BOZAR & friends summer 2015 by BOZAR

CENTRE FOR FINE ARTS BRUSSELS

MAGAZINE DE L’ÉTÉ 2015 Bimestriel N°2015/03 - Bureau de dépôt Bruxelles X – P202261

Contents

5 Welcome

JUST ADD YOU.

SensoWash® Slim

This Summer at BOZAR Not a Bad Summer After All

Pascale Marthine Tayou – Boomerang In Your Face

Jean-Philippe Toussaint And God Created Fashion

Bellissima – Dior and I Una bellissima alta moda

Plan of the Centre for Fine Arts A Centre Full of Artistic Discoveries

Young Belgian Art Prize The Youth of Today

Interview with Anna Heylen “I try to rise above fashion”

Mekhitar Garabedian “I is Another”

Juergen Teller - Vivienne Westwood Naked Punk

V+ 2014-2015 Architecture is a Quest

BOZAR this Autumn From our Calendar

Our Partners

Practical Info

A publication of the Marketing & Communication Department Director of Marketing, Communication & Sales: Filip Stuer Editorial Coordinator: Frederic Eelbode Graphical Coordinator: Olivier Rouxhet Advisor Artistic Policy: Kurt De Boodt Contributors: Olivier Boruchowitch, Kurt De Boodt, Marthy Locht, Aart De Zitter, Frederic Eelbode, Elien Haentjens, Alexander Jocqué, Marthy Locht, Marianne Van Boxelaere, Xavier Verbeke et Luc Vermeulen Graphic Designers: Koenraad Impens, Olivier Rouxhet et Sophie Van den Berghe Corporate Development: Katrien Desrumaux, Barbara Lefebure et Olivia van der Ghinst Marketing Assistents: Ine De Bock, Joëlle Massau et Muriel Vanderick

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Responsible publisher : Paul Dujardin - rue Ravenstein 23 - 1000 Bruxelles. Return address: rue Ravenstein 23 - 1000 Bruxelles Visual art authors who are member of the Cisac-society, and photographers who are represented by SABAM, please mention © SABAM, Bruxelles, 2005. Photographers and creators represented by SOFAM, please mention © SOFAM, Bruxelles, 2005 Cover: 1. Photo: Mekhitar Garabedian, Un bel été quand même, 2014. Courtesy of the artist and Albert Baronian Gallery. 2. Pascale Marthine Tayou, Africonda, 2014. Photo: Lorenzo Fiaschi. Courtesy: Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana Photo p. 5: Yves Gervais © BOZAR

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Fashion & Art

Sheer Driving Pleasure

In the summer you have two choices. Go off and visit somewhere else or bring that somewhere else here to you, by reading a book in the garden or on a sunny terrace, for example. Or you could do a bit of both. The days when life in Brussels came to a standstill during the summer and cultural centres all put out the same ‘closed for holidays’ sign, are long gone. This summer BOZAR is making the most of the available space with nine exhibitions. It has something of an indoor mini-biennale feel about it with its doors and windows opening out onto the city. More than a hundred fashion designers and around 30 artists enter into dialogue with Horta’s art-deco architecture. All of them bring their own ‘world’ with them. Artists from post-Tiananmen China are in the company of related art from what, in our globalised world, is still referred to as the West. Pascale Marthine Tayou entwines Africa and Europe. Mekhitar Garabedian leads us to the very heart of the Near East. He is one of the exiled Armenian artists who were awarded the Golden Lion for the best national pavilion at this year’s Venice Biennale - a powerful gesture from the international art world in this year which marks the 100th anniversary of the 1915 genocide. This summer ‘Search and destroy’ is

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written in large advertising letters above the entrance on Rue Ravenstein. With this quote Mekhitar Garabedian is referring not just to the war in Vietnam, but also to the numerous conflicts which menace today’s world. Does fashion feel at home in the Centre for Fine Arts amongst all this contemporary art? Of course it does. Here at BOZAR Fashion has been treated like one of the family since the early 1930s. It wasn’t long before fashion shows started taking place there. Fashion and art form an intimate couple and in the vibrant Brussels of the day that couple had a name: Honorine Deschryver and PaulGustave Van Hecke, the driving force behind the fashion house Norine. The couple let fashion and art form a lively blend. Fashion designer Van Hecke promoted Latem painters such as Permeke and Belgian surrealism, with René Magritte in the forefront. Fashion & Art. This was the title of an authoritative exhibition which took place in the Centre for Fine Arts in 1995. Yves Saint-Laurent, Jean Paul Gaultier and Yohji Yamamoto shared the exhibition halls with Andy Warhol, Christo and Gilbert & George. With the exception of a sporadic guest performance fashion was absent for a long time. Twenty years after Fashion & Art, BOZAR and MAD Brussels amply make up for this absence with The Belgians. An Unexpected Fashion Story. It is the point of departure for a Summer of Fashion which stretches out as far as the shops and studios in Rue Dansaert. In June we reopen the shutters of our former shop in Rue Ravenstein. Through it the whole building invites you to enjoy our BOZAR STREET with its urban rhythm, free installations and bar. Linger a while as, along with us, the artists, designers and architects of our summer you take the time to think and dream about the centre, the city and world we live in. Paul Dujardin, CEO & Artistic Director

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WELCOME

Fashion and Contemporary Art Occupy the BOZAR

Not a Bad Summer After All This summer you can find contemporary art and fashion in every nook and cranny of the Centre for Fine Arts as you discover the story of Belgian fashion designers who conquered the world. Just like fashion contemporary art takes place in a globalised context. Nomadic artists such as Pascale Marthine Tayou and Mekhitar Garabedian take their layered identity as a point of departure for art which looks the main issues of the day straight in the eye.

ethical and ecological consciousness. Items of clothing don’t just embody the personality. They also speak of social commitment. In The Belgians. An Unexpected Fashion Story designers such as Bruno Pieters and JanJan Van Essche bear witness to this realization under the heading ‘Worthwhile. The End of the Waste’. It is about honest materials, reducing the ecological footprint and complete transparency when it comes to working conditions. Or as Bruno Pieters puts it: “We believe that fashion is all about beauty, and that the story behind it can be just as beautiful”. As an industry fashion really can make the difference.

Saviours

Is fashion art? Fashion and art are kindred spirits. One is simply less useful, less serviceable, than the other. Just like visual artists fashion designers are very conscious of the world in which they live. What’s more, fashion determines the spirit of the age. In the 1970s Vivienne Westwood and Malcolm McLaren gave the punk movement a face from their shop on the King’s Road. In 2009, Westwood, who is now 74 years of age, stripped off for the fashion and art photographer Juergen Teller. The three large format printed photographs leave you with questions about the body images which are sent out to the world via fashion shows. Fashion is a child of its time; and that time demands an 6

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Pascale Marthine Tayou. Africonda, 2014. Photo: Lorenzo Fiaschi. Courtesy : GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana Martin Margiela SS1991 © Ronald Stoops

Artists don’t have to think in as functional a way as designers. The industrial aspect of manufacture and distribution doesn’t play any role in their ‘creations’. The questions they raise are often sharper. For works such as Fashion Street and the Sauveteurs series Pascale Marthine Tayou drew inspiration from the vendors in African cities who are loaded down with fabrics and other wares just like walking businesses. For him the vendors – or are they the dummies? – are naked figures, blown out of expensive crystal. He loads them down with all kinds of materials: from textiles, wooden masks and sculptures to layers of chocolate. Who do the Sauveteurs save? Themselves or us, the customers who relieve them of their goods? Can art save the world? Not on its own but it can help to put some order in the house we all inhabit together. Wherever he is – in his homeland of Cameroon, in his studio in Ghent or visiting an international exhibition somewhere –Tayou carefully looks around him and makes links with the immediate surroundings. He gathers all sorts of used materials, integrates them in his oeuvre and gives them new meanings in compressed and poetic constellations. A lot of his works feature the colours of the Cameroon flag: green, red and yellow. With Tayouken Piss, life-size casts of Tayou peeing in the Belgian tricolour, he puts himself in the shoes of our most famous tourist attraction. But Tayou is playing a lot more than a Cameroon-Belgium match. He crosses the Mediterranean Sea in two directions, connects the European fort with the African continent and broaches tricky themes which determine the world of today and tomorrow: from the fight for raw materials in Africa, overproduction and pollution to the backlash of economic inequality and rising extremism.

