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magazine


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CONTENTS

10 Spiritual Guards Jan Fabre invited to Florence

34 Children’s friend Marc de Bel about books and dogs

14 Mindfulness on the move Yoga with Evy Gruyaert

22 2001: A Space Odyssey

A unique cinematic trip

42 Belgium in

comic strips In line with the spirit of the time

04 Strategic alliance

A collaboration with strong added value

25 Hieronymus Bosch

Mediaeval detail worker

Win

books & tickets You can win some of the books which are reviewed in this magazine! Quickly browse to www.graphius.com/contest and grasp the opportunity to win books, catalogues and invitations for car premieres!

40 Théâtre Royal

de la Monnaie Failing is never an option

Cover photo © Bert Hulselmans

COLOPHON: Members of the Graphius Group: Geers Offset, Sintjoris, New Goff, Druk In De Weer, De Duurzame Drukker, Deckers Snoeck, Boone-Roosens and Etiglia. Responsible editor: Denis Geers, Eekhoutdriesstraat 67, 9041 Ghent, Belgium. Chief editor: Thomas Dewitte. Editors: Sven De Potter, Thomas Dewitte, Christoph Ruys. Lay-out: Arnout Nilis. Subscriptions: subscribe for free through magazine@graphius.com. Graphius, Eekhoutdriesstraat 67, 9041 Ghent, Belgium. Tel. +32 (0)9 218 08 41. info@graphius.com, www.graphius.com Printed with vegetable biological inks on a Heidelberg XL 106 – 10 colour press with hybrid screening 250 lpi. Cover: Invercote Creato two sided 300 g. Interior: Arctic Volume Highwhite 1.12 150 g. Split cover: Munken Kristall 170 g. Blistered with compostable and biodegradable plastic made from starch.


BOOKS

the difference is

in the detail MARCEL BROODTHAERS: A RETROSPECTIVE Marot and T’ink Studio Forty years after his death Marcel Broodthaers is still very influential in New York. Thus, the MoMA shows a retrospective of his visual art, consisting of more than 80 works from the Daledcollection. Coming October the exhibition will

APOLLINAIRE

travel to Madrid and at the beginning of 2017

Gallimard

it will go to Düsseldorf. Marot and T’ink Studio compiled Broodthaers’ commonplace surrealism

“J’ai tant aimé les arts que je suis artilleur.” At the turbulent

in an extensive catalogue. Really impressive.

onset of the twentieth century Guillaume Apollinaire left a permanent mark on the aesthetic revolution towards modern art. On account of his influence on significant artists such as Matisse, Derain and Picasso, who were also his friends, the poet and art critic occupies a prominent position in art history. He received a prestigious exhibition at the Musée d’Orsay and the Musée de l’Orangerie. The matching catalogue was edited by Gallimard.

READING THE STREETS Luster Typography guides street photographer Stan Van Steendam on his wanderings through Europe. His unadorned snapshots, taken with old analogue cameras, characterize the turbulent history of Lisbon to Warsaw and raise the question which stories are hidden behind the characters. This is salacious photography which first and foremost proves that past glory never perishes.

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THE GENIUS OF ANDY WARHOL Snoeck The brilliant Andy Warhol is the author of some of the most iconic works in art history. We all know Campbell’s soup cans, the Green Coca-Cola bottles, the portraits of Marilyn Monroe and the record sleeve of The Velvet Underground … Art collector Adrian David all passes them in review in his tribute to the eccentric genius who was the silver prince of pop. Which is amply

THE EXTRAVERTED NERD

sufficient for 15 minutes of fame.

Philippe Gosseye Mad about figures? Check. A nerd? Admittedly. An introvert? Nope! In The Extraverted Nerd: The B2B Marketing Cookbook, published on his own, Philippe Gosseye shows the split personality of the contemporary marketeer. The almost complete colour spectrum in spot varnish on the cover illustrates that data analysis doesn’t have to be boring. On the contrary!

DESSERTS L.A. Lifestyle We are familiar with the expressions ‘haute couture’ and ‘haute cuisine’, but we often forget that making pastry is also a real art form. The magazine ‘Desserts’, that also mentions art de vivre (art of living) in its baseline, keeps sweet tooths informed of the latest trends in high pastry. A mouthwatering publication that, with its slim 44 pages, is no attack on your figure.

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strategic alliance

Off-line meets

on-line

“The largest on-line printing business joining forces with the largest off-line printing business … Can you imagine anything nicer?” Ahmed Hilami, founder and business manager of Flyer.be, seems very happy. The future looks bright and promising. Ahmed Hilami, the West Flanders entrepreneur of Moroccan origin, was recently in the news because the king received him in audience. This wasn’t a chance choice, for Hilami is put forward as a role model for integration in our society. In 2002 he became self-employed with his own company Flyer.be, soon to become the unrivalled leader in the sector of on-line printing. The next ten years, the company expanded its activities over 7 countries and recruited 130 collaborators of different nationalities. A downright success ‘made in Belgium’, resulting in a database of already 100,000 regular customers. Hilami tried a completely different approach in the sector of printing, for at Flyer.be IT consultants became just as important as printers. The company succeeded in computerizing a complete set of processes, thus enabling Hilami to maintain low prices, and at the same time show considerable growth each year.

service even further, Flyer.be has published three white papers about the following themes: how to launch one’s proper house style; the importance of outdoor communication; and event marketing. “We invest lots of time and resources in that information, which we make available to everyone for free, whether you buy from Flyer.be or not. Although those white papers weren’t written with a commercial purpose, we actually see that they are well received. That way, we give back the expertise built up through our clients. And in the future we plan to go even further …”

Future challenges Graphius and Flyer.be want to create a basis for development which will enable them to take up several future challenges together. “It is fantastic to be able to share our on-line and IT-experience with a strategic partner such as Graphius”, says Hilami. “Fourteen years ago I started off with Flyer.be and I have noticed that quite some points of interest of the day still apply. I think of making printed matter more accessible to a broad public, far-reaching automation and transparency at every phase of the process. From the beginning, all those aspects have played a part for Flyer.be and they still do today. Moreover, they have contributed to our yearly growth. Through the FlyerStore, a shop-in-shop concept via

Close to the client The prolonged growth has proved that, within the ever-expanding market, Flyer.be has always found enough flexibility to stay close to the client. “The fact that we are an on-line company doesn’t mean our clients have the feeling that we are ‘far away’”, says Hilami. “In that area our customer service is doing an incredible job.” In order to advance the customer

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STRATEGIC ALLIANCE

photo shops, graphic design agencies and copy centres, we have always been able to communicate in a transparent way with our customers. We give professional advice about paper quality, formats and finish, as well as the free collection of a command. Over 175 FlyerStores offer a unique combination of on-line and off-line skills. Being able to pass on our digital and on-line knowledge to Graphius fourteen years after our creation is the crowning glory of our efforts.” Denis Geers, CEO of Graphius, agrees: “As a family business, we endorse a long-term vision. In the near future it is obvious that the public will make frequent use of on-line orders. Therefore the alliance with an on-line company such as Flyer.be is a deliberate strategic choice. Joining forces leads up to a unique entity, which prepares us for the future and the fierce competition with large international players.”

Graphius will also be able to leave its mark on the ever-growing on-line market”, affirms Dennis Geers. As for Flyer.be, the partnership with Graphius involves a substantial expansion of its productive capacity. Thanks to the expertise and extensive machinery of Graphius, Flyer.be will be able to offer a larger range of products to its customers, as well as shorter delivery times. Hilami: “Today, we have very demanding clients. With good reason. This attitude links up perfectly with the activities of both Graphius and Flyer.be. Maybe even more important is the conclusion that this collaboration emphasizes the growing importance of printed matter. You could really say that print is alive and kicking!” “The innovative character of this collaboration also reflects the market, for we find that once again print is attractive and affordable for both small and large companies. Very often it is a high-quality highlight within a well-considered marketing mix. From now on we can print anything! And the customer wins, for this structural collaboration guarantees a fast, large and high quality customer service”, concludes Hilami. “Printed matter is and will always be sexy!”

