Press File Mons 2015 DOSSIER DE PRESSE 3

Total Page:16

File Type:pdf, Size:1020Kb

Press File Mons 2015 DOSSIER DE PRESSE 3 Press file Mons 2015 DOSSIER DE PRESSE 3 GROWING TOGETHER In 2015, the beauty, intelligence and creativity of Europe will reside in Mons for twelve months. For the citizens of the Mons region, the Borinage and Saint-Ghislain, this is a unique opportunity to make a qualitative leap forward, to grow together and to improve their future. The path leading to this culminating moment has been a long one, but today we can be proud and happy! We can be proud, because the programme, even if not finalized yet, is already magnificent: 300 events, 5,000 artists, 400 organisations mobilised, 1,200 active ambassadors, 22 partner institutions, several dozen participating cities… An intense mobilisation of talent and creativity. We can be happy for our citizens, who will be spoiled for choice during this exceptional year, and for our businesses, our retailers and E D ITO R I A L our community life. Becoming European Capital of Culture means ELIO DI RUPO receiving a tremendous economic and social springboard which will OFFICIAL MAYOR enable us to leap higher and further forwards. A powerful process has MINISTER OF STATE been set in motion, from which Mons-Borinage will be the first to bene- fit for decades, thanks to the investments that have been made and the new development tools that have been put in place. Mons is changing, Mons is progressing, Mons is building its future! I wish to express my warm thanks to the women and men ‘in the shadows’ who have turned this ambitious project into reality. I am espe- cially keen for people to realise how much dedication everyone has shown, and with what talent and perseverance. The greatest master- piece of Mons 2015 is undoubtedly the success of this fantastic effort. Finally, I wish everyone – from the child who still has everything to discover to the oldest inquisitive onlooker or art-lover – a wonderful year of culture in Mons. Mons 2015 PRESS FILE 4 WIDESPREAD ENTHUSIASM In 2015, Mons and its region will hold aloft the banner of Euro- pean culture. The challenge is considerable, not just in cultural terms, but on the material plane too. The public interest foundation formed to oversee this year as a Capital of Culture has received the support of many partners who have joined us in the adventure. The Foundation’s founding members – the Federation Wallonia-Brussels, the Walloon Region, the Province of Hainaut and the City of Mons – have, through GUY QUADEN their financial support, made it possible to give the project its rightful PRESIDENT European scale. This support was recently supplemented by the OF THE MONS 2015 FOUNDATION award of the Melina Mercouri Prize by the European Commission. Our official sponsors, ING, the National Lottery and the non- profit organisation ‘Club Mons 2015 entreprises’ are also major partners who have been with us ever since the project took shape. Alongside them, numerous private and institutional partners – more than twenty of them – have made their own contributions, reflecting the enthusiasm and interest aroused by the project at the national level as well as at the local and regional level. On behalf of the Foundation’s Board of Directors, I would like to thank them for this. The convergence of all these efforts should allow the Belgian public as a whole and the foreign visitors whom we expect in large numbers to enjoy a unique cultural experience in Mons throughout the year 2015. 5 A CITY IN TRANSFORMATION It’s true. We took a risk by taking our time, desiring to do things properly and opting for the wisdom of maturity. And now we’re there. The musicians are backstage, the actors are treading the boards, the poets have put pen to paper and the sculptors are wielding hammer and chisel. In the streets of the city, strange characters are running amok, pursued by a strange machine that films them from every angle. The noises of a city in transformation carry right up to the tree- YVES VASSEUR tops. We will devise fantastic festivals, kindle the fires of celebration, COMMISSIONER, set up the bright lights. We will open new venues, sample their MONS 2015 distinctive atmospheres together, experience long-term urban adven- tures. To quote Léo Ferré’s vision of the Golden Age, ‘We shall have bread, brown as girls under the golden sun. We shall have wine, wine that sparkles even in sleep. We shall have blood in our white veins, and Monday will usually be Sunday.’ (*) The invitations have been sent out: to the people of Mons, Bel- gium, Europe, the planet. To young, old, students, teachers, children, parents allowed. At Café Europa, they are already meeting. Different generations, different nations, all together. Mons is now on the map of the world, enriched by its partners who are joyfully creating an amazing profusion of projects, almost all of which, like ours, relate to our main theme of the encounter between culture and technology as a guarantee of a productive future. Mons is a new and open city, emboldened by the large-scale support of its citizens for the adven- ture of 2015. Transformation. Artists are already pouring into the construction sites before the concrete has even dried. Cranes are lifting in the roof- beams, painters are splashing colour around, and above all, people are talking, eager to discover, share and create. Because a European year of culture means more dialogue, more mutual support and respect, and more togetherness. 2015 looks set to be an exceptional year, but it represents but a step towards a transfigured future. A Golden Age? (*) L’âge d’or – Léo Ferré © Mara de Sario Mons 2015 PRESS FILE 6 In 2015, after Antwerp, Brussels and Bruges, Mons will become the European Capital of Culture, the first time a Walloon city has had the honour. As main sponsor, ING Belgium has chosen to be closely associ- ated with this great cultural event. Art and culture are highly prized at ING. As well as possessing a magnificent collection of artworks, ING Belgium supports many A WORD initiatives that help form the artistic and cultural scene in Belgium. Next to our exhibitions Yves Saint-Laurent, A visionary, Birth Day by Lieve Blancquaert, To the Point, the neo-impressionist portrait and BY ING the current exhibition The Power of Object(s) in the ING Art Center RIK VANDENBERGHE at the Place Royale, we also gladly support major events such as Art CEO ING BELGIQUE Brussels or the Chapelle Musicale Reine Elisabeth. By choosing to be a partner of Mons 2015, we wish to promote art and culture and make them accessible for all, in line with our com- mitment to being a universal bank and our support of the economy. ING Belgium also wishes to show its desire to participate in the economic prosperity of a city and a region. This partnership also clearly shows that we want to anchor ourselves in the region of Mons, because we believe it is very important to support the economy. We wholeheartedly hope that, thanks to Mons 2015, the city and the surrounding region will be able to flourish in socio-economic terms and take advantage of the positive effects that will result in terms of culture, tourism and the media. 7 C ONTE NT TA B L E THE METAMORPHOSIS – INFORMATION MONS 2015: 200 Practical information THE BIGGER PICTURE 202 The Foundation Mons 2015 12 Infrastructure 204 Mons 2015: a sustainable project 14 Socioeconomic reconversion 205 I’m labeled Mons 2015. And you? 16 Art and Creation 208 I’m partner. And you? 20 2015 ways of participating 218 Our next meeting 24 The project of an expanded territory 28 Digital 30 Parties and public spaces THE PROGRAMMING 33 Exhibitions and museums 81 Parties, Gastronomy & Art in city 127 Theatre & Dance 155 Music 179 Digital Mons 2015 PRESS FILE 8 9 THE METAMOR- PHOSIS MONS 2015: THE BIGGER PICTURE Mons 2015 PRESS FILE 10 11 Meet Vincent van Gogh, St George, Daniel Libeskind and the citizens of Mons at Mons 2015, a massive, cultural celebration offering more than 300 key events that will amplify and resonate the voices of the citizens of Mons. The momentum of our Euro- pean Capital of Culture 2015 will unlock new paths digitally and through collabora- tion with 18 partner cities in Belgium and France. It is also an integral part of a wider socio-economic redevelopment project, putting Mons and its surrounding region on the map as a “Creative Valley”. The idea of Mons as a European Capital of Culture took root back in 2002-2003. Who could have imagined at that time the extent to which the barriers would be broken down in 10 years’ time between the cultural, social and economic sectors? At the dawn of the tech- nological revolution, societies are called upon to break barriers and innovate, otherwise they risk losing out in the marketplace of the new century and the globalisation process. Mons was already at the time the Cultural Capital of Wallonia, and opted to develop it’s cultural and creative side. The city will inaugurate five new interconnected museums, providing a focal point for its art and heritage collections. Mons Memorial Museum will open in ‘Machine-à-Eau’, a stunning backdrop of brick, steel and glass created by the Mons-born architect Joseph Hubert and built in 1870-1871. The building will become the centre of a new “Memorial Region”, a living space that will extend beyond the city centre, including in particular, the Saint Symphorien Military Ceme- tery. UNESCO-listed heritage sites will be framed by other museums: the neolithic flint mines of Spiennes, Le SILEX’S – Spiennes: One of the eldest and biggest archaeological sites in Europe, recognised by UNESCO in 2000.