Boomerang – the title of his exhibition which was previously on display in the Serpentine Gallery in London – refers to the consequences of human activity which threaten to come right back at us in the face. Tayou doesn’t spare himself in this respect. He isn’t an activist, doesn’t want to make us feel guilty as though art were some kind of charge. His extrovert art makes rather positive connections between the inside and outside world, between the individual and society. His installations have something of a cleansing ritual about them. Tayou even came up with a new ‘ism’ for it: Tudism. A tudi is somewhere that is dirty, somewhere that isn’t properly looked after. It could be a house, an institution or a person. Life isn’t all about glamour and beauty, the beautiful sheen of fashion. The world is often dirty. Human beings aren’t quite fresh. For Tayou, Tudism is an attempt to put things in order in the house, the institute, the individual, yes, even in our own lives. Pascale Marthine Tayou sees the Centre for Fine Arts as a large pan in which he prepares his exhibition, each time with different herbs and spices and other combinations. His work bubbles over the exhibition route until it reaches the corridors of the central hall near the entrance in Rue Ravenstein. In the rotunda he has installed a work that has been specially created for Brussels: ‘Bring back our boys & girls’ is what it says in neon letters. This summer opens up a whole world of associations to you from the moment you enter the building: from Boko Haram by way of child soldiers to... (fill in the rest yourself).

Exile

The work in neon fits in nicely with the solo exhibition at the other extremity of the Centre for Fine Arts (Rue Royale entrance) by Mehkitar Garabedian. He was born in the Syrian city of Aleppo, as a four year old child he and his family fled the war in Lebanon and ended up, just like Tayou, in Ghent. Garabedian follows in the footsteps of his forefathers - his grandparents fled the Armenian genocide in 1915. This summer he is exhibiting in the Armenian Pavilion, at the Venice Biennale, which is commemorating the 100th anniversary of the genocide. You can visit the work of these exiled artists in an Armenian cloister on the island of San Lazzaro. This year Armenia won the Golden Lion for the best national pavilion. His layered identity and the exile are hinted at in Garabedian’s art which makes use of all kinds of media. Language is his basic raw material. Garabedian appropriates the language of others through quotes from the history of art, rock, literature and film. Central to his way of working is a statement from La Maman et la Putain (1973), a film by Jean Eustaches: “To speak with the words of others – that’s what I’d like. That’s what freedom must be.” (Parler avec les mots des autres, voilà ce que je voudrais. Ce doit être ça, la liberté.) On one occasion the words extrovertly hit home like a bomb, Search and Destroy, for example, named after a single by The Stooges and the Americans’ military strategy in Vietnam. On another occasion they might demand introspection. Sometimes the meaning of the words is secondary. A poster which visitors are welcome to take away with them contains three blind stamped verses by the Armenian poet Varoujan, a poet who was murdered during the Armenian genocide. If you don’t know any Armenian then you’ve still got the white page. Violence strikes us with perplexity. 8

Un bel été quand même (Not a Bad Summer After All) is the title of another work by Garabedian. In a newspaper Garabedian links images from an old tourist guide from Lebanon and Syria to the handwritten texts from the 1963 anti-war film Les carabiniers by the French director Jean-Luc Godard. The war in his homeland of Syria is a human tragedy which destroyed age-old cultural heritage. The title of the work is also the umbrella term given to the summer activities here at BOZAR.

Made in China

The artists in Chinese Utopias Revisited: The Elephants are children and grandchildren of the new China and outspoken world citizens. Mao’s cultural revolution in the 1960s caused a serious rift as intellectuals and artists were sent to the countryside. The doors to the outside world reopened in the mid-1970s under Deng Xiao Ping and state capitalism took on astonishing proportions. The country that, under Mao, wanted to erase its cultural past, now manufactures pretty much everything we could wish for. Contemporary art from China has only fully reappeared on the world map in the past 35 years. Artists want to come to terms with this recent past, just think of Fu Dong’s film Seven Intellectuals in the Bamboo Forest. Today’s world shines through in their work. Just like Hans De Wolf, co-curator of the The Elephants, Xu Bing links Chinese script to the new imagery in his work: icons which world citizens have no trouble understanding at airports or from behind their screens. In a globalised world art from China reflects international themes such as overproduction, working conditions and the waste issue. The Elephants asks you to leave your clichés about China and the Far East behind. Chinese artists determine the art debate of today. Even if you only restrict yourself to leading Belgian artists, there are all manner of unlikely similarities in form and content. Zhang Enli’s paintings are right at home alongside the purged imagery of a Raoul De Keyser or a Luc Tuymans. At the end of the 1980s Xu Bing was already tattooing pigs with Chinese script. Is it then surprising that Wim Delvoye opened his pig farm in China? Look and compare; that’s what this summer is all about.

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Cao Fei, Whose Utopia - My Future is Not a Dream (2006), Photography, Courtesy the artist and Vitamin Creative Space Liu Xiaodong, Pastoral Life, 1989, 02

The confrontational magic of Pascale Marthine Tayou

In Your Face

Pascale Marthine Tayou was born in 1967 and studied Law in his home town of Yaoundé. When he completed his studies, he was disillusioned by all the injustice he came across. He moved in the direction of art as a means of channelling his social commitment. In the beginning of the 1990s he began his artistic career as an autodidact. Tayou has now been working as an artist for over 25 years. Yet he makes his art not in the first instance for art’s sake, but rather to chart political, ecological and economic problems and to express his feelings about our world. Oléoduc is an installation which consists of waste water pipes which wend their way around the entire exhibition and are combined with statistics about the most polluted places in the world. Here Tayou touches on the ecological impact of our global consumer society - in the struggle to survive we often end up destroying our own world. That boomerang effect crops up again in Octopus, which comprises a bundle of knotted petrol pumps. Or the way in which we use something which nature has provided us with, petrol for example, for negative purposes such as domination and war. In addition to the exploitation of nature, human exploitation is also touched on. In his monumental work Coton Tiges, Tayou is intentionally playing the political card. The cotton wool cloud with pointed stakes which is suspended in the exhibition halls is a reference to the colonial cotton plantations with slaves. Tayou uses the work to shed light on slavery, the balance of power which goes hand in hand with it, and the effect this has on human relations.

