1
Table of contents
Chinese Utopias Revisited -The
Elephants................................................................................................................................ 3
1.Introduction………………………………………………………………………………………….3
2.Artists………………………………….……………………………………………………………..5
Xu
Bing.......................................................................................................................................5
Song
Dong......................................................................................................................................7
Liu
Xiaodong………………………………………………………..,,,,………………………………8
Sun Yuan & Peng
Yu……………………………………………………………………………………………………9
Yin Xiuzhen ......................................................................................................................10
Yang
Fudong…………………………..…………………………………………………………………11
Wang
Jiuliang………………………..……………………………………………………………………12
Cao Fei……………………………………………………………………………………………..13
3. Un bel été quand même
…………….…………………………………………………………………………………………..14
4. Location: Center for Fine Arts – Coudenberg – BELvue Museum
……….……………………………………………………………………………………………….16
5. Visitor
Information……………………………………..……………………………………………………21
6. Press contacts………………………………..………………………………………………….22
7. Partners............................................................................................................................23
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Chinese Utopias Revisited – The Elephants
1. INTRODUCTION
Never before some of the most acclaimed living Chinese artists have
been invited to a major European capital in order to be welcomed by
more than 20 artists from all continents. In a common exhibition the
artists are in an open dialogue with one another. 9 rooms tell the
story of the spectacular revival of Chinese contemporary art, but
also illustrate that, at their best, those Chinese artists are
contributing to a game that is truly universal, called art.
Since a number of decades the old art world in the West has woken up
on the fact that an amazing phenomenon has emerged far away in
China, a phenomenon that is continually gaining force. Chinese
artists have been recognized for making important contributions to
the globalized art world.
Among the first generation of Chinese
artists who - after Deng’s reforms of 1980 - could freely develop
their work, several obtained the status of superstar, not only in
China but worldwide. XU BING, LIU XIAODONG, SONG DONG, YIN XIUZHEN…
are a few examples of those who obtained a solid international
recognition. However, every new generation of Chinese artists since
has done the same. Among the new upcoming stars we mention SUN YUAN
& PENG YU, WANG JIULIANG or CAO FEI who were the revelation of the
latest Venice biennial.
As an exhibition Chinese Utopias Revisited – The Elephants is
neither about denial, neither about the appropriation of Chinese
contemporary art. It is the fruit of a unique curatorial approach.
For the first time an exclusive choice of Chinese artists is
presented in a major European city in a fair and open dialogue with
colleague artists from all over the world. The effect is most
surprising: Chinese artists are no longer distinguished by their
Chinese identity but become appreciated contributors into the
universal debate of the visual arts.
Decades ago in the jazz scene
famous composers met in order to
create
records together.
The idea behind this exhibition is
similar.
For the first time the splendid work of XU BING, that
investigates the phenomenon of language, is confronted with the
alphabet of FRÉDÉRIC BRULY BOUABRÉ. For the first time photographer
WANG JIULIANG encounters
ANDREAS GURSKY who deeply inspired his
work,
and SONG DONG made an in depth study of the Brussels flee
market.
Painter LIU XIAODONG especially came to Brussels in order
to portray two famous local artists.
The portraits of JOËLLE
TUERLINCKX and JAN LAUWERS are now in the exhibition next to the
photographs of DIRK BRAECKMAN who witnessed the painting sessions.
Thus, Chinese Utopias Revisited – The Elephants is a story of
building bridges between Brussels and Beijing. Sustainable bridges
that hopefully will be used intensively in the future.
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Curators: Xu Bing
& Hans M. De Wolf
Curator of the “The Brain” session: Wang Huangsheng
Artists: Cao Fei, Liu Xiaodong, Song Dong, Sun Yuan & Peng Yu, Wang
Jiuliang, Xu Bing, Yang Fudong, Yin Xiuzhen
Hosting:
Michelangelo Antonioni, Alighiero
Boetti, Dirk Braeckman, Marcel
Broodthaers, Frédéric Bruly Bouabré, Le Corbusier, Harun Farocki,
Andreas Gursky, Jan Kempenaers, Bodys Isek Kingelez, Jan Lauwers,
Jivya Soma Mashé, Guy Rombouts, Klaus Scherübel, Curt Siodmak,Robert
Siodmak, Joëlle Tuerlinckx , Edgar G. Ulmer, Fred Zinnemann
Production: VUB (Vrije Universiteit Brussel), Central Academy of
Fine Arts, China - CAFA
Support: Brussels-Capital Region, Ministry for Foreign Affairs,
Foreign Trade and Development Cooperation, Nationale Loterij/Loterie
Nationale and Visit Brussels
In collaboration with: Coudenberg, BELvue Museum
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2. ARTISTS
XU BING
Xu Bing, born in 1955, has been rewarded with the 2014 American
Department of State-Medal of Arts for his efforts to promote
cultural understanding through his artworks.
