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Table of Contents

Press release: Jeff Wall - The Crooked Path .................................................................................. 3 The Crooked Path............................................................................................................................ 5 From a Crooked Path Towards an Open End ................................................................................. 7 Room texts ..................................................................................................................................... 11 Biography of Jeff Wall .................................................................................................................... 15 Activities in the context of the exhibition ........................................................................................ 17

BOZAR LITERATURE .............................................................................................................. 17 BOZAR STUDIOS .................................................................................................................... 19

Visitor information .......................................................................................................................... 21 Press contacts ............................................................................................................................... 22 Attachment 1: Centro Galego de Arte Contempornea ................................................................ 23 Attachment 2: List of artworks in the exhibition ............................................................................. 24

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Press release: Jeff Wall - The Crooked Path 27 May 2011 11 September 2011 The Centre for Fine Arts presents The Crooked Path, an exhibition devoted to the Canadian photographer Jeff Wall. In this show, the artist creates a dialogue between his own works and those of other historical and contemporary artists such as Marcel Duchamp, Diane Arbus, Eugne Atget, Walker Evans, Frank Stella, Dan Flavin, Dan Graham, Carl Andre, Thomas Struth, David Claerbout and Andreas Gurski. Jeff Wall is undoubtedly one of the artists who profoundly influenced the art of the last three decades. Since the late 1970s the Canadian artist with his large-format photographs, displayed in light boxes has set out to redefine the paradigms of photography. Since the early days of his career, his images, with their references to the history of art and more particularly to classical painting, have reflected his conviction that it is possible to maintain a certain continuity even within the canons of modernism and his belief in the possibility of "painting modern life". The exhibition The Crooked Path looks at the context that favoured the development of Jeff Wall's oeuvre and seeks to present, via an extensive selection of his own works and those of other artists, a trajectory through the photographer's aesthetic concerns. The project explores the close interconnections between artists own creative process and the influences and questioning that have marked that process. Those influences have been pictorial, photographic, cinematic, literary, and documentary, in addition to the theoretical positions adopted by Wall himself. The exhibition aims to throw light both on the internal logic of his work and on the aesthetic experiences that have guided his decisions and his work as a whole. A great variety of themes that are integral to Wall's work are tackled in the exhibition: minimalism and the relation to scale, historical photography, conceptual and post-conceptual photography, literature, documentary photography, and many others. To illustrate these themes the artist himself has chosen 25 of his works, from the 1970s to today; these make up the core of the exhibition. The positioning of these works will set up specific relations with a selection of other works selected by the exhibition's curators, Jol Benzakin and Jeff Wall himself. Visitors will be able to compare Jeff Wall's works with the works of other historical and contemporary artists, such as Marcel Duchamp, Diane Arbus, Eugne Atget, Bill Brandt, Walker Evans, Robert Frank, Helen Levitt, Wols, Heinrich Zille, to artists closer to Wall's own generation, including Frank Stella, Bruce Nauman, Dan Flavin, Robert Smithson, Dan Graham, Douglas Huebler and others, and to a number of younger artists. The Crooked Path, accordingly, offers the spectator a broad overview of the relationships, connections, suggestions, and confrontations between ca 130 works of art. With the participation of Jeff Wall, a "dialogue" will be established with works that have influenced his work directly or indirectly and created a favourable context for the development of his thinking and for the directions he has taken in his work. This approach will help to reveal the complexity and fertility of his creative output. On the occasion of this exhibition a major catalogue will be published, whose original concept will be the direct result of the exhibition's "genesis" and will reflect its overall structure. Led by art historian Hans De Wolf numerous contributions by eminent specialists will embellish this publication which aims to be an innovative addition to the literature devoted to Jeff Wall. The exhibition is produced by BOZAR Centre for Fine Arts and will travel after Brussels to the Centro Galego de Arte Contempornea in Santiago de Compostella (Spain) where it will be held in autumn 2011.

