DOCSLIB.ORG

1910 Brussels International Exhibition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1910 Brussels International Exhibition Belgium’s 5th such event confirmed her position as a major host of international events. Staged thirteen years after the previous Brussels Expo (5 years after that in Liège), and a year after the London international exhibition at which Belgium had a large pavilion, this fair revealed the government’s heavy commitment to international display. King Albert was patron and le Comte de Smet de Naeyer, minister of finance and public works, oversaw his department’s involvement in its construction. Major participants were France, Holland, UK & Ireland, Russia, Germany, Brazil, Spain & Italy. A pavilion for all other nations was erected, in which they put up stands. In all fewer nations attended than previous exhibitions. The exhibition opened on 23 April and closed during November. Some 13,000,000 people attended but the fair lost some 10,000 BEF. About 9 pm on the evening of Sunday 14 August, a fire broke out, but apart from the animals in the zoo being killed by smoke and heat, nobody was killed, as the public had already gone home. The fire broke out near the central gallery and quickly spread to the British section, the city of Paris pavilion and a French restaurant. After several hours the fire was brought under control, the rest of the site escaping damage. The remaining British industrial exhibits were relocated in the Salle des Fêtes. The fire greatly stimulated people’s curiosity to see the exhibition. The exhibition was sited in the Solbosch park, near the Bois de la Cambre at the outer end of the Avenue Louise in. This area is all built up today. The most striking feature was a set of lavish ornamental gardens, which led to the garden of the city of Paris and Dutch garden. Heavy baroque architecture prevailed throughout. The French put on the most dramatic display, featuring Indochina, north and west African colonies, where native dress and exotic gardens featured prominently. Inside the pavilions were shown the benefits that French colonisation had bestowed. The Belgian Congo was impressive but outshone by the French display. Britain spent little effort in showing their empire. Maybe the arms race between the UK and Germany was influencing where money was spent. In the arts, Flemish works (Rubens etc) was very well received, while the French also showed the impressionists (Renoir, Monet, Bonnard, Signac, Vuillard and Matisse) and three of Rodin’s sculptures. The moderns were unusual and ascribed to André Saglio’s (chief commissioner) enlightenment. Two sets of four charity stamps (lined & solid backgrounds) showing St. Martin giving his cloak to a beggar (from the painting of Van Dijck), were issued on 1 June to mark the Exhibition and to raise money to fight tuberculosis. These were the first stamps not to show the value to charity separately, the two values being the same. 850,000 sets were printed, of which 565,000 were later overprinted for the 1911 TB campaign and the 1911 Charleroi exhibition – obviously these did not prove a good seller! These stamps were designed by Henri Lemaire & Constant Montald and typographed in sheets of 25 (5 x 5) by l’Atelier du Timbre at Malines, then p14. Selling ceased on 30 October 1911. They were demonetised 1 July 1912. Three cancellers were used at. The first of these was the ‘flame’ machine cancel, used here for the first time in Belgium at the Brussels post offices. Its use started on 23 April and ceased 30 November. Two days later a handheld datestamp commenced use in the exhibition post office for outgoing mail and continued until the exhibition closed. A third type with only the year was used for the special postal stationery, much of which was subsequently burnt and unused is thus quite rare. Montald type Lemaire type Registered letter from Brussels Exhibition to Antwerp Postage 1Oc , reg istration 25c (using 35c of 36c franking) Verso- Brussels Reception oval datestamp of 6 Nov Anvers Valeurs arrival eds of 7 Nov 191O Brussels 2.pub Two items of postal stationery posted in Brussels and showing the 'flame' cancel -< I?-c.-c.L ~~~ ~ CP42 (1909) internal card posted within Brussels ~··••·~~~-w--~~w~~·~· • • ~·-•••••-•••••~••••~~~~·•••••••••••·~--~ . -, A ~JaLJ:#~~... ~ . - . CL5 (1888) letter card posted to Holland Amsterdam arrival eds and postman's ID (verso) Holland then was the normal rate abroad. 191O Brussels 3.pub Two EP43 postal stationery cards abroad showing both Expo cancels C.