This summer BOZAR invites you to enter the colourful, wonderful world of Pascale Marthine Tayou. The artist was born in Cameroon and has been living in Ghent for twenty years now. He sees himself as both Flemish and a world citizen. The artist uses his work to confront you with questions about the environment, identity, globalisation and other social issues. 24.06 > 20.09.2015 BOOMERANG

Woman’s name

Identity is another recurrent theme in Tayou’s work. He changed his own name at the beginning of the 1990s from Pascal Martine Tayou to Pascale Marthine Tayou, the female version. By doing so he wanted to make a point about the lack of female artists. He also questions who we are and how we present ourselves in a specific sociocultural context. His Poupées Pascale dolls play around with this theme. They are a reference to the famous African fetish figures and pay homage to their creators. By making them transparent, Tayou tries to fathom the mystery of these ancient objects, which are used in healing rituals. While the originals contain nails, bits of mirror or goat’s blood, Tayou attaches banal elements such as coffee to his hard crystal figures. These elements represent the way in which we overload ourselves with our daily life, our social codes and our past. He manages to turn our day to day life into a profane ritual. And this time are the dolls.

Wardrobe, 2014 Photo: Lorenzo Fiaschi Courtesy : Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana The Falling House, 2014 Photo: Aurélie Tiffreau. Courtesy : Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana

Man of the world

Even if Tayou doesn’t deny his roots, his art cannot be reduced to them. Just like in his own life – before settling in Belgium, he lived in Stockholm and Paris – he is nomadic in his art, thoughts, choice of materials and artistic references. Even if Tayou now sees himself as

Flemish, as an artist he is a world citizen. Using his AfroEuropean identity as a starting point he is constantly carrying out research into what binds us together and the significance of borders in times of intense globalisation. According to Paul Dujardin, CEO and artistic direct of BOZAR “Tayou is a nomadic artist who flouts psychological and geographic borders... he broaches the major geopolitical issues in an almost light-hearted manner. As I walk round his installations, his loud liberating laughter resounds in my head.” A great example of the kind of committed research that goes beyond the cultural and national borders can be found in David Crossing the Moon; in which he unites the icons of the three great monotheistic religions in one overlapping symbol. Or there is La terre (The Earth), for which he filled a bag with earth from his parents’ village in Cameroon. In this work he questions the meaning of migration, territory and identity in a world which places so much emphasis on brotherhood and solidarity, and yet there are so many physical boundaries which prevent people from circulating freely.

Recent work

In 2002 Tayou was invited to exhibit at Documenta 11 in Kassel, and in 2005 and 2009 at the Venice Biennale. In Boomerang, a collaboration between the prestigious London Serpentine Galleries and BOZAR, Tayou brings together around eighty recent works from the 20102015 period. He represents the paradoxes of our society through these multi-coloured assemblages of contrasting objects, materials and media such as drawings, photography, video and graffiti. With this constant artistic transformation and the boundless nature of his thoughts he is always one step ahead of you. He is constantly challenging you to question the very things which go without saying. In his refreshing, poetic sculptures Tayou holds up a mirror to our shortcomings which – just like a boomerang – come back to haunt us.

The Universe of Jean-Philippe Toussaint

Extract from the literary visitor’s guide: Ann Demeulemeester – The prima donna

And God created fashion

Ann Demeulemeester’s prima donna is an enigma. I looked at the image for around ten minutes without understanding a thing, I thought of Flemish painting, of Roger van der Weyden, of his portraits of a stern woman, full of reserve and restrained sensitivity, with a cornet or hennin on her head. I also briefly thought of a more contemporary composition, of Cindy Sherman or of a photograph by Robert Mapplethorpe, for the very dense black in the background into which the garment seems to melt and disappear. We can only see the headdress in the painting, the skilful interlacing of white strips of cloth which mingle and intertwine, to end up in a chignon or in a mare’s braided tail. Lost in this maze of references, I was going to give up trying to uncover the mystery, when, my eye still lingering on the different components of the painting — the ample floppy necktie, the batiste pocket handkerchief which falls from the breast pocket, the flower in the button hole —, I suddenly spotted the crucial detail: the curve of the model’s eyelashes, which gives Ann Demeulemeester’s prima donna the marmoreal, melancholic and music-loving face of a timeless Callas.

At the request of BOZAR, the renowned Belgian author JeanPhilippe Toussaint has agreed to paint the portrait of several fashion designers in terms of the creations they are putting on display in our summer exhibition The Belgians. An Unexpected Fashion Story. In its romantic universe, fashion isn’t just about appearances. First and foremost in the eye of women, and in particular its heroine, the fashion designer Marie de Montalte, it crystallizes fantasy and desire that goes beyond the illusory and ephemeral.

Extrait du guide littéraire du visiteur

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Marie de Montalte, automne-hiver 2013 © Jean-Philippe Toussaint Ann Demeulemeester, lente-zomer 1984 © Patrick Robyn 1983

“To say of her something which has never been said of anyone else”. It is with this magnificent phrase from Dante that Jean-Philippe Toussaint sums up the essence of the cycle of novels that he has dedicated to the character Marie Madeleine Marguerite de Montalte. A grand internationally recognised fashion designer, this fictitious character has fascinated readers for ten years with Making Love, Running Away, The Truth about Marie and Naked – the four volumes which make up the cycle. Marie evolves in a world which is full of fantasy and desire, a world which is embodied by the diktat of pretence, the beauty of the garment, the sensuality of the textures or the shimmering of the colours. Jean-Philippe Toussaint sculpts his tale in the rough-hewn rock of appearances before taking pleasure in refining it through this subtle game in which suggestion is always a form of promise in disguise, if not deceptive, but where authenticity is, nonetheless, never truly absent. In keeping with his paradoxical approach, the writer goes even further at BOZAR as he thumbs his nose at our certainties by striving to mix reality and fiction. In the literary visitor’s guide not only does he play the part of an enlightened witness of the works, drawing inspiration from the creations presented at BOZAR to paint a wonderfully unexpected portrait of some of the designs you will come across as you go round the exhibition, he also devotes himself to taking his logic of confusions to its climax by proposing, within the context of the exhibition, the screening of his film, The Honey Dress, devoted to one of the two dresses which made Marie de Montalte so successful: the famous honey dress. As she leaves her status as a character, Marie takes part in the exhibition and becomes a figure as real as Dries van Noten, Ann Demeulemeester, Jean-Paul Knott, Jean-Paul Lespagnard, Walter Van Beirendonck, Martin Margiela or Raf Simons. Playing on the very best established traditions, JeanPhilippe Toussaint likes to flout decency. With amusement he twists the quote attributed to the famous French cinema critic André Bazin, made famous by Jean-Luc Godard in Le Mépris: “cinema substitutes for our gaze a world more in harmony with our desires”. To which the writer invariably seems to respond by echoing: “cinema substitutes for our world a gaze more in harmony with our desires”. It is a final artistic pirouette in which fantasy is constantly getting lost between fiction and reality as if to better prolong a desire which doesn’t want to choose so as not to fade. Like a particularly successful incarnation of fashion, which asserts itself in order to better cultivate confusion. Come and share this odyssey with us and, as the creations go by, lose all sense of reality as you penetrate the paradoxical universe of fashion. You will realise that thanks to the talent of the creators exhibited, fashion really is something other than the garment it embodies, however stylishly.

• 05.06 > 13.09.2015 The Honey Dress by Jean-Philippe Toussaint • 05.06 > 13.09.2015 The Belgians. An Unexpected Fashion Story (+) Literary Visitor’s Guide

And yet nothing is more volatile nor transient since, by definition, fashions change. History has taught us as much. Should a king die, or a prince pass away, then the dominant aesthetic is overturned, protocol is amended and a new order is introduced. And the fabric which only yesterday had covered you in glory, immediately loses its prestige and falls into anachronism. Of course, the contemporary mythology of pomp and ceremony is no longer embodied by the sovereign but by the celebrities we see in the media. But for all that it hasn’t lost any of its splendour. With, as a bonus, a tremendous acceleration in the rate of change, sped up by a fresh reduction in the lifespan of the dominant characteristics of the moment. And maybe that’s the message fashion has for us, that’s what renders it so close and essential while at the same time so superficial and futile: it is fickle and unpredictable, just like life.

