers gave a picture of everyday life in China. These are people who have experienced the aftermath of the Cultural Revolution and the Tiananmen student uprising at first hand. In a unique blend of street interviews, movement, video and music, choreographer Wen Hui presented a taboo-breaking show about everyday life in China. In the eight-hour show Memory she returned to her childhood.

THEATER/MUsic. Traditional voices 04.12 > 06.12.2009 A three-day tour through the varied Chinese musical landscape. From a panorama with oriental voices to a quartet and an orchestra from Hong Kong to the highly sophisticated Kunqu opera. Puppetry, tea ceremonies and films brought the visitors into Oriental atmospheres to taste the richness of Chinese culture. Nor were the children left out, with workshops and ateliers specially for them.

MUSIC As a prelude to europalia.china, cellist Yo-Yo Ma and his Silk Road Ensemble produced a series of concerts at the Centre for Fine Arts. The opening concert (14.09) was enlivened by the Guangzhou Symphony Orchestra. Not to be outdone, The National Orchestra of Belgium produced a mixed concert of western and eastern music under the baton of Tan Lihua, chief conductor of the Beijing Symphony Orchestra.

LITERATURE Mo Yan (22.10) is seen as China’s greatest living writer. The film version of his story The Red Cornfield brought him international fame. After the Frankfurt Book Fair, where China was the host, he came to the Centre for Fine Arts. On the international ‘Day of the Imprisoned Writer’ (15.11) we examined, in the company of two prominent Chinese writers, the issues of free speech, censorship and imprisonment in China. Playwright Sha Yexin signed the famous Charter 08, calling for greater democracy, freedom and the observance of universal human rights. Writer Ma Jian lives in exile in London. His novel Beijing Coma addresses a banned episode, the student uprising of 20 years ago. As part of the (Un)silenced Voices weekend we met on 17.12 with Gao Xingjian, who in 2000 won the Nobel Prize for Literature

for “an oeuvre of universal value, sharp insights and linguistic ingenuity, that has opened new paths for Chinese prose and theatre”. That same evening the play ‘Au bord de la vie’ by this versatile writer, painter, filmmaker and playwright was staged.

CINEMA A series of documentaries was presented, including Paul Dujardin, The Long March by Manu Riche (18.10), My Village 2006 by Wu Wenguang (15.11) and Shanghai Women by Peng Xialing (23.11).

LITERATUUR OP DE MIDDAG Earthy but enthusiastic. Modern literature from China. On the occasion of europalia.china, Literatuur op de Middag focused during five Tuesday afternoons on China. With lectures about the father of modern Chinese literature, Lu Xun (by Marcel van Nieuwenborgh) (06.10), Chinese prose today (by Mark Leenhouts) (20.11), freedom and censorship (by Catherine Vuylsteke) (17.11) and the eye of the other (by Ruddy Doom) (27.10). To finish Iege Vanwall from the magazine Het trage vuur presented two poets: Wang Jiaxin and Lan Lan.

BOZAR MUSIC: autumn The season began in traditional fashion with the KlaraFestival during the first half of September. Top of the bill were the three concerts by the Sveriges Radios Symfoniorchester, one of them under the batons of both Finnish conductor Esa-Pekka Salonen and the Russian conductor Valery Gergiev. The Royal Philharmonic was present with its new chief conductor Charles Dutoit and soloist Anna Vinnitskaya, replacing Martha Argerich. The KlaraFestival confronted east and west, with orchestras from Seoul and Hong Kong alongside the Flanders Symphony Orchestra, Musiques Nouvelles and TIMF, a Korean contemporary music ensemble. Returning as a guest to the Henry Le Boeuf Hall was piano veteran Aldo Ciccolini. BOZAR MUSIC is presenting, over two seasons, the complete symphonies of Mahler on the occasion of his 150th birthday in 2010 and the 100th anniversary of his death in 2011. The National Orchestra of Belgium, the Monnaie Orchestra and the Orchestre de Liège already set the ball rolling in 2009. For the 80th anniversary of the Henry Le Boeuf Hall (18.10), the audience could discover Grétry’s opera Andromaque in the version of Concert Spirituel and Hervé Niquet. This was a special co-production with the Centre de Musique Baroque de Versailles and Palazetto Bru Zane. BOZAR MUSIC also welcomed on 09.10 jazz pianist Keith Jarrett, in collaboration with Jazztronaut, and Brazilian musician Gilberto Gil, in collaboration with Greenhouse Talent (14.11). The cycle of international orchestras offered an attractive bill in the autumn, with Venezuelan conductor Gustavo Dudamel at the head of the Gothenburg Symphony Orchestra. At the end of November one of Russia’s top orchestras, the St. Petersburg Philharmonic Orchestra, visited with guest conductor Yuri Temirkanov and the young German violinist Julia Fischer. The Concertgebouworkest gave a concert under Mariss Jansons. The Ictus Ensemble paid homage to Steve Reich. BOZAR MUSIC hosted on 24.11 the European premiere of Pictures Reframed, a project in which Norwegian pianist Leif Ove Andsnes collaborated with South African video artist Robin

Rhode on Mussorgsky’s Pictures at an Exhibition. For Baroque music Les Musiciens du Louvre came to Brussels with a Haydn programme. The young Raphael Pichon made his Brussels début at the head of his Pygmalion ensemble (15.10). Lovers of chamber music saw the Parkanyi, Danel, Prazak and Kopelman quartets pass through town, the last group also performing in quintet version. Jordi Savall opened his residence at the Conservatoire in an intimate programme with Philippe Pierlot on the viola da gamba, Pierre Hantaï on the harpsichord and Rolf Lislevand on the theorbo. Superstar Cecilia Bartoli came twice to the Centre for Fine Arts with her programme dedicated to Neapolitan castrati, accompanied by the Il Giardino Armonico ensemble.

THEATRE Ariane Loze investigated with her camera how a story can arise from seemingly unrelated images. In her seven short films she plays all the roles herself, simultaneously actress, director and camerawoman. At the Theatre Festival at the Centre for Fine Arts, audiences could attend live recordings of the eighth film in the series, which was added to the exhibition every day (02, 03 en 04.05).

BXL BRAVO/NUIT BLANCHE Eric Joris (Crew) had the audience participate in his interactive technology installation (03 and 04.10).

FESTIVAL. Moussem 10.11 > 28.11.2009 After the earlier successes in 2005 and 2007, the Moussem festival once again brought a mix of Arab and Berber culture to the Centre for Fine Arts. On the bill were film previews, contemporary performances, literary encounters, lectures and of course traditional and contemporary concerts, including Berber singer Idir and Iraqi chansonnier Kadim Al Sahir. Syrian poet Adonis had the audience eating out of his hand in the Chamber Music Room. Actors Steven Van Watermeulen and Nathalie Cornet read translations. To end, the 80-year-old author and Geert Istendael spoke of the gap and especially the bridges between East and West. In Shining Sound, dancer Saïd Gharbi introduced the audience to his world of the non-sighted. Crying of My Mother offered a portrait of the contemporary tragedy in Iraq. Made in Paradise by performers Yan Duyvendak and Omar Ghayatt brought insight into the world of the other.

CINEMA Previews during the autumn included striking titles like Casanegra by Nour-Eddine Lakhmari (10.11), in the presence of cineast and author Ana El Bas, screened as part of the Moussem festival. Also El Grido by Pippo Delbono, in the presence of the theatre producer and film maker on 28.11,

and Altiplano by Peter Brosens and Jessica Woodworth on 30.10. The series of documentaries was particularly extensive, with Ulrike Ottinger’s Prater at the Goethe Institut, the series of previews by the Michigan Film production house on 17, 18 and 19.11, La Domination Masculine by Patric Jean (27.11), La Paura by Pippo Delbono (28 and 29.11) and The Choir by Michael Davie (10.12). One programme in the Expanding Cinema series was dedicated to Boris Lehman with Mes 7 lieux, Films ontologiques, choses qui me rattachent aux êtres, Album 1 (17.10). Paris studio H5 was also invited with its short film Logorama (18.11). Post-Flux offered a three-day Interactivity and Creativity Forum (06, 07 and 08.11), in collaboration with Strangerfestival, the Pompidou Centre and the Paris Pocket Film Festival.

Architecture lectures Valerio Olgiati, one of today’s leading architects, gave a well-attended lecture on 25.11. His major works include the Paspels School House, Das Gelbe Haus in Flims, the K+N House in Wollerau, the new University of Lucerne, a house in Sari d’Orcino, Corsica, a small house in Rotterburg (Germany), the house for musician Bardill at Scharans and the Swiss National Park museum in Zernez. His creations have been repeatedly crowned with prestigious rewards. Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Henry Le Boeuf Hall. Admission: € 7,00|€ 4,00 (-25|60+).

Following his appointment as first Architect of the Brussels-Capital Region, BOZAR ARCHITECTURE invited Olivier Bastin on 01.12 for a reading at the Centre for Fine Arts. There he presented the works of his practice l’Escaut, which has a multidisciplinary approach and attaches great importance to citizen participation in the design process. This participation takes the form, for example, of consultations and workshops on architecture. Olivier Bastin drew on his twenty years’ experience to talk about his approach, central to which is the interaction between different actors. Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Chamber Music Room. Admission: € 7,00|€ 4,00 (-25|60+).

Young Architects An Fonteyne and Philippe Vierin from noAarchitecten launched the new season on 01.10 in the NICHE series in style by presenting the Petrol electricity substation in Antwerp-South: an exceptional architectural contract for a high-tech utility programme. Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Chamber Music Room. Admission: € 4,00.

On 17.12 attention focused on a new project by AgwA. A former tyre-mounting workshop from the 50s in a traditional Brussels district has been converted and enlarged by Harold Fallon and Benoît Vandenbulcke. Coordinator: Iwan Strauven. Production: BOZAR ARCHITECTURE, Orde van Architecten|Ordre des Architectes, A+ Belgian Architectural Review. Venue: Studio. Admission: € 4,00.

Maurizio Cattelan. Senza Titolo (Untitled). Installation in the Horta Hall

Portrait of Qing Emperor Kangxi (1662-1722) (EXPO. Son of Heaven, europalia.china) © Palace Museum

EXPO. Repromotion ÂŠJan De Cock.

EXPO. From Van Dyck to Bellotto. Splendour at the Court of Savoye

Ariane Loze, MĂ&#x201D;WN [movies on my own]

1. Bernardo Bellotto, Gezicht op Turijn vanuit de koninklijke tuin. © Galleria Sabauda (EXPO. From Van Dyck to Bellotto. Splendour at the Court of Savoy | 2. Marcel Broodthaers and Paul Willems during the occupation of the Centre for Fine Arts in 1968. (EXPO. Portraits of Artists. 80th anniversary of the Centre for Fine Arts) | 3. EXPO. Calle Sophie ©Kleinefenn | 4. Steve Paxton, Phantom Exhibition. Video-installatie | 5. Ai Weiwei and Luc Tuymans in Paul Dujardin, De Lange Mars by Manu Riche © Tim Dirven | 6. Leon Vranken (EXPO. Young Belgian Painters Award 2009) | 7. Forest, Barbarella. (EXPO. Sexties. Crepax – Cuvelier – Forest – Peellaert) | 8. EXPO. The Smile of Buddha. 1600 years of Buddhist Art in Korea | 9. Party Time at the Centre 2009 | 10. María Pagés (Son Del Sur. Flamenco Festival) | 11. The Hundred-and-Eight Torments of Mankind, Coll. Gyeongju Foundation World Culture Expo © Nam June Paik

10.

11.

EXPO. Robbrecht & Daem. Pacing through Architecture. Architects of the renewed CINEMATEK.

1. RongRong & Inri, Untitled, Beijing, n°25, 2008 (EXPO. Still Life. Contemporary Chinese Photography. europalia.china) | 2. Manuel Alves Pereira, Meer Lumière, 2007 (EXPO. Unity takes shape) | 3. China, Traditional Voices-weekend. europalia.china | 4. Olivier Rouxhet, Fresco. (BXL BRAVO-weekend) | 5. Anton Van Dyck, Il principe Tommaso di Savoia Carignano, 1634 © Galleria Sabauda (EXPO. From Van Dyck to Bellotto. Splendour at the Court of Savoy) | 6. Caterina Sagna and her new project P.o.m.p.e.i © Laurent Philippe | 7. Turijnse auteur Alessandro Baricco © Lydie Nesvadba | 8. Li Zhanyang, Rent, 2007. (EXPO. The State of Things. Brussels/Beijing. europalia.china) | 9. The Chinese architect Wang Shu at the Centre for Fine Arts. 2.