\RTE POSTALE POSTKAART Card to Wiesbaden posted Oct 1910 and cancelled by the Expo eds Ciito 1·escrve a l'a.drcsse. =- = Card to Berlin posted on 22 Jun 1910 and cancelled by Brussels 1 'flame' machine cancel 191 O Brussels 3a.pub I / A,,~~ cl~,~' c3t .;dJ__ ot_ JI{;~ ~~ A~~ - c~~- ~ - Letter to Rome Liege I Lulk 1 Exhibition flame type cancel of 27Apr 1910 (4th day) 25c correctly paid for a letter 1910 Brussels 3b.pub - Girl with Belgian Flag Ephemera labels (Mobbs type 139) These labels were printed in 10 colours with 4,000,000 copies each. Designer was Bastin. P11 .5 Violet Blue Grey Dark-Green Red-Brown Dark-Brown with Expo cancel Red-brown on Visiting card envelope Unusual ephemera labels Travel to Brussels via Celebrating the Hull & Zeebrugge Grand Prix 1910 Brussels 3d.pub Only official item of postal stationery for the exhibition This used the same postal card as shown on the previous page with a picture of King Albert and Queen Elisabeth printed on the side normally used for the message. As the stock of unused cards was burnt during the fire on 14 August and not replaced, unused cards are rare. These cards had affixed a vignette (20 colours) to them, of which I possess five cards with different coloured vignettes. They bear the third type of Exhibition cancel mentioned before. li ....... /.. I \ 1 t.c• l te in, 1 , I 1 • ' 191 O Brussels 4.pub Only official item of postal stationery for the exhibition showing 3 different vignette colours CARl E POST,\ LE POSTKA \PT !lit •lp,..!1rlft Illa(! j, '-' Cf'l!t· insrriptinu Jl"llt ttr<' hiffi'P 1910 Brussels 5.pub CARTE POS'l { "· ~ ,, Commemorative postal card to Switzerland Bruxelles (Midi) Depart eds of 26 Jul 191 O 8-9 am Red Exhibition label tied with blue type 3 exhibition cancel Red T handstamp applied in Brussels showing card is underpaid with a blue m/s 10 {amount owing) Swiss 10c postage due stamp cancelled with Geneve 4 /Olstr. Lettr. eds of 27 Jul Normally, postal cards with less than 5 words, other than the address, could be mailed abroad for Sc, as if they were printed matter. In this case, because of the Exhibition label, it was considered to be a normal card {neither printed commercial material nor a greeting card), for which the rate was 1Oc . These cards commercially used are seldom seen. With a postage due stamp it is rare. 1910 Brussels Sa.pub Picture postcards carrying vignettes of four different colours German pavilion and lawns Postcard to Trieste 1910 Brussels 6.pub / Picture postcards carrying vignettes of four different colours . L M. !1.1. ! Roi et la R 11 de Bdf;1q e, l:::.xpositi_?n de Bruxdles, 19to Their Majesties visit to the exhibition Postcard to England 1910 Brussels 7.pub Picture postcards carrying vignettes of four different colours Market of Old Brussels ~~~~~~--:.,,--- ·~~- Postcard to France 1910 Brussels 8.pub Picture postcards carrying vignettes of four different colours Royal Flemish Theatre, Antwerp ~ ' Postcard to Lincoln, UK Paid at 5c for s 5 words other than sender's address 1910 Brussels Sa.pub Pictures in the aftermath of the 14 August fire ~ cendie dans l'Exposi~ion de Bruxelles, 14Aout1910 · • 1 O La fai;:ade princlpale t, Vers le Palais de Bruxelles. Js. •j The main fa~ade towards the Brussels pavilion Bruxelles-Exposition. L'lncendie des 14-15 Aout 1910 Les qemiers vestiges du Palais de la 13elgique Remaining framework of the Brussels pavilion 1910 Brussels 9.pub Pictures in the aftermath of the 14 August fire BRUXELLES - L'EXPOSITION DE 191U, APRi:S L 'INCENDIE. 1. - Vue Gl!nl!rale, prise du Res111 uran1 du Beau Siie. Panorama taken from Beau Site restaurant area (also burnt) Bru~lles·Exposi ' on~ L'incendie du 14 AoOt 1910 L'e'S · J~jeti ·/1: "''de la,s9cliQn f dt11fa ise sauves tfo1is le Jardin j ra11f ai s ~-f. Statuary & objets d'art salvaged from the French pavilion 191 O Brussels 1O .pub Pictures in the aftennath of the 14 August fire ,. • ~jFe;~E~Posillon. L'lncondie des 14-15 AoOt 1910 '"; Les ruines de la Section Beige .. ' ... , Belgian Pavilion ruins 6 Les bureeux de la Cirecticn - De bureel en van het Bestuur. Phototypie H, Cllm• • -Ruyssers, rue Jesus 23 f!n'1trs Management offices' ruins 1910 Brussels 1oa.pub Pictures in the aftennath of the 14 August fire Old Brussels Fair entrance lncendie dans I'Exposition de Bruxelles le 14 Aout 191 O - Brand in d3 Tentoonstellingvan Brussel. 9 Vue generale des Ruin es de Bruxelles-Kermesse - Puinen van Brussel-Kermesse. l'holotypit fl. Clim1n-Ruyss•rs, rut J~sus 2} Rnvers Old Brussels Fair ruins - general view 1910 Brussels 10".pub Pictures in the aftermath of the 14 August fire Bruxelles-Exposltion. St-Michel, patron St. Michael, patron saint of Brussels, survived the fire Brussels 1 flag cancel during the Expo posted 2 weeks after the fire Internal postal card withs 5 words text posted for 1c 1910 Brussels 10C.pub Pictures of the Exhibition site Principal entrance from the Bois de la Cambre Exposition de Bruxelles 1910.
Recommended publications
  • Jeff King Recounts the Spread of Cycling’S Drug Culture from Europe to North America