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Literary audio guide Following the success of the first edition of Talking Paintings about Lucas Cranach, with poems by Stefan Hertmans and Astrid Lampe among others, deBuren and BOZAR are once again presenting a series of literary reactions to visual artworks. Six authors were inspired by six of Jeff Walls pictures and wrote prose miniatures in which the pictures are brought to life. These stories are available in the audio guide in Dutch, English and French. The six authors are Jean Bofane, Bernhard Christiansen, Caroline Lamarche, David Nolens, Yves Petry and Chika Unigwe. Curator: Jol Benzakin Scientific advisor and publication editor in chief: Hans Maria De Wolf Support: Rgion de Bruxelles-Capitale | Brussels Hoofdstedelijk Gewest, Embassy of Canada In collaboration with: Centro Galego de Arte Contempornea, Santiago di Compostela Partner: Thalys Sponsor: Nikon Belux

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The Crooked Path Excerpt from the catalogue Its a little path made by its users, without a plan, in order to do something that the usual administration could not or did not do so theres a slight trace of disobedience or independence people may do things that we cant predict. Jeff Wall The sheer quality of Jeff Walls work or rather the qualities, so rich is it with new perspectives and so influential has it been on the art of the last forty years is the stimulus behind this exhibition. Walls work is rich in writings too, acute observations about his own work and that of his forerunners and contemporaries. It is rich too in interpretations, expressed in his images; his work opens up new perspectives, constantly pushing the boundaries of photographic conventions. The hallmark of Jeff Walls large-format photographs is his use of light boxes which creates a cinematographic effect. Mises en scne of reality, a theatre of everyday life re-enacted by ordinary actors, often with a nod to pictorial models inspired directly by painting traditions, his work has transformed our traditional concept of photography, breaking new ground and creating a space for condensation where photography, as envisaged by the artist, can claim for itself the role of a painting of modern life. Jeff Wall is often described as a flneur an idle stroller observing scenes of daily life, singling out characters, attitudes, places and landscapes elements or notes which, after percolating through his mind, after he has dreamed about them, as he describes it, will be used to construct his images. This experience of reality, the time needed to allow the imagination to roam, together with his profound knowledge of pictorial tradition and his mastery of composition, are what form the richness of his work. Haunted by ghosts of a sometimes brusque reality, by remembrances of painting, objects, places, and literary figures, his works are imbued with a strange beauty, creating this space that lends itself to a shared imaginative journey to remain as if suspended. This exhibition unfolds non-chronologically, foregrounding subjects that are central to the artists explorations. Each stage is unique, focusing on a selection of Jeff Wall works and pieces by other artists. There are ten stations, like chapters in a visual narrative, placing us before significant pieces whose purpose is not to illustrate a subject but rather to express, through the images on display, a special experience the Jeff Wall experience. The path begins with reflections relating to Walls initial exploration of the physical and mental space of the studio, leading to experiments that resulted in seminal pieces such as The Destroyed Room or Picture for Woman, presented in relation to the works of other artists including Marcel Duchamp, Bruce Nauman, Chris Burden, Rainer Werner Fassbinder, and others closer to him like Ian Wallace and Rodney Graham. It ends with more recent photographs for which Wall no longer uses the transparent support of cibachrome mounted on a light box. Jeff Walls prime concern was to choose pieces for their particular importance to him and the degree to which they resonate with his own work, rather than to present a roll-call of major artists and photographers. Given the many major retrospectives and monographic exhibitions that have been devoted to Jeff Wall in recent years, we felt that this approach to understanding a piece, through a constant dialogue with Jeff Wall, with space for works of his own choice and for the relationships he has with the works of other artists, was the most appropriate. It also reflects a wish to place the emphasis on his special rapport with photography, critical to begin with and then gradually more peaceful, and in particular to highlight his role as a link, reinventing his medium to revive a broader pictorial tradition, permitting a continuity of the Tableau through images that are both complex and unique.