Alive and kicking! In the near future Graphius will put in the web expertise of Flyer.be to launch several on-line services and to improve existing services. “Thanks to a partner such as Flyer.be,

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sustainability

A growing

impact Connect. Commit. Change. With this baseline the sustainability network The Shift states exactly what it does, how it works and what it wants to achieve. The Shift is a network that organizes contacts between its by now 350 members in order to generate social added value through co-creation. As a matter of fact, the organization, which soon will be one year old, is a fusion between KAURI and Business & Society Belgium. David Leyssens, who is co-executive officer together with Sabine Denis, explains how a single contact point reinforces the voice in matters of sustainability: “We now are the one-stop-shop in matters of sustainability in Belgium. This avoids quite some noise in the communication process. Because we are no longer split up, our role in matters of collaboration with the policymakers has become much more powerful.” Companies, non-profit organizations, academic institutions and government agencies joining The Shift sign a charter in which they state their commitment to one or more themes in the field of sustainability. “Subsequently, we help our members in setting up forms of cooperation. At the moment, many organizations work on fantastic projects in the field of sustainability. In a later phase all those projects should be connected in order to increase their impact.” The network continues working on the momentum created by the Sustainable Development Goals of the UN, which are considered as the worldwide guidelines for sustainability until 2030. In the meantime we hear that we are on the brink of disaster and even that it is already too late. Do we really have the

time to carry out radical changes before 2030? “At the moment, people indeed discuss about collapsology. It’s necessary to find a balance between quick wins and strategic choices that are sufficient to implement radical transformations in the long run. The time frame of the SDG’s is very appropriate for that goal.” UN secretary general Ban Ki-Moon pointed out that it is impossible to realise the SDG’s without the help of the business world. “The problem is not only a matter of authorities or organizations”, affirms Leyssens, “it really is on the agenda of the business world.” Therefore it is necessary for companies to join forces. Through networking, The Shift hopes to increase the creativity of its members. Thus the Sustainable Partnerships Awards reward inspiring collaborations on a strategic level. “Within our partnerships we see a very interesting evolution towards shared value. In collaboration with WorldLoop, Recupel has founded a collecting system for electric and electronic waste in Kenya. They grasped that they can use their key competences in order to produce social change.” The Shift also started up Generation T, a project that coaches promising young people. “The millennials, who are between 18 and 35 years old, will have to shape the switch towards a sustainable society. We have seen that pragmatism, social entrepreneurship and sense of reality are the key concepts of this generation. They are not only outraged, they fight themselves for change.” The shift is in their hands.

“The realisation of the SDG’s is on the agenda of the business world.”

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report

The world

will change

Florence. Last year Jan Fabre received the ‘Premio Michelangelo’, an award for artists who show skills in the manner of the old Florentine masters. This summer Jan Fabre has again been invited to go to Florence, where he will do the remarkable exhibition ‘Spiritual Guards’. “Florence has been important to me from the start of my career. In my diaries I mention the city as early as 1979. I made notes like: Italy. In this country you can make a career as an artist-gangster. Everything is imagination here. A knife made of cardboard can cause confusion and have the appearance of a dangerous weapon. The artist-gangster who holds the weapon is important, not the weapon as such!” Even today, sentences like these are typical of Fabre’s work.

of man and to its defence. Fabre contemplates the human being and wonders how he will survive in the future. “I am often in pursuit of an image of man for the future, a future in which man can no longer be hurt and where I distance myself of the stigmata of Christ. In that sense religion is connected to my work. Because I don’t accept the model of Christ as such, I can also bring forward another model, another image of man. It’s as if we were at the eve of a new way of feeling, a new way of thinking, a new philosophy.”

The image of man

Representation

Jan Fabre (Antwerp, 1958) returns to Florence from May 14 until the end of October – he will be present in three sites. It will be the first solo exhibition of this size of his work in Florence. At the request of Andrea Bianchi and Sergio Risaliti Fabre’s work will be presented simultaneously at the Forte di Belvedere, the Piazza della Signoria and the Palazzo Vecchio. Joanna De Vos and Melania Rossi, who are the curators of this exhibition, will deepen even further the power of imagination in Jan Fabre’s artistic track and examine the artist’s mission in his capacity of spiritual guard. These two factors have been a continuous presence in his work. For more than 35 years now Jan Fabre has been occupying a leading position in the international art world as an author, a theatre maker and above all as a ground breaking visual artist. The large audience mainly knows him for Tivoli (1990), a castle that was entirely coloured with blue Bic ballpoint pens, and Heaven of Delight (2002) – his decoration of the ceiling in the Hall of Mirrors of the Royal Palace in Brussels (made with jewel-scarab wing cases) – as well as sculptures in the public space, such as The man who measures the clouds (1998). Whatever the medium he uses, drawings, sculptures, objects, installations, films, performances or reflection models, Fabre’s works refer time and again to a belief in the vulnerable body

Time and again Fabre represents the sensual and spiritual body, he creates different indestructible bodies, which are resistant to the natural cycles of growth and decay. That way, Fabre’s exhibition ‘Spiritual Guards’ constitutes, in line with his artistic calling, poetic resistance based on beauty, an exercise in the disappearance or the celebration of life in preparation of death. In the course of time Fabre has made his own universe with proper laws and rules, as well as figures, symbols and motives that keep returning. “I often use a cross in my work, but I don’t show it in the sense of the catholic Cross of Christ. I rather see it as the tree of life, as a metaphor for the doubtful artist … Where should I seek the object of my belief? Should I believe in God? In beauty? It is a way to exteriorize the doubt and the life force that are characteristic of the existence of the artist.” This also applies to ‘Spiritual Guards’. With works such as Holy Dung Beetle with Laurel Tree (2012) or The Man who Bears the Cross (2015) it is clear that beauty is not purely a matter of aesthetics. “Beauty is a ‘conciliation’ between ethical values and aesthetic principles. Even today, and maybe more than even today, in a day and age when concepts such as ‘the image of man’, ‘the future’ and ‘beauty’ are extremely vulnerable.”

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Europe “At this moment we live in a society where one million people flock together at Europe’s borders. If you assume that we, the artists, have to defend the vulnerability of beauty, it is necessary that we also defend those people, for man represents that beauty. If you defend the vulnerable aspect of man, at the same time you defend

the vulnerability of beauty. Artists don’t seem to voice their opinion on these problems. However, every artist has the duty to express his convictions and to take sides, certainly in situations like these. Open the borders to refugees. This is 2016! To me it is unbearable to see the images of children and their parents who have to flee their country in utterly miserable circumstances

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and for whom we don’t seem to find suitable relief. People don’t seem to grasp that the world is changing. Europe is changing. The history of humanity is a succession of changes. We have the choice: either we deal with this evolution and change in a decent manner, or we suffer terribly for decades … If you reflect on beauty, you also think of this image of man. In these difficult times,


Jan Fabre: Holy Dung Beetle with Laurel Tree (2012) Material: bronze – dimensions: 38 x 42 x 80,6 cm Photographer: Pat Verbruggen - © Angelos ltd

it is precisely this image of man you need to defend. Nobody says it will be easy. We are faced with the problems of migration, with a difficult economic climate … But what seems to be the solution? Cutting back drastically on the cultural budget, which is a strange line of thinking, for everybody knows that culture and beauty contribute to a society that’s mentally and economically

healthy. Culture gives oxygen to a society. Today our world has to cope with all kinds of problems; therefore it is strange that we still live in a society where the artist is not payed for dreaming. If the Minister of Cultural Affairs would give funds to artists to dream about the future, beauty and the image of life that unites everything, it would be a perfect antidote.”

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Jan Fabre: The Man who Bears the Cross (2015) Material: polished bronze – dimensions: 394 x 200 x 100 cm Photographer: Attilio Maranzano - © Angelos ltd www.guypietersgallery.com Graphius printed several catalogues with Jan Fabre’s work. The most recent realization was The Man who Bears the Cross, edited by the Mercatorfonds.


interview

Simply

happy

The woman who taught people how to exercise is back on television with a successful and larky show. Moreover, Evy Gruyaert is expecting a second baby. The yoga mat is the spot where she finds fresh energy, as well as peace and quiet. Is there a way to make exercising realistic and affordable for the Flemish people? This was the challenge which Evy Gruyaert took up ten years ago. In the meantime she has surpassed all expectations, for nobody could have dreamed that the project would become this important. “I didn’t have any big plans for the launch of Start 2 Run and I certainly didn’t think that running would become that snazzy. When the network manager of the VRT asked me if I wanted to do something with sports, everything happened very naturally. I used to participate in track and field events, I liked sprint and hurdle. Short, powerful races. But I wasn’t into long-distance runs. So I took up the challenge: I needed to learn how to run 20 km. Energy Lab gave me the opportunity to establish a custom-made schedule. I didn’t even know such things existed. To me, running was putting one foot in front of the other and seeing it through. But it turned out everyone can learn how to run, at least if you are physically all right. I didn’t really enjoy the first lessons, but I succeeded. I even regretted that it was over. If people can do it without excessive pressure, they should enjoy it. So we decided to make a podcast, without the intention of doing anything special. We just fiddled, but what we did happened to come at the right moment.”

ridiculous, but it is the only way to use my body in a proper way and to re-enforce my voice. It is very weird, but lots of people have the impression that I am right beside them when they are running. This shows that a voice is an intimate instrument. Talking into someone’s ear creates a bond. You still practise running yourself, in spite of a serious knee injury. Yes, I suffer from a chronic patellar tendon inflammation, which has never really cured. And I did have an operation. When I get up and feel that my knee hurts, I wear a supporting brace. But there are worse things than that. As long as I don’t have pain when running, it’s okay. ‘I am proud of you.’ You must know that your encouragements for runners have become classics. But how do you convey your message during yoga sessions? Isn’t yoga a quiet sport? We use a slightly different principle for ‘Yoga with Evy’. The Start 2 Yoga kit contains videos that show what you have to do and how you have to set to work, since yoga and running are very different sports. In the Start 2 Yoga kit we specifically explain all the basic principles and we say why they are important. In addition there is the subscription system for people who already know the poses and who can choose the lessons they would like to take.