Robin Rhode, Chalk Piano, 2009. Originally used in the Leif Ove Andsnes/Robin Rhode â&#x20AC;&#x153;Pictures at an Exhibitionâ&#x20AC;? project. Image courtesy Robin Rhode 2009

The Finnish conductor Esa-Pekka Salonen at the Centre for Fine Arts during the Swedish European Presidency, together with the Swedish radio Symphony Orchestra ÂŠ Stina Gullander

Sophie Calle in her solo exhibition Calle Sophie ÂŠ Lydie Nesvadba

The Mexican writer Carlos Fuentes at the Passa Porta Festival. ÂŠ Lydie Nesvadba

2. 1. Party Time at the Centre 2009 | 2. Liu Xiaodong, Newly displaced population, 2004 ÂŠLiu Xiaodong (EXPO. The State of Things. Brussels/Beijing. europalia.china). | 3. Preparation in the Horta hall (EXPO. Bernar Venet and Jacques Charlier. Disorder) | 4. Building Jan Fabre, Ik spuw op mijn eigen graf (EXPO. The State of Things.Brussels/Beijing. europalia.china). | 5. The Russian conductor Valery Gergiev | 6. C Zuni Icosahedron - Ke Jun & Shi Xiaomei during the Traditional Voices-weekend. europalia.china ÂŠ SK

Cellist Yo-Yo Ma and the Silk Road Ensemble ÂŠ Andrew Wong

Adrien Verschuere. EXPO. 3 Cities

Cultural partners in Belgium The number of cultural partners of the Centre for Fine Arts, in both occasional partnerships and structural collaborations, continues to increase year after year. The majority of the cultural partners with which the Centre collaborates regularly, each with its own identity, operate, from the same offices as the Centre for Fine Arts team. They provide, on a regular basis, a varied programme which the Centre is unable to fully provide on its own. Their activities ensure a better balance and attract a diverse audience. The terms of the existing contracts, in particular with the Royal Belgian Film Archive, CINEMATEK, Jeunesse et Arts Plastiques, the Centre d’Information de l’Architecture, de l’urbanisme et du Design (CIAUD-ICASD), A+, the Belgian Architectural Review, Exploration du Monde and Le Rideau de Bruxelles were fulfilled to everyone’s satisfaction. The completely redesigned spaces of the Royal Belgian Film Archive/CINEMATEK were brought in 2009 into what is already intensive use. As part of its residency at the Centre for Fine Arts, the Rideau de Bruxelles played on various stages, including the Paul Willems Auditorium and the Studio. Finally, as part of europalia.china, Europalia International put on a whole series of activities in varied disciplines in co-productions or co-presentations with the Centre for Fine Arts.

The principal cultural partners are: - ( K)nowart - 0090 - 1001 Valises - A+, Belgian Architectural Review - A frika Filmfestival, Leuven - A marant - A MAZONE - A mnesty International - A museeVous - A ngelos/Jan Fabre - A rcadia - A rgos - A rs Musica - A rtexis - B.P.S.22 Project - Belgacom - Belgian National Orchestra - Beursschouwburg - BIFFF - Big Bang Distribution - Boek.be - British Council - BRONKS Jeugdtheater - Broodje Brussel/OPB

- BRUn BRO - Brussels Choral Society - Brussels International Tourism & Congresses (BITC) - Brussels Short Films Festival - BRXLBRAVO - Bureau Grands Évènements|Grote Evenementen (Department of the BITC) -C anvas -C apricorn TV - Carte S - Cathédrale Saints-Michelet-Gudule|Sint-Michiels en Sint-Goedelekathedraal - Centre culturel|Cultuurcentrum ING - Centre de Musique baroque de Versailles -C entre international de formation en arts du spectacle/ Bruxelles (CIFAS) -C entrum basiseducatie

- Centrum voor beeldexpressie - Chanel - Chapelle Musicale Reine Elisabeth|Muziekkapel Koningin Elisabeth -C harleroi/Danses -C hoeur de Chambre de Namur -C ine Pocket -C inéart -C INEMATEK - Concours Musical International Reine Elisabeth|Internationale Muziekwedstrijd Koningin Elisabeth -C onseil Bruxellois des Musées|Brusselse Museumraad - Conservatoire royal de Bruxelles|Koninklijk muziekconservatorium van Brussel -C ulture et Tourisme|Cultuur en Toerisme

-C ultuurnet Vlaanderen -C zech Centre Brussels -D aarkom -D avidsfonds -d eFilharmonie -D esign September -D J Darko -D KO -E mbassy of the Republic of Serbia -E mbassy of the Republic of Turkey -E mbassy of the United States of America -E migrative Art -E ntertainment Retail Group -E uropalia International -E uropean Union -E xploration du Monde -E yework - f ABULEUS -F ederatie Organisatie Kunsteducatie -F estival Africa Taille XL Bruxelles -F estival One World – Prague -F estival van Vlaanderen Brussel – Europa -F ilmmuseum|Musée du Cinéma -F lagey -F onds Vrijetijdsparticipatie -F otoMuseum Provincie Antwerpen -G ezinsbond -G oethe Institut -G raphoui -G reenhouse Talent -G uy Pieters Gallery -H et Beschrijf -H uis van het Nederlands -C IAUD–ICASD - I ctus - I nstituto Cervantes - I nternationaal Filmfestival van Vlaanderen/Gent - I nternational Film Festival Rotterdam - I stituto Italiano di Cultura - J ES - J eugd en Muziek Brussel - J eunesse et Arts Plastiques - J eunesses Musicales de Bruxelles -K aaitheater

- K FD - K inepolis - K lara - K laraFestival - K lasse - Korei - Kunstenfestivaldesarts - Kunstenplatform - KUNSTWERK(t) - La Médiathèque de la Communauté française de Belgique - L ASSO - L e Botanique - L e caméléon bavard - L es Agrémens - L es Films du Présent - L es Halles de Schaerbeek - Ligue des familles - Livefestival - Maison des Arts Actuels, Bruxelles - Mercatorfonds - Middagen van Poëzie en Proza - Mont des Arts|Kunstberg - Moussem – Nomadisch Kunstencentrum - Museum Night Fever - Musiques Nouvelles - National Cinema Museum, Torino - Needcompany - Off World - Office d’Art Contemporain - Office de Promotion du Tourisme de Wallonie et de Bruxelles - Offscreen Film festival - Onthaal en Promotie Brussel - Opvoeden in Brussel vzw - Orchestre Philharmonique de Liège - Orchestre symphonique de la Monnaie|Symfonieorkest van De Munt - Orpheus Instituut - Palazetto Bru Zane – Centre de musique romantique française - Passa Porta - Patrick De Brock Gallery - Place aux enfants - Plantin Genootschap - Project2

- Promotion des Lettres belges de langue française - Radiophonic Festival - Recyclart - ReMuA - Réseau de Musiciens intervenants en Ateliers - R icercar Consort - R ideau de Bruxelles - Rokerz - Royal Museums of Fine Arts of Belgium - RTBF - RTBF Musiq’3 - SACD - Scope Invest - Semaine internationale d’Orgue|Internationale Orgelweek - Service de la Promotion des Lettres - Stromboli - STUDIO ORKA - Télé Bruxelles|TV Brussel - T he Brussels Philharmonic – het Vlaams Radio Orkest - T héâtre Marni - Troubleyn/Jan Fabre - United Nations Regional Information Centre (UNRIC) - Vereniging van Vlaamse Uitgevers - Villanella - vlaamsekunstcollectie - Vlaams-Nederlands Huis deBuren - VRT - Wiels - Young Belgian Painters Award - Z33

Cultural partners abroad ECHO (European Concert Hall Organisation) is an association of directors of some of Europe’s most prestigious concert halls. ECHO seeks to increase cultural exchange and to have creations staged at multiple locations. In 2009 eighteen concert halls, including the Centre for Fine Arts, were affiliated with it. The association supports young artists through the Rising Stars concerts which are programmed on Sunday mornings at the Centre for Fine Arts. ECHO also commissions works from composers collaborating with artists from other disciplines. In November 2009 the Centre provided the stage for the European première of a very special ECHO project: ‘Pictures at an Exhibition – Reframed’, in which Norwegian pianist Leif Ove Andsnes played Mussorgsky’s Pictures at an Exhibition to a video by South African visual artist Robin Rhode. The Centre for Fine Arts also took part in an annual meeting, ECHO on Education and Outreach, for art extension and public relations managers. Finally temporary collaboration contracts in the visual arts with foreign museums and art centres serve to position the Centre for Fine Arts in an international network. ECHO MEMBERS - Barbican Centre London - Centre for Fine Arts Brussels - Cité de la Musique – Salle Pleyel Paris - Elbphilharmonie & Laeiszhalle Hamburg - Festspielhaus Baden-Baden - Gesellschaft der Musikfreunde in Wien - Het Concertgebouw Amsterdam - Kölner Philharmonie - Konserthuset Stockholm - L’Auditori de Barcelona - Palace of Arts Budapest - Salle de Concerts Grande-Duchesse Joséphine-Charlotte de Luxembourg - South Bank Centre London - Symphony Hall Birmingham - The Athens Concert Hall Organization - The Sage Gateshead - Théâtre des Champs-Elysées Paris - Wiener Konzerthausgesellschaft

The Centre for Fine Arts also collaborated with the following international partners: - Al Ma’mal Foundation, Jerusalem - Amour Fou - AT -Production - B : OM Festival, Seoul - BMEP - British Music Education Project - Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino - China International Exhibitions Agency - Civita - Collegi d’Arquitectes de Catalunya, Barcelona - Compagna di San Paolo - Dancetheatre Chang, Seoul - Festival One World, Prague - Festival Shadows, Paris - Festival Temps d’Images (EU) - Fies Factory One - Galleria Sabauda - Galleria Minini - Ganesa, Seoul - Instituto de Cinematografia y de Arte Audiovisual (ICAA ), Spain - International Film festival Rotterdam (IFFR) - Klangforum, Wien - Le Centre Pompidou, Paris - Le Forum des Images à Paris/Pocket Film Festival, Paris - London Symphony Orchestra - Lunwerg Editores, Madrid - Magyar Film Unio, Hungry - Museo del Cinema, Milan - NAM OC - Open Society Institute and Soros Foundation Network - The Korea Foundation - The Ministry of Culture, Sports and Tourism of the Republic of Korea - Three Shadows Photography Art Centre - Whitechapel Art Gallery, London

Candida Hรถfer - The Brussels Series

BOZAR FUNDING Economy and culture have developed a strong mutual relationship. The cultural sector benefits from the favourable environment for innovation and advanced technology. Industry is in turn looking for the creativity that the arts can offer. BOZAR FUNDING develops partnerships in which creativity in art and business, knowledge transfer, community relations and Corporate Social Responsibility play key roles. This support from businesses, foundations and patrons is of inestimable value for carrying out the artistic programme and completing the renovation of the building, which is part of the national patrimony. The Centre for Fine Arts owes its unique national and international influence largely to its enthusiastic and generous donors, starting with the legendary Henry Le Boeuf. We can count on the intellectual and financial support of the BOZAR PATRONS and BOZAR YOUNG PATRONS, in addition to privileged business partners which support the philosophy and artistic project with a long-term vision. Cultural sponsorship is ideally suited to corporate image building (image shift), company pride, networking, reaching the well-educated segments of the population (recruitment) and corporate citizenship.

Advertising Programming quality remains the top priority at the Centre. It is unquestionably the driving force behind BOZAR FUNDING’s combative publications policy. Our advertisers are companies that are all too well aware of the power of culture-related communication and make grateful use of the branding opportunities that BOZAR projects offer. We cannot, however, deny the impact of the adverse economic climate on BOZAR’s income from its house publications. Advertising revenue amounts to 1.6% of total BOZAR FUNDING turnover. The advertisements appear in the following publications: • BOZARMAGAZINE, a monthly magazine appearing 10 times a year (85.000 copies a month); • Concert programmes: 200.000 copies a year; • Annual brochures: BOZAR MUSIC (32.000 copies), BOZAR EXPO (20.000 copies). BOZAR FUNDING’s cooperation with external advertising management house Media Selling Place for BOZARMAGAZINE continues to bear fruit. Advertising revenue did not increase compared with 2007 and 2008. The results confirm how variable this revenue is and how important it is to work here with specialized management companies.