Recommended publications
  • Viimeinen Päivitys 8
    Versio 20.10.2012 (222 siv.). HÖYRY-, TEOLLISUUS- JA LIIKENNEHISTORIAA MAAILMALLA. INDUSTRIAL AND TRANSPORTATION HERITAGE IN THE WORLD. (http://www.steamengine.fi/) Suomen Höyrykoneyhdistys ry. The Steam Engine Society of Finland. © Erkki Härö [email protected] Sisältöryhmitys: Index: 1.A. Höyry-yhdistykset, verkostot. Societies, Associations, Networks related to the Steam Heritage. 1.B. Höyrymuseot. Steam Museums. 2. Teollisuusperinneyhdistykset ja verkostot. Industrial Heritage Associations and Networks. 3. Laajat teollisuusmuseot, tiedekeskukset. Main Industrial Museums, Science Centres. 4. Energiantuotanto, voimalat. Energy, Power Stations. 5.A. Paperi ja pahvi. Yhdistykset ja verkostot. Paper and Cardboard History. Associations and Networks. 5.B. Paperi ja pahvi. Museot. Paper and Cardboard. Museums. 6. Puusepänteollisuus, sahat ja uitto jne. Sawmills, Timber Floating, Woodworking, Carpentry etc. 7.A. Metalliruukit, metalliteollisuus. Yhdistykset ja verkostot. Ironworks, Metallurgy. Associations and Networks. 7.B. Ruukki- ja metalliteollisuusmuseot. Ironworks, Metallurgy. Museums. 1 8. Konepajateollisuus, koneet. Yhdistykset ja museot. Mechanical Works, Machinery. Associations and Museums. 9.A. Kaivokset ja louhokset (metallit, savi, kivi, kalkki). Yhdistykset ja verkostot. Mining, Quarrying, Peat etc. Associations and Networks. 9.B. Kaivosmuseot. Mining Museums. 10. Tiiliteollisuus. Brick Industry. 11. Lasiteollisuus, keramiikka. Glass, Clayware etc. 12.A. Tekstiiliteollisuus, nahka. Verkostot. Textile Industry, Leather. Networks.
    [Show full text]
  • Belgique Francophone, Terre De B.D
    Belgique francophone, terre de B.D. François Pierlot Frantseseko lektorea / Lector de francés Laburpena Komikien historia Suitzan hasi zen 1827an, Rodolphe Töpffer-ek “litera- tura iruditan” deiturikoa sortu zuenean. Printzipioa sinplea da: istorio bat kontatzen du marrazki bidez, eta istorioa azaltzeko testuak eransten ditu. Hogei urte geroago, Wilhelm Bush alemaniarrak Max und Moritz sortu zuen, marrazkietan dinamismo handia zuen umorezko komikia. Gero, batez ere egunkarietan agertzen hasi ziren komikiak. Eguneroko prentsak ere gero eta arrakasta handiagoa zuenez, komikiak Europa osora za- baldu ziren. Egunkarientzat oso garrantzitsua zen komiki onak izatea, irakur- le asko erakartzen zituztelako. Erresuma Batuan ere arrakasta izan zuten ko- mikiek. AEBtik, bestalde, koloretako argitalpenak iristen hasi ziren, testuen ordez bunbuiloak zituztenak. Belgikan, 1929an hasi ziren komikiak argitaratzen, Le petit vingtième haurrentzako egunkarian. Apaiz oso kontserbadore bat zen erredakzioburua, eta umeei komunisten alderako gorrotoa barneratzeko pertsonaia asmatzeko eskatu zion Hergé marrazkilari gazteari. Horrela sortu zen Tintin. Lehenengo aleak Tintin sobieten herrialdean zuen izenburua. Hergék bere pertsonaiaren «gobernua» hartu baino lehen, ideologiaz beteriko beste bi abentura ere izan ziren (Tintin Kongon eta Tintin Amerikan). Tintinekin hasitako goraldiaren ondoren, beste marrazki-aldizkari bel- gikar batzuk sortu ziren; besteak beste, Bravo! agerkaria. Komiki belgikarrak 1940ko hamarkadatik aurrera nagusitu ziren mundu frantsestunean, bi agerkari zirela bitarte: Le Journal Tintin eta Le Journal de Spirou, hurrenez hurren, Hergé eta Franquin marrazkilari zirela. Bi astekariek talentu gazteak hartu zituzten, aukera bat emateko. Komikien ibilbidea finka- tu zuten, klasizismo mota bat ezarrita. Journal de Spirou izenekoa 1938an sortu zuen Dupuis argitaletxeak, eta umorea landu zuen. Pertsonaiek oso jatorrak dirudite, grafismo biribilari esker (horregatik aipatzen da “sudur lodiaren” estiloa).