    Jeff King Recounts the Spread of Cycling’S Drug Culture from Europe to North America

    THE JOURNAL Rider on the Storm Former pro cyclist Jeff King recounts the spread of cycling’s drug culture from Europe to North America. By Jeff King June 2013 All pihotos: Coutesy of Jeff Coutesy King All pihotos: Jeff King winning a pair of races in New York’s Central Park in 2006. The first thing I noticed in Belgium was the speed. We were racing at a pace at least five miles per hour faster than anything I had ever done in North America and not taking the usual rests that would allow me to survive three-hour races like this. I was getting my legs ripped off. 1 of 10 Copyright © 2013 CrossFit, Inc. All Rights Reserved. Subscription info at http://journal.crossfit.com CrossFit is a registered trademark ® of CrossFit, Inc. Feedback to [email protected] Visit CrossFit.com Rider ... (continued) I had arrived in Brussels the day before, fresh off a It was my first race and I was already thinking, “Man, these season of national-level professional races around the guys are fit.” U.S. The weekend before, I was still the team captain for the University of Colorado cycling team that won the collegiate national championships. I was named to the all-American team. I was in top form, winning races and confident I would win more, which is why I decided to In the late 1990s, there was a move to Belgium and compete as a professional cyclist. drug renaissance going on in The day before I arrived, I was on top of the world; the day European biking.
  • Venice & the Common Ground

    Venice & the Common Ground

    COVER Magazine No 02 Venice & the Common Ground Magazine No 02 | Venice & the Common Ground | Page 01 TABLE OF CONTENTS Part 01 of 02 EDITORIAL 04 STATEMENTS 25 - 29 EDITORIAL Re: COMMON GROUND Reflections and reactions on the main exhibition By Pedro Gadanho, Steven Holl, Andres Lepik, Beatrice Galilee a.o. VIDEO INTERVIew 06 REPORT 30 - 31 WHAT IS »COMMON GROUND«? THE GOLDEN LIONS David Chipperfield on his curatorial concept Who won what and why Text: Florian Heilmeyer Text: Jessica Bridger PHOTO ESSAY 07 - 21 INTERVIew 32 - 39 EXCAVATING THE COMMON GROUND STIMULATORS AND MODERATORS Our highlights from the two main exhibitions Jury member Kristin Feireiss about this year’s awards Interview: Florian Heilmeyer ESSAY 22 - 24 REVIEW 40 - 41 ARCHITECTURE OBSERVES ITSELF GUERILLA URBANISM David Chipperfield’s Biennale misses social and From ad-hoc to DIY in the US Pavilion political topics – and voices from outside Europe Text: Jessica Bridger Text: Florian Heilmeyer Magazine No 02 | Venice & the Common Ground | Page 02 TABLE OF CONTENTS Part 02 of 02 ReVIEW 42 REVIEW 51 REDUCE REUSE RECYCLE AND NOW THE ENSEMBLE!!! Germany’s Pavilion dwells in re-uses the existing On Melancholy in the Swiss Pavilion Text: Rob Wilson Text: Rob Wilson ESSAY 43 - 46 ReVIEW 52 - 54 OLD BUILDINGS, New LIFE THE WAY OF ENTHUSIASTS On the theme of re-use and renovation across the An exhibition that’s worth the boat ride biennale Text: Elvia Wilk Text: Rob Wilson ReVIEW 47 ESSAY 55 - 60 CULTURE UNDER CONSTRUCTION DARK SIDE CLUB 2012 Mexico’s church pavilion The Dark Side of Debate Text: Rob Wilson Text: Norman Kietzman ESSAY 48 - 50 NEXT 61 ARCHITECTURE, WITH LOVE MANUELLE GAUTRAND Greece and Spain address economic turmoil Text: Jessica Bridger Magazine No 02 | Venice & the Common Ground | Page 03 EDITORIAL Inside uncube No.2 you’ll find our selections from the 13th Architecture Biennale in Venice.
  • Il Linguaggio Della Luce Secondo Vittorio Storaro MAGIC LANTERN Vittorio Storaro’S Language of Light – Paolo Calafiore