Sponsoring Around half of BOZAR FUNDING’s funding comes from sponsorship and partnerships. The structural partners in 2009 were Belgacom, BMW, SONY, GDF-SUEZ and the National Lottery. On top of this comes also the possibility of individual sponsorship of specific projects. For the exhibition From Van Dyck to Bellotto BOZAR was able to count on substantial financial support from Eni-Distrigas. GDF-SUEZ invested additionally in the exhibition The State of Things. The total share of exhibition revenue via private showings and sponsorship was 11,5%. Concert sponsorship accounted for 3,5% of revenue in 2009. There were several initiatives involving business seats, and the concert evening with Leif Ove Andsnes was sponsored by Statoil. Deutsche Bank provided financial support for the Berliner Philharmoniker and Belgacom gave additional support for the Cecilia Bartoli concert.

Corporate events Besides the standard packages like nocturnes and concert evenings, there is growing demand to rent one or more areas of the Centre for Fine Arts for private events, seminars and conferences. One example was the five-yearly stakeholders meeting of the Belgian Railway Company (SNCB/NMBS) (02.10). In 2009 the Centre for Fine Arts welcomed around sixty companies for staff parties, conferences, receptions, private concerts, gala dinners, award ceremonies etc. In all, a hundred or so corporate events were organized, representing 11% of BOZAR FUNDING revenue. In every case, events are organized with full respect for the artistic programming. The opening of the SQUARE Convention Centre also offers new opportunities for the reception of large conferences, using also the BOZAR infrastructure.

Membership and patronage The Centre for Fine Arts’ group of ‘patrons’ provides a vital link with its artistic activities. There are three categories: BOZAR PATRONS, BOZAR CORPORATE PATRONS and BOZAR YOUNG PATRONS. In September 2009 the three groups were invited to a dinner in the Horta Hall together with the chairman and the management team.

BOZAR PATRONS BOZAR PATRONS can attend all concerts, private nocturnes and exhibition openings, as well as film, dance and theatre performances, and have free access to exhibitions. BOZAR PATRONS can also reserve seats at La Monnaie/De Munt and at concert halls in the ECHO (European Concert Hall Organisation) network. They can also join exclusive cultural trips. At the end of 2009 there were 250 BOZAR PATRONS BOZAR CORPORATE PATRONS. This formula, launched for the 2008 season, is designed for business companies and seeks to forge a privileged relationship between the economic and cultural worlds. Executives enjoy the same advantages as BOZAR PATRONS. They are invited to a preview dinner with the structural partners, to learn what the new season has to offer. They can invite customers to exclusive concerts and exhibition nocturnes, and receive various corporate hospitality discounts. At the end of 2009 there were 15 BOZAR CORPORATE PATRONS. BOZAR YOUNG PATRONS has been created for young entrepreneurs. Each patron receives forty tickets that can be used over the course of the season, has unlimited access to exhibitions and can choose from exclusive guided visits. With its flexible reservation system this formula is proving very popular with members, who particularly value this form of networking and socializing. The number of BOZAR YOUNG PATRONS increased in 2009 to 78. Besides this, the Centre for Fine Arts has for the past several years been able to count on the support of the Bernheim Foundation, which is an important partner in the master plan for the renovation of the Horta building. The preliminary architectural studies, among other things, were funded by the Bernheim Foundation. The Porticus Foundation has for a number of years now supported the BOZAR STUDIOS educational project.

BOZAR FUNDING raised nearly 4 million Â¤ in 2009 21,841 visitors via corporate events and hospitality

Eni-Distrigas nocturne.Sponsor of the EXPO. From Van Dyck to Bellotto. Splendour at the Court of Savoy ÂŠSimply Better

THE CENTRE FOR FINE ARTS IN THE PRESS ON Robbrecht & Daem. Pacing through Architecture “Het oeuvre van het Gentse architectenbureau Robbrecht & Daem is divers en internationaal. In de Brusselse BOZAR loopt een intrigerend overzicht van 20 jaar ontwerpen in tekeningen, foto’s en vijf speciaal gemaakte films.” (‘Aanrader’ in De Morgen, 06.03.2009)

ON Murray Perahia « Il est venu, il a joué, il a conquis, légitimant parfaitement la prédiction du programme qui assimilait ce retour à “une victoire de l’esprit”. Le public du Palais des Beaux-Arts a fait lundi soir à Perahia un triomphe instinctif avec une gradation dans la chaleur qui explose après les sublimes « impromptus » de Schubert donnés en bis d’une soirée exemplaire. »

ON CALLE SOPHIE AND JAN DE COCK. REPROMOTION « À Bruxelles, toujours énergique et bouillonnant, le Palais des Beaux-Arts propose un programme chargé cet été : Sophie Calle fait son show jusqu’au 13 septembre exposant une rétrospective de sa vie, qui devient ainsi une fiction … c’est au Palais des Beaux-Arts que Jan De Cock, artiste de la nouvelle scène artistique belge, proposera un parcours inédit de sculptures et photographies. » (Art Actuel, 07-08.2009)

ON Berlin Philharmonic “The Berlin Philharmonic Orchestra, arguably the best in the world, is a rare visitor here. No wonder, then, that Bozar’s Henry Le Boeuf Hall was packed for the Berliner’s performance under chief conductor Simon Rattle.”

(Serge Martin in Le Soir, 04.02.2009)

(Partice Lieberman in The Bulletin, 26.02.2009)

ON Mariss Jansons

ON L’ Orchestre philharmonique de Liège

« Avant le concert, Paul Dujardin et Jan Raes avaient signé une convention de résidence de l’orchestre amstellodamois à Bozar Musique pour les trois prochaines saisons. Bruxelles se retrouve donc sur la carte européenne de l’orchestre aux côtés de Londres et Paris. » (Serge Martin in Le Soir, 23.12.2009)

« Mozart, Widmann et Mahler au programme, le trompettiste russe Sergei Nakariakov en soliste, le Français François-Xavier Roth à la tête de l’Orchestre philharmonique de Liège : jeudi soir, au Bozar, avant même que les musiciens n’entrent en scène, la fièvre des grands soirs avait saisi la salle. »

ON Cecilia Bartoli « Habillée en mousquetaire, vocalement souveraine, l’Italienne enflamme le Bozar.» (Nicolas Blanmont in La Libre Belgique, 17.11.2009)

« La chanteuse s’exalte, la salle exulte » (Serge Martin in Le Soir, 17.11.2009)

“Wij hadden het nog nooit gezien: een Paleis voor Schone Kunsten dat zo tot de nok gevuld was, dat gewone stervelingen zelfs in de koninklijke loges mochten zitten. Op het programma stond dan ook een fenomeen.” (Stefan Grondelaers in De Standaard, 17.11.2009)

ON Van Dyck TO Bellotto. SPLENDOUR AT THE COURT OF SAVOY « On y retrouve quelques chefs-d’œuvre admirables qu’on ne se lasse pas de voir et de détailler longuement (on rêve parfois d’une exposition où il n’y aurait qu’un tableau !) mais on fait aussi de vraies découvertes qui valent le détour. Et pour le reste, on peut suivre une véritable et passionnante histoire du goût à travers les achats des princes de Savoie, qui sont le fil conducteur de l’exposition. La scénographie est audacieuse par le choix de ses couleurs : des murs très rouges, verts ou bleus (pour les Flamands) et en général fort réussie. » (Guy Duplat in La Libre Belgique, 20.02.2009)

(MDM in La Libre Belgique, 28.11.2009)

“De tentoonstelling heet Van Van Dyck tot Bellotto en pakt vooral uit met schilderijen van Italiaanse meesters. Maar je vindt er ook prachtige werken van Van Dyck, drie schilderijen van Rubens, een tafereel van de fluwelen Brueghel en zelfs een panel waarop de

‘Maagdenprocessie’ op de Zavel in Brussel vereeuwigd is.” ( Jan Van Hove dans De Standaard, 21.02.2009)

« Une sélection des chefs-d’œuvre “sabaudiens”, flamands et italiens, est présentée à Bruxelles. Et pour que la fête soit vraiment parfaite, on y a joint des peintures de même provenance royale, mais conservées au Palazzo Madama de Turin, à la Pinacothèque de l’Académie Albertine des beaux-arts et au Château de Stupinigi. » ( J.C.in Connaissance des Arts, maart 2009)

ON The State of Things. Brussels/Beijing. « Elle jettera un pont entre Bruxelles et Pékin, et un regard critique sur l‘image de l‘Europe comme sur l‘art contemporain dans une Chine qui le transforme en denrée à haute valeur économique. » ( Jean-Pierre Stroobants in Le Monde, 11.10.2009)

“Cutting-edge cultural exchange … ‘I’ve told him to watch his back’ said the Flemish superstar artist Luc Tuymans who, together with Ai, has co-curated The State of Things, Brussels/ Beijing, an intriguing exhibition at the Palais des Beaux-Arts in Brussels.” (Brigid Grauman in Financial Times Europe, 28.10.2009)

« Certes, la contestation chinoise n’était pas vraiment présente, même si il y eut quelques évènements alternatifs : l’écrivain Ma Jian et le réalisateur Wu Wenguang ont été présentés au Bozar et on eut la venue du prix Nobel contestataire Gao Xinjiang. » (Guy Duplat in La Libre Belgique, 20.02.2009)

“ Bozar zorgt voor een eigen, maatschappelijk sterkere programmatie tijdens Europalia, dat voor alles het fiat van Peking moet krijgen” (Catherine Vuylsteke in De Morgen, 12.09.2009)

ON Calle Sophie « Sans être une rétrospective dans le sens classique du terme, l’expo montre des œuvres jamais vues, remonte jusqu’à l’enfance de la dame, et constitue une formidable vitrine d’un univers aussi inclassable que fascinant. »

ON Jan De Cock. Repromotion “Het zijn mooie beelden die verspringen in de tijd, waarin en waartussen schoonheid schuilt. De bezoeker kan het allemaal zelf ontdekken door met open ogen te kijken en behendig te bewegen in de tentoonstellingszalen, en soms … nog eens op zijn passen terug te keren en met hart en ziel te blijven kijken.” (Luk Lambrecht in Knack, 12.08.2009)

(A.N. in Mosquito, 03.06.2009)

« Sophie Calle à Bruxelles : un évènement ! Au Palais des Beaux-Arts à Bruxelles, vingt projets dont trois en première mondiale.» (Roger Pierre Turine in La Libre Belgique, 28.05.2009)

ON CALLE SOPHIE « Ne manquez pas non plus l’exposition Sophie Calle au BOZAR face à la gare … » (L’Est Républicain, 07.06. 2009)

ON Carlo Petrini « Les plaisirs du palais au palais des BeauxArts ! Une fois n’est pas coutume, le « Bozar » met en effet la gastronomie à l’honneur en invitant Carlo Petrini, initiateur du mouvement Slow food. » (Bio-info, 01.03.2009)

ON STATE OF THINGS “ Mit Ai Wei Wei und Luc Tuymans konnten die prominentesten Vertreter der zeitgenössischen chinesischen und belgischen Kunst als Kuratoren für die zweite grosse Schau im Palast der Schönen Künste gewonnen werden.” (Hanna Styrie in Kölnische Rundschau, 24.12.2009)

BOZAR COMMUNICATION This department is tasked with informing the general public about activities at the Centre for Fine Arts, with raising visitor numbers and expanding BOZAR’s presence in the media.

BOZAR EXPO – AUDIENCE DEVELOPMENT From autumn 2009 it was once again possible to use both major exhibition circuits simultaneously. Smaller exhibitions were usually associated with the central themes, so as to benefit from the global attention. In 2008 already, a group of volunteer ‘ambassadors’ was created, committed to supporting the Centre over a number of seasons. They were given the job of promoting the summer exhibitions (Calle Sophie, Jan De Cock, Young Belgian Painters Award ) to various target groups, via a personal approach. These ambassadors are also an important source of blog material for the website. In 2009 they flyered in schools, galleries and cafes and organized a Girl Geek Dinner, a visit to the Young Belgian Painters exhibition communicated across a variety of multimedia platforms, blogs and social networks. Even more activities centred round the summer exhibitions. First and foremost there was the global campaign with a widely distributed leaflet. For Calle Sophie and Jan De Cock specially-designed luggage tags were distributed around the Grand’ Place, the Mont des Arts and elsewhere. Drawing inspiration from Sophie Calle’s works (e.g. Les Dormeurs), the Centre for Fine Arts organized a bed-in at one of the evening concerts of the Brussels Summer Festival. A special ‘BOZAR@7’ was organized to continue the ‘after-work’ of EU officials in Brussels. MEET THE ARTISTS sessions were held on three Thursday evenings, and our ambassadors also cooperated with URBAN BBQ on the Mont des Arts.