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The Crooked Path is a picture of Jeff Wall, the image of a narrow, winding path crossing a wasteland bordering an industrial zone. A fragment of nature neglected by galloping urbanization, a nebulous territory where nature regains the upper hand in an anarchic manner, a terrain that invites trafficking, shady deals, a path that tempts us to follow it, captures our gaze and offers a perspectiveThe Crooked Path is also the title of this exhibition, its ideal reflection, the narrow, unique passage that Jeff Wall has carved out for himself among the plethora of images. Jol Benzakin, curator of the exhibition

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From a Crooked Path Towards an Open End Excerpt from the catalogue The unique quality of the project presented here lies in the fact that this attempt at a comprehensive understanding of Jeff Walls oeuvre in light of its historical significance today has been made in close collaboration with the artist himself combining existing theoretical frameworks with very personal not to say purely subjective points of emphasis to arrive at a unique exhibition, which opens with a picture of a small landscape by the artist, called The Crooked Path. But how to translate the aforementioned ambitious intentions into a sister publication? From the outset, it was clear to me that a traditional catalogue format would not be sufficient for the task ahead. For this reason, I devised an organization into chapters, centered on interviews and entres, that aims to cover as accurately as possible the skein of opinions, reflections, historical facts, images and artworks from a variety of backgrounds and periods that is the present exhibition. Even here the crooked path functions as a perfect metaphor: however original the newly developed format may be, it also in itself illustrates that no book scheme will ever capture the complexity of Jeff Walls endeavour as an artist. Even when, as an editor, you can rely on the commitment of over thirty excellent contributors who are all acquainted with Jeffs work through different experiences, you unavoidably end with a new overall picture of the oeuvre that only approaches what constitutes the heart of its artistic essence. To work your way around the oeuvre seems to be the only option; you can take many directions, and you are free to follow or not to follow the crooked path. This introduction will not dwell on what follows in the book, as I believe it would be much more interesting to familiarize the reader with a number of analytical models that will allow him or her to move freely and with deeper understanding across the different chapters. Lets start with a model named after a famous Japanese movie. The Rashomon model In his 1950 masterpiece Rashomon, the Japanese cineaste Akira Kurosawa unfolds the simple story of how a samurai, travelling with his wife on horseback, is trapped in an ambush by a notorious bandit. Tied to a tree, the man is forced to witness his wifes violation and he is eventually murdered. Kurosawa famously set the action in a court context, which allowed him to relate the narrative from four different points of view, one for each of the films main characters, in addition to the (so to speak) neutral perspective of a lumberjack, who takes on the role of the obligatory bystander. The result is astonishing. The events are quickly told and are the same for all four of the characters. Beyond those mere facts the spectator, however, loses any grip on the situation because all the narratives constantly contradict each other. Our understanding of reality is suddenly replaced by another model, based on the coexistence of probabilities and narrative structures that cross each other in their complexity. It is a model that does not come with the need to stick to an absolute truth. This notion of the truth, however, is not abandoned either because it is replaced by the realization that, together, the coexistence of these different versions forms a more or less complete understanding of what is at stake, and certainly a more interesting one. I therefore suggest we relate the fundamental motivation of this Jeff Wall project to four similar lines of understanding, essentially intertwined. They operate and relate to each other according to a very similar model, fuelled by energies of negation and attraction, and together they are more or less complete.