Welcome to fashionable society

Una Bellissima Alta Moda

Ephemeral eternity…

Unlike other artists who produce works destined to go beyond the horizon of the instant and aspire to eternity, the fashion designer only creates for the moment, as long as the fashion lasts. He does his best to exploit the comedy of appearances in the sequence in which it plays out. He is possibly the wisest of all the creators because he knows that nothing lasts for ever. This reign of the Empire of Fashion, as the French philosopher Gilles Lipovetsky puts it so aptly in his celebrated book about society-fashion, is brought back to life at BOZAR. Through Bellissima. The Story of Five Dresses, you can relive Italy’s exceptional cultural renaissance during the post-war years (1945-1968). Each dress has its own individual tale which is recreated though its creator’s story but also thanks to contextual documents such as the works of art which provided inspiration for it, photographs, pages from reviews or publications recreating the atmosphere of those historic years. During this period, not only has Italy managed to assert itself as one of the hubs of international haute couture, relying as it does on a state-of-the-art industry, but it has also experienced a general artistic profusion of ideas, as testified by its neorealist cinema and directors such as De Sica, Rossellini and Visconti. It is no coincidence that our homage to Italian fashion bears the name of Visconti’s famous film. In Bellissima, the filmmaker confronts the Cinecittà star system – the mythical studios of Roman cinema – with the social distress of the idle Italy of the 1950s. As though to highlight the excesses to which the cult of celebrity, to which fashion by definition is always prey, can lead. One of the dresses on display in Bellissima was created for Anna Magnani, the muse of Italian neorealism, who features on the poster for Visconti’s masterpiece. BOZAR is giving you the chance to relive this golden age. Not only are there dresses with amazing stories behind them BOZAR has specially recreated the era in a “Cabinet of Curiosities”, through which you can relive the fashion designers’ passion for their models and the creative inspiration that spurred them on.

BOZAR is giving you the chance to relive the heyday of made in Italy haute culture, a phenomenon that is both cultural, aesthetic, social and industrial. Through these emblematic figures Bellissima. The Story of Five Dresses recounts the Italian golden age, the history of a nation which, since the post-war era, has yet again asserted itself as one of the centres of excellence of this discipline which is so intimately linked to art.

Model De Gasperi Zezza, Fernanda Gattinoni e Sorelle Fontana - Terme di Diocleziano, Roma, 1948. Courtesy Archivio De Antonis, Roma. Dress Fontana Sisters - Musei Capitolini, Roma, 1952 Courtesy Münchner Stadtmuseum, Sammlung Fotografie, Archiv Relang.

As numerous exhibitions at BOZAR have already demonstrated fashion has always influenced painting. Our recent FACES THEN portrait gallery was a perfect example of this. The Dutch portraits that we had on display demonstrated the special attention the masters paid to clothing and the faithful reproduction of the textures and noble cloth that the models were so keen to see depicted on the canvas in order to show off their social position. A tradition that we find throughout the history of painting, right down to the frescos in Pompeii or, even further afield, the dress codes which are so characteristic of Egyptian art. There, like elsewhere, the garment doesn’t just clothe the subject; it firmly places him or her in a historical context, situating the individual in a structured social order. It’s about pomp and ceremony, and customs.

05.06 > 06.09.2015 Bellissima. The Story of Five Dresses

Dior. J’adore ! In 2012 the Belgian creator Raf Simons was appointed to the artistic direction of the women’s collection at the prestigious Maison Dior. Frédéric Tcheng’s film Dior and I is an exceptional documentary about the fashion designer’s career in this legendary hautecouture institution. Dior and I is a breathless testimony which takes you to the heart of the “Dior machine” today while at the same time it is intermingled with memories of its founder. As of 1947 Christian Dior would revolutionise the codes of fashion thanks to his “New Look” collection, with which women could once again enjoy a taste for frivolity and the art of pleasing. “I wanted my dresses to be “constructed”, moulded around the curves of the female body to stylise the shape.” confided the creator. It was an immediate success. As highlighted by Bettina Ballard, fashion editor in chief of the magazine Vogue, who was present at the very first fashion show: “We have witnessed a revolution in fashion.” For Raf Simons the legacy is thus galvanising but also impressive; all the more so because since his appointment he has embarked upon a race against the clock. This sets the tone for the film in which he has just 8 weeks to present the new collection. Lose yourself in the absorbing action which clings to the protagonists like an item of clothing.

THURS 10.09 – 8.30 pm Dior and I by Frédéric Tcheng (Premiere) In the presence of the director

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G. Küng Age: 33 Nationality: American Place of Residence: Brussels

Portrait of the ten finalists of the Young Belgian Art Prize

The Young Belgian Art Prize is your chance to discover the work of ten young artists who work in our country. An international jury selected these finalists from 250 candidates. Here they introduce themselves.

attention away. “The Centre for Fine Arts is a fantastic place to work in. It’s an important centre right in the heart of Brussels and Horta’s building is stunning.”

24.06 > 13.09.2015 YOUNG BELGIAN ART PRIZE 2015 Hamza Halloubi Age: 32 Nationality: Moroccan Place of Residence: Brussels

Katrin Kamrau Age: 33 Nationality: German Place of Residence: Antwerp “In my work process I focus on relationships and role models which are created by the lens via the medium of photography. I often do that through locally inspired installations, which attempt to address the visitor directly. “A colleague-artist told me about the

Lola Lasurt Age: 31 Nationality: Spanish Place of Residence: Ghent

“As an artist it’s difficult to put me in one particular category. I create art: I write, I film, I take photos. I am particularly fascinated by the grammar and semiotics of language. I am who I am, and I’m not trying to be different from the others per se. At the same time I don’t want to be the same as anyone else, neither in art nor in my daily life. “By taking part in the Young Belgian Art Prize, I get the opportunity to create a work that lives within me for longer, but that can’t go outside yet. Then I can directly show the result to the Brussels and Belgian public. “I hate the competition element. I do my own thing and try to give people an idea of my visions or illusions. And then I simply hope that the public is prepared to join me on the journey.”

“I work with materials which bear witness to earlier periods. I take a look at the political and social paradigm shifts with references to Franco’s dictatorship, for example. I work with a variety of media: painting, video and collaborative processes – such as inviting female football players to get involved in performances. “I have been living here for three years and find the Belgian painting tradition very inspiring. I get the impression that the Belgians have a really good understanding of my work. “I think a competition is a good way of appealing to a wide public whilst at the same time being given resources to make a new work. Comparing myself to others is less relevant to me. We are all different. I work in a really traditional way, for example, yet I also enjoy improvising. “BOZAR is a truly unique location! I’m so glad I’ve been given the chance to exhibit here. The art-deco architecture is really inspirational.”