When the recordings started you wore sports clothing in the studio. Is this the way you immerse yourself into a project? Yes, I thought those sessions were really great! Recently we made some episodes in German, English and French. Actually, my German was a bit rusty, but when recordings began, we had that sorted out. I don’t think you can sit on a chair to read in your lines. So I stay on my feet and I keep on moving with my arms and legs. It looks

2015 was the year of yoga, there even was a real yoga festival. I thought yoga was a sport you practise on your own? Not really. As far as I’m concerned, you can do it on your own, but you must know that yoga can create a bond if you practise it in group.

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It can help to get into the rhythm. For a long time, both running and yoga have been perceived in a negative way. Yoga was for weird, unworldly people with wide trousers and dreadlocks. Nope! Since we know more about it, yoga has become trendier. Yogis aren’t weirdoes who are continuously making humming noises in lotus position. There are many styles and manners to practise yoga. Whether you prefer an active or a meditative form, everybody can find a custom-made yoga. Personally I think yoga is a kind of moving mindfulness. Not everything in life is performance, you can do things for fun. That’s what counts in yoga: the mindset is somewhat less occidental, you feel the oriental philosophy behind it. There is no need to force matters. You can take up the challenge, but you never need to push yourself beyond your own limits. Yoga is an ancient sport, but in our regions it is especially a hype. And we know that most hypes are short-lived. Is it different for yoga? Yes it is, because I think that it is a pleasant way of exercise. In our frantic world every-

body is looking for some peace and quiet. Sometimes we behave like hamsters turning around in our wheel. You could see yoga as the door to get out of the wheel, be it half an hour or quarter of an hour a day. Many people feel the need to do so. Our heads and our agendas are packed. The combination of the physical openness of yoga and its calming and awakening aspects is here to stay. Does it have a calming effect on you? Yes, but I don’t want to sit still on my mat, humming. I need to move! I want to have the feeling that I have used my body. Personally, I practise a more active form of yoga. During shavasana, the final pose, a yogi has to lie down and relax his body and mind so he may fully assimilate the benefits of the exercise. It’s a divine moment, there is nothing corny about it. After a yoga session I always seem to be happier than before. If I have problems, I can tackle them with fresh energy. I take a helicopter view of myself and see that there is only one faded flower in the field. That things aren’t as bad as I thought.

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Since your big breakthrough you have been very busy in your professional life. And you are expecting a second baby. Do you still manage to find the right balance? It is indeed a difficult balance to keep, but then I am not the only one having this problem. We used to talk about the new man – Thank God for him – but I don’t think we have to keep silent about the new woman. Her range of duties hasn’t become smaller. Nowadays, most men really do their best, but whichever way we turn, most women remain the pivot of the household, simply because the mother stays at home after she has given birth. This really confirms the sex roles: woman keeps taking care of children, household and food. But most women also want a full-time job to be financially independent and have an interesting career. Could you characterize yourself: what kind of mother are you? (Thinking) I just try to love my son, I am severe if necessary, but not too often, the little guy still has to be able to discover himself, within certain boundaries of course. A child needs


INTERVIEW

rules and structures, but I hope that I can give him the space to get to know himself, to see what he wants and what he doesn’t want. You know, I grew up in the province of West-Flanders, where I was told that I had to behave to satisfy the others. “Work hard and everything will be all right.” Now I know that isn’t the case. You don’t get satisfaction and happiness solely from the approval of other people. First of all, you have to be pleased with yourself. And you need to know who you are. Your career started off when you took part in a contest, after which you got a contract with Radio Donna. Have you any idea what your life would have been like if you hadn’t won that contest? No, I really don’t. But I am very happy with the way things turned out. I really didn’t have the ambition to become a famous person, far from it. But I really enjoy my new surroundings. I didn’t know this was the job I dreamed of until I accidentally got it. But maybe chance doesn’t exist. God knows why I took part in that contest. I have no idea what my life would have been like otherwise, but I do know that I wasn’t happy with what I did then. That was the only reason why I responded, that day in December, driving to work on my own in my Opel Corsa. Are showbiz formats like the successful ‘De Rode Loper’ over and done with? I believe that ‘De Rode Loper’ would still work, be it in a slightly adapted formula. People like watching the unusual life of celebrities, they like seeing things they don’t know. It makes them dream. But it has to happen in a respectful way. Ours wasn’t a gossip magazine. And we ended when things were at their height. But never say never.

‘Stukken van Mensen’ is once again a hit television programme, certainly to the standards of Vier. It isn’t ‘Terzake’, it’s entertainment and you do learn things along the way. I felt very comfortable during the shooting, but that doesn’t mean a thing. I am happy that the public likes ‘Stukken van Mensen’. I have the feeling that Vier has finally found the right formula. Viewers gradually know what Vier is all about, for it was difficult at the beginning. Your shows on Vier are all about money. Why don’t you talk about health? That’s a mere coincidence. I have thought about several formats and now and again I make proposals to SBS. As a matter of fact, there is a division between what I do on TV and my other work, that is to say taking care of your health in a realistic and affordable way. It isn’t simple to find a format in which you can combine those two subjects in a decent, interesting programme, without making merely sports television.

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Tell us about the challenges you want to take up in the future. On a professional level, I hope to continue with what I am doing now, because I absolutely love it, even if it means that my life is erratic. Furthermore I would like to take more classes in yoga. In principle, I could teach now, but that would be difficult, since I am heavily pregnant! So this is not the ideal moment. But after the birth of my second child, I would like to take a training in yin yoga, in addition to anusara yoga, which is a very active form of yang. I am convinced that combining the two forms would be very interesting. On a private level, I hope to give birth to a healthy baby and to find a good work-life balance. And every now and then I would like to eat chips. When I go to the supermarket and I put a packet of crisps in my cart, people glance at me with a weird look in their eyes. Unlike the first time I did have one strange fancy during this pregnancy. I really needed hard acid drops. I can hear people saying “Hey, lady of Start 2 Run, you cannot do that!” (she laughs) So I should never eat chips or candy? Nobody’s perfect, and besides, nobody can keep that up. Once in a while, you have to be able to commit a sin and enjoy doing it. Have fun and go all the way. Namasté, Evy.

www.yogametevy.com Graphius is also into sports! We printed the pocket guide Yoga met Evy of the Persgroep Publishing. We offer five copies of this book. Download the Start 2 Run app and quickly go to page 1.