Much of Xu Bing’s work was generated by his deep fascination with
the phenomenon of the written language. Between his “Book of the
Heaven” based on freely invented characters, made during the late
1980s, and his recently produced monumental film “The Character of
Characters” lies a lifelong investigation into the spirituality of
written marks that charge themselves with all kinds of meanings.
With the “Bookfrom the Ground” this perseverance would lead to the
invention of a new and universal language based entirely on internet
icons.
For the first time, Xu Bing’s universe will be confronted
with those of a handful of masters who, each in their own way, have
developed very similar ideas and strategies during their careers.
Xu Bing, The Character of Characters, 2012
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Xu Bing, Book from the Ground, 2003
Frédéric Bruly Bouabré, “BHLE”, Alphabet Bété, 2004
Jivya Soma Mashe, Untitled, 1997
6
SONG DONG
°1966, Beijing. Lives and works in Beijing.
The impressive installation developed for this exhibition was
considerably enriched by a variety of objects the artist purchased
at a Brussels flea market (Place du Jeu de Balle / het Vossenplein).
Disparate objects are left overs that were once part of something.
The context however has disappeared and the memory of their initial
coherence has vanished. By arranging the objects together Song Dong
offers them a new identity and a new destination. He brings order in
their materiality through a new activity called: art.
Song Dong, They are all not mine, 2015, Bozar, Brussels
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LIU XIAODONG
Realistic
Liaoning.
painter
Liu
Xiaodong
was
born
in
1963
in
Jin
Cheng,
With great enthusiasm for painting, Liu Xiaodong’s art excels by
refined psychological investigations into the subjects of his work.
Refusing to use photographical footage, the artist prefers to be
directly confronted with a specific situation, painting, on-thespot, an existing context including the people that are part of it.
For the exhibition Liu Xiaodong was invited by the curator to
produce two
portraits of two important artists living and working
in Brussels, in their personal habitat. The sessions were organized
during May 2015 in the workshops of Joëlle Tuerlinckx and Jan
Lauwers and were witnessed and photographed by Dirk Braeckman.
Liu Xiaodong, Pink Phoenix, Oil on Canvas, 2011
Liu Xiaodong, Portraits of Joëlle Tuerlinckx (left) and Jan Lauwers (right), 2015
8
SUN YUAN & PENG YU
Sun Yuan and Peng Yu were respectively born in 1972 and 1974, in
Beijing and Hei Longjiang. They are featured figures of the “Post
Sense Sensibility” movement.
Within the contemporary Chinese art world the work of the artist
couple Sun Yuan and Peng Yu stands apart. In a highly original
ungraspable way they develop interesting artistic strategies. They
are also unredeemable provocateurs.
Installation Draft, 2015
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YIN XIUZHEN
°1963, Beijing
The art of Yin Xiuzhen is largely based on the principle of
recuperation. For the present exhibition Yin Xiuzhen selected three
out of a series of several cityscapes she created for the cities
where she previously exhibited. The scapes are created on open
suitcases. One new suitcase was especially created for Brussels. In
order to obtain a local touch, the artist decided to work with
abandoned cloths she collected with the Brussels-based collaborators
on the exhibition.
Yin Xiuzhen, Portable Cities (Installation view)
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YANG FUDONG
Yang Fudong, born in Beijing 1971, gained
reputation for his films and video installations.
an
international
The works of Yang Fudong seem to rediscover the original Chinese DNA
which had been washed away by several social movements. An
individual who feels alienated and isolated in a chaotic society
tries to search out his own identity.
Yang Fudong, Backyard - Hey! Sun is rising (hou fang - hei, tian liang le), 2001
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WANG JIULIANG
Wang Jiuliang (° 1976)
documentary filmmaker.
is
an
independent
photographer
and
Over several years Wang Jiuliang documented with extreme precision
the reality of pollution as it can be found beyond the fifth ring
road that marks the border of the Chinese capital Beijing.