    Il Linguaggio Della Luce Secondo Vittorio Storaro MAGIC LANTERN Vittorio Storaro’S Language of Light – Paolo Calafiore

    NEW BIM LIBRARY AVAILABLE 329 Luce e genius loci Park Associati Light and genius loci: Park Associati La luce nelle città Un'inchiesta Light in the cities: A reportage Vittorio Storaro Una vita per la luce Vittorio Storaro A Life in Light Outdoor LED Lighting Solutions for architecture and urban spaces. Poste ta ane spa – Sped. 1, LO/M n°46) art. 1,comma (conv. 353/2003 – D.L. n L. 27.02.2004 – n A.P. 1828-0560 SSN caribonigroup.com 2019 Anno / year 57 – n.329 2019 trimestrale / quarterly – € 15 Reverberi: innovazione nella SMART CITY TECNOLOGIE ALL’AVANGUARDIA PER CITTÀ INTELLIGENTI LTM: SENSORE LUMINANZA/TRAFFICO e condizioni metereologiche Reverberi Enetec investe nella “Computer vision” e lancia il sensore LTM. Misura della luminanza della strada monitorata, del fl usso di traffi co e delle condizioni meteo debilitanti, in particolare strada bagnata, nebbia, neve. Informazioni che, trasmesse ai sistemi della gamma Reverberi ed Opera, permettono la regolazione in tempo reale ad anello chiuso del fl usso luminoso. I test fi eld hanno dimo- strato potenzialità di risparmio energetico dell’ordine del 30%, ed aggiuntive al 25%-35% conseguibili con dispositivi di regolazione basati su cicli orari. t$POGPSNFBMMB6/*F$&/QBSUFTVJTFOTPSJEJMVNJOBO[B t$SJUFSJ"NCJFOUBMJ.JOJNJ $". EJBDRVJTUPEFMMB1VCCMJDB"NNJOJ TUSB[JPOFEFM <5065,,<967,( Reverberi Enetec srl - [email protected] - Tel 0522-610.611 Fax 0522-810.813 Via Artigianale Croce, 13 - 42035 Castelnovo né Monti - Reggio Emilia www.reverberi.it Everything comes from the project Demí With OptiLight
  • Julius S. Held Papers, Ca

    Julius S. Held Papers, Ca

    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
  • Shifting Perspectives in the Venice Biennale's Hungarian Exhibition

    Shifting Perspectives in the Venice Biennale's Hungarian Exhibition

    17 Looking Forwards or Back? Shifting Perspectives in the Venice Biennale’s Hungarian Exhibition: 1928 and 1948 KINGA BÓDI 268 Kinga Bódi Kinga Bódi, PhD, is curator at the Museum of Fine Arts, Budapest. As a doctoral fellow at the Swiss Institute for Art Research (SIK–ISEA) she investigated the cultural representation of Hungary at the Venice Biennale from its beginnings until 1948. In her present essay, Bódi jointly discusses the frst contemporary avant-garde Hungarian show in Venice in 1928 and the Biennale edition of 1948, which she interprets as a counterpoint of sorts to the one twenty years earlier, defned by conservative ideological principles and neo-Classicism. Her study examines the historical, social, cultural, political, artistic, professional, and personal background of these two specifc years of Hungarian participation in Venice. At the same time, her essay contributes to current international dialogues on the changing role of international exhibitions, curatorial activities, and (museum) collections. (BH) Looking Forwards or Back? Shifting Perspectives in the Venice Biennale’s Hungarian Exhibition: 1928 and 19481 From 1895 to 1948, it was self-evident that Hungary would take part in the Venice Biennale. During this period, the country too kept in step, more or less, with the artistic and conceptual changes that governed the Biennale, virtually the sole major international exhibition opportunity for Hungarian artists then and now. Tis is perhaps why, for the 124 years since the frst participation, the question of the Hungarian Pavilion has remained at the centre of domestic art-scene debates. Comparing nations has always been a facet of the Venice Biennale.
  • Ekphrasis and Avant-Garde Prose of 1920S Spain