catalogue

TEFAF

A high-profile art platform The 29th edition of TEFAF, the world’s greatest art, antiques and design fair, just finished. With over thirty years of experience TEFAF, which assembles the most beautiful and most wanted objects from the world of arts, has grown out to an outstanding event on world level. Since the creation of the fair, about thirty years ago, TEFAF Mark Kremer from Amsterdam the fair showed work of living (The European Fine Art Foundation) has established itself as artists under the title ‘Show Your Wound’ – including work of the pre-eminent platform for both fresh-to-market as redis- the Belgian artist Peter Buggenhout. They were inspired by covered works. The 29th edition has been no exception to themes referred to by Joseph Beuys in the happening of the that rule. Following former editions, the 269 participants had same name ‘Show Your Wound’: death, decay, deprivation once again selected works of exceptional and trauma. quality, hors concours. In addition Another remarkable project of this edition was the to the crème de la crème in the exhibition ‘Collecting Collectors’, a unique selecfield of art and antiques, from old tion of works from the Boijmans masters to ancient works of art, Van Beuningen Museum, includwe have also seen 20th-century ing Bellini, Dürer and Rubens, as design, photography and contemwell as modern and contempoporary art. As a matter of fact, the rary work by Degas, Magritte and fair offered works that were on Fontana. the whole selected from 7,000 Peter Buggenhout - The Blind Leading the Blind #75 A new chapter years of art history, offered by Mixed media: dust, metal, polystyrene, plastic 120 x 83 x 63 cm - 2015 Last February came the muchthe best international dealers Courtesy: Galerie Laurent Godin, Paris © Blaise Adilon talked-of announcement that as and especially evaluated by an unparalleled committee of inspection. Approximately 175 from the coming autumn, TEFAF will organize two new art fairs. experts in 29 various categories examined every work of art Thanks to those two new fairs TEFAF will get together the in the fair for quality, authenticity and condition, thus ensur- major art-dealers and art-collectors in the world. ‘TEFAF New ing the collectors, coming from over 50 countries, to buy the York – Fall’ will take place for the first time in October 2016; it items with the greatest possible confidence. A really excep- will focus on art from antiquity to the 20th century. The first edition of ‘TEFAF New York – Spring’ is expected to take place tional event. in May 2017 and will concentrate on modern and contempoMuch more than just an art fair rary art and design. Despite the fact that TEFAF is mainly specialized in the trade TEFAF Maastricht, which is often called ‘the museum where and sale of art, it covers a much larger scale of action. Above everything is for sale’, is an upmarket event, which distinall, the art fair advances quality; it’s the place where inter- guishes it from other art fairs. Because of the first-rate particnational cultural networks meet and where one also finds ipants and objects, as well as the fantastic presentation and inspiring works of art and dispositions. Two highlights char- the new and unexpected discoveries, a visit to TEFAF is always acterized this year’s edition. In collaboration with curator a worthwhile adventure.

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René Magritte (Lessines 1898-1967 Brussels) L’image en soi - Oil on canvas - 66 x 50 cm

Charles-Edmond Daux (1855-1937) Rosina - Oil on board - 22.2 x 17.8 cm

Art Deco ‘Heurtoir’ brooch Emeralds, diamonds and platinum - 8.3 x 6.3 cm Signed and numbered ‘Van Cleef Arpels Paris 30334’ - Paris, 1929

Nicolaes Eliasz Pickenoy (1588-Amsterdam-1656) Portrait of the wine merchant Dirck van Dans Oil on panel - 63 x 51 cm

TEFAF and Graphius pay much attention to (the) quality (of print). We printed the new catalogue and have two free MAIN SPONSOR

copies on offer. Leaf through to page 1 SPONSORS

tefaf Broekwal 64 5268 HD Helvoirt The Netherlands T +31 411 64 50 90 E info@tefaf.com WWW.TEFAF.COM

and discover how to win. SUPPORTED BY

2016

2016

Artnet - Brand van Egmond - L'Eventail Neptunus - NRC - RTL Z - Wijn Verlinden

tefaf supports TEFAF Museum Restoration Fund TEFAF Chair of Oncology CER - Prince Claus Fund

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Seated Nude, 1917 Oil on canvas, 114.5 × 71.5 cm

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book

Inspiring and

influential

At the end of last year the work of the Italian artist Amadeo Modigliani experienced a significant economic revival. During the autumn auction at Christie’s in New York his painting ‘Nu couché’ was sold for 158.4 million euros, the highest price ever paid for a painting by Modigliani. In addition, it turned out to be one out of five most expensive artworks ever sold. so-called peintre maudit, a misunderstood genius. His escalating intake of alcohol and drugs marked his life style and resulted in an early burnout, but nevertheless he managed to regain self-control. The often melancholic expressions on the faces of his models reflect the inner demons the artist had to defeat. Modigliani spent his adult life in three cities: Paris, Livorno and Nice. He died in Paris in 1920 from the effects of alcoholism and tubercular meningitis. He was 35 years old. As is often the case with exceptional artists, Modigliani was only acknowledged many years after his death. Today his linear technique and his vertical and geometric compositions are generally acclaimed and although Modigliani created a particular style of painting, his influence was considerable. Or was it precisely his individuality which brought him fame? As a result, his art became increasingly more valuable: in 2003 the aforesaid record painting changed hands for the ‘mere’ sum of 26.8 million dollars. As from 2017 it will be displayed at the Long Museum of Chinese businessman Liu Yiqian, a former taxi driver turned billionaire, and his wife Wang Wei.

In 1902, Amadeo Modigliani, who was born in 1884 in Livorno, Italy, enrolled in the Scuola Libera del Nudo in Florence, where he studied art. Barely one year later he moved to the North. He spent some time in Venice, but in 1906 he travelled to Paris, where the young artist developed his talent fully in the margin of the avant-garde. Modigliani settled in Le Bateau-Lavoir, a commune in Montmartre, where he was influenced by various artistic trends. The post-impressionism and the large coloured surfaces of Paul Cézanne shaped the early works of the young Italian, but still cubism and the sound competition with his contemporary Picasso moulded his quite unique style. Modigliani rounded off angular shapes, was inspired by the unnatural rendering of eyes, mouths and noses, and added elongated figures in warm colours. His favourite subjects were female nudes and portraits. During his career, he also devoted himself to sculpture. Highly stylized nudes and portraits are characteristic of Modigliani’s art. But in spite of the distorted bodies they still resemble to the models. In his paintings Modigliani idolized female sensuality. At the opening of his Paris show, the only solo exhibition during his life, a group of excited men gathered in front of the gallery. Fortunately, this happened early in the morning, since a few hours later the show was closed by the police. Charges were made that his paintings were pornographic! Although his work was too audacious for the art-loving Parisian public, Modigliani continued confidently along the chosen path. In this period he finished off ‘Nu couché’. Modigliani, who had a miserable childhood, could not cope with the spirit of the times and had health problems. The painter was a

Graphius printed Amadeo Modigliani: the inner eye for Gallimard. Take part in our contest if you like Modigliani’s elongated portraits. On page 1 you will find out how to win one out of two free copies we have on offer.

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book

Groundbreaking Steven Spielberg called 2001: A Space Odyssey the big bang of its generation. No film critic in the world would venture to omit 2001 from his ‘best of’ list. About every known science fiction story has been inspired by Stanley Kubrick’s masterpiece. This is a Major Film, and it owes everything to an art director who was lured away from NASA. 316

Odyssey III

SPACE SUITS AND HELMETS Towards the final design

HL 316-01

HL 316-02

HL 316-01 Full-length rear view with life support pack detail and mission packs on back of helmet. HL 316-02 Final design for spacesuit, full figure (front view). OPPOSITE Bowman (Keir Dullea) in his space suit, walking on brightly lit interior set.

The 2001 File - 57th draft.indd 316

25/10/2015 16:07

Rocky. Star Wars. Dr. No. The Godfather. 2001: A Space Odyssey. This is just a random selection of most epical and recognizable scores. The soundtrack of Stanley Kubrick’s classic, including the majestical symphony by Strauss Also sprach Zarathustra and the solemn waltz An der schönen blauen Donau, always brings back memories of film images that by now are etched in the collective memory. The spaceships and space suits dating from 1968 have turned out to be a fairly accurate prediction of the future. As it happens, this is no coincidence, since for his magnum opus Kubrick called in Harry Lange, head of future projects at NASA, who was specialized in spacecraft design. As such, every prop in the film had to be personally approved by the German production designer and the director. Kubrick, who was one

of the major icons in the history of motion picture, once again showed his genius when he put his trust in Lange. This didn’t pass unnoticed, because in 1968 Time Magazine made the following favourable comment on 2001: “The most dazzling visual happenings in the history of motion picture.” Close on 50 years later this observation still stands. A Space Odyssey is unsurpassed and this is mainly the result of its visual accuracy.

HAL runs riot For those of you who don’t know the story, read this. The plot is set in prehistoric times. A tribe of apes has to cope with the ordinary daily problems encountered by a group of primates. They are threatened by leopards and rival

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BOOK

tribes of apes. One day they find a huge black monolith that shows them how to use objects as tools. Thanks to this newly acquired knowledge the apes start to climb the evolutionary ladder at great pace. Then follows a spectacular transition and we find ourselves in the future. Man has discovered a second monolith on the moon, which gives humanity the opportunity to take a new step forward. The astronaut David Bowman (played by the fairly unknown Keir Dullea) and four other brave scientists set off on an expedition to Jupiter in a spaceship that’s controlled by the highly intelligent computer HAL9000. When the crew members give a serious blow to HAL’s ego, it decides to take control over things and to exterminate the crew. Bowman is forced to eliminate the evil computer and to travel solo to the unknown planet. In our opinion the last half hour of the film is breathtaking – we don’t give away spoilers saying this. It by no means equals your average experience on a Saturday night cinema outing.