Partnerships The collaboration with the Royal Museums of Fine Arts of Belgium and the new Magritte Museum was continued, including the publication of two joint publications and a combined ticket for From Van Van Dyck to Bellotto and the permanent museum collection. The cooperation with the new SQUARE Convention Centre was strongly profiled. Promoting the Centre on foreign markets is entrusted to the tourist partners. Given falling German visitor numbers, a new agreement was concluded with Projekt 2508, a communications agency that specializes in cultural communication in the German market. In place of cooperation on an event-by-event basis, BOZAR COMMUNICATION switched to structural cooperation with two hotels, Le Méridien and NH Hoteles. Special offers were also arranged with Thalys for From Van Dyck to Bellotto and Calle Sophie. Several new partners were added, thanks to the From Van Dyck to Bellotto exhibition and the related cooperation with the museums of the vlaamsekunstcollectie: Istituto Italiano di Cultura, Italians online and Piola Libri, guide organizations Arkadia and Korei, and art fairs such as TEFAF Maastricht, Eurantica Brussels and Antica Namur.

Young audiences The exhibitions attracted slightly fewer young people this year, except during the summer months, when the number of under-26s was on average 17% higher than during winter or spring. A survey also revealed that no less than 24% percent of visitors to the summer exhibitions were first-time visitors to the Centre for Fine Arts

BOZAR sold 983,873 tickets (Visitors of BOZAR projects abroad are not included)

UNDER-26s, COMPARATIVE VISITOR NUMBERS

Season

Exhibition

2007

Spring

The Forbidden Empire

4,51%

Views on Europe

Summer

Ingenium

Young Belgian Painters Award

Autumn

4,30% 29,44% N.N.

europalia.europa. The Grand Atelier Encompassing the globe. Portugal and the World in the 16th and 17th centuries

13,00%

2008

Spring

Treasures old and new from Wallonia

Paul Klee

17,83%

Summer

It’s not only Rock ‘n’ Roll, Baby!

42,55%

Mapas Abiertos

20,78%

Autumn

The Smile of Buddha

Never-Part (small circuit)

2009

Spring

From Van Dyck to Bellotto

Robbrecht & Daem. Pacing through Architecture (small circuit)

28,62%

Summer

Calle Sophie

24,52%

Jan De Cock

20,04%

Autumn

Son of Heaven

8,10%

The State of Things

9,88%

14,00% 7,54%

9,46% 29,30% 8,30%

BOZAR STUDIOS - Audience Development BOZAR STUDIOS, the art education department, targets diverse audiences with made-tomeasure formulas. The BOZARSUNDAYS, the family Sundays, were announced with two leaflets. Cooperation continued with De Gezinsbond, the Centre’s largest Dutch national partner. Cooperation was terminated with La Ligue des Familles, which has transferred its member benefits to a commercial company, resulting in very unfavourable conditions. This is being reviewed in 2010. The communication around Party Time at the Centre (17.05.2009) was widely distributed: through a general leaflet, direct mailings, flyering at events, competitions and cooperation with Musiq’3. The free discovery pass, BOZARPASSPORT, distributed exclusively to children between 6 and 12, was further promoted. In the autumn a new cooperation was begun with Jeugd en Muziek Brussel, the Jeunesses Musicales de Bruxelles and the National Orchestra of Belgium for family performances. The ‘Musical Fairy Tales’ were presented three times this season and were announced in the BOZARSUNDAYS leaflets. No 2009-2010 schools brochures was produced, in the absence of information on the following season’s spring exhibitions. All teachers did receive in May a ‘Music for Schools’ prospectus with a cover letter. Europalia sent out in June the ‘europalia.china’ programme booklet. A second letter in early October announced the full range of BOZAR school offerings right through to end-June 2010. In 2009, the Centre cooperated for the first time with the ‘Short Film Festival’. Two school performances in May, for primary and secondary school pupils, brought 500 pupils to the Centre. 171 persons attended the family performance. For BOZARSTART a new campaign was initiated around the theme of ‘Travel’. 100,000 keychains spread the message Check out your culture trip @bozar.be/tickets with reference to the competition on the CHINA@BOZAR blog. Sales rose by 100%. 1,149 START booklets were sold and 5,725 vouchers used. The Club Korea and Club ConTempo finissages attracted some 2,000 visitors. For each of these events a custom communication plan was worked up in collaboration with youth partners and media popular with young people like FM Brussels, AmuseeVous, CJP and De Kaart( JES vzw). The Dutch-language seniors organizations were well represented this year at the BOZARPLUSDAYS. Dutch audiences were generally larger than French-speaking ones. On the French-speaking side, cooperation continued with the Rideau de Bruxelles.

BOZAR THEATRE/DANCE/LITERATURE/CINEMA – Audience Development The programme for stage arts and literature was aligned more closely than before with the large and small festivals at the Centre for Fine Arts. This is one reason why no special STAGE & SCREEN 2009-2010 brochure was produced. Stage arts and film audiences received programme mailings. They were also targeted as accurately as possible for each separate project with flyers and (digital) newsletters. The communication budget was devoted in its entirety to the CHINA@BOZAR festival pro-

gramme. As well the focus on music (Silk Road Music) and exhibitions (Son of Heaven and The State of Things), contemporary, somewhat rebellious and critical China was given a voice through the promotion of its literature (with, among others, banished Nobel Prize Winner Mo Yan) and during the (Un)Silenced Voices weekend. But classical and traditional China (Shadow Puppetry, Traditional Voices weekend) was also included. No less than 12,000 visitors enjoyed one or more China Festival events. The twelve afternoon theatre performances could count on a loyal audience. For the first time they received a leaflet with the complete programme of performances through to spring 2010. This had the effect of stimulating presales. BOZAR CINEMA is five years old. The BOZAR SCREEN PASS was discontinued. A subscription formula is still a possibility, but visitors’ primary need in 2009 was for clear communication. Films are increasingly communicated by categories: previews, documentaries, family films, tributes, film festival, Expanding Cinema (music + concert) and New Media. A bi-monthly film-goers’ newsletter was introduced to improve communication continuity and to allow for greater flexibility. The previews and documentaries were an opportunity to address new communication partners and target groups. Much of the communication for BOZAR CINEMA is via e-mailings and web communities. For events in the Henry Le Boeuf Hall a more traditional communication plan is used with flyers, radio spots, advertisements and posters. In 2009 BOZAR CINEMA welcomed 13,500 film lovers. In coming years greater emphasis will be placed on sales and on the potential of the film discipline.

BOZAR MUSIC Audience Development The 144th classical music season was launched in March 2008. Every year, the challenge is to communicate the extensive concert offerings as simply as possible. Website browsing was made easier and a number of themes or residences were adapted. The total number of concertgoers continues to rise, 3% higher than 2008, 13% higher than 2007. Even so, ticket presales are down. While ‘late deciding’ may well be a new social phenomenon, next season more attention needs to be given to raising audience loyalty, outside the familiar formulas like subscriptions, Classicarte and discovery subscriptions. For non-classical music a new audience was drawn from the Turkish (16.02.2009 with Candan Erçetin), Moroccan and other Arab communities (10>28.11 Moussem Festival). For this a very focused communication campaign was conducted. The overwhelming successes of tango and flamenco performances (Son del Sur, 14.05 and 16.05) and the passage of Gilberto Gil (14.11), brought the Hispanic community to the Centre for Fine Arts. Promotional agreements were made with dozens of new communication partners, enabling us to attract over 6,000 visitors for the third edition of Balkan Trafik! (16>18.04), 30% more than in 2008. For the first edition of the Brussels Electronic Music Festival (20>22.03), we counted around 4,000 visitors.

MEDIAPLANNING

Statistics for www.bozar.be

Cooperation with the structural media sponsors – Roularta Media Group, RTBF, VRT, Brussels TV, Télé Bruxelles, Brussel deze Week and Le Soir – was continued. A partnership was renegotiated with French magazine Connaissance des Arts. Television spots served to call up a new pool of young filmmakers. Their work was shown on television and posted on bozar.be, YouTube and MySpace.

• Average unique visitors per day: 3,500 (up 25% on 2008) • Geographic origin: Belgium: . . . . . . . . . . . . . . . 78,72% Netherlands: . . . . . . . . . . . . . 6,14% France: . . . . . . . . . . . . . . . . . . 5,71% Germany: . . . . . . . . . . . . . . . 2,19% United Kingdom: . . . . . . . . 1,20% Spain: . . . . . . . . . . . . . . . . . . . 0,66% USA: . . . . . . . . . . . . . . . . . . . . 0,64% Luxembourg: . . . . . . . . . . . . 0,56% Italy: . . . . . . . . . . . . . . . . . . . . 0,54% Mexico: . . . . . . . . . . . . . . . . . 0,50% • Top 10 cities: Brussels, Leuven, Ghent, Louvain-la-Neuve, Antwerp, Amsterdam, Namur, London, Liège, Paris • Average duration: 3 minutes • Top 5 referrers Sources No. of visits % visits www.google.be 73,338 42,26% www.bozar.be 72,057 41,52% www.facebook.com 3,770 2,17% www.bing.be 1,696 0,98% www.quefaire.be 1,618 0,93% • Most visited pages: 1. activities page (through search engines and links on other sites) 2. diary page (search by calendar) 3. home page per discipline 4. info pages • Language ratio: NL 32% FR 28% ENG 27% • Number of newsletter subscribers: 15,100 (up 10%) FR/NL ratio 52%/48% Male/female ratio 52/48 %

PRESS OFFICE The press office was extended to respond better to the many requests from the local, national and international media. This policy is paying off, with the Centre for Fine Arts and its director Paul Dujardin playing an increasingly prominent role in the Belgian cultural sector. More than 300 press releases were issued, in Dutch, French and often also in English. The press office organized around 30 press conferences and almost 150 individual interviews. This produced (in round figures) 3,000 articles and a number of different radio and television reports. Efforts directed at the foreign press are being intensified. Thirty or so journalists received a presentation of the new season at the Belgian Embassy in Paris. There were various press trips and two extraordinary meetings with the major European media: the first to present the book BOZAR LXXX in January and the second at the opening of the State of Things exhibition with Luc Tuymans and Ai Weiwei.

WEBSITE AND NEW MEDIA The china@bozar.be social site was launched simultaneously with the CHINA@BOZAR festival. This was based on a drupal platform, with the full range of social and web 2.0 features. The website enabled Audience Development to organize entertaining competitions and to keep attention focused on China in an original manner. china@bozar.be worked very simply: visitors were first asked to register on the homepage, after which they could post their comments, put together a top-five, share their favourite events or invite other users. The ‘Bozar seeks Chinese’ competition rewarded three social addicts (one Dutch and two French-speaking) with Blackberrys with which to post their photo and video reports. BOZAR’s presence on Facebook, Twitter, Flickr and YouTube became more professional and energetic. BOZAR BROADCAST was launched as a new communication strategy, with twenty or so video reports already during Europalia. Activities were reported in a more dynamic, i.e. imageoriented, fashion. The china@bozar project was evaluated after four months. After two months there were 9,325 new visitors to www.china@bozar.be, of which 2,564 returned. The 1,748 pages were viewed 43,376 times, with preference for information on the major exhibitions. For 49% of visitors www.bozar.be was the access portal to the blogs. Visitors came from 57 countries. From all this we conclude that BOZAR absolutely must be present on the major social platforms, that www.bozar.be needs to be upgraded with a number of social features, and that BOZAR BROADCAST provides clear added value.

5. 1. BOZARMAGAZINE, volume 2009 | 2. 3. 4. Posters BOZAR in Brussels | 5. Promotion of the exhibition From van Dyck to Bellotto, in Paris, Gare du Nord. | 6. Promotion of artistic offerings on plasma screens in the Hall.

BOZARTICKETS In 2009 the Centre for Fine Arts ticket office issued well over 700,000 tickets, the majority of them for the exhibitions. europalia.china brought peak activity. BOZARTICKETS operates from the ticket office at the Ravenstein Gallery entrance and in the Centre for Fine Arts building itself. A new sales desk at the Rue Royale entrance now simplifies access to the exhibitions. The contact centre is the beating heart of ticket sales and reservations for various activities. It also manages requests for guided tours and group reservations and promotes the MYBOZAR and BOZARGIFT membership cards and similar products. This year a campaign was launched to sell BOZAR MUSIC subscriptions. BOZARTICKETS looks after ticket sales to third parties. The collaboration with Flagey, Le Rideau de Bruxelles, Exploration du Monde, Ars Musica and the Royal Museum of Fine Arts of Belgium was again very successful in 2009. The three channels – ticket office, contact centre and the Internet – make the service attractive to many cultural operators, as well as providing high visibility. For this reasons the collaborations and partnerships will be further expanded in 2010. BOZARTICKETS also offers entry tickets at Fnac and Arsène 50. These two outlets reach a different audience and stimulate ticket sales. Online sales continued to increase. Many visitors choose this option to avoid ticket office queues. One of the big challenges for 2010 will be to develop the online offering, but without compromising reception facility quality.