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Without any pretention whatsoever that this selection of four is an exhaustive one (other spectators might come up with other combinations), I selected the following four lines of understanding. First: this project reflects on the relations between Jeff Walls oeuvre and notions of photography, from the archaic medium principles, via classical photography from the early days, to the sophisticated applications of younger colleagues today. It takes up the historical establishment of photography as a major medium in the visual arts, a change in perception in which Jeff Wall has played a major role. Second: the present project can be understood as a call for an attitude that celebrates inclusiveness and openness in the connections between the major canonical art forms. Each of them, however, still represents an autonomous body of qualities distinctive of the separate art forms that cannot be dismissed. This idea lies at the heart of Walls trenchant critique of certain practices of the Avant-gardes of the 1960s and later, such as Conceptual Art. He understands their insistence on the possibility of a tabula rasa as a starting-point for something new, as a mark of exclusiveness. Third: this project defends, in a variety of ways, the premise that all great art essentially takes its importance and historical continuity from its autonomy. In Walls own enterprise, this need for autonomy takes shape in a personal theory that explains the relation between the autonomy of the picture and the creative act that brings it into existence. Near Documentary, as Wall calls it, conveys that every great artwork is a construction that hopes to be experienced as something truthful, and at the same time expects to be revealed as artifice. (1) Fourth: in the last line of understanding, this project stresses that all great art is in principle part of and a response to a greater, cyclical understanding of the history of the arts, as Karl Schnaase would have called this. (2) This historical component should not be misunderstood for a sort of chronological order. Jeff Wall understands his relation to figurative art of the classical Avant-gardes (from Matisse to the Neue Sachlichkeit and later) as a continuing dialogue that still today holds relevance. At the same time, this approach to art history as an open, dynamic force allows us to understand the development of the medium of photography between the late 1960s and the 1990s as an important historical achievement in itself, leading to a strong affirmation of its legitimate place in the realm of the visual arts. This Rashomon model can be a tool in understanding how the different chapters of the book are intertwined. As a whole, it addresses the legitimate set of questions that every serious and comprehensive art project calls up: what place will the project hold in future generations memory? What will its influence be over the chapters of art history to be written? Where will the project surface in the canon of the visual arts as future generations shape that canon? The Mallarman model This model, which takes its name from the famous French symbolic poet heavily influential in the historical Avant-gardes from the late 19

th and early 20

th centuries, addresses the generic nature

of the artwork and the space of the artist in the creative act. In his theoretical writings, Mallarm stresses that the persona of the artist is often characterized by an unbearable aura of conceitedness (inherited from Romanticism) that inevitably leads to inner confusion. In his view, the artists role is much less the expression of an attitude and has a much more noble character. He considers it a combination of two conditions. On the one hand, he places the gifted medium (the quintessential body of consciousness) who suddenly understands (par un clat) the form of the artwork and the absolute need for it. This initial given, which Mallarm repeatedly relates to a constellation, is then completed by a second understanding of the artist as a dogged craftsman who realizes with painstaking effort, as closely as possible, his initial conception of the artwork.

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This part of the creative process calls for specific, medium-related skills, experience and mtier, and the presence of a varied body of knowledge that can enrich the project.(3) A second Mallarm-related motive brings in the figure of the spectator and serves as a counterpart to the first one. In fact, the spectator can only appreciate the artwork if he comes into direct contact with the materialized form of the artists initial idea. But when is this so? To the same extent that the artist ultimately has no access to the purely conceptual idea that lies at the basis of the artwork, the spectator can never access that essentially abstract realm. However, if his interest in the material form of the artwork is genuine, a variety of illuminated sub-ideas can shed light on the artwork for the spectator. Sub-ideas are by definition related to the initial abstraction they stem from and are equal in their diversity. This Mallarman model helps us to explain why Jeff Walls work has received such a prolific and varied critical fortune, and still does today. The majority of the approaches, interpretations and critiques dedicated to his work are the fruits of such an in-depth critical labour. The catalogues structure, in combining dialogues with citations and a myriad of entries by very different authors, is a direct response to this central idea of the Mallarman constellation, this higher mental order that attains its deepest significance in continually connecting related sources of knowledge and insights. The Medium model A third issue that needs addressing is the notion of medium. Jeff Walls oeuvre can well be considered a single, ongoing artists reflection on the changing conditions of his medium: photography. In using such a generic term, we have to remain alert because the word medium, when applied to the arts, functions as a linguistic shifter: it only receives its significance from the context in which it is used. And even so, one can impossibly pretend that the medium of photography is defined by the equipment needed and the techniques applied in the production of a picture. Staying clear here from a more fundamental debate, we might for the time being define medium as an instrumentalizer that operates in between the notion of mtier and the creation of art. On another level, where the notion of the medium can be understood in its historical consequences, we could distinguish between a medium that has been stable in its development for ages painting, for instance and a medium like photography that has gone through major paradigmatic shifts over the last decades, slowly acquiring a more stable, definite shape. In all the stages of his development as an artist, Jeff Wall has been driven by a desire to make a significant contribution to the affirmation of his medium in its canonical relation to other visual arts. And nowhere in his uvre is this idea that springs up in this exhibition as a leitmotif so delightfully developed as in a Certain Gust of Wind. Jeff Wall stages this large-scale photograph, conceived as a remake of a situation depicted in a print by the famous Japanese master Hokusai, in 1993, some 160 years after it was first printed. If we compare it to the original copy, we are amazed to see how minutely Wall has reconstructed a scene that in fact amounted to pure chance: under the pull of a sudden gust of wind, one of the figures in the open suburban landscape lets go of a pile of papers that the wind blows away. In Walls pictorial grammar, this picture can be read as a quintessential example of the artists understanding of photography as a form of cinematography. On a deeper level, however, something else appears to be at stake here. Just like his somewhat older colleague Utamaro, Hokusai built his lasting reputation on his skilled practice of Ukiyo-e, Japanese woodblock printing. In late 18th-century Japan, this medium was considered a popular art form wholly distinct from traditional Japanese painting and sculpture that gave daring evidence of a remarkable sense of liberty and spatial audacity in its depiction of