Science fact Sir Christopher Frayling wrote The 2001 File, which is a tribute to Harry Lange’s contribution to the Kubrick classic. The book offers an exhaustive view of unpublished drawings taken from the personal archives of Lange and relates the realisation of the visual characteristics of the feature film. Film fans will be delighted with the memos the director wrote for his production designer. For Kubrick had the widespread reputation of being a perfectionist and a psychological manipulator. The book shows that even Lange couldn’t escape his exacting control. Fortunately, he did win the BAFTA Award for Best Production Design, which undoubtedly helped somewhat to relieve the pain. Not to mention the satisfaction obtained from the film as such. When interviewed, Lange seemed to be very proud of the fact that the avant-garde film was classified as ‘science fact’, rather than science fiction. To this day the minimalist and scientifically reliable aesthetics of 2001 have had a major influence on film industry. Or where do you think Ridley Scott got his inspiration for The Martian? A first viewing of the film will leave you baffled: you won’t have a clue what’s it all about. Be comforted, for this was exactly the same reaction of the MGM executives. As a matter of fact, they were very disappointed about the result of their investments. Nevertheless, the film succeeded in rousing the interest of the broad public. Fairly quickly 2001 acquired the reputation of being an unparalleled cinematic trip, a largely nonverbal art film which reached far beyond the boundaries of the genre. It was the biggest risk Kubrick had ever taken – and he did take many risks – but eventually it became one of the major films of its generation, a film to be proud of. Who knows what would happen, should it ever be discovered by a futuristic tribe of apes at the foot of some monolith ...

The missing chess piece It wasn’t surprising when a re-release was issued in 2014. When today you see images of spacemen (or -women) on TV, they look exactly the same as their predecessors in the film. All because Kubrick had the bright idea to appoint Harry Lange in the function of art director. After World War II Lange, who was born in 1930, escaped to West Germany; later on he moved to the United States. During the Korean War he worked for the US military. At NASA he met the writer Arthur C. Clarke, who introduced him to Stanley Kubrick. The film director had faith in Lange’s experience with astronautical design and offered him the opportunity to draw the settings and props for Journey Beyond The Stars, the working title of 2001. It was the start of an impressive career in film industry, for later on the German collaborated on the Bond-movie Moonraker, two episodes of the original Star Wars and Monty Python’s Meaning Of Life. When he started with the project, detail freak Kubrick didn’t even have a screenplay. The only thing he knew was that he wanted to make a technically impeccable science fiction film. In his opinion highly imaginative spaceships look cheap and he wanted his film to be genuine. The collaboration with Harry Lange simply fell into his lap, almost by accident. For at that time, Kubrick was having slight disagreements with Ken Adam, one of the masterminds behind Dr. Strangelove and the man who was going to take care of production design for 2001. Consequently, the director seized the godsend with both hands. He immediately knew in which direction he wanted to steer his project.

The 2001 File was written by Sir Christopher Frayling, published by Reel Art Press and printed by Graphius. Are you a film fan and would you like to win one of the three copies we give away? Then take a look at our contest at page 1.

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Bosch in detail The paintings of Hieronymus Bosch, without a doubt one of the greatest mediaeval artists the Low Countries have to offer, continue to surprise us. With the publication of Bosch in detail Art Editor Ludion gives a quite particular outlook on the art of one of the great masters of painting.


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In his book the author Till-Holger Borchert, museum director in Bruges and a specialist of fourteenth-, fifteenthand sixteenth-century art in the Netherlands, describes the weird iconography of the late mediaeval artist. The German historian divulges full-page details in the painter’s work. Hieronymus Bosch, born Jheroen van Aken (around 1450-1516), incorporated dreams and nightmares in his paintings. He was always very resourceful in the representation of eternal torment in hell and displayed a fascinating imagination in the reproduction of dark demons. All this and much more is found among the eight central themes of the book: landscapes, architecture, faces, grisaille, visions of heaven & hell, music & noise, fantastic creatures & monsters and the four elements. The details in his works confirm Bosch’s reputation, for he was indeed an expert observer of the world he lived in; at the same time they offer a surprising perspective

on religious undercurrents and sometimes macabre aspects. The art of painting surprises, the symbolism astonishes. Borchert shares his exceptional interpretation of masterpieces such as The Garden of Earthly Delights, The Haywain, The Temptation of St. Anthony and The Last Judgement. In his guided tour of the works he clarifies how Bosch’s narrative talent came about and to what extent he contributed to the development of landscape art and figure painting in the Netherlands. The approach of this book is illustrated through one work, Triptych with The Temptation of St. Anthony (around 1505), Bosch’s only painting handed down in original version. Pieter Bruegel took concrete motives from it for his drawings, as is shown through enlarged details and their position in the triptych.

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Bosch in detail Till-Holger Borchert Ludion Editors Printed by Graphius 320 pages 32 x 25 cm, hard and soft cover Dutch, French, English and German Incl. free digital edition

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pocket guide

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CityZine

Ten years after the city guide CityZine gave the world of local advertising a new boost, you can find the hotspot guide in the better shops, restaurants, museums and cafés of all the big Flemish cities: Ghent, Bruges, Antwerp, Leuven, Mechelen, Kortrijk, Roeselare, Waregem and the Belgian coast. Is this a real success story? Youbetcha! CityZine originated out of the need of a high-quality city guide that would draw attention to shops, hotels and catering in a different, sexier way. Restaurants and shops spent their promotional budget on local advertising, but the return on investment was low. Nothing was moving. With the introduction of the annual hotspot guide CityZine a wind of change started blowing through this type of publications. Finally, there was a guide that anticipated the needs of the customers. From the start, CityZine approached things differently: much attention was spent to creative content, pure graphic design and professional photography, and everything was produced in high-quality print. Moreover, the distribution network was very large. “There was little understanding for our idea. Everybody seemed to think that launching a magazine in a period when everyone was starting with on-line advertising would be a disaster”, says Ferre Hindryckx, who founded the magazine. “But I was sure the need was there, I couldn’t ignore it. I saw that existing advertising magazines didn’t offer what I had in mind.”

User-friendly and full of information

must-haves, like the Snoecks yearbooks. Within ten years, they will be collector’s items. For the pocket guide is more than a compilation of hotspots: you get insider tips, information about events, a cultural agenda, recipes and interviews with famous city dwellers ... A jazzy collection of need to know/nice to know city information.

Largely available, also in the future “I am convinced that our magazine has a bright future and so is the CityZine-team”, says Hindryckx. In clear terms, this means that CityZine has the ambition to become the ultimate city guide, both on-line and off-line. In the meantime, the magazine is on the right track: thanks to the free iPhone-app, the new website and the presence on social media, everybody can find the hotspots in real time. In addition, the recently developed pocket-size map gives extra street visibility – this street plan is available in the better class hotels and B&B’s of Ghent, Bruges, Antwerp and Leuven. You can discover every city in the GENT blink of an eye. SHOPPING / FOOD / KIDS

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COVER.indd 1

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© Mie Buur

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children’s books

Attributive adjunct of

nonsense

“When Frank De Winne travelled into space, I was offered half a year’s wage to write a small book about space travel. No way. Still, I could have used the money, but it meant nothing to me. Quite the reverse, I am against space travel. I think they should use the money for healing sick children.” This statement is typical of Marc de Bel. Both feet firmly on the ground, deep-rooted in the clay of his beloved Kruishoutem. Since September 2014, he devotes himself to the fate of children in the BroeBelschool, although he doesn’t want to be involved in its daily operation: “I am a source of inspiration and that’s a conscious choice. The BroeBelschool is not my school, it’s a school where people try the best they can to teach according to my philosophy, which includes the three H’s. At the BroeBelschool 33% of attention is devoted to the head and knowledge, whereas 33% is reserved for the heart and artistic matters, and 33% is left for the hands, meaning children with technical talent.”

© Frieda Van Raevels

hope that the ball gets rolling and that still more schools join our system. I am sure that within fifty years people will say that the traditional education system was crazy: imagine, children doing three hours of homework a day … That’s atrocious, it’s nothing less than child abuse!