The
results not only surprise by their paradoxical beauty (marking a new
chapter in Chinese contemporary photography) but also had a wake-up
call effect which led to a new legislation.
Wang Jiuliang, The Waste,Photography,2008-2011
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CAO FEI
Cao Fei
(°1978, Guangzhou) is based in Beijing.
A six month residency at the industrial plant of Osram in Shenshen
would become a turning point in the career of Cao Fei.
With this
experience she obtained an in depth scan of the conditions in which
Chinese workers are deployed. It resulted in the short film “Whose
Utopias” . With a remarkable sharp gaze she catches the reality in
the factory. All by remaining a delightful artwork, the film
skillfully succeeds in disturbing preconceptions and clichés in
regard to the Chinese worker that are widespread in Western
countries.
Cao Fei, Whose Utopias, 2006
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3. UN BEL ÉTÉ QUAND MÊME
From our Belgian fashion designers to the installations by Pascale
Marthine Tayou and Mekhitar Garabedian, BOZAR is preparing itself
for ‘a great summer programme full of fashion and contemporary art!
On 5 June the Summer of Fashion began
with, as its central exhibition, The
Belgians.
An
Unexpected
Fashion
Story, about the rise and success of
Belgian
fashion
designers.
The
exhibition takes an in-depth look at
the DNA of Belgian fashion and sheds
light on the work of around 100
designers, from the first pioneers to
the new generation. The exhibition is
a coproduction with MAD Brussels. In
addition to The Belgians, BOZAR is
bringing
together
a
number
of
fashion-related
exhibitions:
the
evolution of Italian fashion from the
1950s and 60s with Bellissima. The
Story of
5 Dresses, naked photos of
Vivienne Westwood by Juergen Teller,
a video installation by the author
Jean-Philippe Toussaint and the first
solo exhibition by the architectural
firm V+, designers of MAD Brussels’
new offices spaces and workplaces.
More information about the complete Un bel été quand même is the
fashion programme are available on title of one of the works from
www.summeroffashion.be.
the Mekhitar Garabedian
exhibition. In a newspaper,
This summer contemporary art is given Garabedian links images from an
a key role in the programme. The old tourist guide to Lebanon and
Belgian-Cameroon
artist
Pascale Syria to the handwritten texts
Marthine Tayou wins over the Centre from the anti-war film Les
for Fine Arts with his major solo Carabiniers (1963) by the French
exhibition
full
of
colourful director Jean-Luc Godard. The
installations. He playfully reflects title beautifully encapsulates
on themes such as the environment, the summer at the Centre for Fine
post-colonialism, the multicultural Arts where you
identity and our consumer society. can admire iconic designs by
Alongside this BOZAR is putting on Belgian designers, Italian
three more exhibitions which bring dresses, a sensual video and a
the (art) world to Belgium. The provocative series of photographs
biennial Young Belgian Art Prize alongside the social art of
brings together work by 10 promising Garabedian and our artist-inyoung
Belgian
artists.
Chinese residence Pascale
Utopias Revisited – The Elephants Marthine Tayou. His work
provides us with a cross-section of Africonda, a mythical monster
leading art in China, with works by 9 made from entwined pieces of
contemporary artists. Finally, the colourful textile, JSV/Saison
Syrian-born Belgian-Armenian artist d’amour and Fashion Street have
set up home at the crossroads
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between
fashion and art.
Mekhitar Garabedian is putting on a solo exhibition. His work is
currently on display in the Armenian Pavilion at the Venice
Biennale; the pavilion serves as an exhibition space for artists
from the Armenian diaspora and this year won the Golden Lion for the
best national pavilion.
Paul Dujardin, CEO of the BOZAR Centre for Fine Arts: “Today art
functions within a globalised context. We are witnessing the rise of
a new type of artist with an intercultural and nomadic way of
looking at things; Pascale Marthine Tayou and Mekhitar Garabedian
are good examples of this. They take their stratified identity as a
starting point for art which doesn’t shy away from confronting the
big issues of the day. In the fashion industry we are seeing more
and more initiatives which stem from an increased awareness of
ecology, overconsumption and decent working conditions. With his
label honest by Belgian designer Bruno Pieters is offering us
complete transparency about the production process. Art and fashion
might not be able to save the world on their own but by interacting
with the political and economic domain they can certainly make a
difference.”
