He has reached the year age limit for board members of the three companies but remains chairman of the board of Dexia bank and of biotechnology group Thrombogenics. No need to repay state aid, says Peeters The Ostend Vismijn, or fish market, no longer has to repay aid it received from the city of Ostend, which the EU Commission had decided was illegal, Flemish minister-president Kris Peeters said last week.
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There were also benefits for fishing companies that brought their business to Ostend. The aid was contested by the vismijn at Zeebrugge and by the Dutch concern Visafslag, who said it was a distortion of fair competition. The Commission agreed and ordered the aid to be repaid in April last year. However, since then, the Ostend vismijn has merged with its Zeebrugge counterpart. Since the merger answers the question of competition, the Commission decided the aid no longer needed to be repaid.
Cafes with a terrace will have felt the effects of the sun. Instability in some countries of the Arab world, meanwhile, means further price rises could be on the way. Last week, budget minister Guy Vanhengel proposed a system for the new budget which would allow excise duty on petrol to be reduced as prices rise. Since higher prices bring in more VAT, he said, the measure would be budget-neutral, while holding prices down for consumers.
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It also doubles the size of Landbouwkrediet, following recent acquisitions of Europabank, the on-line Keytrade bank and the local assets and customer base of the failed Icelandic Kauphthing bank. The Flemish firm also set up Oceanflore, a joint venture with the Dutch IHC ship building and underwater technology company, to mine the sea bed for minerals and metals off the coast of New Zealand.
Apra Leven had made dubious investments in the Spanish and Rumanian property markets. From radio to stage After spending more than a decade re-inventing itself, the Flemish Radio Choir is taking another leap forward. But there is another outstanding Flemish vocal ensemble, even if it until relatively recently shunned the limelight somewhat, confining itself for too long to its historic recording studios at Flagey in Brussels.
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But the real turning point came with the appointment of Johan Duijck in , the year in which both the choir and the affiliated orchestra now Brussels Philharmonic gained their. He was succeeded in by the Danish Bo Holten, a great musician, composer and conductor, besides being an authority on Renaissance polyphony. An ensemble used to making studio recordings offers many assets to the choir. They are highly flexible and able to tackle any kind of repertoire; they give performances of high quality thanks to ample rehearsal time and are freed of box-office constraints. The a capella repertoire, with five or six programmes per season, is performed mainly in Brussels and Flanders — but also in Wallonia.
His three-year contract should see him spend eight to 10 weeks per year with the choir.
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He will continue to lead the member ensemble in a capella, as well as vocal-orchestral repertoire, focusing especially on Classical and early Romantic, not to mention the Prix de Rome series of which at least five double CDs are planned. Besides, our first mission is to perform contemporary and Flemish music.
Whereas the Austro-German repertoire is largely represented, there are huge stretches of early Romantic French choral-orchestral repertoire that demand to be rediscovered. But the previous days are not merely a warm-up. Letters to Europe, on Friday in the KVS, is an evening with more than 20 authors from all corners of the world, who will contemplate on Fortress Europe, still seen as the continent of milk and honey.
Rightfully so, or not? Thrown by the literature house of the same name, the festival collects authors from 30 countries and spreads them out across 24 different locations in Brussels. And on a few trains travelling to the capital. Travelling and literature seem to be intertwined, and far from only in travel literature.
Writers create their own fictional world into which they invite the reader. Every good book is like going on an expedition. On the final day of the festival is a writers' parcours: 20 spots in Brussels will be filled with writers reciting, reading, debating, being interviewed and challenging. He has promised to speak about the reader as a traveller gone astray, trying to find their way home by exploring the world through literature. Orhan Pamuk Orhan Pamuk, winner of the Nobel Prize for Literature — the only Turkish writer to receive that award — is the other guest of honour of the festival.
Regarding the controversy in nationalist Turkish circles about his work, this might turn out to be an explosive lecture. It gets better. Pim Jelle Florizoone is in wondrous awe of his friend Gino Mathias Vergels , a couple of years older and with a family Pim wishes he had instead of his own mother a mesmerising Yvette Bulteel , who lives in a faded beauty queen fantasy world with her accordion and revolving boyfriends. As the years go by, the two boys discover that their attraction goes beyond friendship.
Eventually, a sleep over in a tent in the dunes provides the perfect opportunity, as the camera pans away to ocean waves and curtains fluttering in the wind. Although Flemish films are very good at integrating. Defurne, 39, is trained as a video artist and has made a handful of short films. Those were two reasons for me to adapt this book and be faithful to it. I liked his style. The film is about making decisions now to do what you really want to do with your life. Give yourself the opportunity to follow your dreams. The team found the perfect s houses in the former, an amazing example of s modern architecture in the latter.