You read out loud in schools and at the occasion of certain events. Is this the most satisfying form of interaction for you? Seeing that children really enjoy your stories? At the beginning of the reading I put myself on a pedestal, but after a quarter of an hour I blow up that pedestal and take a real nose-dive. It gives me a glorious feeling, for children enjoy such an attitude. When I arrive, I am Mr. Marc de Bel. An hour and a half later I am Marc. I take children seriously and always stick up for them. Remember what Bredero said: Don’t blame youth, for parenthood is no good. The same applies to bullies: 99% is ill at ease. If you help those children, they will stop bullying. The remaining 1% are professional bullies. I haven’t yet figured out how we can help them. On the other hand, I also like giving theatrical performances of my books. When we arrive in a cultural centre, the first thing I do is look for a hole in the curtain, because I want to see all the faces when I am not on stage. I thoroughly enjoy myself when I see 300 happy faces in the theatre. It gives me a real kick when they all freeze at the same moment, or when they get the giggles or a lump in their throat, or when they move to the edge of their seats … That’s pure magic. I always ask to have some light in the room. I need to make eye contact, otherwise I cannot react.

What do you think of our traditional education system? I have been a teacher myself, in the fourth form. Once, one of the boys asked me to explain the grammatical dt-rules once again, but he couldn’t make head or tail of it. I looked at him and I said “It doesn’t work, does it?” “No,” he said, and he put his arm around my shoulder to comfort me, “but it doesn’t matter, sir.” Fantastic! That day, I received an incredible lesson in life! All my former pupils remember what I told them the last quarter of the week, but not one of them still knows the difference between an attributive and a predicative adjunct. Hello, that’s all nonsense! Can you form an opinion about the results of the BroeBelschool? The number of pupils increased from 75 to 145, so I think there is an obvious need for BroeBelschools. In September three new schools will start in Waregem, Deinze and Stekene. I sincerely

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You identify yourself with Nowan, the leading figure in your new children’s book. The story lacks authenticity if I cannot identify with a character. To a large degree I am Blinker, but not completely, the other half is my eldest son. He is much more of an inventor, he is very handy with mopeds. A long time ago a young girl was present at one of my readings. She was eleven years old and a strong fan of Blinker. But she was disappointed when she saw me. Actually, she was in love with Blinker and she hoped that I looked like him, but I was much older than expected. That girl married my eldest son. De Steen van Nowan is the official story book of the scouts. Are you an adventurous person? Once a scout always a scout. My years with the scouts were fantastic. My totem is Savage Buffalo. I have no idea where the buffalo came from, but now I would rather say that I am Diligent Buffalo. I cannot be idle, I go crazy in no time. Besides writing I love gardening, everything comes to a halt then. And I adore football, I would play every day!

© Kris Snoeck

Where did you get the idea for your first novel? I have always told stories in the classroom. But at the end of the school year my story about uncle Trotter was not quite finished. All the children wanted to know what was going to happen next. So I promised them that I would write five pages and copy the lot. Actually, those five pages became half a book. Afterwards, I also wrote out the other half which I had told in the classroom. I remember I had 99 copies, since I could only enter two figures in the photocopier. The first day at school the children asked me whether I had the five pages. I didn’t, but I gave each of them a copy of my book. I didn’t see myself as a writer then. Since then, I have produced about 154 books.

So you don’t comply with the image of the lonely writer? You are wrong, I am a lonely wolf. I like being alone, but I also like playing football and you cannot do that on your own. I started playing the game when I was a small boy and I have never stopped! I play football every week with fifteen good friends and after the game we all drink Orval, a Trappist beer. I do become a social person then. Please don’t take football away from me! The only thing I have to learn now is how to pass the ball. In spite of excellent sales figures and awards of youth juries the world of ‘serious authors’ doesn’t really appreciate you. But I don’t write for that world, I write for children! I have to admit that it did hurt me in the past. My second book got bad reviews and at the same time I was flooded with letters from children who wanted more. The Children and Youth Jury always awarded my books, but at some point a group of adults decided that they no longer wanted to nominate my books because I always won. They weren’t afraid to tell me so. Children and Youth Jury, that’s a joke! Last year my book Ule won the small Cervantes, which is awarded by the City of Ghent for Youth Literature. Twelve to fourteen year old children decided and that’s what matters to me. I don’t give a damn about the opinion of Germanic scholars. I have been telling stories to children for forty years now and what have they done? They are just an exclusive circle of friends who receive grants. I call them subsidy thieves. In thirty years of time I haven’t received one euro of subsidies from the Flemish Literature Fund, whereas others have collected millions of Belgian

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francs, because they write so-called literary children’s books. Ask the children what they think about those books. Two years ago you digressed onto literature for (young) adults. The Gallo-Roman Museum in Tongeren asked me to rewrite Caesar’s De Bello Gallico, but I thought it was a boring book. I asked them whether I could tell the story from the point of view of a girl that belonged to the losing camp. That was the basis for Epinona, a historically correct book. Next, I plunged into Nelle, the story of a witch who was burnt in Kruishoutem in 1634. This project was preceded by quite some research. I really must say that I like doing that. Your masterpieces are still to come? Yes, I really mean it. I have been writing for thirty years now: I have acquired professional skills. Practice makes perfect. I am no longer the same writer I used to be. If my books were dogs, you could say that my first scribblings were nice puppies that smelt of mother’s milk and licked the hands of the readers. Later on, they became more playful, running around and yapping courageously at the moon. Then they started growling, showing their teeth and attacking sacred cows. The book for young adults which I am writing now is the first one that will bite. But I will always write for young children, and those books don’t bite.

De Steen van Nowan is a publication of Van Halewyck printed by Graphius. We offer five books to adventurous children and their parents.


news ISO 9001 AND ISO 14001 CONFIRM QUALITY AND ENVIRONMENTAL MANAGEMENT

CONFERENCE IN CHICAGO For the next conference

Within the framework of our efforts

on our list we went all

towards quality management,

the way to the United

sustainable business practices and corporate social responsibility, we proudly announce that Graphius

States. From May

IN THE SPOTLIGHT AT THE PARIS BOOK FAIR

12 to 14, the Windy City hosted the 17th National Museum

has obtained the ISO 9001 (quality

REDUCTION CO2 EMISSION COMPANY CARS

management system) and ISO 14001

Gradually, Graphius has become

Publishing Seminar,

(environmental management system)

a fixed value at the Salon du

a meeting place for

certificates. Both ISO-standards are the

Livre in Paris. At the last edition

publishers and other

As a result of the rigorous

reference for “the production of high-

in March, we were assigned a

graphic companies with

implementation of our car

quality printing matter in compliance

nice site to put up our stand.

a feeling for museums.

policy we have succeeded

with the social and ecological values,

A remarkably young public

in reducing considerably the

and aiming at a high service level for a

visited the fair, partly due to

CO2-emission of our company

wide international clientele.�

the presence of about 3,000

cars. Since 2014 the average

Read more on pages 46-47.

authors, TV-personalities and

emission of the car fleet has

prominent politicians. On the

dropped from 123 to 116 g/km.

other hand, this also holds nice

In the cars we bought last year

prospects for the future of the

the counter indicates a mere

graphic sector.

107 g/km.

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magazine

1 1 B D 88-95_DB11.indd 88

Virage Glossy magazine 23/03/16 15:57

88-95_DB11.indd 89

with form and content

“There’s progress in all media. Glossy magazines without content are irrevocably over and done with.” Patrick Van Loo, publisher and editor of Virage, links shape to power. With his magazine he is moving up to a higher gear. Virage is the autonomous magazine for Aston Martin-owners and all those who love exclusive and exceptional British GT-cars. Virage, that by now goes into its sixth year of publication, is the result of a long friendship. “I became friends with René Michiels, who in 1984 was the

first Belgian importer of Aston Martin. In the first years of our friendship Aston Martin fell on hard times. In the period 1980-1990 René Michiels barely sold ten cars a year. Fortunately, these turbulent times ended between 2008 and 2010. Sales increased to more than 100 cars

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23/03/16 15:57


a year.” The perfect moment to reflect on a product that could provide significant added value. In consultation with his son Yves Michiels, who in the meantime had become in charge of the Aston Martinconcession, they decided to launch Virage, a glossy tailor-made magazine with form and content. “Virage has the exclusive rights on articles written by brilliant British journalists. Thanks to their contribution and the collaboration of the well-known Flemish editors Pierre Darge and Bart Lenaerts, Virage breathes new life into the passion of Aston Martin lovers. After all, Great Britain is the environment par excellence for luxury cars and therefore a reliable source.”

that guarantees peak performances. The DB11 will accelerate from 0 to 100 km/h in 3.9 seconds and reach 320 km/h. An electric power-steering rack enables GT, Sport and Sport Plus driving modes progressively hardening up the engine response, gear changes and automatic transmission. Other striking elements are the lightweight chassis – the lightest car Aston Martin has ever built – and the smooth riding experience. Is Aston Martin ready for the future? “Sure as hell”, confirms Van Loo. “With the arrival of ChinaEquity, Aston Martin has found a partner that can help to support the electric version of the Rapide S. A constructor who hasn’t prepared the car of the future will never survive within the motor industry.”