Young Belgian Art Prize and I decided to apply. To my mind, comparing the artistic visions of so many young artists in a competition is an almost impossible job. “I grew up in Germany on both sides of the Iron Curtain so I am partly Western and partly Eastern European. That makes me very sensitive to social interactions – these relationships which I was just talking about – and the power structures which lurk behind them. I try to observe them as a spectator, as an outsider. “I find it particularly generous of BOZAR to open its doors to young artists who work in Belgium. The concept of ‘exhibiting’ is essential in all my work, and so I’m really happy I’m being given the chance to exhibit in the Centre for Fine Arts alongside the other young artists.” 19

The youth of today

“I make installations which flirt with the boundary between material, painting and action. I work with sculptures, photos, printed texts etc. and draw my inspiration from what the specific situation evokes in me. With my installations I try to tell a tale that is both personal and emotional; full of temperament or full of irony. “I became an artist because it means I can create joy through my work. This joy only grows when I can communicate it with others. “Being selected means I can make new work with a generous budget. On top of that visitors don’t have to pay much to look at our works: that immediately creates a new public, wider than what I’m used to. The fact that it’s a ‘competition’ isn’t really important to me. A contest draws

Hana Miletic Age: 32 Nationality: Croatian Place of Residence: Brussels “The very essence of my work consists of documentary and street photography. But I see it as a more far-reaching process, with room for prints, performances and installations as well. I want my creations to lead to a critical social dialogue. You could simply look upon my photography as a means of getting people involved in social work. I am driven by the responsibility I have as an artist in society. I want to focus on specific political and social issues. “First and foremost I see my participation in the competition as a means of offering space to individuals who react in specific contexts. That will come about through daily reading sessions from a book. Furthermore, I see this competition as an opportunity to get to know colleagues and possibly also to enter into new forms of collaboration. We are all too different to actually be compared with one another. “Getting to exhibit in BOZAR is a truly unique opportunity. The location also suits me from a political point of view. With his building Horta wanted to create a democratic and accessible space.”

Hannelore Van Dijck Age: 28 Nationality: Belgian Place of Residence: Wuustwezel Emmanuelle Quertain Age: 27 Nationality: Belgian Place of Residence: Louvain-la-Neuve

Max Pinckers and Michiel Burger Age: 26 - 32 Nationality: Belgian - Dutch Place of Residence: Brussels - Antwerp “We work together as a photographic duo. Our focus is visual storytelling within a documentary context. We place a lot of emphasis on the nature of the photographic image and its manipulative character. By taking part in the Young Belgian Art Prize we hope to open up a platform for our new project. And what do we think about the competitive element? Well,

we are delighted to find ourselves in such good company! BOZAR is a fantastic arts centre as well. We don’t think we’re all that different from the other young artists - with the notable exception that we’re the only duo. “We are driven by the fact that we get to do something interesting in such a great way. The freedom we are given in our work is also important to us.”

“I make paintings. When I was a child I already had the feeling I wanted to do something with pictures, with colours, with drawing, with the presence of others etc., something where I have to use paper to get into my stride. That something turned out to be painting. I want to use my paintings to paint my own portrait of reality. “In order to paint you have to practice regularly. Painting is hard work! The specificity of what I do lies in the painting itself. I myself am not so peculiar. “I am not a big fan of the concept of a ‘contest’. So why am I taking part? For the visibility, and also for the money of course. And it’s probably the last time I’ll be referred to as a

‘young’ artist. “I’m looking forward to my exhibition in BOZAR. I don’t yet know what it will lead to. In particular, I have high expectations of the discussions with the people at BOZAR as we prepare for the exhibition.”

“I mainly make drawings in which I play with the space. It’s all about settings without individuals or activities, in which the context creates tension. Through my installations I want to interpret and redefine the architecture. My work is by definition linked to a place, because it is driven by the urge which I feel to create a new sort of space with works which fill that space. “I am participating in the Young Belgian Art Prize because it offers me a new and particularly interesting spatial setting in which to create new work. The fact that it is a competition as well is less relevant to me. I only see it as a framework in which each one of us can develop his/her work or project. “It’s a real honour for me to be given the chance to work in BOZAR and in so doing to make a very small contribution to an arts centre with a long and fascinating history.”

Emmanuel Van der Auwera Age: 32 Nationality: Belgian Place of Residence: Brussels

Floris Vanhoof Age: 33 Nationality: Belgian Place of Residence: Ghent

“My art consists of video and installations. I examine phenomena, contexts and subjects which lay bare the different layers of reality. In doing so I try to invite the spectator to investigate his/her own relationship with the world. “By taking part in this contest you are given the opportunity to discover the work of ten young artists. That aspect is much more important than the competitive element. “The Centre for Fine Arts is a unique location: it has a very wide and varied public. On top of that it’s really great to know that your work is being exhibited in the best possible way, taking into account the unique character of the location itself.”

“My experimental films on 16 mm film increasingly evolve towards pure visual experiences and artistic research into the slowness of the eye and perception itself. This is why I have been developing instruments in order to investigate the boundary between image (film or slide) and light projection. I have examined it and stripped it down to audio-visual installations in the course of dozens of live performances accompanied by music from my modular synthesizer.” “In recent years I have seen some great films and performances at BOZAR. And a few months before I was born, the pioneering ‘International Festival for Electronic Music, Video and Computer Art’ took place in the Centre for Fine Arts. This event continues to inspire me today!”

YOUNG BELGIAN ART PRIZE

Anna Heylen sees BOZAR in deep indigo

“I try to rise above fashion”

Maison Anna Heylen is located in the centre of Antwerp and is housed in a former paper factory that is over 100 years old . “I bought the premises before I had even visited them. That’s me all over.” Anna Heylen describes herself as impulsive and talks nineteen to the dozen as she shows us round her shop and atelier. “The building was completely gutted during the renovation works. Fortunately we were able to recover an unbelievable number of authentic elements. We put them back in place. The rest of the interior is full of pieces which I have picked up over the years. I’m a real collector. You can also see that in my designs which have extremely diverse influences. I like to experiment with materials and techniques.”

She created her first Dolls back in 1993 when Antwerp was the Cultural Capital of Europe. This was the flying start of an international career for fashion designer Anna Heylen. Seven years later she disappeared from circulation. “I’m making beautiful things and doing what I enjoy – it’s a real luxury.” She is imagining how she will restyle the uniforms worn by the BOZAR staff.

Dolls

Anna Heylen studied at the famous Antwerp Fashion Academy in the period shortly after the ‘Antwerp Six’. “It was in 1993 that I broke through with my Dolls, clay dolls, without a face, hair or identity. They are given their character and identity through the clothes I design for them. The clothes are made of all sorts of materials, from straw, to latex, wool and plastic to jute. My Dolls caught on and travelled the world. Before long that resulted in my own designs. I created my own label which led to shows in Paris and flagship stores.” The Anna Heylen label could have easily developed into an international brand. “But seven years ago I left the system and established Maison Anna Heylen, a place where women can purchase unique, tailor-made items of clothing. I got out because I couldn’t care less about the system. I didn’t want to be part of the established pattern where you end up giving everything away twice a year. I simply wanted people to feel good in their clothes. I’m still a fashionista of course. I love beautiful things, beautiful fabrics. Fashion is often quite impersonal. The importance of logos and brands is far too great. A label doesn’t give any value to an item of clothing. I want to demonstrate that with good designs - you can carry on wearing my timeless creations for years. That’s why I don’t participate in sales or stock sales; I make some of my pieces year in year out.” The common theme throughout Anna Heylen’s career has been her special eye for, and love of, high quality fabrics, the right cut, artistic craftsmanship and almost forgotten techniques. “I’m also involved in development aid in South Africa. It’s a wonderful crossover. However different my Zulu women might be, I can convey something to them about quality products and in return they do the beading. Jewels made of truly beautiful beads are incorporated into their traditional dress; I use them to make unique items of clothing.”