I want to show people what they can see when they close their eyes. His books are daring constructions that never feel like merely constructions, since they engage the reader strongly on an emotional level. So, rather than live in sin why not make our relationship official?
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Do you know that were are literally thousands of pieces written in 19th-century France, where the choir is often just accompanied by a violin, cello harp and harmonium? A bit earlier that day, in the nearby film school Rits, Mortier reads — in Dutch and French — from his first novel Marcel.
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Founded in , the workshop today counts the Louvre, Prado and Metropolitan museums among its many clients. But De Wit makes tapestries, too, carrying on a centuries-old tradition in Flanders, and passing on the craft to new workers. I never doubted that weaving would be difficult, but watching one of the workers on the loom highlights just how tricky it is. For starters, the weaver is looking at the back of the tapestry, not the front where the beautiful image is being formed.
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For an experienced weaver, this is completely natural, explains Van Tuerenhout, and she nowadays it is usually a she can immediately tell from the reverse side if the weaving is progressing well. An illustration of the image and numbers indicating particular colours to be used are placed underneath the warp lengths of yarn held taut , and then the weft lengths of yarn that are woven. The worker presses two pedals to control the warp and the weft. Needless to say, this whole intricate procedure, which to me looked like the artistic equivalent of playing the harp, takes years of practice.
The amount of time it takes to learn the craft is why De Wit is keen for prospective employees to see a job with them as something long term. Other requirements to become a tapestry weaver at De Wit are the ability to sew a button on properly, to work under stress and to be an absolute perfectionist. The work is, therefore, better suited to women, Van Tuerenhout says with a smile. That said, in the Middle Ages this craft was only done by men. The work is also slow going, with an experienced weaver only able to cover approximately the area of one hand in a day.
In earlier centuries, less work would have been done during the short, winter days because of the need to weave by daylight rather than candlelight. The speed of work also depends on which part of the tapestry is being woven, with a face clearly taking longer than a neutral area. In the past, certain weavers would become renowned for, say, animals or flowers, similar to how paintings were created in big workshops.
Such fascinating titbits of information are sprinkled throughout public tours, which also provides a wonderful lesson in how to view a tapestry. The borders, colours and signatures, for example, are all features to look out for and that help date the piece. In Flanders, the craft of tapestry essentially started in the midth century when wall tapestries were a luxury item that the rich. Royal Manufacturers De Wit works mostly on restorations of tapestries, shipped to them from across the world.
Tapestries were a symbol of wealth and also served as insulation for castle walls against both the cold of the winter and the heat of the summer. This constant back and forth led to a design change, with plain borders being added by the end of the 15th century in order to protect the tapestries during their journeys. This design development is a key factor that helps experts determine the date of a tapestry, Van Tuerenhout notes. From the practical border, more elaborate borders developed in the 17th century, to which were added once again smaller plain borders to avoid damage.
As of the 18th century, borders fell out of fashion as the tapestries were moved around much less. Another dating feature for tapestries is the range of colours, with early works having a much more limited palette. A further hallmark is a signature, which started to be added. The signature might be in the form of a name or a coat of arms. Accompanying many tapestries was a parchment acting as proof of quality and including details such as who ordered the work, its price and where it was manufactured.
All this information is like a treasure trove for archivists and experts.
Among its many resources, De Wit has a specialised library and a digital databank, with more than 14, tapestries inventoried, for iconographic and historical research. In addition to cleaning, restoring and making tapestries, De Wit also offers expert appraisal services and technical analyses of. De Wit can also hang tapestries in private or public premises or in particularly difficult places, having, for instance, taken down and re-hung the largest tapestry in the world in the main entrance hall of the United Nations building in New York. March 22 Doors open at The grand opening on 20 March offers interactive displays, films and samples of Limburg products.
Trix Noordersingel 28; It is at times playful, at times gruesome — just like being a teenager. Celebrating the spirit of youth, but not really the actual experience of it, the performers enact various scenes of adolescence, set in a tentscattered camp recognisable by anyone who has ever attended a summer musical festival.
These characters are rowdy, frustrated, profane, highly sexed. The polyglot cast continually builds up and tears down Babels of urges, desires and complaints as they constantly run the line between conformity and rebellion. Their dance depicts youth as a often violent struggle as they try to examine themselves and their place in national, political, religious, sexual and familial contexts.