    [Show full text]
  • Hergé and Tintin
    Hergé and Tintin PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 20 Jan 2012 15:32:26 UTC Contents Articles Hergé 1 Hergé 1 The Adventures of Tintin 11 The Adventures of Tintin 11 Tintin in the Land of the Soviets 30 Tintin in the Congo 37 Tintin in America 44 Cigars of the Pharaoh 47 The Blue Lotus 53 The Broken Ear 58 The Black Island 63 King Ottokar's Sceptre 68 The Crab with the Golden Claws 73 The Shooting Star 76 The Secret of the Unicorn 80 Red Rackham's Treasure 85 The Seven Crystal Balls 90 Prisoners of the Sun 94 Land of Black Gold 97 Destination Moon 102 Explorers on the Moon 105 The Calculus Affair 110 The Red Sea Sharks 114 Tintin in Tibet 118 The Castafiore Emerald 124 Flight 714 126 Tintin and the Picaros 129 Tintin and Alph-Art 132 Publications of Tintin 137 Le Petit Vingtième 137 Le Soir 140 Tintin magazine 141 Casterman 146 Methuen Publishing 147 Tintin characters 150 List of characters 150 Captain Haddock 170 Professor Calculus 173 Thomson and Thompson 177 Rastapopoulos 180 Bianca Castafiore 182 Chang Chong-Chen 184 Nestor 187 Locations in Tintin 188 Settings in The Adventures of Tintin 188 Borduria 192 Bordurian 194 Marlinspike Hall 196 San Theodoros 198 Syldavia 202 Syldavian 207 Tintin in other media 212 Tintin books, films, and media 212 Tintin on postage stamps 216 Tintin coins 217 Books featuring Tintin 218 Tintin's Travel Diaries 218 Tintin television series 219 Hergé's Adventures of Tintin 219 The Adventures of Tintin 222 Tintin films
    [Show full text]
  • Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
    Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that.
    [Show full text]
  • Why We Play: an Anthropological Study (Enlarged Edition)
    ROBERTE HAMAYON WHY WE PLAY An Anthropological Study translated by damien simon foreword by michael puett ON KINGS DAVID GRAEBER & MARSHALL SAHLINS WHY WE PLAY Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Troop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com WHY WE PLAY AN ANTHROPOLOGICAL STUDY Roberte Hamayon Enlarged Edition Translated by Damien Simon Foreword by Michael Puett Hau Books Chicago English Translation © 2016 Hau Books and Roberte Hamayon Original French Edition, Jouer: Une Étude Anthropologique, © 2012 Éditions La Découverte Cover Image: Detail of M. C. Escher’s (1898–1972), “Te Encounter,” © May 1944, 13 7/16 x 18 5/16 in. (34.1 x 46.5 cm) sheet: 16 x 21 7/8 in. (40.6 x 55.6 cm), Lithograph. Cover and layout design: Sheehan Moore Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-6-8 LCCN: 2016902726 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by Te University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents Acknowledgments xiii Foreword: “In praise of play” by Michael Puett xv Introduction: “Playing”: A bundle of paradoxes 1 Chronicle of evidence 2 Outline of my approach 6 PART I: FROM GAMES TO PLAY 1. Can play be an object of research? 13 Contemporary anthropology’s curious lack of interest 15 Upstream and downstream 18 Transversal notions 18 First axis: Sport as a regulated activity 18 Second axis: Ritual as an interactional structure 20 Toward cognitive studies 23 From child psychology as a cognitive structure 24 .