BOZAR PLANNING In 2009, a total of 5,950 public activities were organized at the Centre for Fine Arts. This is considerably more than in 2008. One reason is the opening of the southern exhibition circuit. If we include in this number also the exhibitions and activities not open to the general public (rehearsals, recordings, auditions, meetings and acting as polling station), we arrive at a total of 8,957 activities. Public activities we define as the wide range of activities open to the general public and at which the Centre’s reception personnel are present. In addition to advertised public exhibitions and performances these included in 2009 ‘by invitation’ events such as exhibition openings, nocturnes and ‘finissages’, as well as symposia, concerts, lectures, dance and other performances, introductions, academic sessions and film showings. A total of 620 receptions, drinks and walking dinners are also included under public activities.

800

Seat occupancy per room (2007 to 2009)

700 600

Rehearsals Public activities

500 Henry Le Boeuf Hall © Mikaël Falke

400

241

240 243

300 62

69 86

200

65 67 72

319

293

272

221

239

265

215

196

227

100

131

0 2007

2008

2009

Henry Le Bœuf Hall

2007

2008

Hall M

2009

2007

2008

Studio

2009

2008

2009

Auditorium Paul Willems

BOZARSHOP BOZARSHOP is a multidisciplinary international bookstore with an emphasis on art books. The publications on sale mirror the artistic programming of the Centre for Fine Arts. The catalogues of all exhibitions are sold there. Taking their cue from the major festivals, stands and displays are created with posters, catalogues, merchandising, T-shirts, gadgets, etc. The music items on sale reflect the artistic programming of the Centre for Fine Arts, with a unique selection of CDs and DVDs of classical, jazz and world music. The presence of CINEMATEK plays a role in the selection. Fashion, graphics, design and photography are also part of the offering. Nor are little children forgotten: as well as a wide selection of great toys, they can have a drink at the huge reading table, where they immediately feel at home. Activities in 2009: • T he opening of CINEMATEK sounds in a major cooperation, with BOZARSHOP presenting a remarkable range of quality films on dvd. • Valentine initiative, with photo shooting between the showcases and an exhibition sale of jewellery by Antwerp gallery Beyond Fashion. • A nn Veronica Janssens presents her new book. • Participation with BOZAR in Art Brussels. • Atypyk, two Parisian designers, are offered a PLEASE (do it yourself ) exhibition, where they also present designer items for sale under the motto ‘In times of crisis, be inventive’. • Special around Sophie Calle. • Sales of children’s books as part of the Kinderboekenfeest (festival of children’s books) on 10.05. • Renowned Swiss publisher JRPRingier exhibits his renowned art books for two weeks. • Signing sessions by famous names like mezzo-soprano Cecilia Bartoli and the Gilbert & George artist duo. • BOZARSHOP is an important partner for selling catalogues and Chinese gadgets during europalia.china. • BOZARSHOP also takes care of the signing session with Jordi Savall at the Music Conservatory.

Interview ans signing session with Jordi Savall

HUMAN RESOURCES

Age pyramid of permanent staff

As the largest cultural centre in Belgium, the Centre for Fine Arts aims to be a reference in the sector in the field of personnel and organizational policy. The Human Resources department is keen to create the conditions for greater employee involvement, and to create an environment in which employees can look at their enterprise with satisfaction and pride. Without neglecting its fundamental tasks and responsibilities (pay administration and selection/recruiting), Human Resources has been placing greater emphasis since 2009 on an integrated HR policy and on internal communication with personnel. This new course undoubtedly led to the department being awarded the â&#x20AC;&#x2DC;HR team of the yearâ&#x20AC;&#x2122; title by the professional journal HR-Tribune.

15 10 5 0

Statistics On 31.12.2009 the Centre for Fine Arts had 199 equivalent full time employees, temporary employees not included. Total employment at the end of December stood at 339 employees. 91% of personnel are under contract, 9% have the status of permanent public servant. 15% work part-time, having opted for a career break, taken time credit or decided to work fewer hours.

20-24 years

25-29 years

30-34 35-39 40-44 years years years

45-49 years

50-54 55-59 years years

+60 years

Age pyramid of temporary staff

30 25 20

The Centre for Fine Arts has a perfect balance between male and female employees: 50% men and 50% women on the permanent staff. Within the Management Team the proportions are 33% women and 67% men. Among temporary staff, 57% women and 43% men.

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The Centre for Fine Arts operates an active non-discrimination policy. The cultural diversity of staff is apparent from their country of origin: 84.8% were born in Belgium, 6,6% come from another European country and 8.5% from non-European countries.

5 0

20-24 years

25-29 years

30-34 35-39 40-44 years years years

45-49 years

50-54 55-59 years years

+60 years

Y o

Working status statutory contractual

Employment system part-time full-time

Nationalities Belgium other EU countries non-EU countries

M/F Permanent staff male female

M/F Management Team male female

M/F Temporary staff male female

The average age of permanent staff increased slightly: the number of 35-44 year-olds fell from 34% in 2008 to 30,8%, while the 45-65 age group rose 3% to 36,9%. The 20-34 year age group remained pretty much at the same level at 32%. With temporary staff last yearâ&#x20AC;&#x2122;s trend continues: 53% are between 18 and 34, 9% were older than 60.

Years of service 2009

Yearâ&#x20AC;&#x2122;s service of permanent staff 0 > 4 years 5 > 9 years 10 > 14 years 15 > 19 years 20 > 24 years 25 > 29 years 30 > 34 years 35 > 39 years

staff Among permanent staff, there was a slight decrease in the proportion of employees with 0 to 4 years service, from 53% to 51%. The number of employees with 5 to 9 years of service rose by 3%, indicating reduced turnover. We note that in 2009 few employees left of their own volition, a positive development that is attributable to a good Human Resources policy.

Personnel and recruitment The total number of applications rose to 2,669 (unsolicited or for specific vacancies). The 325 interviews conducted resulted in 116 new (permanent and temporary) contracts. The number of CVs, interviews and candidates recruited on permanent contracts remained stable. A remarkably large number of employees (14) changed function internally or were able to move from a temporary to a permanent contract. This shows that the policy of internal promotion is bearing fruit.

Volunteers With the launch of an integrated volunteer policy in 2008, we were able to count this year on the enthusiastic participation of an average 20 volunteers per month. They have translated job descriptions and entered CVs into the HR Optimizer database. They also helped with visitor reception and handed out audio guides. Volunteers were also taken on for non-administrative tasks.

Job descriptions This project, resulting in the identification, description, validation and translation of 105 job descriptions, was completed in 2009. Under the maintenance process the descriptions will be open to change every two years, at the initiative of the personâ&#x20AC;&#x2122;s superior or the function holder. This makes for flexibility in handling evolving structures and processes. The related function and planning interviews are the first link in the BOZARPRO performance system that was launched in 2009. It was developed as a management tool and seeks to foster communication between managers and staff and develop skills. This allows individual and collective goals to be achieved in an effective manner. With the green light from the joint committee ( June 2009), BOZARPRO training courses were held in November for all permanent staff. An evaluation system for temporary staff was also developed, permitting closer tracking of employees in this group. The evaluation takes into account 11 competencies and 4 tasks related to the particular function.

Training With the job descriptions project now finalized, our training managers could focus more on our important training policy. The number of training hours increased from 5,309 to 5,486 (in 2007 there were just 262). 44% of the training courses were earmarked for the Box Office and Technics services (customer service, and BA4 and BA5 training for electricians). Training was also provided in languages, information technology, first aid and management. In a difficult budgetary period the Centre for Fine Arts was able to present a cost-conscious training budget.

Internal communication Savings had to be made on internal communication. The biggest achievement in 2009 was the implementation of the new intranet for all Centre for Fine Arts employees. Permanent and temporary staff can now log in personally on www.bozarpeople.be. June was health month, in which we spurred on our people to live more healthy and sportive lives.

Social dialogue and the global prevention plan By way of application of the Royal Decree of 14 November 2008 the composition of the joint committee was adjusted in the course of 2009. The number of members was raised from 12 to 14: 7 from management and 7 from the representative unions. In the new composition each representative trade union is entitled to one seat, with remaining seats are distributed among the representative trade unions following a procedure defined in the Decree. On 9 June 2009, the joint committee met the first time in its new composition. In all four meetings have been held. Information was provided on the financial prospects of the institutions and the progress of the job descriptions project. The introduction of the BOZARPRO performance system was discussed in a separate working group. At the June meeting the green light was given to an infor-

mation session and a brochure to inform staff in detail about the new system.

The Subcommittee for Accident Prevention and Protection in the Workplace The committee met seven times in 2009. Matters discussed included the development of evacuation plans, bringing electric equipment into conformity and safety training for personnel.

Social security matters and pay administration In 2009, the automation and optimization of services continued. The introduction of meal vouchers called for a revision of the salary system. The new badge system, aimed at efficiency and improved security, means a single badge that both provides access and serves as a clockâ&#x20AC;&#x201C;in card. The increasing number of requests for parental leave and career breaks also required an adjustment of the administration. Finally, a good start was made to entering candidates into a database system (HR Optimizer). In total, more than 2,000 candidates were entered.

The future The award of the HR team of the Year accolade in the competition organized by professional magazine HR Tribune has given the Centre for Fine Artsâ&#x20AC;&#x2122; Human Resources department lots of self- confidence to move forward even more dynamically. In 2010 middle management will receive further training in empowerment. With an enhanced awareness of their managerial role and given greater responsibility, they in turn can better support their employees in their professional and personal development. The HR office will also actively assist management in developing and optimizing intra- and inter-departmental processes. We will of course be seeking to make further advances in the training and development, mutual consultation and welfare of our employees. Recruiting people with experience in other sectors enables us to further strengthen the cross-and multi-disciplinary nature of our organization.

ORGANIZATION CHART The chart was updated in 2009. In April, the IT service was placed under the Technics, Investments, Safety & Security Department. Today, all technical departments fall under a single report to a single director. Since June 2009, BOX OFFICE has also been part of the FINANCE department.

P. Dujardin CEO - Artistic Director

BUSINESS DEVELOPMENT

GENERAL ADMINISTRATION

FINANCE

HUMAN RESOURCES

FUNDING

Administration Office & Supplies

Accountancy

Payroll Administration

Corporate Development

Archives

Financial Control & Internal Audits

Internal Communication

Membership & Planned Giving

Box Office

Legal-Social Affairs

Legal Affairs Mail

HR Development

Subventions

COMMUNICATION & MARKETING

ARTISTIC COORDINATION

EXHIBITIONS

GUEST SERVICES

TECHNICS, INVESTMENTS, SAFETY/SECURITY & IT

Audience Development

Studios

Architecture

Front of House & Production

Investments, Safety & Security

Press

Cinema

Publications

Dance & Theatre

MUSIC

Literature

Cleaning Maintenance & Repairs Stock Exhibitions & Performing Arts IT

9. 8.

10. 12. 11. 1 & 2. Guest Services 3. Technics 4. Funding 5. General Administration 6. Box Office 7. Music 8. Expo 9. Communication 10. Human Resources 11. Technics 12. Finance 13. Guest Services 14. Performing Arts 15. Business Development ÂŠ RaphaĂŤl Carette

13.

14. 15.

ICT – Technical Department - Safety ICT The primary focus in 2009 was on virtualization, in order to allow multiple operating systems to run simultaneously. For this the majority of the production servers were virtualized in a Blade Center. This centralization process offers several advantages: rationalizing and optimizing the loading of the different servers, increasing the safety and availability of storage capacity, limiting new hardware costs and also reducing the overall energy consumption of the IT system. Data formerly hosted on different servers are now consolidated on an SAN (Storage Area Network). The storage capacity makes it possible to cope with the annual growth of data. One of the available storage volumes was immediately earmarked for archived data which a decade ago were stored externally. Another storage volume will serve to create a digital archive for centralized and structured images, audio and video. This is the first stage of a Disaster Recovery Plan, which should be operational in 2010. In 2010, the Centre’s telephony system will also be renewed. In the second half of the year an IP system, fully integrated into the computer systems, was connected up. This will both increase communication quality and ensure standardization and automation.