“A fabulous challenge, because the personnel are a really important component in the image of a brand.” “For budgetary reasons the restyling will take place in phases. That isn’t such a bad thing, because it means we can seek out an enduring and timeless uniform, values that fit in perfectly with the Centre for Fine Arts. I’ve walked around the BOZAR on several occasions to get a feel for the place. In order to correspond to the BOZAR profile the new uniform needs to be both hip and recognisable. The Centre for Fine Arts is a great setting - a highly contemporary arts centre with an incredible number of things going on. I find it fascinating how it works like a business, because that’s what it is, without you as a visitor even noticing it.” For the time being Anna Heylen is keeping her new design carefully under wraps, but she does give us one small clue. “As a designer I always see a colour. For BOZAR that shade is a deep indigo. That’s the starting point of my designs. By the end of the process I hope that all the members of the staff will wear their uniform with pride. That equates to items of clothing that the general public would also be more than happy to wear. The goal is, for example, to be selling ties or scarves in the BOZAR BOUTIK.”

New uniform for BOZAR

This summer, and beyond, Anna Heylen’s work will be on display in the shop windows of Rue Ravenstein. Twelve years after the brand was first launched BOZAR is having something of a makeover. You can already see that from our posters, brochures, flyers and the website: BOZAR has had a change of clothes. The logo has been brought up to date and the house style has been given a fresh look. The uniform worn by the staff members was the next logical step. Anna Heylen has designed this new outfit.

Photo: © Sophie Rata

Mekhitar Garabedian and the search for identity

“I is another”

ALL E S I S MO G E L I J K TO U T E ST POSSIBLE

DANK ZI J U GR ÂC E À VO US

Mekhitar Garabedian was born in 1970 in Aleppo, Syria, his father’s hometown. He spent the first years of his life in Beirut in Lebanon, which is where his mother was from. His grandparents fled Armenia after the 1915 genocide. Since then the Garabedian family has lived in exile and found its way to Belgium.

philosophy, film or visual art and regularly cites other artists.

Migration

Identity

Garabedian’s family history and migrant origins pursue him in his work. He never uses them to illustrate something from his biography or in an anecdotal manner but rather as a starting point to look at how identity develops in a society which is increasingly shaped by migration. In one of his installations the Armenian alphabet is used as a means of reflecting on how the migrant can be affected by the loss of his/her mother tongue. How does migration continue to define the migrant’s life? What effect does language have on the status and psyche of the migrant? Who or what defines your identity and origin? These questions form the common theme in Garabedian’s work. He goes in search of answers in diverse media such as installations with sound, neon, photography, text, video and in publications. In his work the artist uses a lot of references to literature, music,

B OZ A R DIT PROJECT IS ER DANKZIJ U. CE PROJET EXISTE GRÂCE À VOUS. Doordat u uw kans waagt, kan de Nationale Loterij ook projecten steunen die het leven van anderen veranderen. En tentant votre chance, vous permettez aussi à la Loterie Nationale de soutenir des projets qui changent la vie de tous.

Your origins and your family history follow you around, wherever you go. Artist Mekhitar Garabedian knows that like none other. He lives and works in Ghent, but he spent his early years in Syria and Lebanon. His family fled Armenia during the genocide 100 years ago.

Mekhitar Garabedian, fig. 2009. Courtesy of the artist and Albert Baronian Gallery

This layered way of working reflects Garabedian’s vision of identity. He cites and uses these references to shape his own identity. The artist believes that identity is something fluid, in constant evolution. We don’t just have one identity. We exist as a result of different references and influences, says Garabedian. Our name deludes us into thinking that we are a whole, but nothing could be further from the truth. We can’t extricate ourselves from our era, our history and the people around us. This is why the artist likes to quote the poet Arthur Rimbaud: “I is another.” This is relevant to everyone, the migrant in particular.

Juergen Teller captures Vivienne Westwood in the flesh

A preview of new projects by V+

Architecture is a quest

Naked punk

The Brussels-based architectural firm V+ designs projects which are in keeping with the situation and its surroundings as is demonstrated by this exhibition which showcases some of their very latest designs. A first monograph about the firm is also being published.

Vivienne Westwood is a dominant figure in the world of fashion and pop music. First and foremost she is known for her luxurious and extravagant clothing from the punk era, not entirely unrelated to her years spent with Malcolm Mclaren, manager of the Sex Pistols. The German fashion photographer Juergen Teller needs no introduction either. The 51 year old Teller lives in London and works, amongst other, for big names such as Marc Jacobs. 01

“Fashion is about eventually becoming naked.” These are the words of Vivienne Westwood, fashion designer from the punk period. She acquired worldwide fame with her ‘punkature’, a combination of punk and couture. By posing naked for the renowned photographer Juergen Teller this ‘mature’ lady has proven that she can still cause controversy.

Bring the two together and watch the artistic sparks fly. In 2009 Teller managed to convince the then 68 year old Westwood to pose naked for his Men and Women exhibition. Teller still remembers the photo shoot very clearly: “I have worked on the Westwood fashion campaigns for many years, so we already knew each other pretty well. The idea of photographing her naked was mine. She accepted immediately. We did the photo shoot at her home, then I chose a sofa, then I started to feel nervous and I just kept asking for more cups of tea. I asked her if she wanted to talk about it first. “Are we going to do this or not? was her reaction.” Ok, I said, on this sofa please. She went to sit down, turned to the camera, and opened her legs. Oh fuck, I thought, this is just what I’m after!’

In the 1990s V+ was established by three partners, including Thierry Decuypere and Jörn Aram Bihain who still manage the firm today. In recent years V+ has earned a name for itself with projects such as the Cinema Sauvenière in Liège and the water tower in Ghlin. The exhibition at BOZAR focuses on five projects from the 2014-15 period. They are all either under construction or still in the design phase and thus help to shed light on all the architectural experiments and the dialogue between the architects and curators. Is it possible to have an understanding of a building before it even exists? Can an exhibition influence the development of a project? Or is it the project that influences the exhibition? The ‘naïve approach’, as Decuypere himself refers to it, is the central element in the V+ architectural practice. V+ sees each project as a new quest based on the intrinsic values of the commission. At a certain point in the process a relevant architectural question is chosen as a point of departure. In order to be able to better understand how they work this exhibition isn’t just about photographs of a completed product or scale models, but rather about working documents such as emails, sketches and photos of the daily life of those involved. This enables you to read the design as it came about.

Since then the three images from this photo shoot have been exhibited all over the world; and this summer you can come and see them at BOZAR. Some visitors are bound to raise their eyebrows at the nudity. “Yet it wasn’t my intention to shock. To me the result is simply honest and beautiful. And all the while she’s looking into the lens like a seductive teenager.” Westwood was equally delighted with the collaboration. “Juergen Teller is exceptional because he always goes straight to the crux of the matter.” Teller makes a point of it in order to keep the personal character of his designs intact. He never wants to push his subjects further than they themselves feel comfortable. The fact that, in the case of Vivienne Westwood, this resulted in her posing naked only serves to prove that a lady of over 70 years of age can still be an out and out punk.

Juergen Teller, Vivienne Westwood No.3, London 2009,

MAD Brussels

These documents contain a number of recurrent elements such as negotiating, moving and excessive investment in what already exists. A good example of this is the new building for the Brussels Mode and Design Center (MAD). One of the elements which forms the basis for the architectural concept is the negotiations between the archaeologist, who wants to conserve as much of the site as possible, and the client’s pragmatic desires. The result is a succession of white spaces, which differ in shape and hue and as result are never completely neutral. It is only by using the existing situation as a starting point and respecting it as such that V+ is able to achieve this design. The work of V+ isn’t all about notions of beauty or creator, but rather the creation of an architecture which is adapted to the situation and the surroundings.