    [Show full text]
  • UNE MINE DE Découvertes 25 Élèves
    Le Bois du Cazier incontournable pour Nos offres combinées : 1956-2021 vos sorties scolaires ! Combinez une visite parmi notre offre et la LE BOIS Groupes découverte d’un autre lieu partenaire pour 2020 e une journée thématique : DU CAZIER 65 > Un site chargé d’histoire classé au Patrimoine scolaires ANNIVERSAIRE mondial de l’Unesco et labellisé par l’Union DE LA TRAGÉDIE NIO M O UN IM D ~ R T IA A L • P • W Le Bois du CazieR L O A I R D + L D N O Secondaires Européenne H E M R I E TA IN G O E • PATRIM Organisation Sites miniers majeurs > Un lieu proche de chez vous à un tarif des Nations Unies de Wallonie pour l’éducation, inscrits sur la Liste du et extrascolaires la science et la culture patrimoine mondial en 2012 2021 intéressant Un des Sites miniers dès (12-18 ans) > Accessible en car et transports en commun majeurs de Wallonie 12€ > Espace pique-nique disponible sur réservation (Grand-Hornu, Bois-du-Luc ou Blegny-Mine) THUIN, son beffroi Tarifs et ses bateliers 10€ Entrée : 3.5€ / élève - Visite guidée : 60€ / groupe de max. UNE MINE DE DÉCOUVERTEs 25 élèves. Sambre et charbonnages 11€ Possibilité d’accueillir plusieurs groupes simultanément. Un accompagnateur gratuit par groupe de 25 élèves. Musée du Verre : + 30€ (secondaire) Abbaye d’Aulne 12€ Couleur > visites En lien avec les Réservation indispensable Chocolat 11,50€ Par téléphone : 071/29 89 30 programmes scolaires Par email : [email protected] Maison de la Poterie 6.50€ > thématiques citoyennes Pour vos classes de dépaysement Musée royal Séjournez dans un des hébergements proches du site et bé- de Mariemont 13€ néficiez d’un tarif préférentiel sur votre visite :Auberges de > Une journée entière sur le Jeunesse de Charleroi, Mons et Namur ; Centre Marcel Tricot à Beaumont ; Centre Adeps de Loverval et Centre de Dépay- Mundaneum 10€ site pour 8,30 € / élève* sement et de Plein Air de Sivry.
    [Show full text]
  • Un Des 4 Sites Miniers Majeurs De Wallonie NEWS Bulletin D’Information De Blegny-Mine Asbl / N°39 Août 2018 De Blegny-Mine Bulletin D’Information
    Un des 4 sites miniers majeurs de Wallonie NEWS Bulletin d’information de Blegny-Mine asbl / n°39 Août 2018 de Blegny-Mine Bulletin d’information Sommaire 2 à 3 : La vie en réseau 4 à 6 : Sites Unesco 7 : Le saviez-vous ? 8 à 11 : Nous étions présents 11 : In memoriam 12 : Quoi de neuf ? 13 à 14 : Face aux médias 14 : Personnel 15 : Dons/Acquisitions 16 : Ils nous ont rendu visite 17 à 19 : Au fil des jours 20 : Agenda La Fosse 9-9 bis d’Oignies Rue L. Marlet, 23 - 4670 BLEGNY - Tel. : 04/387 43 33 - Fax : 04/387 58 50 www.blegnymine.be - [email protected] Edito Une institution culturelle comme La vie en réseau la nôtre peut difficilement vivre seule, sans échange avec d’autres institutions similaires ou avec des associations fé- Afin de structurer quelque peu cet article, j’ai classé les réseaux dont fait partie Blegny-Mine en thématiques : les sponsors principaux, les dératrices ou qui poursuivent des buts réseaux touristiques, culturels et professionnels, la vie locale, et le identiques. Ces échanges, qui font partie patrimoine industriel, à la fois sur le plan régional et international. des obligations contractées vis-à-vis de l’Unesco dans le cadre de notre recon- 1) Les sponsors principaux : naissance comme patrimoine mondial, sont à la fois sources d’amélioration des Les trois sponsors principaux de Blegny-Mine sont la Région wal- connaissances et de l’expérience, de créa- lonne, à travers le Commissariat Général au Tourisme (CGT) et le tion d’un réseau relationnel bien utile Forem, la Province de Liège via sa Fédération du Tourisme (FTPL), et la commune de Blegny.