Technical department In 2008 the fifty employees of the Technical Department were confronted with all kinds of requests related to both the artistic activities and the maintenance of the building. They also undertook certain renovation tasks. The Technical Department prepared and dismantled the Centre’s own productions in the various halls, doing everything from setting up the stage, fine-tuning sound and light installations to loading and unloading materials. In a number of cases, specialized external companies were brought in to assist. The growing number of events again called for precise planning to ensure continued quality and balance personnel availability with programme schedules. The Technical Department provided support for some five hundred events and performances in the various disciplines: theatre, dance, literature, film and especially music. The General Supplies Department looked after cleaning the halls in the Horta Building, the Ravenstein Gallery office complex and meeting rooms. It also took care of all deliveries and removals. The Department also made sure that visitors were able to attend events during the construction activities in comfortable conditions. A team consisting of carpenter, a plumber, a mechanic, painters and electricians undertook minor repairs, assembled display cases for exhibitions and provided everyday maintenance of technical installations. The painting team applied fresh paint where necessary, and the electricians maintained the electrical installations and phone system. Since 2005, management of the technical installations (heating, air conditioning, hoisting equipment and high voltage cabling) has been contracted out to a specialist company, which is available 24/7.

The exhibitions Technical Department set up and dismantled exhibitions, with the assistance of specialized external companies. The Technical Department also closely monitored a number of special activities: the installation of air conditioning in the exhibition rooms, preparing the renovation of the offices in the Ravenstein Gallery, maintenance work on the Hortabuilding and the purchase of technical equipment for the auditoria and exhibition rooms.

Safety In 2009, the enhanced safety of visitors, staff, employees, the building and the items exhibited in it were one of the department’s main concerns. As part of the process, the Centre for Fine Arts has acquired equipment for working at heights. The BIS system (Building Information System) was introduced, which means that all alarm systems now operate on a centralized basis. The department also went looking for a new partner for the technical inspection of safety installations. An intervention plan was developed in close collaboration with the provincial governor. Contacts were strengthened with the authorities, the fire department, the other institutions on the Mont des Arts and the Brussels Environmental Department. The Centre for Fine Arts’ prevention advisor was involved in preparing and supervising the worksite for the renovation of the Rue Royale exhibition circuit and the future restaurant. In 2009 the Technical Department again managed a number of worksites: the renovation of the plumbing of sanitary facilities serving the Henry Le Boeuf Hall, providing a new musicians’ cloakroam, several interventions to bring the building up to current environmental standards, as well as the renovation of the conference staircase. The Technical Department also worked together with external agencies (Barbara Van der Wee and her team, the Ney & Partners structural engineering consultancy, Ingenium for specialized technologies and Daidalos for engineering) on two major worksites, both part of the master plan that since 2003 has permitted a systematic renovation of the building to a predetermined strategy. Architect Luc Dubrulle provided the technical and budgetary coordination. These worksites involved more specifically: • the renovation of the roofs of the southern exhibition circuit (Rue Royale circuit) covering a total area of 5,000 m². • the renovation of the restaurant to a level reflecting the artistic standards of the Centre for Fine Arts. We would also mention the start of work on the passage to the archaeological site, the underground passage to the Convention Centre (financed by Beliris) and the cleaning of the facade (Government Buildings Agency).

Rediscovering Horta Restoring a living monument is a complex exercise, especially if the same standards apply as to a new building. How does one reconcile the architecture of a listed building with its new intended functions? There is, regrettably, little international debate on this subject. A dynamic arts centre like the Centre for Fine Arts, with over one million visitors a year, makes high demands on the architecture in terms of air conditioning, theatre, stage and projection technology, safety of visitors, staff and artworks, accessibility, visitor and artist amenities, logistics, energy efficiency etc. Addressing these matters inevitably means breaching the architecture of Victor Horta. Moreover, a totally different approach was taken during the previous restoration in the ’70s. Then the focus was on the functionality of the building. Today, much more attention is being paid to the spatial structure and architectural coherence. The choices, however, are for the most part determined by the international museum and cultural context, and the standards that these impose. The master plan identifies those choices and presents a path for the restoration. Today, we are approximately halfway along this path. In 2009, restoration of the roof and the underlying exhibition halls was completed. This marked the successful completion of one of the most complex phases of the master plan. Over a five year period, 4,100 m² of roof area were renovated, including 2,800 m² of outer glass roofing and 1,750 m² of glazed ceilings. More than forty exhibition rooms were completely restored, with 22 technical boxes distributed across the roof to provide a stable indoor climate. The result is a superb exhibition circuit, in full conformity with international museum standards (ICOM standards) while doing justice to the architecture of Victor Horta. The master plan combines heritage care with sustainable restoration technologies and energy efficiency. All exterior roofs have been fitted with thermal insulation. The outer walls have been covered with cellular concrete insulating plaster, without which a stable indoor climate would have been an energy-guzzling matter. Additional investments are still needed, however, in order to optimize energy performance. At times it makes sense to copy the Horta elements that have since gone missing. Thus the dome on the Rue Royale rotunda has been again completely covered with gold leaf. Today this hall gleams as it did in 1928. In the Green Room, situated between the Film Museum, the Horta Hall and the future restaurant, the metre-high steel window frames filled with patterned glass have been copied based on old photographs. The balconies, columns and stairs in terrazzo are replicas. The hall currently serves as the exit for the CINEMATEK projection rooms. Further major restorations are planned in the coming years, including the marble in the Horta Hall, the floors around the Henry Le Boeuf Hall and the leaded windows.

It is not always desirable to revert to Victor Horta’s original architecture. Improving the accessibility and the logistics of the building calls for a new entrance onto the Rue Royale. The current extension will therefore be dismantled and replaced by a contemporary architecture with an international aspect. In so doing the Centre has resolutely opted for small-scale in place of monumentality. The new access will considerably facilitate the circulation of groups and people with reduced mobility. And if the new building is directly connected to the backstage of the Henry Le Boeuf Hall and the exhibition halls, the transportation of instruments and artworks will immediately become much more efficient.

ÂŠ B. Van der Wee Architects

1. 2. Renovation of the Southern exhibition circuit © B. Van der Wee Architects | 3. New projection room of the CINEMATEK © All rights reserved | 4. Maintenance work on the facade of the Centre for Fine Arts | 5. Roof situation in 2008, view on the Rotonde Rue Royale © B. Van der Wee Architects | 6. View of the roofs after 2009, view on the Rotonde Rue Royale and the building 1930 © B. Van der Wee Architects | 7. Renovation of the Rotonde Rue Royale © B. Van der Wee Architects

ARCHIVES OF THE CENTRE FOR FINE ARTS The archives of the Centre for Fine Arts are a treasure trove of documents and objects that bear silent witness to 80 years of artistic programming. All in all more than 1,100 metres of archives and books. After several relocations, the series are now stored at two central locations. The quite diverse collection can be consulted by appointment. There is for example the ‘Palais des Beaux-Arts’ fund which includes the correspondence of Henry Le Boeuf, Charles Leirens, Pierre Janlet, Paul Willems and others, and the 150 metres of artistic records of the Exhibitions Association. This contains records of the great international exhibitions, from Russian Art in 1928 to the more recent records of The Forbidden Empire and Paul Klee Theatre here, there and everywhere (2008). Suzanne Bertouille, who organized exhibitions for half a century and Charles Geirlandt, director of the Exhibitions Association from 1974 to 1986, have both left their traces, together with Belgian artists like René Magritte, Marcel Broodthaers, and contemporary figures such as Harald Szeemann and Lili Dujourie. The Philharmonic Society kept not only production records, press clippings, programme leaflets and posters of the most legendary concerts, but also the scores (Henry Le Boeuf Fund) and reports of foreign trips of, among others, Marcel Cuvelier, who succeeded Henry Le Boeuf in 1935. The archive of the vzw Paleis contains a wealth of artistic information on theatre and dance: The Living Theatre (1962), the Grotowski Theatre Laboratory (1967), Batsheva Dance Company (1995), ... The archive features audio-visual sources such as posters, photos, videos and sound recordings. The 3,500 inventoried building plans, including the initial ones by architect Victor Horta, may be consulted upon presentation of a written, motivated request. The library consists of more than 10,000 reference books on numerous artists who at one time or another were guests of the Centre for Fine Arts, providing the visitor with a fascinating and varied view of Belgian and international artistic life. Currently, these books are being catalogued to enable the collection to be consulted. Digitization is both a core mission and one of the biggest challenges of the current dynamic archive management thrust. Rare, unique and valuable documents and/or images are digitized and stored on an archive server. From time to time particularly significant documents are brought to the attention of a wider audience. The archives of the Centre for Fine Arts provided an inexhaustible source of information for the book Bozar LXXX, 80 Years of the Centre for Fine Arts in pictures, published in 2008 and the photo exhibition 80ZAR Artists’ Portraits. The Centre for Fine Arts also makes its archives available for many external artistic projects.

Legal structure

of the major users of the Centre for Fine Arts, the Société Philharmonique de Bruxelles and the Société des Expositions, and contributing both the net book value of the parastatal company and the net value of the usufruct of the building.

Legal status

The new company became operational on 1 January 2002. This makes 2009 the eighth financial year of the new Centre for Fine Arts. During the past financial year, the company has continued to implement the two main tasks assigned to it by the management contract: managing the building (over 30,000 m²) – a unique work by Victor Horta – and implementing a multidisciplinary cultural policy which underscores the international importance of Brussels and of Europe.

It was in 1920 that the political debate about the creation of a Centre for Fine Arts in Brussels began in earnest. The project had its opponents, who baulked at the price tag of 9 million Belgian francs in the face of the uncertainty and the difficulties of the immediate post-war period. To which the Minister of Public Works countered that the construction of a Centre for Fine Arts responded to two basic needs: improving the status of artists and providing education in the arts to the working class. To which was added the prestige of the nation. On the issue of cost, the Minister pointed to the attractiveness of the future centre to the foreign public. Faced with the snail’s pace of parliamentary procedures, the idea emerged of constituting a private association. Henry Le Boeuf, banker and music lover, was called in to manage this company. In 1922, Parliament finally adopted the principle of a State guarantee for the loan that the non-profit organization ‘Palais des Beaux-Arts de Bruxelles’, which had been constituted in the meantime, would need to contract to construct the building. In 1984, the State had to step in and save the institution from financial shipwreck. It converted the non-profit organization into a ‘type B parastatal’ public law body, with the sole task of managing the premises of the Centre for Fine Arts: letting, technical support to users, maintenance and repair. A series of independent affiliated institutions was in charge of organizing activities. The parastatal body and the affiliates, however, operated to different logics, without integrated management. In the early 1990s in the Société Philharmonique de Bruxelles, one of the main affiliated companies based at the Centre for Fine Arts, started rethinking the Centre’s status. It became clear that the management of the building and of the activities organized in it required closer integration, on the model of international cultural institutions. By Act of 7 May 1999 the Centre for Fine Arts (in French, Palais des Beaux-Arts and in Dutch Paleis voor Schone Kunsten) was formed as a limited liability company incorporated under public law with a non-profit purpose.1 A Royal Decree of 19 December 2001 set out the articles of association, creating a single cultural institution, in charge of both managing the premises and putting on events. The choice of a limited company under public law with a social purpose reflected the trend for the public authorities to modernize their public enterprises with structures and articles of association affording them greater mission autonomy. The reference document is the management contract between the shareholding authority and the public enterprise. This defines the public service mission to be realized, the resources granted to achieve this, and the other objectives to be met. This structure for the new Centre for Fine Arts company was formed by transferring the activities 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 implementing decrees of 19 December 2001.

With the change of status, the statutory purpose of the Centre for Fine Arts was considerably expanded to make it a prime-ranking cultural player for music and exhibitions, but also for dance, theatre, literature, cinema and architecture. Together with the Belgian National Orchestra and the Théâtre Royal de la Monnaie | Koninklijke Muntschouwburg, the Centre for Fine Arts is one of the three federal cultural institutions. 2 In 2009, tutelary authority over these three institutions passed back to the Prime Minister.3 In July 2009, following a cabinet reshuffle, the Secretary of State for the Budget attatched to the Prime Minister was given tutelary authority over the federal cultural institutions.

Share capital At the time of incorporation of the limited company in 2002, the share capital was set at ¤ 17,500,000 plus an issue premium of ¤ 109,106,34 represented by 17,500 non-par shares held by the Federal State. This capital represented essentially the net value of the usufruct of the building and did not provide the company with any liquid assets. In 2003, in order to ensure the company’s growth, the supervisory authorities decided to raise the capital. At an Extraordinary General Meeting of shareholders on 11 April 2003, the Federal Holding and Investment Company (Société Fédérale de Participations et d’Investissement – (SFPI) |Federale Participatie- en Investeringsmaatschappij (FPIM)4 subscribed a capital increase of ¤ 5 million in exchange for 6,481 non-par shares. Today the capital stands at ¤ 22,500,000, represented by 2,.981 shares.