Improvement “When at the end of 2014 the German brand Daimler AG obtained 5% of the rights of ownership of the Aston Martin concern, we looked forward to new improvement – as yet the highlight being the brandnew DB11.” According to Aston Martin this is the most powerful, efficient and dynamic DB ever, and without any doubt the most innovative Aston Martin ever made since the origin of the brand about 103 years ago. One of the most striking changes is its powerful engine: an all-new twin-turbo 5.2 L V12 engine, producing 608 PS and 700 Nm, equipped with a rear-mounted 8-speed ZF automatic gearbox

VIRAGE MAGAZINE

N°10 - SPRING/SUMMER 2016.

www.virage-magazine.be

VULCAN FORCE

Virage and Graphius have the honour to invite ten readers to the premiere of the Aston Martin DB11, at the end of 2016 in Antwerp. SPECIAL BOND-CARS

NEW ASTON V12 DB11

TEST DB10 - 1966 DB6 1961 DB4 GT ZAGATO 1954 DB2/4 VIGNALE

FOR ASTON MARTIN OWNERS AND GT CAR ENTHUSIASTS PREFERABLY. VIRAGE MAGAZINE IS EEN TWEETALIGE LIFESTYLE MAGAZINE, BESTEMD VOOR ASTON MARTIN EIGENAARS, LIEFHEBBERS EN GERELATEERDE BEDRIJVEN. VIRAGE EST UN MAGAZINE LIFESTYLE BILINGUE DESTINÉ AUX AMATEURS ET PROPRIÉTAIRES D'UNE ASTON MARTIN, AINSI QU'AUX PARTENAIRES DE LA MARQUE.

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Take part in our contest if you would like to win tickets.


40


catalogue

Failing is never an option

“Beauty is often created on the bounds of the impossible, on the limit of failure or despair.” These are the words of Peter de Caluwe, general director-intendant at the Théâtre Royal de la Monnaie, mostly referred to as La Monnaie. What were the highlights of this season? Béatrice et Bénédict, an opera with the fraîcheur and beauty of a nocturnal spring breeze, opened our new site at Tour & Taxis. To me, the symbolic value of this success was great. Failing is never an option, but due to the unforeseen prolongation of renovation works and the challenges of an extramural season, every collaborator at La Monnaie was forced to excel and to anticipate in a creative way a number of constantly changing parameters. The nicest smile is the one you show in spite of everything. Likewise, the complicated circumstances in which our productions are made, give them a candid and vulnerable beauty.

applies to large scenic productions such as Sweeney Todd, which in fact hovers between opera and musical – it really is a wafer-thin boundary. But to the same extent this prevails for our concertante operas, our dance performances, our recitals and even our concerts. To what extent is Brussels the natural habitat of La Monnaie? In 1998 we celebrated our tercentennial: for over 300 years La Monnaie has been creating theatre and opera in the heart of Brussels. In many ways this institute is firmly embedded in Europe’s capital. Firstly, most of our employees live in Brussels. Next, there’s the way we approach our productions. Let’s take Mitridate, Rè di Ponto by Mozart for instance. In this piece we were inspired by the relevance of Brussels as the nerve centre of European politics. Moreover, the city’s diversity with all its communities and cultures also reflects the plurality of an art form such as opera. The coming years our Community Opera, which deals with the myths around Orpheus and Eurydice, and Layla and Majnun, will strengthen the bonds with the various communities in Brussels and take opera into the city.

What are your future plans for La Monnaie? 2016-2017 will be the season when we return to our familiar Théâtre Royal de la Monnaie, where we will entertain our public with a record number of new productions. Without giving up on our ambition to make present-day and innovative theatre, in a sense we go back to the Grand Operas, with works by Verdi, Wagner, Mozart of course, Puccini, Strauss … With respect to content, it will be a season of illusions, fantasies and delusions: somehow or other all our productions deal with desires, projections, hope and subjective perception.

Graphius prints the season catalogues

Sweeney Todd, which is scheduled for June, wavers between opera and musical. Is versatility an essential characteristic of the DNA of La Monnaie? The DNA of La Monnaie consists of the double helix of theatre and music. In the works we create and present there is an interaction between music and theatre. Of course, this

of La Monnaie. Sweeney Todd, the last production of 2015-2016, is scheduled from June 14 to 30.

41


boek

Mirror society

of

BelgiÍ gestript gives an enthusiastic summary of our colourful comic strip history and shows our country’s contribution to the Ninth Art.

42


Editor Alexis Dragonetti, managing director of Ballon Media, is aware of the educational role of Jommeke and his friends: “Jommeke is no pedantic, but an educative comic strip. The series started 60 years ago and since then more than 63 million copies have been sold. I think

that nearly every young Fleming has ever read a Jommeke-album!” But it would be wrong to put every comic strip in the same box and to label them as ‘children’s books’. Both children and adults read comic strips. About one out of ten books sold in Belgium is a comic strip. An excellent reason for Ballon Media to tackle the publication of België gestript, the ultimate reference book about Belgian comics. In this new comic strip bible, which deals with every possible subject, journalist Geert De Weyer portrays the complete national comic strip history. To Ballon Media, a fairly young company that started in 2008 out of the merger of two French publishing companies, the book is an up-to-date story. “We have the duty to write the sequel”, is Dragonetti’s ambition.

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Drawing by Stedho © Ballon Media, Dragonetti – 2015

When I was a boy in primary school, my parents always took me to the bookshop after I had received my school report. This was my reward for six months of diligent study. There I received the latest ‘Jommeke’. There’s no better motivation for a child than that. All the more since the fair-haired comic hero is himself an exemplary young guy and a symbol of great values such as friendship, respect and adventurousness.


© Dany

© Dupuis, 1965

Beer, chocolate and comic strips

Stern demands in France

Considering the fact that Ballon Media has the executive publishing rights for the Dutch versions of a huge range of French comic strips, it represents a considerable part of the Belgian comic strip world. For Dragonetti comic strips are one of the major Belgian export products, in addition to beer and chocolate: “Quite some series and characters haven proven to be timeless. The comic strip has contributed to establish Belgium’s reputation as a creative nation on an international level.”

België gestript leaves no stone unturned. A lengthy chapter examines the various forms of censorship Belgian comic strips had to deal with. While the exemplary reporter Tintin still met with the approval of the Church, the French censorship commission was quite another matter. In the fifties and sixties their conservative moral principles saw to it that the authors of comic strips never stepped out of bounds. Even when Belgian comic strips had cast off the yoke of censorship the authors were cautious. And the publishing firms kept their eye on things. “Today the world of comic strips has completely recovered”, says Dragonetti. “You find comic strips about every subject and for every niche. The comic strip has developed with its public, it has become mature.”

Needless to say that this has been a long-term process. The entrepreneur from Ghent distinguishes three generations of important strip cartoonists in Belgium: “The comic strip as we know it now was created at the end of the thirties and in the beginning of the forties by spiritual fathers Hergé, Morris, Vandersteen, Nys and Sleen. At the end of the seventies a new generation stepped into the limelight whose spiritual leader was, according to me, scriptwriter Jean Van Hamme. Spurred on by him and by others like William Vance, Philippe Francq and Marvano the comic strip matured. The third generation tries to approach comic strips from another angle. Brecht Evens, Judith Vanistendael, Wauter Mannaert, Simon Spruyt and others don’t really get engaged into series, they start from another angle and concentrate on artistic one-shots.”

