Luc Tuymans Born 1958 in Mortsel, Belgium
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Rik Torfs État Et Églises En Belgique
Rik Torfs État et Églises en Belgique I. Données sociologiques Il est difficile de présenter un aperçu exact de l’appartenance reli- gieuse en Belgique, car il n’existe aujourd’hui plus de recensements nationaux. Cependant même lorsque ces derniers existaient encore, les questions relatives à la religion étaient considérées comme contraires à la liberté de religion. Quelques statistiques existent cependant et nous pouvons ainsi préci- ser que la population globale belge compte aujourd’hui plus de 10 millions d’habitants. 70 % environ de la population appartient à l’Église catholique-romaine, soit 10 % de moins qu’il y a vingt ans. Le chiffre des protestants est estimé entre 70 000 et 100 000, soit moins d’1 % de la population globale. Les musulmans, qui sont pré- sents uniquement depuis les années 1960 en Belgique, correspondent aujourd’hui à environ 4 % de la population. L’ensemble des autres groupes religieux est nettement moins impor- tant. Il est possible de compter environ 21 000 anglicans, 40 000 juifs et plus de 60 000 orthodoxes. Les chiffres des non-croyants sont eux quelque peu discutés. Les représentants des groupements officiels des non-croyants estiment leur nombre entre 1,5 millions ou 15 % de la population1. Par contre, selon les données du gouvernement, ces chiffres s’élèvent unique- ment à 350 000 personnes2. Cette différence peut s’expliquer par le fait que beaucoup de personnes bien que n’étant pas croyantes ou nourrissant des convictions agnostiques, ne souhaitent cependant pas pour autant appartenir à un groupement officiel et bien structuré de non-croyants. -
Key Data 2016 - 2017
FACULTY OF ECONOMICS AND BUSINESS NAAMSESTRAAT 61 3000 LEUVEN, BELGIUM Exchange Programmes: Key data 2016 - 2017 Full legal name if the institution KU Leuven ERASMUS code B LEUVEN01 Rector Prof. Dr. Rik Torfs Address Naamsestraat 22 box 5000 Postal code and town 3000 Leuven Country Belgium Website www.kuleuven.be/english FACULTY OF ECONOMICS AND BUSINESS Dean Prof. Dr. Luc Sels Faculty of Economics and Business Faculty of Economics and Business – Campus Leuven FACULTY OF ECONOMICS AND BUSINESS NAAMSESTRAAT 61 3000 LEUVEN, BELGIUM Faculty of Economics and Business – Campus Antwerp Faculty of Economics and Business – Campus Brussels FACULTY OF ECONOMICS AND BUSINESS NAAMSESTRAAT 61 3000 LEUVEN, BELGIUM CONTACTS International Affairs Coordinator FEB Ms. Ingeborg Vandenbulcke Campus Leuven Campus Brussels Campus Antwerp Campus Kortrijk Erasmus Ms. Lieve Smets Mr. Dirk G. Van Waelderen Prof. Dr. Filip De Beule Coordinator Exchange Ms. Lieve Smets Ms. Rebecca Rampelberg Ms. Vanessa Geers Inbound Student Mobility Adviser Exchange Ms. Lieve Smets Ms. Suzanne Steijleman Ms. Vanessa Geers Outbound Student Mobility Adviser Address Faculty of Economics and Faculty of Economics and Faculty of Economics and Business Business Business Campus Leuven/Kortrijk Campus Brussels Campus Antwerp KU Leuven KU Leuven KU Leuven House of students Naamsestraat 61 Warmoesberg 26 Korte Nieuwstraat 33 3000 Leuven 1000 Brussel 2000 Antwerp Belgium Belgium Belgium Website www.feb.kuleuven.be/eng/edu/ www.feb.kuleuven.be/eng/brus www.feb.kuleuven.be/antwerpe exchangestudents sels/exchangeprogrammes/Ex n/internationalisering/int_Eng_h change ome/Camp_BS FACULTY OF ECONOMICS AND BUSINESS NAAMSESTRAAT 61 3000 LEUVEN, BELGIUM CONTACTS APPLICATION DETAILS CONTACTS Deadline nomination Once the student is nominated he/she will receive instructions via e-mail on how to complete the application. -
Interviste E Conversazioni