2 Article 150 of the Programme Law of 8 April 2003 and Article 1,1° of the Royal Decree of 21 July 2003. 3 Article 1 of the Royal Decree of 14 January 2009 (Belgian Official Gazette, 26 January 2009, 2nd edition). 4 This is the new name of the former Federal Participation Holding, which was dissolved (merger by takeover) by the Société fédérale de Participations et d’Investissement (SFPI)|Federale Participatie- en Investeringsmaatschappij (FPIM) (Act of 26 August 2006, Belgian Official Gazette of 30 August 2006, effective 30 August 2006).

Shareholder structure As indicated above, the Centre for Fine Arts has two shareholders: - T he Federal State holds 17,500 shares (73%). It is represented by the Minister having tutelary authority over the three federal cultural institutions. This was, from 2003 to December 2007, the Prime Minister under the Royal Decree of 21 July 2003, then the Interior Minister under the Royal Decree of 27 December 2007, and then again the Prime Minister since the start of 2009.5 In July 2009 the institutions came under the supervision of the Secretary of State for the Budget, attached to the Prime Minister. - The Société Fédérale de Participations et d’Investissement owns 6,481 shares (27 %).

The Board of Directors The Board of Directors is the custodian of the autonomy of the Centre for Fine Arts. It approves the requisite budgets for the fulfilment of the artistic activity as defined by the general management of the Centre for Fine Arts, and prepares the annual accounts for approval by its shareholders, including the Federal State, in General Meeting. The Board of Directors is comprised of an equal number of French-speaking and Dutch-speaking members. The directors, the chairman and the vice-chairman of the Board of Directors are appointed by the King, by Royal Decree deliberated in the Council of Ministers. They are not remunerated for this office. The first Board of Directors of the company was appointed by Royal Decree of 19 December 2001, half of its members for six years and the other half for three years. The term of office of a director is six years; for half of the directors it expires on 31 December 2010 and for the other half on 31 December 2013. By Royal Decree of 27 December 2004, the King extended for six years the terms of six directors. A Royal Decree of 15 February 20086 appointed the six other directors and the two non-voting directors.

The Board of Directors is composed of the following 12 voting members: Chairman: Mr. Étienne Davignon Vice-chairman: Mr. Michel Praet Directors: Mr. Eric Antonis Mr. Jean Courtin Mr. John Crombez Mr. Jean-Pierre de Bandt Mr. Jean-Pierre de Launoit Mr. Frédéric Delcor Mr. Antoine Drzymala Ms. Marleen Van Waeyenberge Ms. Isabelle Verhaegen. Ms. Geertrui Windels In addition, two non-voting directors have been appointed: Mr. Marc-Yves Blanpain and Ms. Marie-Paule Quix. The following members of staff also attend Board of Directors meetings: the Director-General, the Secretary-General, the chief financial officer and the government commissioners (see below). In 2009, the Board of Directors met six times. Among other things it approved the new management agreement (see below) and discussed the company’s financial situation (accounts for 2008, the 2009 budget, quarterly and half-yearly results), the funding of the work in hand, and the cultural programming as presented by the Director-General. An audit committee consisting of Ms. Windels and Messrs. Blanpain, Courtin and Praet reviews all financial documents presented by management.

The Director-General and the Management Committee Paul Dujardin was appointed Director-General of the Centre for Fine Arts by Royal Decree of 19 December 2001 for a term of six years from 1 January 2002 to December 31, 2007. His mandate was renewed by Royal Decree of April 30, 2007 for a further of six years from 1 January 2008 to December 31, 2013. He is responsible for the daily management of the corporation and is assisted by a Management Committee which he chairs.

5 Article 1 of the Royal Decree of 14 January 2009 (Belgian Official Gazette of 26 January 2009, 2nd edition). 6 Royal Decree of 15 February 2008 appointing the members of the Board of Directors of the Centre for Fine Arts (Belgian Official Gazette of 22 February 2008, p. 11.634).

The Management Committee has four members, including the Director-General. The other three members were appointed by the Board of Directors for six-year terms, commencing simultaneously with the renewal of the Director-General’s mandate. The Secretary-General acts as its secretary. In 2009 the Executive Committee met eight times.

The committee can invite various advisers and heads of department to its meetings. The committee discusses the cultural and artistic projects and issues of daily management. Finally there is a weekly Management Team Meeting of all Centre for Fine Arts department heads and the Director-General, who coordinates all the activities.

The government commissioners The Centre for Fine Arts is subject to the supervision of the following Ministers: - T he Federal Minister having the federal cultural institutions within his remit, namely the Prime Minister and the Secretary of State for the Budget attached to the Prime Minister. - the Budget Minister.

Two auditors are appointed by the General Meeting from among the members (individuals or legal entities) of the Belgian Institute of Company Auditors. At the statutory General Meeting of 24 April 2006, the following two auditors were reappointed for further 4-year terms: - T.C.L.M.-Toelen, Cats, Morlie & Co CVBA/SCRL, legally represented by Mr Bernard de Grand Ry: - KPMG BCV, legally represented by Mr. William Van Aerde. Two auditors were appointed by the General Meeting of the Belgian Court of Audit as members of the Board of Auditors for 4 years from 1 March 2006. These are: - Mr. Jan Debucquoy, adviser; - Mr. Franz Wascotte, adviser.

The Management Contract

This supervision is exercised by three government commissioners appointed by the King. Two of the government commissioners, one from the French-speaking roll and one from the Dutchspeaking roll, were proposed for appointment by the Prime Minister: these are Mr. Renaud Bellen and Mr. Marc Boeykens who were appointed by Royal Decree of 31 March 2004, following the coming into effect of the Programme Law of 8 April 2003, which tightened the supervision of the federal cultural institutions. The third government commissioner is proposed for appointment by the Budget Minister7: this is Ms. Rika Denduyver who was appointed by Royal Decree of April 4, 2003.8 The government commissioners are invited to all meetings of the Board of Directors of the Centre for Fine Arts in a non-voting capacity.9 They are appointed for the duration of the government and their term of office is renewable.10

The Board of Auditors A board of four auditors is entrusted with controlling the financial position, the annual accounts and the regularity of transactions to be reported in the annual accounts. 7 Article 151 of the Programme Law of 8 April 2003, effective 19 April 2004, by way of application of the Royal Decree of 31 March 2004. 8 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 amended by Article 156,1 of the Programme Law of 8 April 2003. 9 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 amended by Article 156,2 of the Programme Law of 8 April 2003. 10 Article 5 of the Royal Decree of 31 March 2004 governing the status of the two government commissioners in the federal cultural institutions.

The Centre for Fine Art’s first management contract was signed with the Belgian State on 18 November 2002 and approved by a Royal Decree of 2 December 2002. Concluded for a period of 5 years, it came into force on the day of its publication in the Belgian Official Gazette, that is, December 21, 2002. It was automatically extended until the entry into effect of the new management contract. In fact, at the expiration of the initial term, a caretaker government was in power since the elections on 10 June 2007. The Centre for Fine Arts was under the supervision of the Prime Minister. On 20 March 2008, a new government was sworn in, and tutelary authority over the cultural institutions passed from the Prime Minister to the Interior Ministry. On 22 December 2008, this government resigned. Upon the formation of the new government on 30 December 2008, tutelary responsibility for the federal cultural institutions returned to the Chancellery (Prime Minister’s Office). In July 2009, following the cabinet reshuffle, the Secretary of State for the Budget attached to the Prime Minister was given tutelary responsibility for the federal cultural institutions. On 24 November 2009, the project was finally accepted by the inter-cabinet working group and submitted for approval by the signatories. The management contract for 2009-2013 was published as an annexe to the Royal Decree of 22 December 2009 (Royal Decree of 28.12.2009, Ed. 3). In this contract, the Centre for Fine Arts commits to ensuring coherent cultural programming, to pursuing an active policy of cultural democratization, and to fulfilling a reference function at the cultural, artistic, professional and technical levels. The basic structure remains the same as in the 2002 contract. The main change relates to Section VI – Financing, which sets the basic amount of the grant (2009 and 2010) and its evolution in subsequent years. The amount granted in 2010 is lower than in 2009, in line with the government’s austerity measures.

Another significant change concerns Section V – Building, in which the State’s obligations are extended to investments in technology and security (art. 25). The division of roles between the Centre for Fine Arts, and the Federal State is defined more precisely. There are also other are less fundamental, but nonetheless important adaptations, which reflect the experience of the previous five years. The management contract governs in particular the following matters, imposed by law: - the modalities for fulfilling the company’s public service mission, i.e. providing 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; - the modalities relating to the building, on the one hand its management and maintenance, the cost of which is to be borne by the Centre for Fine Arts, and the major repair and renovation works which are to be borne by the State; - the modalities for collaboration with other institutions, particularly with those which are regular users of the Centre for Fine Arts; - the modalities of the endowment from the Federal State; - the Centre’s obligations in the area of internal and external audits. In this contract the Centre for Fine Arts undertakes to develop a consistent artistic programme, to pursue an active policy of cultural democratization and to fulfil a reference function at the cultural, artistic, professional and technical levels. The contract provides, however, that these commitments remain directly related to the financial resources available to the Centre and in particular to the allocations assigned to it for fulfilling its missions.

The Joint Committee The Joint Committee was established by a Royal Decree of 19 December 2001. In addition to its chairman, Étienne Davignon, it is composed of twelve effective members: six management representatives and six personnel representatives (with six substitutes). In 2009, the Joint Committee met nine times. During its meetings it addressed, among others: - the new composition of the Joint Committee; - the introduction of the new BOZARPRO evaluation system; - the work of the Sub-Committee for Prevention and Protection at Work (CPPT); - public holidays in 2010.

Financial report The accounts for the 2009 financial year are essentially in balance. The loss for the year, amounting to ¤ 40,151,22 represents just 0.14% of the operating charges (¤ 28,338,400,77) on the income statement.

For a global vision of activities in 2009 it is important to take a consolidated perspective which includes the activities of the Centre’s partners, including both the contributions and the costs generated. Under this heading come both cultural activities proper and the investments in the real estate.

Three operating charge headings merit particular attention: • Raw materials, consumables and goods for resale (¤ 12.1 million). This heading covers the basic activities of the Centre for Fine Arts, that is the entire artistic production costs (¤ 7.4 million) and communication expenses (¤ 2 million); • Services and other goods (¤ 2.4 million). This item contains the administrative operating costs like rent and insurance. • Remuneration, social security costs and pensions (¤ 11.3 million). This is a general heading covering all personnel costs. It should also be borne in mind that the Centre for Fine Arts bears a large part of the cost of the bare property, that is the cost of maintenance and uptake of the building itself. These costs have a major impact on the accounts.

In order to achieve its ambitious artistic programme, the Centre for Fine Arts has opted to maximize partnerships and synergies, in particular through co-productions with both structural and occasional partners and by hosting projects which enjoy outside financial support. These various partnerships, which serve to reinforce the Centre’s overall cultural project, represent a significant contribution to the overall financial picture.

Of course, while the financial contribution of the various co-producers is very substantial and considerably strengthens the artistic quality of the projects presented by the Centre, there is also the

BALANCE SHEET (in EUR thousands) ASSETS

2009

2008

FIXED ASSETS Tangible fixed assets A. Land and buildings B. Plant, machinery and equipment C. Furniture and vehicles D. Other tangible fixed asset E. Assets under construction and advance payments Financial fixed assets

25.449 25.349 25.376 25.280 17.518 17.518 295 380 585 654 6.021 5.760 957 73

968 69

CURRENT ASSET Amounts receivable within one year Short-term investments Cash at bank and in hand Deferred charges and accrued income

12.061 5.730 5.274 893 164

9.246 6.279 1.822 627 518

TOTAL ASSETS

37.510

34.595

EQUITY AND LIABILITIES EQUITY Capital Share premium account Revaluation surpluses Loss carried forward Investment grants PROVISIONS AND DEFERRED TAXES Provisions for liabilities and charges

2009

2008

23.603 23.095 22.500 22.500 109 109 385 385 - 5.263 - 5.223 5.873 5.324 1.057 1.057

399 399

CREDITORS Long-term liabilities Amounts payable within one year at the latest A. Financial debts B. Trade debts C. Advance payments received on orders D. Taxes, remuneration and social security E. Other amounts payable Accrued charges and deferred income

12.850 1.350 8.812 300 5.453 31 2.711 317 2.687

11.101 600 8.972 500 5.275 22 2.801 373 1.530

TOTAL EQUITY AND LIABILITIES

37.510 34.595

offsetting cost involved in hosting these external productions: provision of personnel, technical equipment and infrastructures. This explains the size of the Centre’s operating costs.