    [Show full text]
  • PROGRAMMES Groupes Adultes 2020/21 Associations, Amicales, Services-Clubs, Groupes D’Amis,
    Inscrit sur la Liste LE BOIS du Patrimoine mondial de l’UNESCO comme Site minier majeur de Wallonie DU CAZIER Labellisé Patrimoine européen NIO M O UN IM D R T IA A L • P • W L O A I R D L D N H O E M R I E TA IN G O E • PATRIM LE LIEU IDÉAL POUR Organisation Sites miniers majeurs des Nations Unies de Wallonie pour l’éducation, inscrits sur la Liste du la science et la culture patrimoine mondial en 2012 VOTRE EXCURSION ! PROGRAMMES groupes adultes 2020/21 Associations, amicales, services-clubs, groupes d’amis, ... Autocaristes, professionnels du tourisme, … POURQUOI UNE VISITE DU SITE DU BOIS DU CAZIER ? Partie du Patrimoine exceptionnel de Wallonie, inscrit sur la liste du Patrimoine mondial de l’UNESCO avec trois autres sites miniers majeurs, labellisé Patrimoine européen par l’UE, le Bois du Cazier, requalifié en musée et en attraction touristique, connait une destinée assez exceptionnelle. Le Bois du Cazier est un site minier mais il est plus qu’un musée de la mine, il est un témoignage du passé industriel de la Wallonie. Selon la formule « le passé, présent pour le futur », un parcours muséal consacré au charbon, au fer et au verre, fait du Bois du Cazier une vitrine du savoir-faire humain, de ses réussites mais aussi de ses dérives… Le Bois du Cazier rend hommage aux hommes, ouvriers et ingénieurs, qui hissèrent la Belgique dans le concert des plus grandes nations industrielles. Il est ainsi devenu un lieu de référence dans le domaine du patrimoine industriel et un site culturel et touristique majeur.
    [Show full text]
  • Surprising Discoveries
    2018-2019 Surprising Discoveries Your guide to creating memorable group visits to southern Belgium © Hallet Jacques Discover Wallonia THE NETHERLANDS UNITED KINGDOM THE NETHERLANDS Antwerp NORTH SEA Ostende Bruges FLANDERS Dunkerque THE NETHERLANDS Calais Brussels 02 Map GERMANY Waterloo Liège 03 Welcome FRANCE Villers-la-Ville Tournai 04 Tournai and Mons Spa Mons Namur Binche 10 Waterloo and Beyond Charleroi Durbuy Dinant 14 Namur and Dinant FRANCE La Roche-en-Ardenne 20 Liège and Spa Bastogne Saint-Hubert 26 Bastogne and La Roche GRAND DUCHY OF LUXEMBOURG Bouillon 30 Top 10 and major recurring events 31 Testimonials from coach operators FRANCE Produced with the co-operation of the Belgian Tourist Office – Wallonia. Telephone: 020 7531 0390. Email: [email protected]. www.walloniabelgiumtourism.co.uk. All rights reserved. No part of this guide may be reproduced, stored in a retrieval system, or transmitted in any other means, electronic, mechanical, photographic, recording or otherwise without the prior written consent of the publisher. Commissioning editor & picture editor: Philippe Marée. Graphic Design & Print Production: Lielens & Partners. Revealed is printed on Essential Gloss paper which is an FSC certified paper. Although Location every effort is made to ensure that the editorial content is true and accurate at time of going to press the Belgian Tourist Office – Wallonia cannot be held responsible for any claims made within this publication. Map Welcome to Belgium. Welcome to Wallonia. Memorable experiences in southern Belgium start here! It gives me very great pleasure to welcome you distilleries, from vineyards to cheese producers, and to this special guide that I know will inspire you to from waffles to chocolate, Wallonia’s gastronomic create memorable group visits to southern Belgium.