    Ekphrasis and Avant-Garde Prose of 1920S Spain

    University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2015 Ekphrasis and Avant-Garde Prose of 1920s Spain Brian M. Cole University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Cole, Brian M., "Ekphrasis and Avant-Garde Prose of 1920s Spain" (2015). Theses and Dissertations-- Hispanic Studies. 23. https://uknowledge.uky.edu/hisp_etds/23 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
  • Download the Report

    Download the Report

    Summary of tourism year 2013 in Brussels _____________________________ 3 Tourist accommodation _____________________________________________ 5 Accommodation offer ____________________________________________________ 5 Tourist arrivals and overnights ____________________________________________ 9 Meeting industry __________________________________________________ 36 Supply of meeting rooms ________________________________________________ 36 Number of meetings of international associations - UIA ______________________ 37 Number of meetings of international associations - ICCA _____________________ 38 Trade fairs and shows __________________________________________________ 39 Cultural tourist services ____________________________________________ 40 Cultural offer in museums and tourist attractions ___________________________ 40 Number of visitors in museums and attractions _____________________________ 40 Guided tours and Greeters ______________________________________________ 41 Special and regular events in Brussels ____________________________________ 42 Transport ________________________________________________________ 45 Airports ______________________________________________________________ 45 Brussels Airport – Zaventem _____________________________________________ 46 Railway ______________________________________________________________ 47 Sustainable tourism _______________________________________________ 48 The Eco-Labels ________________________________________________________ 49 Offer of eco-certified accommodations ____________________________________

  • Brussels-C Apital Region in Figures

    Mini-Bru 2015 Brussels-Capital Region in figures Brussels-Capital Table of contents Brussels in Belgium and the European Union 4 Population 6 Household income and expenditure 8 Health 10 Labour market 12 Economy 14 Education and early childcare 17 Research and technology 18 Political institutions 20 Public finances 21 Land-use planning and real estate 22 Produced by Environment and energy 24 Brussels Institute for Statistics and Analysis (BISA) Mobility and transport 26 Layout and printing Imprimerie Bietlot Tourism and culture 28 Cover photo © www.visitbrussels.be Abbreviations 30 © Jean-Pol Lejeune More information Definitions 31 Brussels Institute for Statistics and Analysis (BISA) Brussels Regional Public Service (BRPS) Boulevard du Jardin Botanique, 20 – 1000 Brussels T. 02 800 38 60 – F. 02 800 38 23 [email protected] www.statistics.irisnet.be (this publication can be downloaded for free on this website in pdf format) Publisher Christian Lamouline Secretary-General of the Brussels Regional Public Service Legal deposit IRIS Editions – D/2015/6374/245 © 2015 Brussels-Capital Region. All rights reserved. 2 3 Brussels in Belgium and the European Union Brussels-Capital Region Netherlands Flemish Region Germany Walloon Region France Grand Duchy of Luxembourg BISA © Brussels UrbIS ®© Population, health, education Year BCR Belgium EU 28 Population (number of inhabitants on 1 January) 2014 1,163,486 11,150,516 507,416,607 Population density (inhabitants per km2) 2014 7,210 365 113 Share of population under age 18 (%) 2014 22.7 20.3 18.81