The cultural project The cultural project of the Centre for Fine Arts must of course be considered in a global approach.

The real estate investments have been made possible by combining the aid received from, among others, Beliris, the Federal Holding and Investment Company, the Federal Buildings Agency, the National Lottery and the Brussels-Capital Region. While not all this substantial financial support passes through the Centre’s own accounts, it is the Centre that provides most of the daily management of the work undertaken with the help of it. Finally, it should be pointed out that the result achieved by the Centre for Fine Arts is remarkable, given the savings that had to be made in the course of 2009 to take account of two factors. First, the federal grant, though higher than in 2008, was not increased as much as expected. Second, the Centre has had to operate in a difficult economic context, with the danger of reduced revenues from sponsoring, patronage and ticket sales.

While it is important to recognize the part played in the overall cultural project by the Centre for Fine Arts with its own productions, it is equally important to recognize that played by our outside partners through co-productions with the Centre and through their own productions. A first and important set of activities is therefore the Centre’s own investment in the production or co-production of cultural events, focused essentially on musical activities and exhibitions. But the Centre sees its role as a multidisciplinary one. Cinema, theatre, dance, architecture and literature are an integral part of its cultural activities, which often come together, for example in cross-disciplinary festivals. This first set of activities, financed out the Centre’s own funds, amounts to ¤ 7.4 million

INCOME STATEMENT (in EUR thousands)

2009

2008

OPERATING INCOME I. Turnover II. Other operating income

INCOME STATEMENT

27.524 5.717 21.807

26.175 6.785 19.390

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 receivables VIII. Provisions for liabilities and charges IX. Other operating charges

28.338 12.109 2.416 11.327 1.463 338 658 27

27.378 12.953 2.229 11.269 1.420 - 15 - 489 11

-815 875 86 - 27 105 118 - 40 0

-1.202 881 27 -343 318 203 - 228 0

- 40

- 228

OPERATING LOSS FINANCIAL INCOME FINANCIAL CHARGES LOSS ON ORDINARY ACTIVITIES BEFORE TAXES EXTRAORDINARY INCOME EXTRAORDINARY CHARGES LOSS FOR THE YEAR BEFORE TAXES INCOME TAXES LOSS FOR THE YEAR

Of course, the Centre’s vocation, given its particular Belgian and international anchoring, also includes hosting a very large number of cultural activities. These activities – in the form of co-productions, both recurrent and occasional - do not appear in our accounts as they are not financed in their entirety by the Centre for Fine Arts, even if included in our cultural offering. Among the recurrent co-productions one can cite all the activities co-produced with some twenty privileged partners including the Belgian National Orchestra, Europalia Foundation, the Monnaie/ Munt Theatre, the Festival van Vlaanderen, the Chapelle Musicale Reine Elisabeth and the Rideau de Bruxelles. The designing, management and implementation of these activities is taken care of by the Centre for Fine Arts, in part together with our partners and in part on our own. Our contribution includes in particular the entire technical back-up, as well as general services (like the communication via our internet site and our magazines, but also, more prosaically, security, reception and insuring both the operations and the buildings). We also co-produce artistic projects with third parties in the framework of one-off partnerships. Examples include europalia.china, where under a bilateral agreement between China and Belgium, we were able to organize five exhibitions for which the transport and insurance costs were picked up by the Chinese government. Another such case was the exhibition From Van Dyck to Bellotto in partnership with the Region of Piedmont, or the Sexties exhibition, co-produced by the Centre for Fine Arts and the Brussels-Capital Region’s Major Events Office on the occasion of the Cartoon Strip Year. As mentioned elsewhere, all costs incurred by the Centre for Fine Arts itself are fully and fairly recorded in its accounts, but the global cultural budget for the activities that the Centre hosts should be envisaged in a larger framework, precisely because the Centre also makes its infrastructure available to outside parties. Our outside partners’ share in both co-productions and their own productions represents the considerable amount of ¤ 15.38 million1, coming on top of the ¤ 7.4 million of the Centre’s own artistic production. In all this adds up to ¤ 22.78 million of artistic productions organized in the Centre for Fine Arts. Looking beyond this consolidated approach, there is a last type of activity we must take into account. These are the productions of the many other partners to which we are linked by varying degrees of cooperation, and which take place at the Centre for Fine Arts. We can mention here the Queen Elisabeth of Belgium International Music Competition. Even in this case, the making available of the premises involves not just simply renting out the necessary space. Reception facilities, integrating of this event into the overall programme, technical management and making sure that all goes smoothly, however prestigious or simple the event, all this is undertaken by the Centre for Fine Arts’ own technical, planning and other teams. These activities represent a considerable expense for the Centre for Fine Arts, the impact of which is not reflected in the accounts. It is indeed difficult to place a precise value on these activities, which also need to be taken into account when evaluating the accounts as a whole. 1

Details of the artistic production by third parties are given overleaf.

Real estate management and investments The activities grouped under this heading are varied and complex. To start with there are the 33,000 m² of the Centre itself, which are much more than a series of rooms. There is the need to maintain the façade as well as the splendid and spacious common areas which constitute its glory (hall, stairway, etc.). This is an expensive enterprise, undertaken exclusively by the Centre’s personnel, although these areas are made available to everyone, whether co-producers or outside parties. There are also 4,000m² of administrative offices, with their security systems, meeting rooms, and various personnel and visitor facilities. These too serve not only the Centre but also our partners (Belgian National Orchestra, Europalia, Rideau de Bruxelles and others). These premises are leased out, but it is the Centre’s technical personnel who are responsible for maintenance. On top of this, the building activities have meant setting up a structure within the Centre for Fine Arts, even if the funding for this work does not go through the Centre’s accounts. Of course, the Centre for Fine Arts calls upon its partners, like the Federal Buildings Agency, or on external collaborators, like architects and others, to help it manage these activities. But the search for investment subsidies, the task of defining our desiderata during the planning phase, the necessary arbitration during the execution stage in order to keep the budgets under control until reception of the work, and familiarizing employees with newly introduced technologies, all this calls for legal, administrative, financial and technical follow-up by Centre employees. All departments are involved in one way or another in the management of these investments. Major investments have been made since the start of Paul Dujardin’s first mandate as Director. New and equally sizeable investments have to be made in the immediate future, not only to restore the building but also for basic safety considerations (electricity, etc.) These new investments are described in a master plan. This strategic document contains, in great detail, all the investments that still need to be made in order to consolidate the Centre’s European and international position. These will demand the same concentrated effort, with the sole advantage of the experience already gained over the years and the existence of a proper infrastructure. The size of these investments is calling, however, for increasingly complex legal and financial structures, in particular seeking to involve the private sector. Similarly, the evolution of the technologies to bring installations into conformity with European standards is calling for increasing qualified personnel to operate them. To give an idea of scale, we should mention that the public authorities and the private sector have together, since 2000, invested in all ¤ 58,771,000 in the Centre for Fine Arts site. Involved in the various financial structures have been the Federal Buildings Agency, Beliris, the Federal Holding and Investement Company and the Brussels-Capital Region, as well as the Bernheim Foundation. As already touched on earlier, the portion of the investments managed directly by third parties like the Federal Buildings Agency, without the direct financial intervention of the Centre for Fine

Arts, can be estimated for 2009 at ¤ 6.65 million (completion of the north exhibition circuit, BOZARSHOP, CINEMATEK and others).

Conclusion: an overall budget of more than ¤ 53 million It is clear from the above that behind the Centre for Fine Arts’ traditional missions of organizing cultural activities and managing the building lie a whole series of multiple and complex realities. The Centre’s cultural activities include its own productions, co-productions, productions by third parties in the Centre’s premises, and artistic projects undertaken in collaboration with third parties with outside financing. The organizational structure of the Centre for Fine Arts needs to be able to support all these activities, part of which are not reflected in the company’s accounts and budgets. The same applies to the real estate investments and their management. Certain investment subsidies are managed directly by third parties (for example the Federal Buildings Agency) while the Centre for Fine Arts, as indicated above, makes an essential contribution to the realization of these investments. Here again, these investments benefit everyone: the Centre for Fine Arts, the co-producers, the partners, and more generally, all the visitors to these activities. We can therefore state that, adding to the total amounts of ¤ 28.3 million of operating charges the ¤ 18.7 million of the cultural activities not directly produced by the Centre for Fine Arts, as well as the ¤ 6.65 million of real estate investments, the consolidated activity of the Centre for Fine Arts amounted in 2009 to ¤ 53.6 million.

NOTES ON THE ASSETS • Tangible fixed assets have remained stable compared with 2008. • Assets under construction consist of the cost of the ongoing renovation of the organ and of the design and other preparatory work for the future restaurant. • Financial fixed assets are also stable. • A mounts receivable within one year are stable compared with 2008. Trade receivables are down, reflecting our more active collection policy. The other receivables consist of subsidies receivable, the volume of which has remained unchanged. • Short-term investments are up, reflecting the later payment of the second tranche of the National Lottery subsidy, the payment of an exceptional subsidy of ¤ 625,000 and of ¤ 1.2 million to finance the design work on the renovation of the southern part of the roof.

Consolidated cultural project (in ¤) 2009 partners National Orchestra of Belgium: co-production of variable artistic costs National Orchestra of Belgium: 27 concerts at the Centre for Fine Arts x basic orchestra costs Festival van Vlaanderen: 50% co-production without overheads Kaaitheater Flagey Ars Musica 1001 Valises/Balkan Trafik! Moussem Festival Royal Belgian Film Archive (CINEMATEK) Young Belgian Painters Award ECHO Le Rideau de Bruxelles Mont des Arts Jeugd en Muziek & Jeunesses Musicales Projet Architecture Greenhouse Talent Théâtre royal de la Monnaie/Koninklijke Muntschouwburg The Brussels Philharmonic: 4 concerts Orchestre Philharmonique de Liège + deFilharmonie Chapelle Musicale Reine Élisabeth Musiques Nouvelles Anima Eterna Klara-dag Brussels Choral Society Queen Elisabeth Competition: finals BOZARSHOP Party Time at the Centre Exceptional projects Les Archives de l’Imagination United Artists of Italy Galleria Sabauda Maurizio Cattelan A4-Louise Herlemont, Sans Objet Portraits d’Artistes Calle Sophie Bernar Venet Jan De Cock 1 OAC Sexties europalia.china Europalia Festival TOTAL

¤ 359,556 ¤ 2,812,500 ¤ 516,099 ¤ 3,499 ¤ 16,990 ¤ 32,284 ¤ 105,000 ¤ 58,641 ¤ 510,000 ¤ 30,500 ¤ 300,000 ¤ 1 500,000 ¤ 142,224 ¤ 120,000 ¤ 173,000 ¤ 6,139 ¤ 724,500 ¤ 291,880 ¤ 700,000 ¤ 12,500 ¤ 120,000 ¤ 60,000 ¤ 40,000 ¤ 40,000 ¤ 180,000 ¤ 1 459,000 ¤ 17,500 ¤ 150,000 ¤0 ¤ 1 000,000 ¤0 ¤0 ¤0 ¤0 ¤ 50,000 ¤ 500,000 ¤ 100,000 ¤ 500,000 ¤ 5 000,000 ¤ 7 1,805 ¤ 18 703,617 75

NOTES ON THE EQUITY AND LIABILITIES

NOTES ON THE INCOME STATEMENT

• T he loss carried forward relates primarily to 2002 and 2003, just after the merger, when there was as yet no business plan and the Centre for Fine Arts had to commence its activities in a situation of structural under-financing. • The provisions for liabilities and charges of ¤ 1,057,442 break down as follows: - a provision of ¤ 426,000 for repairing the organ; - provisions for liabilities and charges of ¤ 328,000, including ¤ 250,000 for eradicating Lyctus Brunneus in one of the exhibition rooms; - a restructuring provision of ¤ 302,000. • L ong-term liabilities are up, with the release of the second tranche of the Federal Holding and Investment Company loan for the building work on the restaurant.

• Operating income consists of the operating revenues of the Centre for Fine Arts, which are up by 5.1% or ¤ 1,347,833. • Box Office and BOZAR FUNDING revenues are down slightly, owing to the difficult economic context. • Other operating income is up. This is due essentially to the increase in the federal grant during 2009 to enable the Centre to partially offset the effects of external factors (related in particular to Human Resources). • P urchases are down by ¤ 844,750, reflecting the Centre’s concern to reduce its costs. It should be pointed out here that operations-related purchases have increased. This has been balanced out by lower purchasing in the artistic area. These savings on artistic costs were needed in order to meet the Centre’s structural charges, without compromising the quality of the overall project. The 2009 financial year closes with a loss of ¤ 40,151.22, equal to 0,14% of operating charges.