    [Show full text]
  • National Reports 2016 - 2018
    CONGRESSO XVII - CHILE NATIONAL REPORTS 2016 - 2018 EDITED BY JAMES DOUET TICCIH National Reports 2016-2018 National Reports on Industrial Heritage Presented on the Occasion of the XVII International TICCIH Congress Santiago de Chile, Chile Industrial Heritage: Understanding the Past, Making the Future Sustainable 13 and 14 September 2018 Edited by James Douet THE INTERNATIONAL COMMITTEE FOR THE CONSERVATION OF INDUSTRIAL HERITAGE TICCIH Congress 2018 National Reports The International Committee for the Conservation of the Indus- trial Heritage is the world organization for industrial heritage. Its goals are to promote international cooperation in preserving, conserving, investigating, documenting, researching, interpreting, and advancing education of the industrial heritage. Editor: James Douet, TICCIH Bulletin editor: [email protected] TICCIH President: Professor Patrick Martin, Professor of Archae- ology Michigan Technological University, Houghton, MI 49931, USA: [email protected] Secretary: Stephen Hughes: [email protected] Congress Director: Jaime Migone Rettig [email protected] http://ticcih.org/ Design and layout: Daniel Schneider, Distributed free to members and congress participants September 2018 Opinions expressed are the authors’ and do not necessarily re- flect those of TICCIH. Photographs are by the authors unless stated otherwise. The copyright of all pictures and drawings in this book belongs to the authors. No part of this publication may be reproduced for any other purposes without authorization or permission
    [Show full text]
  • Thermal Sustainability
    $UFKLWHFWXUDO Liefooghe, M. 2019. Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author. Architectural Histories, +LVWRULHV 7(1): 12, pp. 1–13. DOI: https://doi.org/10.5334/ah.296 RESEARCH ARTICLE Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author Maarten Liefooghe Critiques of the cult of artists, life-and-work narratives, and the authority of authors over the meaning of their works not only unsettle the conventions of literary and art historical studies. They also challenge the importance of the artist museum and its architecture. Adopting Roland Barthes’ discussions of the ‘death’ and ‘return of the author’ of the late 1960s and early 1970s as a critical lens, this article examines how the architecture of artist museums reflects and contributes to the discursive construction of the resilient figure of the artist-author. To do so, the article compares the cultist make-up of the 19th- century Thorvaldsen Museum-Mausoleum (opened in 1848) with the resolutely work-centred museums of Van Gogh (1973) and Roger Raveel (1999). The architecture of the last two examples is significantly different, however. The Van Gogh Museum seemingly negates its monographic orientation, while the Raveel Museum amends a white cube logic with a reserved interpretation of artistic individuality and site-boundedness. Parallel to the institutional interpretation of a museum’s monographic mission, and the curators’ representation of the artist-life-work nexus in exhibitions, architecture is yet another element in a museum’s assemblage of an artist presented as a dead or revived author to its visitors.
    [Show full text]
  • Le Musée De La Bande Dessinée Présente Exposition À Angoulême
    – le musée de la bande dessinée présente exposition à Angoulême du 16 décembre 2011 au 11 mars 2012 contact presse Pierre Laporte Communication 01 45 23 14 14 [email protected] [email protected] la Cité internationale de la bande dessinée et de l’image direction de la communication 05 45 38 65 52 [email protected] 05 17 17 31 03 [email protected] une autre histoire : bande dessinée, l’œuvre peint sommaire 1 a v a n t - p r o p o s par Gilles Ciment directeur général de la Cité internationale de la bande dessinée et de l’image 2 i n t r o d u c t i o n 4 l e s a r t i s t e s e x p o s é s 5 b i o g r a p h i e s d e s a u t e u r s 12 p r é s e n t a t i o n par Jean-Marc Thévenet commissaire de l’exposition 14 p r é s e n t a t i o n par Marie-José Lorenzini conservateur du musée de la bande dessinée commissaire de l’exposition 16 l a s c é n o g r a p h i e 17 l e s a t e l i e r s 18 l e g é n é r I q u e 20 l a c i t é p r a t i q u e avant-propos par G i l l e s C i m e n t directeur général de la Cité internationale de la bande dessinée et de l’image Depuis sa création, le musée de la bande dessinée a programmé et offert à ses publics des expositions temporaires tour à tour monographiques, historiques, thématiques ou interprétatives.
    [Show full text]