Interviews with Michelangelo Pistoletto Marcello Venturoli, Dialogo con Pistoletto, in “Tutti gli uomini dell’arte”, Milano, 1968 Guido Boursier, Far scattare nella gente meccanismi di liberazione, in “Sipario”, n. 276, Milano, April 1969 Germano Celant, Intervista con Michelangelo Pistoletto, Genova, February 1971, in Germano Celant, “Michelangelo Pistoletto”, catalogue of the exhibition, Palazzo Grassi, Venezia, 1976 (Ed. Electa) Achille Bonito Oliva, Michelangelo Pistoletto, Torino 1972, in “Enciclopedia della parola. Dialoghi d'artista. 1968-2008”, ed. Skira, Milano 2008 Mirella Bandini, Torino 1960-73, in “Nac”, n. 3, Bari, March 1973, re- published in Mirella Bandini, “1972 - Arte Povera a Torino”, Allemandi Editore, Torino, 2002 Mirella Bandini, Il significato di Gallizio per la nuova generazione, in “Pinot Gallizio e il laboratorio sperimentale d’Alba”, catalogue of the exhibition, Galleria Civica d’Arte Moderna, Torino 1974 Umberto Allemandi, Specchio delle mie brame, in “Bolaffi Arte”, anno VII, n. 57, Milano, February - March 1976 Francesco Prestipino, Viaggio nelle stanze di Michelangelo Pistoletto, in “Le Arti”, anno XXVI, n. 4, Milano, April 1976 l.k.. Un palcoscenico tutto bianco, in “La Repubblica”, Roma, 10 June 1977 Giuseppe Risso, Pistoletto. Datemi uno specchio, in “Gazzetta del Popolo”, Torino, 4 May 1978 no author (the name of the author of the interview is not mentioned in the publication, henceforth abbreviated n.a.), Pistoletto an 14 Orten in Berlin, transcript of the conference/debate with Pistoletto at Hochschule der Künste, 3 November 1978, in “Kunstmagazin”, n. 4, Mainz, 1978 Anne Livet, An Interview with Maynard Jackson and Michelangelo Pistoletto, in “Contemporary Art/Southeast, Volume II, n. 2, Michelangelo Pistoletto in the South”, Atlanta 1979 Michael Auping, Venus of the rags, 18 December 1979, Berkeley, in 30 years interviews and outtakes, ed. -
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 -
Llyn Foulkes Between a Rock and a Hard Place
LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M. -
CV Photo/Ciel Variable, Montreal, No
A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University, -
Institutional Repository - Research Portal Dépôt Institutionnel - Portail De La Recherche
Institutional Repository - Research Portal Dépôt Institutionnel - Portail de la Recherche University of Namurresearchportal.unamur.be RESEARCH OUTPUTS / RÉSULTATS DE RECHERCHE The “added value” of the European Convention on Human Rights in the ambit of religious freedom and religious autonomy in Belgian constitutional case-law Wattier, Stéphanie Published in: Revue interdisciplinaire d'études juridiques Author(s) - Auteur(s) : Publication date: 2016 PublicationDocument date Version - Date de publication : Publisher's PDF, also known as Version of record Link to publication Citation for pulished version (HARVARD): Wattier, S 2016, 'The “added value” of the European Convention on Human Rights in the ambit of religious Permanentfreedom andlink religious - Permalien autonomy : in Belgian constitutional case-law', Revue interdisciplinaire d'études juridiques, no. 77, pp. 297-317. Rights / License - Licence de droit d’auteur : General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. sept. -
Gagosian Gallery
Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery. -
Rodney Graham CV
Rodney Graham Lives and works in Vancouver, Canada 1979–80 Simon Fraser University, Burnaby, Canada 1968–71 University of British Columbia, Vancouver, Canada 1949 Born in Vancouver, Canada Selected Solo Exhibitions 2020 ‘Artists and Models', Serlachius Museum Gösta, Mänttä, Finland ‘Painting Problems’, Lisson Gallery 2019 303 Gallery, New York, NY, USA 2018 ‘Central Questions of Philosophy’, Lisson Gallery, London, UK 2017 ‘Lightboxes’, Museum Frieder Burda, Baden-Baden, Germany 303 Gallery, New York, NY, USA ‘That’s Not Me’, BALTIC Centre for Contemporary Art, Gateshead, UK; Museum Voorlinden, Wassenaar, Netherlands; Irish Museum of Modern Art, Dublin, Ireland ‘Canadian Impressionist’, Canada House, London, UK ‘Media Studies’, Hauser & Wirth, Zurich, Switzerland 2016 ‘You should be an Artist’, Le Consortium, Dijon, France ‘Waterloo Billboard Commissions’, Hayward Gallery, London, UK ‘Jack of All Trades’, Prefix Institute of Contemporary Art, Toronto, Canada ‘Più Arte dello Scovolino!’, Lisson Gallery, Milan, Italy Alt Art Space, Istanbul Turkey 2015 Sammlung Goetz, Munich, Germany ‘Kitchen Magic Drawings’, Galerie Rüdinger Schöttle, Munich, Germany 2014 ‘Rodney Graham: Props and Other Paintings’, Charles H. Scott Gallery, Emily Carr University of Art + Design, Vancouver, Canada ‘Collected Works’, Rennie Collection, Vancouver, Canada ‘Torqued Chandelier Release and Other Works’, Belkin Gallery, University of British Columbia, Vancouver, Canada 2013 Lisson Gallery, London, UK 303 Gallery, New York, NY, USA ‘The Four Seasons’, Hauser & Wirth, Zurich, Switzerland 2012 ‘Canadian Humourist’, Vancouver Art Gallery, Vancouver, Canada Johnen Galerie, Berlin, Germany 2011 Donald Young Gallery, Chicago, IL, USA ‘Vignettes of Life’, Hauser & Wirth, Zurich, Switzerland ‘Rollenbilder – Rollenspiele’, Museum der Moderne, Salzburg, Austria ‘The Voyage or Three Years at Sea: Part 1. -
SÉNAT DE BELGIQUE Le Sénat Au Cours De La Session De 2011-2012
SÉNAT DE BELGIQUE Le Sénat au cours de la session de 2011-2012 2 Sénat de Belgique – Rapport annuel 2011-2012 Sommaire Introduction : Accents particuliers de l'année écoulée ......................................................... 4 I. Séance plénière ................................................................................................................ 6 II. Commissions, comités d’avis et groupes de travail...................................................... 7 A. Commission des Affaires institutionnelles ....................................................................... 7 B. Commission de la Justice (+ groupes de travail Informatique et libertés, Droit successoral et Statut des experts en matière pénale)...................................................... 10 C. Commission des Relations extérieures et de la Défense (+ groupe de travail Coopération au Développement – Post 2015 ODM)...................................................... 16 D. Commission des Finances et des Affaires économiques (+ groupes de travail Espace et Nouveaux indicateurs pour les prestations économiques, l’avancée sociale, la qualité de vie et le bonheur) ............................................................................................................ 25 E. Commission de l’Intérieur et des Affaires administratives (+ groupe de travail Traite des êtres humains) .......................................................................................................... 32 F. Commission des Affaires sociales (+ groupe de travail Opportunités -
Felix Gonzalez-Torres American, B
This document was updated November 27, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Felix Gonzalez-Torres American, b. Guáimaro, Cuba 1957, d. Miami, Florida 1996. EDUCATION 1987 M.F.A., International Center of Photography, New York University 1983 Independent Study Program, Whitney Museum of American Art, New York 1983 B.F.A., Pratt Institute, Brooklyn, New York 1981 Independent Study Program, Whitney Museum of American Art, New York SELECTED SOLO EXHIBITIONS 2021 Felix Gonzalez-Torres: The Politics of Relation. Museu d'Art Contemporani de Barcelona (MACBA), Barcelona, Spain. Mar. – Sep. 2021. Cur. Tanya Barson. 2020 Felix Gonzalez-Torres, “Untitled” (Fortune Cookie Corner), 1990. Fortune cookies, endless supply. Overall dimensions vary with installation. Original installation: approximately 10,000 fortune cookies. Various venues. 25 May – 5 Jul. 2020. Cur. Andrea Rosen. 2017 Felix Gonzalez-Torres. David Zwirner, New York. 27 Apr.– 24 Jun. 2017. 2016 Felix Gonzalez-Torres. Rockbund Art Museum, Shanghai, China. 30 Sept. – 25 Dec. 2016. Cur. Larys Frogier and Li Qi. Felix Gonzalez-Torres. Andrea Rosen Gallery, New York. 3 May – 18 Jun. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Massimo De Carlo, Milan. 21 May – 20 Jul. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Hauser & Wirth, London. 27 May – 30 Jul. 2016. Cur. Julie Ault and Roni Horn. 2015 Felix Gonzalez-Torres: This Place. Metropolitan Arts Centre, Belfast, Northern Ireland. 30 Oct. 2015 – 24 Jan. 2016. Cur. Eoin Dara. 2012 Felix Gonzalez-Torres, Double. PLATEAU and Leeum, Samsung Museum of Art, Seoul, South Korea. -
1910 Brussels International Exhibition
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.