However, this doesn’t mean that the comic does pioneering work. The publisher thinks that strip cartoons have always gone hand in hand with the spirit of the age. “Saying that Tintin in Africa is a racist book is a fairly absurd statement! The book was written in 1930, when our Occidental culture had a totally different perception of coloured people. Today it would of course be a politically incorrect attitude. For that reason, it may be necessary to put some clarification in the preface of a book, but you have to see comic strips as an expression of the spirit of the age.” As a result, it took quite some time before women got the heroic part in comic strips. “Gradually women

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BOOK

became the partners of men; they were treated on an equal footing. As a result of that social evolution Natacha, Yoko Tsuno and other heroines popped up in the comic shops. The same with LGB’s and other minority groups.”

different people. So you cannot say that they are expensive.” The editor really goes up the wall at stereotypes saying that comic strips diffuse children from reading real books or that they cause laziness to read. “I fundamentally disagree with such points of view. Studies have shown that comic strips stimulate reading since they are visually supported mediums that simplify the introduction to reading. Those studies have also proven that a paper medium like books stimulates reading more than computer screens or tablets.” Apart from stimulating reading, comic strips also have a potential as a tool for integration. “The characters of Jommeke and Suske & Wiske (Spike and Suzy) could be used to make playful presentations of our culture for immigrants and foreigners. In some comic strips you could even adapt the language. In that case decisions have to be made about the integration of comic strips in the advancement of reading. The world of politics isn’t quite aware of the dynamics within the world of comic strips. If we would apply the system of tax shelter to strips and if we stimulated creation, it would be easier to present ourselves as a land of comic strips with a rich cultural heritage.”

Two parallel universes In spite of the enormous production the world of Belgian comic strips is small and the artists get along very well. According to Dragonetti you could speak of a kind of corporation between kindred spirits. Usually, colleagues make harmless and at the worst anecdotal parodies. “Pornographic versions of the basic series contrast sharply with the usually positive family values of those comic strips. I know of the existence of a caricature of Lucky Luke. Maybe a thousand copies of this version have been spread, whereas the authentic Lucky Luke has sold over 300 million books.” (says Dragonetti giving a shrug) Otherwise the lonesome cowboy is a key figure, because for a long time and for no apparent reason Flanders took no notice of his spiritual father Morris, who was born in Kortrijk. Very strange, since the French market welcomed the gunslinger with open arms. “Morris is the best-known common element between two parallel comic strip histories”, summarizes Dragonetti. It is striking to see that the comic strip has existed and developed separately on both sides of the linguistic frontier. “To me this also proves that comic strips express a social reality. Cultural perception is largely separated. As a matter of fact French comic strips have had a larger influence on Flanders and Holland than vice versa. Even between Flanders and Holland there is a large cultural gap.”

Stories about a cat Finally, we ask Dragonetti to recommend three series of comic strips, one for each reading category. He doesn’t have to reflect long about the perfect comic strip for children, that’s unquestionably Jommeke. Secondly, he has two very different suggestions for adults who haven’t read comic strips for ages. “Gaston Lagaffe is a brilliant, multi-layered universe. And I recommend Largo Winch because of the splendid technical scenarios and the detailed drawing style.” What if he could suggest a book for someone who buys two comic strips a week? Dragonetti’s sparkling eyes betray that editing isn’t just a source of income, he really loves books. “I would certainly choose a story with an edge, like a graphic novel. My pick is ‘Sugar’ by Serge Baeken, because he succeeded in writing a terribly interesting book about a simple subject … the life of his cat.”

A paper medium with visual support Like an accomplished batsman Dragonetti hits worn-out clichés about the comic strip one by one out of the field. “Sometimes people ask me whether comic strips are only for children and nerds. This really is an old-fashioned perception. About half of the 3 million comic strips that are annually sold in Flanders are adult strips. I don’t think that they are only bought by geeks. Moreover, those books are passed on and therefore read several times by

België gestript was edited by Dragonetti, a label of Ballon Media, and printed by Graphius. Three copies are looking for a new owner. Further information on page 1.

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46


quality management

Taking

action

These last few months, Walter Anthonissen and Eric De Wolf completed an impressive course. Both men started their fascinating venture when, in January 2015, CEO Denis Geers laid down Graphius’ standards with regard to ISO 9001 (quality management) and ISO 14001 (environmental management). “A standard such as ISO 9001 is essential to any organi- tions were implemented. Whereas ISO 14001 is followed zation. Both large and small companies benefit from the up by an external environmental coordinator, from now implementation of a reliable quality management sys- on QA (Quality Assurance) Manager Eric De Wolf has the tem”, confirms Walter Anthonissen, SHEQ (Safety, Health, responsibility to put everything into practice and to Environment and Quality) Manager at Graphius. “Clients steer the collaborators. “Although I have a fairly large see that their requirements and expectations are con- range of duties, it essentially amounts to two vital pilverted into nice products, collaborators are happy and lars: supervising total quality control and coaching and motivated, shareholders look forward to a higher return motivating our collaborators. I act as a sounding board on investment, suppliers benefit from the increasing and mainly put forward proactive suggestions about collaboration and outsiders everything which can enhance or potential customers have a quality, both between the varireinforced positive public image ous departments as with regard of the company.” However, to end customers. Therefore, it one shouldn’t underestimate is very important to ensure that the preparation. “As a tool ISO every colleague at Graphius 9001 is used to introduce better gives full cooperation to our structures within the organizaquality barometers. Eventually, tion and to clarify tasks, responeverybody is jointly responsisibilities and competences. ble for the final products; at Furthermore, it goes without the same time, collaborators saying that it contributes to the can get relevant information QA Manager Eric De Wolf comprehension and controllafrom the registered and implebility of processes within an organization.” Anthonissen mented processes. How do we have to handle those took care of the theoretic component: he laid down all data? What action must the company take to improve the existing and new processes, competences, profiles existing quality processes? Those are the questions that and tasks for every collaborator in a manual. This pro- keep me sharp every moment of the day.” cess easily took up several months, twelve months to be precise.

“Clients of Graphius rightly expect an optimum realization of their requirements and expectations.”

Sounding board The real work started when the general quality manual was written and the ISO 9001 and ISO 14001 certifica-

47


expats

At home and

abroad

Both Juliette & Victor – L’Art de Vivre franco-belge – and the NederBelgischMagazine – Magazine voor Nederlanders in België – are first-class references on the market of lifestyle magazines and very much appreciated by their respective communities. uliette & ictor L'Art de Vivre franco-belge

Week-end Escapade à Barcelone

Racines Le palais de justice de Bruxelles Fiscalité Le travail belge surtaxé

Juliette & Victor n°54 - Avril - Mai 2016 - 6 €

In 2016 the NederBelgischMagazine has gone into its twentieth year of publication. Each month, the magazine offers useful ‘need to know’ and ‘nice to know’ information to Dutch citizens residing in Belgium. This monthly offers a large combination of solutions and possibilities for all kinds of fiscal and legal problems, insurance risks and financial issues. The magazine also publishes interviews and information about joint initiatives (this year, Flanders and Holland will be the guests of honour at the Frankfurter Buchmesse), tips for expats and advice about Belgium: cultural differences between Belgian and Dutch people, historical ties between both countries, tourism, culture, events and lifestyle.

results from its closeness to France and is strengthened by the appearance of the Thalys and by the Bons produits Choisir les predominant language, circuits courts French. One forgets Nos bons plans récup that Belgians also speak Flemish, a very complicated language. Once, I tried to learn it, but it really was too difficult. I know a lot of Parisian women who follow their husband to Belgium and who think that they will quickly find a job here. But if they don’t speak Dutch, it’s useless trying.” Among the classic sections of the magazine you will find surveys about various subjects, articles about current trends in the field of interior design and furniture, illustrated with coverages made in the most charming Belgian houses. Moreover, the magazine has pertinent articles about Belgian heritage and the practical aspects of everyday life – health, taxes, law, and so on – as well as practical ideas and good and well-known addresses. On the other hand ‘Juliette & Victor’ crosses the border with articles about French regions, neighbouring countries and far-off destinations. Lefebvre: “There is even a section called ‘Do you speak belge?’, where we try to unravel Belgianisms. Fifty per cent of our reading public is Belgian. The Belgian likes us because we love his country and because our magazine shows its nice sides,” concludes Lefebvre. Mobilier, mode, accessoires... toutes les adresses de seconde main

N°54 - Avril - Mai 2016 - 6 €

JV54 cover-OK-ak -2 HD.indd 1

French immigrants in Belgium But the expert advice is not limited to the Dutch community in Belgium. Juliette & Victor Magazine, the magazine for French people in Belgium and Belgians who love France, helps the French to discover their host country and the Belgian to (re)discover their own nation. Its reading public is equally divided between those two nationalities. Editor Alain Lefebvre very well remembers the outset in 2005. “A few weeks after my arrival I discovered that Brussels isn’t a French province. This distorted view on your country

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04/04/2016 17:54


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