In order to capitalize on the various exhibitions which are on
during the summer BOZAR is organising a series of meetings and
screenings in combination with an open summer bar! More information
about the summer activities will soon be available on www.bozar.be
and on the facebook page /BOZARbrussels.
Overview exhibitions summer 2015
The Belgians. An Unexpected Fashion Story
05.06
13.09.2015
Bellissima. The Story of Five Dresses
05.06
06.09.2015
Juergen Teller. Vivienne Westwood
05.06
13.09.2015
Jean-Philippe Toussaint. The Seasons & The Honey Dress
05.06 – 13.09.2015
V+ 2014-2015
18.06 - 20.09.2015
Pascale Marthine Tayou. BOOMERANG
24.06 – 20.09.2015
Young Belgian Art Prize 2015
24.06
–
13.09.2015
Mekhitar Garabedian. Un bel été quand même
24.06
29.09.2015
Chinese Utopias Revisited – The Elephants
17.07
30.08.2015
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4. LOCATION OF THE EXHIBITION: Center for Fine Arts - Coudenberg BELvue Museum
The exhibition Chinese Utopias Revisited – The Elephants is taking
place in three exceptional locations: The Centre for Fine Arts, the
archaeological site of the Coudenberg Palace and the Borgendael
salon of the BELvue Museum.
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Breakthrough to the Coudenberg
In the Center of Fine Arts, close to the ‘red stairs’ between the Foyers and the level of the Rue royale
/Koningstraat a temporary connection has been made to the archaeological site of
the Coudenberg. If you pass through this door, you will end up in
the former Rue Isabella. It was laid under the reign of the archduke
s Albrecht and Isabella (1598-1633) as a link between the royal
palace on the Coudenberg and the collegiate church of St. Michiel
and St. Goedele, now a cathedral. The impressive palace was
destroyed by a fire in 1731. Part of the street along the remains of
the court chapel and the Aula Magna was vaulted when the Place
Royale was constructed. It served as a basement for the Hôtel de
Grimbergen, now BIP.Brussels – House of the Capital Region.
On old photos of the excavation of the Centre for Fine Arts you
don’t just see the remains of the thirteenth century city walls; you
can also see the eighteenth century vaulted entrance to Rue
Isabella. Victor Horta preserved these remains and built against
them. The vestiges of the building were then hidden behind a uniform
layer of cement.
In 2009 a fragment of the thirteenth century city wall was
integrated in the interior of the new CINEMATEK. That same year the
Archaeology unit of the Heritage Sites and Monuments Directorate of
the Brussels-Capital Region carried out excavations in
the light well between the Centre for Fine Arts and the
archaeological site. The underground beginning of the
former access arches in the dividing wall was thus
identified. The archaeologists exposed remains of the
court chapel wall. All the later additions were
demolished.
The passageway to the archaeological site consists of
three arched vaults which were bricked up in 1928. The
architectural firm Barbara Van der Wee Architects has suggested
placing a large metal frame with glass panels in front of the three
arched vaults. This would mean that the archaeological site would
once again be exposed to broad daylight and this would greatly
increase its readability. It might look like an underground crypt,
but it's actually an open-air medieval street.
18
A new glass door and a small metallic footbridge will be placed
where the temporary entrance door is currently located. In the
actual light well we want to pave the floor with the same
cobblestones as the ones in Rue Isabella. In the final phase we will
renovate all the façades and windows in the light well. The Centre
for Fine Arts has also launched a dossier in order to expose the
final part of the thirteenth century city wall, level with the
foyers. This part of the city walls conceals a perfectly preserved
small watchtower.
Coudenberg?
The Coudenberg is a whole district, established on one of Brussels’
hills and a place of power since the Middle Ages.
The largest and most significant building in this architectural
ensemble, which developed from the 12th century, is its palace, the
Palace of the Dukes of Brabant. This palace came into being at a
time when Brussels had preponderant political importance, to the
extent that it became one of the most beautiful palaces in Europe –
and its proximity, the place of residence of all the influential
people; after it was destroyed by a fire in 1731, its ruins were
razed to the ground and levelled with a view to the construction of
the current royal district as of 1774. The vestiges which remained
from this district, became subterranean and were either filled in
(Aula Magna, at the top of rue Isabelle), or used as cellars for the
buildings erected on the surface (Palatine Chapel, at the bottom of
Rue Isabelle). That’s how the former palace disappeared, admittedly
only from the external surface, but remained nonetheless very
present in people's memories and in the basements (Hôtel de
Grimbergen 10 place Royale, Hôtel de Bellevue 9 place Royale). The
traces, be they material or otherwise, left behind by the Coudenberg
Palace’s six centuries of influence, led to the re-emergence of
renewed interest, as was demonstrated by the reconstruction of the
district at the time of the Brussels International Exhibition in
1935.
First and foremost it's thanks to the work of historians (including
Guillaume Des Marez) that the Coudenberg district (and its palace)
has remained in people's memories.The work of archaeologists means
that the Coudenberg is resurfacing in order to be finally given back
to the Brussels, Belgian and international public who see in these
archaeological vestiges a remarkable place of remembrance which
constitutes the roots of our Brussels, Belgian and European society.
The archaeological site and the museum of the Coudenberg
Ultra)
Short history of the archaeological digs and excavation
(extension of the spaces visited):
(Plus
works
1986: The Federal State and the City of Brussels agreed upon
the
reinstatement of the foundations of the Palatine Chapel and part of
the former Rue Isabelle, both of which are located under the former
19
Lloyds Bank building, which is now the BIP and situated at 10 Place
Royale (Hôtel de Grimbergen).
At this same time initial investigations were being undertaken with
a view to enhancing the remains of the former Hoogstraten House,
located in the foundations of the former Court of Auditors at n°5
Rue Villa Hermosa.
As of the end of the 1980s the authorities, who were the owners of
the premises, came up with the idea of not just carrying out the
necessary excavation works for the extrication of the archaeological
remains but of opening those remains up to the public as well.
In order to achieve this security needed to be improved and
educational materials provided so that the visitor would be able to
understand the spaces visited, from both a spatial perspective
(where is it in relation to the former palace and in relation to the
current Place Royale?) and a historical and archaeological point of
view.
1994: Just as the works under the former Lloyds building were coming
to an end, the City of Brussels decided to carry out excavation work
in the spot where the Aula Magna was located (the grand ceremonial
hall of the former Palace), under the Place Royale.
The works to develop the Place Royale, within the context of the
Royal Way, were turned to good account as larger scale excavations
began at the site of the Aula Magna and the section of the former
Rue Isabelle where it runs alongside the Musical Instruments Museum.
1998: The City of Brussels requested additional archaeological digs
under Rue Royale which would notably make it possible to free up
part of the foundations of the main building of the ducal palace,
spaces which had been used as a cellar in the Hôtel de Bellevue and
which had been filled in in 1908.
1998 – 2000: The Federal State, the Brussels-Capital Region, the
City of Brussels and the King Baudouin Foundation joined forces to
finance works to cover the vestiges of the Place Royale (with a
concrete slab) and to complete the connection between Hôtel Bellevue
and the site. These works meant that from this point on both
individual visitors and groups would be able access the site via the
BELvue Museum which shares its entrance with the Coudenberg.
2004: Within the context of the renovation works to be carried out
on all the buildings in the Royal Complex (B.I.P.), the Housing
Management Department of the Brussels-Capital Region converted and
restored the former Hoogstraten House. A provisional design for the
museum was inaugurated in March 2004.
2006: The non-profit organisation ‘Palais de Charles Quint’
launched, on equity capital, a public tender for the design of the
Coudenberg Museum and the scenographic layout of the archaeological
site. These works would be carried out thanks to Beliris.
2007: The Heritage Unit of the City of Brussels began works to
secure the Aula Magna, including the creation of an emergency exit
20
which ends at the feet of the equestrian statue of Godefroid de
Bouillon located right in the middle of the Place Royale, and the
installation of risers with the goal of opening it up to the public.
2009: The inauguration of the museum which henceforth completes the
visit of the Coudenberg archaeological site which has been
accessible since 2000 via the BELvue Museum. The Coudenberg is
spread out over a surface area of more than 3500m2.
Two types of areas which make up the visit require special
treatment:
- The archaeological site of the Coudenberg (enhancement of the
site itself) where the lighting of the archaeological site
highlights the old parts notably by setting off the significant
architectural elements through the use of chiaroscuro.
- The Coudenberg Palace which showcases the most remarkable
archaeological
objects
discovered
in
the
different
archaeological excavations or provides a space for temporary
exhibitions.
Palais de Charles Quint asbl
Since 1998, the Coudenberg - the site of the former Coudenberg
Palace (which was one of Charles V’s main residences, and is located
beneath the Place Royale district) – has been managed by the nonprofit organisation “Palais de Charles Quint”. The association was
set up under the aegis of the City of Brussels and the BrusselsCapital Region in order to give back to Coudenberg, its rightful
place at the heart of the historical and architectural heritage of
Brussels, Belgium and Europe.
The main lines of its policy are the preservation, protection,
restoration, presentation and promotion of the site by welcoming the
public and promoting a variety of cultural encounters and events
(visits, exhibitions, conferences etc.).
The goal of the developments and projects carried out up until now
are: the quantitative, qualitative and spatial extension of the
range of contents and the diversification of the target audiences
coupled with the modification of the contents on offer to them
(spatial extension of the site, opening to the public and
improvement in the quality of the visit through the creation of an
appropriate infrastructure).
PLUS ULTRA (further beyond) was Charles V’s motto.
Since January 2008, the non-profit organisation has taken over the
porting of the Classes du Patrimoine (heritage classes) in the
Brussels Region, a project initiated and backed by the BrusselsCapital Region. Since 2006 the Classes du Patrimoine team has been
organising activities to raise awareness about Brussels heritage
amongst 10 to 18 year olds within an educational environment.
Stéphane Demeter
President
Frédérique Honoré
Director
21
Tel.: 02-204 24 18
sdemeter@sprb.irisnet.be
Tel.: 02-563.61.78
f.honore@coudenberg.com
.
BELvue Museum
Have you ever wondered how much you really know about the history of
Belgium ? Would you like to get to know it in a splendid building,
next to the Royal Palace, where it all began? Then you must
certainly visit the BELvue museum: the only museum that reveals the
particularly fascinating history of Belgium. Remarkable film
fragments, striking pictures and numerous period documents will
guide you through more than one and a half century of stirring
Belgian history. A visit to the BELvue museum offers you the
opportunity to get all of Belgium's secrets unlocked!
22
5. VISITOR INFORMATION
17 July - 30 August 2015
BOZAR Center for Fine Arts, rue Ravensteinstraat 23, 1000 Brussels
Open: Tuesday > Sunday: 10 a.m. > 6 p.m. (Thursday 20/8, 27/8: 10
a.m. > 9 p.m.)
Closed: Mondays, 21.07: Coudenberg and BELvue Museum are closed
Prices: € 10/8 (BOZARfriends), -18y free entrance
Tickets are also available at the BELvue Museum, Place des Palais Paleizenplein 7, 1000 Brussels
Included: exhibition Vesalius, physician to Charles V
BOZAR INFO& TICKETS
www.bozar.be – info@bozar.be – 0032 2 507 82 00
Welcome to our summer bar!
Thursdays, 2 pm > 9 pm
This summer, for our Thursday evening events (25/06 > 16/07 and 20.08 > 17/09/2015), we
will be organising drinks, encounters and activities alongside the exhibitions. For a detailed
schedule, please visit www.bozar.be and www.summeroffashion.be.
23
6. PRESS CONTACTS
VUB – Wintergarten Research Group
Sanne Sinnige
T+32 (0)489755839
sfsinnige@gmail.com
Sicco Wittermans
T +32 (0)2-629 21 37 +32 (0)473-96 41 37
sicco.wittermans@vub.ac.be
BOZAR
Leen Daems
Press Officer BOZAR EXPO
T. +32 (0)2 507 83 89
T. +32 (0)479 98 66 07
leen.daems@bozar.be
Hélène Tenreira
Senior Press Officer BOZAR THEATRE, DANCE, CINEMA, CORPORATE
T. +32 (0)2 507 83 91
T. +32 (0)476 96 02 01
helene.tenreira@bozar.be
Barbara Porteman
Press Officer FESTIVAL, WORLD MUSIC, ARCHITECTURE
T. +32 (0)2 507 84 48
T. +32 (0)479 98 66 04
barbara.porteman@bozar.be
Marie Mourlon
Press Officer BOZAR MUSIC, LITERATURE
T. +32 (0)2 507 84 27
T. +32 (0)471 86 22 31
marie.mourlon@bozar.be
COUDENBERG
Frédérique Honoré
Director
T. +32 (0)2-563.61.78
f.honore@coudenberg.com
Stéphane Demeter
President
T. +32 (0)2 204 24 18
sdemeter@sprb.irisnet.be
7. PARTNERS
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Organization:
Partners:
Support:
25