V+ MAD CCR dessin galerie

A Foretaste of the Autumn

EXPO 07.10.2015 > 17.01.2016

highlights CENTRE FOR FINE ARTS BRUSSELS

BOZAR.BE

Old Galata bridge and new mosque Ara Güler

UFA FILMS NIGHTS

Istanbul has a bewitching power of attraction over photographers, filmmakers, writers and musicians. Centuries ago the city was already an example for artists who developed a rich cultural tradition there. This tradition manifested itself in a range of artistic forms of expression. Photos, videos, literature and musical interventions give you an excellent idea of the splendour of this city.

CINEMA EUROPALIA TURKEY Anatolia. Home of Eternity Two hundred masterpieces from thirty Turkish museums are on display here in Brussels for the first time ever. Archaeological treasures, pictures, miniatures, textiles, porcelain and other valuable objects illustrate Turkey’s rich and varied heritage. Anatolia. Home of Eternity lays the shared roots of Europe and Asia bare as it documents the crosscultural pollination which developed there, from the very first human habitation to the Ottoman Empire.

12.09.2015

Fashion on Film This Saturday evening we plunge into the night with a succession of short films, video clips and experimental cinema in which film, fashion and music intermingle - an exploration of beauty in all its shapes and forms.

16-17.09.2015

Artavazd Pelechian in the spotlight The Armenian director Artavazd Pelechian is coming to Brussels for the first time ever. The filmmaker was born in 1938 and is a genuine representative of Soviet film. He combines archive images and documentaries about day-to-day life with music and sound effects. Familiarise yourself with his magisterial work and meet the great master himself.

L’ART EST SOURCE ET RESSOURCE D’ÉMOTIONS ET D’INSPIRATIONS. Partagez cette expérience avec vos clients ou collègues lors d’un concert, d’une performance, d’un débat ou d’une visite privée de nos expositions incontournables. Vous comprendrez pourquoi Bozar, au cœur de Bruxelles et au cœur de l’Europe, fera battre aussi le cœur de votre entreprise.

Rue Ravensteinstraat 23 1000 Brussels +32 2 507 84 45 / b2b.events@bozar.be

24 > 26.09 2015

EUROPALIA TURKEY Imagine Istanbul

In meteorological terms the summer ends on 23 September; our summer programme also runs until the end of September when we will hand the baton over to a new cultural season. In 2015-16 we are blowing out 150 candles at BOZAR - more about that later. We might sound old but don’t worry about our health: we’re fighting fit and looking forward to what lies ahead.

LET ART BE PART OF YOUR EVENT

PALAIS DES BEAUX-ARTS BRUXELLES PALEIS VOOR SCHONE KUNSTEN BRUSSEL CENTRE FOR FINE ARTS BRUSSELS

15.10.2015 > 24.01.2016

highlights

Pandora’s Box

From our events calendar

The UFA FILM NIGHTS are an opportunity to rediscover treasures from the age of silent cinema. They are screened in our auditoriums with a live accompaniment by some particularly talented musicians. On the programme: Pandora’s Box by Pabst, accompanied by the Brussels Philharmonic, Berlin: Symphony of a Metropolis by Ruttmann, with music by DJ Jeff Mills, and three Chaplin films, Behind the Screen, The Rink and The Adventurer, the musical accompaniment for which is provided by Kristof Becker, Ekkehard Wölk and Andrea Macellide.

29.09.2015

Sergej Paradzjanov The Color of the Pomegranates BOZAR is screening a restored version of The Color of the Pomegranates, Sergej Paradjanov’s visually astounding biopic about the eighteenth century poet Sayat Nova. The erudite man was a troubadour, a virtuoso kamancheh player and a key figure in Armenian literary heritage. The Turkish-Armenian artist Sarkis presents the film. This summer Sarkis Turkije will be at the Venice Biennale. He also contributed to Armenity, the Armenian group exhibition which won the Golden Lion for the best pavilion.

Bruckner’s symphonies might be less wellknown than those of Brahms, but they are very much on a par with other great works from the Romantic Movement. BOZAR begins its tribute series with two of his most beautiful symphonies, the Third and the Seventh, performed by the La Monnaie Symphony Orchestra.

28.09.2015

CLASSICAL MUSIC 19.09.2015

New Format Concert Day BOZAR celebrates its 150th concert season in 2015-16 - what better occasion to try out some new concert formulas. Join us on a voyage of discovery through the Centre for Fine Arts. You can experience music in a new way in a variety of different venues. For the Vienna Remix Day musicians from the European Union Youth Orchestra take Mozart to task with a mixture of electro, sampling and improvisation. An installation gives Liszt’s Via Crucis a sensual interpretation and at night you can go clubbing in the Horta Hall.

The creation is no simple subject for an oratorio. With it Haydn composed one of the masterpieces of musical history, thus demonstrating a very spiritual world view. Don’t miss this fresh opportunity to enjoy the music and voices of B’Rock, Collegium Vocale Gent and Sophie Karthäuser.

15.10.2015

Post asks the difficult question ‘what next after the Holocaust?’ as it places the testimonies, betrayal and revolt in a contemporary setting. The play also questions the suitability of museums as a place for preserving memories. What would happen if some words were to escape from the closed spaces of our museums and pop up next to us? Post attempts to come up with an answer to this by confronting you with courage, cowardice and the suffering of the lead characters.

Die Schöpfung by Joseph Haydn

This season BOZAR is once again lucky enough to be welcoming two large orchestras from the United States. The Cleveland Orchestra is one of the prestigious Big Five American orchestras. Be there on 15.10 when Franz Welser-Möst conducts the orchestra as they perform

Krystian Zimerman, the personification of the romantic

18.10.2015

An unforgettable day at BOZAR The NOB + DAY formula gives you the opportunity to combine a concert with a guided tour of one of our exhibitions. On the programme this year, Europalia Turkey and works by De Falla, Kantsjeli and Richard Strauss, performed by the National Orchestra of Belgium with, as guest artist, the charismatic cellist Mischa Maisky.

Pianist Krystian Zimerman is a musician with an exceptional touch. He has performed with all the greats, from Karajan to Bernstein, and is one of the best interpreters of romantic works. This evening he shares his love for his favourite composers: Schubert and Brahms.

23.11.2015

Musique à Versailles. A day with the Sun King

20.10.2015

Nessun dorma A breathtaking evening

The tenor Jonas Kaufmann has a worldwide reputation thanks to his singing qualities and stage presence. He is performing at a Puccini evening with real classic arias from Tosca and Turandot. The programme was written specially for this musical talent who can convey the subtlest of emotions like no other.

‘Bill’s band’ will soon be on stage at BOZAR. Les Arts Florissants, the fantastic company formed by William Christie, whisks you away to the court of Louis XIV, a great period for French music, with works from Lully, Charpentier and Delalande, the genial composers of the French golden age.

ABONNEZ-vous dès maintenant +32 2 507 82 00

highlights

16.12.2015

The diva of all divas At BOZAR Cecilia Bartoli is reunited with Ada Pesch and the La Scintilla Orchestra, the travelling component of Opernhaus Zürich’s house orchestra. The top orchestra accompanies Bartoli on a musical journey with works by composers who have shaped musical history, including Mozart, Donizetti, Bellini and Rossini. Just like every time the diva of divas performs in the Centre for Fine Arts this promises to be an unforgettable night. For this concert she shares the stage with tenor Sunnyboy Dladla.