  • Kermesse Héroïque at Houw Urssc Bur Be and G 13-15

    LA KERMESSE HÉROÏQUE at houw urssc bur Be and g 13-15. Midpoint 01. 2016 La Kermesse héroïque Laurie With CHARLES Olivia DUNBAR and and Marnie SLATER Steev LEMERCIER Curated by Alberto GARCÍA DEL CASTILLO and Louise OSIEKA Een inleiding tot La Kermesse héroïque La Kermesse héroïque is een iconoclastische, Beursschouwburg en Midpoint, beide trefpunten romantische, campkomedie geregisseerd door in de westelijke helft van het vijfhoekige centrum de Belgische Jacques Feyder en geproduceerd van Brussel. in Frankrijk in 1935. Ze deconstrueert de mythes De Beursschouwburg werd in 1885 gebouwd. aan de basis van het kolonialisme. In 1616, tijdens Er bevonden zich een café, feestzaal en winkel de Spaanse bezetting van Vlaanderen, zijn de onder de naam Brasserie Flamande. In 1946 werd mensen van Boom, een stad in de provincie de feestzaal omgevormd tot een schouwburg Antwerpen, volop voorbereidingen aan het tref- ‘à l’italienne’ en heropende men de deuren als fen voor hun kermis wanneer ze vernemen dat de Théâtre de la Bourse. Na grondige renovatiewer- Spaanse troepen in hun stad zullen overnachten. ken in 2004 is de Beursschouwburg vandaag een De burgemeester van de stad is getraumatiseerd plek voor multidisciplinaire kunst. Tijdens het door de herinneringen aan de schade die de festival La Kermesse héroïque gaan in de grote zaal Spanjaarden in de 16de eeuw berokkenden van de Beursschouwburg twee nieuwe werken in en ensceneert zijn eigen dood; samen met de première door Laurie Charles en Marnie Slater. belangrijkste mannen van de stad duikt hij onder. Midpoint Café & Bar opende in 2011 in een De vrouw van de burgemeester, Cornelia, grijpt vroegere R&B bar.
  • Expo '58, Brussels Universal & International Exposition

    Expo '58, Brussels Universal & International Exposition

    Expo '58, Brussels Universal & International Exposition Expo '58 was the first important post war exhibition. Overall, it was their 9th such venture. Initially proposed in 1947, it soon fell victim to the cold war rumblings and viewpoints. Postponed from 1955, due to the Korean War, It ran from 17 April - 19 October 1958. By the time it opened with its towering Atomium as centrepiece, Expo '58 had become a place to test and shape the possibilities of human existence under the then shadow of nuclear destruction. The Expo was held at Heysel (photo above c1990), where the 1935 Exhibition had been held. King Baudouin donated nearly 500 acres of his private estate parkland to provide extra space for the exhibition. This was beautiful rolling countryside, which made the setting for the fair one of the prettiest ever. Its very size created a transport headache, which was duly solved. Baron Georges Moens de Femig was Commissioner-General and Charles Everaerts de Velp from the Ministry of Economic Affairs was Secretary-General. Marcel van Goethem was chief engineer, while the Atomium was suggested and designed by Andre Waterkeyn. Architectural styles were not set as in previous fairs, but should be along modernist lines. Even the Russian pavilion was modem, not Stalinist Gothic. Besides making a feature of cold war politics, Germany, Japan and Italy were allowed pavilions. The small, unimposing German one was much liked, very different from the 1937 Paris monument to Nazism. Both Japan and Italy also had modest, simple pavilions. None of these is shown. By 1958 British and French Empires were shrinking.
  • The 2015 Venice Biennale

    The 2015 Venice Biennale

    THIRD TEXT Critical Perspectives on Contemporary Art and Culture April 2016 The 2015 Venice Biennale N J Hynes In 2015 the Venice Biennale weathered not only blazing sun, thick fog and occasional flooding; it also weathered a critical storm: an atypical number of negative reviews filed by art critics in the heat of May and June. Yet by the time the Biennale closed, total visitor numbers reached over half a million (up from 475,000 in 2013), thirty-one percent of these students and young people. This review will examine the staying power of both the exhibition and its critics’ objections, six months on. Which of them lasted the course? Going to the Biennale in November is like seeing a friend nearing the end of a marathon. They’re still going strong, but have slowed down and look gaunt. There is a grace and a lack of pretence, along with a pride in having survived. With the glamorous parties long over, the Biennale belongs to the Venetians, families and friends slipping in before the show ends. The paint is peeling in places, some technology no longer works, a few escalators remain permanently out of order. But in this weathered state the art still says what it did earlier – perhaps, indeed, it does so more clearly. The theme chosen by this year’s curator, the New York-based Okwui Enwezor, was ‘All the World’s Futures’. Sounding like a truncated phrase from Shakespeare, the title suggests comprehensiveness: a singular, shared world; a variety of visions, possibilities and fates. But there are other futures to consider too; those traded on commodity markets by brokers and traders barely connected to the world at all.

  • CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia Presents

    LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia presents The Disquieted Muses. When La Biennale di Venezia Meets History in collaboration with Istituto Luce-Cinecittà e Rai Teche and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern La Biennale di Venezia President Roberto Cicutto Board Luigi Brugnaro Vicepresidente Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como Director General Andrea Del Mercato THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself.