#440 Erkenningsnummer P708816
JULY 27, 2016 \ newsweekLY - € 0,75 \ rEad morE at www.flandErstoday.Eu currEnt affairs \ P2
Politics \ P4
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innovation \ P7
Education \ P9
BIRDS OF A FEATHER
STITCH BY STITCH
Needleworkers in Assenede are committing a centuries-old tale to an unusual canvas
The revamped Het Zwin Nature Park is an ugly duckling no more
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art & living \ P10
TAZ AT 20
Ostend’s Theater Aan Zee has come a long way, and so have its laureates \ 14
In the groove
Exhibition of album covers shows vinyl’s magic isn’t only in the sound mark andrews More articles by Mark \ flanderstoday.eu
In celebration of 50 years of vinyl’s outer beauty, Fort Napoleon in Ostend is hosting an exhibition of record sleeves by Belgian designers, and there’s a tie-in book and newspaper too.
H
unkered down behind the dunes north of Ostend is Fort Napoleon, a squat pentagon of dark red brick, built on the orders of the little general in 1811. Those visiting the fort as a historical relic this summer might be taken aback to see the techno pioneer CJ Bolland peeking over the outer ramparts, alongside punk originals The Kids and the doyens of electronic body music Front 242. These images form part of Belgium: The Vinyl Frontier, an exhibition of record sleeves by local designers from the last
five decades, which the fort is currently home to. There’s a wonderful incongruity between this formerly militarised location and the oddball art on display. It’s the strangest mash-up I’ve experienced since visiting an exhibition of outsider art curated by Sonic Youth in a former U-boat bunker in France. The Ostend exhibition is the brainchild of Francis Weyns and Ben Van Alboom of Red Bull Elektropedia, an online platform launched in 2009 that documents Belgian nightlife. Belgium: The Vinyl Frontier is the subdivision that focuses on independent music made here. The reasons for picking Fort Napoleon were straightforward, Weyns says. “Ben has had two exhibitions there that proved a huge success. The city of Ostend and the people of Fort
Napoleon were very supportive. Ostend is becoming one of the biggest cultural cities in Belgium; this combined with the summer season was ideal for our exhibition.” The show is accessed through doors emblazoned with a blowup of a TC Matic 12-inch sleeve: shocking pink lettering over a chiaroscuro male torso, bulging veins and musculature, which splits neck to crotch as the doors slide open. It’s a bold statement of intent; the exhibition, like its entrance, is playful but not playing it safe. The exhibition proper begins with a series of “walls” grouped by colour. Placebo’s Ball of Eyes, The Sore Losers’ Skydogs and Brel’s Les Vieux 2 are on the Orange & Red Wall. The Subs and Amatorski feature on the Blue & Green Wall. On The Wall, with its cream, black and white palette, we find the 1970s jazz continued on page 5