11.11.2015

Cassandra Wilson’s Tribute to Billie Holiday

Cassandra Wilson

Post

creation: Solange Nebenzahl, director: Daniela Bisconti

Tribute to Bruckner

28.10.2015

works by Messiaen and the prophetic Also sprach Zarathustra by Strauss. Next spring we welcome the famous Pittsburgh Symphony Orchestra, a real institution that has been conducted by the likes of Otto Klemperer, André Previn and Lorin Maazel.

07 — 09.09

27.09 & 02.12.2015

THEATRE

JAZZ, CONTEMPORARY & WORLD MUSIC 31.10.2015

A night of Sufi Our annual appointment with Sufism is particularly intimate this year. Mystique, spirituality and perfection are what this ode to the ecstasy within the Islamic tradition is all about. The music invites you to look with your heart if you want to enter into a better relationship with others and the world you live in.

08 > 11.10.2015

BEAF, 2015 edition The BOZAR Electronic Arts Festival is synonymous with cross-overs between musical genres and art disciplines. This year electro label Subtext Recordings is presenting its best artists as well as other big names as this dynamic festival is back to stimulate your senses one more time.

The legendary singer Cassandra Wilson has two Grammy Awards to her name. In this tribute to Billie Holiday, more than 60 years after the jazz legend’s first performance here at BOZAR, Cassandra Wilson’s warm alto promises to be a highlight of the season.

LITERATURE 22.09 > 29.10.2015

BANG

KultuurKaffee@BOZAR While the VUB KultuurKaffee is being renovated it has decided to embark upon a two year nomadic existence in Brussels. Twice per season guest curators put together a six week multidisciplinary programme, with two activities a week. At BOZAR Saskia De Coster will be in conversation with big names such as the famous American best-selling author Jonathan Franzen; the former President of the Council of Europe, Herman Van Rompuy; and musician An Pierlé.

Public Support

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Offre

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Offre spéciale : 3 jours/sem., pendant 2 mois = 23 € au lieu de 46 €*.

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au 078/05.05.10 et donnez le code 4339 ou rendez-vous sur www.lesoir.be/aboculture

German-speaking Community of Belgium Cabinet of the Minister President

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nos partenaires

International Partners European Concert Hall Organisation: Concertgebouw Amsterdam · Gesellschaft der Musikfreunde in Wien · Wiener Konzerthausgesellschaft · Cité de la Musique Paris · Barbican Centre London · Town Hall & Symphony Hall Birmingham · Kölner Philharmonie · The Athens Concert Hall Organization · Konserthuset Stockholm · Festspielhaus Baden-Baden · Théâtre des Champsélysées Paris · Salle de concerts Grande-Duchesse Joséphine-Charlotte de Luxembourg · The Sage Gateshead · Palace of Art Budapest · L’Auditori Barcelona · Elbphilharmonie Hamburg · Casa da Música Porto · Calouste Gulbenkian Foundation Lisboa · Palau de la Música Catalana Barcelona · Konzerthaus Dortmund

Institutional Partners

Privileged Partners BOZAR

BOZAR EXPO PHOTO

BOZAR MUSIC

Foundations

GDF SUEZ GDF_SUEZ_foundation_GB_signature_CMYK 10/12/2013 24, rue Salomon de Rothschild - 92288 Suresnes - FRANCE Tél. : +33 (0)1 57 32 87 00 / Fax : +33 (0)1 57 32 87 87 Web : www.carrenoir.com

RÉFÉRENCES COULEUR

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Bozar corporate patrons ABN AMRO · Bank of New York Mellon · Edmond de Rothschild (Europe) · Bird & Bird · BKCP · EDF Luminus · KBC Bank · Lhoist · Linklaters · Lombard Odier · NH Hoteles · Puilaetco Dewaay Private Bankers · Société Fédérale de Participations et d’Investissement – Federale Participatie- en Investeringsmaatschappij K80%

Promotional Partners

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Structural Partners Official Suppliers

Media Partners

centre for fine arts brussels

BOZAR-tickets Rue Ravenstein 18 1000 Brussels Tue > Fri 1pm > 5pm Apart from these opening hours, The Box Office is also open one hour before each spectacle.

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Exhibitions Tue > Sun 10am > 6pm Thu: 10am > 9pm There are no late-evening openings between 21 July and 15 August.

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You can not buy tickets 30 minutes before the doors close. Call Centre: +32 (0)2 507 82 00 Tue > Fri 1pm > 17:00 Groupes Lun > Ven 9:00 > 17:00 + 32 (0)70 344 577 – groups@bozar.be – www.bozar.be Other points of sale • FNAC Stores – www.fnac.be • T he European Parliament’s Tourist Office +32 (0)2 284 20 80 •N ATO Office of Theatres +32 (0)2 707 49 83 Access • Metro 1 and 5 Central Station & Parc • Bus: 27, 29, 38, 63, 65, 66, 71, 71N, 95 • Tram: 92, 94 • Train Central Station

Parkings •P 1 - PARKING Grand Place Bd de l’Impératrice - Pl. de l’Agora 1000 Brussels •P 2 - PARKING Albertine 16 Place de la Justice - Rue des Sols 1000 Brussels •P 3 - PARKING Sablon-Poelaert - Place Poelaert - 1000 Brussels Persons with reduced mobility Personnes moins valides •A ccess Hall M, Studio, Henry Le Boeuf Hall: rue Terarken 2. Please make an appointment to visit the exhibitions: + 32 (0) 479 98 66 12 fieldcoordination@bozar.be. Parking places are available at the end of rue Terarken and on the 2nd level, via rue Montagne de la Cour.

Other Concert Halls 1000 Brussels • Conservatoire, 30 rue de la Régence • Minimes Church, 62 rue des Minimes • Théâtre Royal de la Monnaie, 4 rue Léopold • Cathedral of St. Michael and St. Gudula, Parvis Sainte-Gudule • Chapel Church, Place de la Chapelle • Protestant Chapel, Place du Musée

Éveillez votre curiosité

• Kaaitheater, Place Sainctelettesquare 20, 1050 Bruxelles • Flagey, Place Sainte-Croix, 1030 Bruxelles • Halles de Schaerbeek, 22A rue Royale Sainte-Marie, 1030 Schaerbeek

Join BOZAR-friends Season ’15 — ’16

MANAGEMENT Chief Executive Officer – Artistic Director: Paul Dujardin Director of Artistic Policy: Adinda Van Geystelen Director of Operations: Albert Wastiaux Director of Finances: Jérémie Leroy Head of Music: Ulrich Hauschild Head of Exhibitions: Sophie Lauwers Head of Cinema: Juliette Duret Director of Technics, IT, Investments, Safety & Security: Stéphane Vanreppelen Director of Production & Planning: Jean-François D’hondt Director of Marketing, Communication & Sales: Filip Stuer Director of Human Resources: Marleen Spileers Director of General Administration: Didier Verboomen

infos pratiques

The seasonal BOZAR-friends card is only valid for the individual named. It is valid for almost all BOZAR productions; there are certain clearly marked co-productions and events organised by third parties for which it is not valid. For details of the benefits, see www.bozar.be/friends.

Portrait de Michaël Borremans par Dirk Braeckman pour BOZAR-friends

Palais des Beaux-Arts Bruxelles PALEIS VOOR SCHONE KUNSTEN BRUSSEL

FLÂNEUR FOREVER

Bruxelles 02 511 20 62 Hermes.com