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scenes of everyday life in a towns popular neighbourhoods. Although what remains fascinating is the extent to which the conditions for approaching traditional environments in a novel manner seemed closely related to the medium of Ukiyo-e as such. At the same time, each of these beautiful prints is one that has been meticulously constructed. At this point, it becomes difficult not to see the similarities with Jeff Walls position as an artist of a different century, working in a medium of multiplication (though he refuses to see it as such), with a personal faith in the absolute power of that medium, to such an extent that he can make his point by shooting a remaking of a Japanese print that most likely came to him as an isolated image printed in a book of a by-now famous Japanese artist. I cannot think of a more touching way to pay homage to such an important artist other than by losing his connection with the aspect of multiplication. (4) But in this act, inevitably, something was lost the only timeless element in Hokusais print, the Fuji mountain. The catalogue model To conclude, I would like to address the creation of this catalogue as a model in itself. At the time we started working on this project three years ago, we were not immediately thinking about a particular catalogue model in the many in-depth conversations we had with Jeff Wall in his studio in Vancouver. But the more the unusual organization of the exhibition took shape, the more I understood that a traditional catalogue would not be able to render and measure up to the high ambitions of the exhibition. So I suggested a shift away from a structure in which a central source of knowledge dominates in the form of one or several authors, towards a model that celebrates a geodesic community of knowledge, one that could accommodate as many voices as there were corresponding issues to which they could be related. Presently structured into a clear sequence of chapters; it brings together ideas, thoughts and insights (like pieces in a puzzle) to produce a new global picture. With this difference: that the final puzzle picture we have ended with was wholly unpredictable. From this point of view, the catalogue can be read as a dynamic, intellectual companion to the exhibition, as a guide as well as a different source of experience that brings forth novel thoughts and questions much like Jeff Wall believes art should work: as an open and ongoing debate between past and future, as a never-ending and, more importantly, open-ended inquiry. Hans De Wolf, scientific advisor and publication editor in chief

(1) When dealing with the relation between the creative act and nature, Kant, in his Critique of Judgement, comes to a conclusion that is very similar to Jeff Walls understanding of Near Documentary. Together with two other citations, a meaningful excerpt of this theory opens this catalogue.

(2) Karl Schnaase, a student of Hegel, understood the notion of evolution in art not as a dialectical

process, chronologically directed towards the future, but as an ongoing cyclical continuity of ideas, held in periods that enlighten each other. He called it a synoptic view. This could explain why ideas from one period can be experienced as meaningful or not in another period. Michael Podro, The Critical Historians of Art (New Haven and London: Yale University Press, 1982), 3142.

(3) Mallarm developed those ideas in a collection of thoughts and reflections called Variations sur un sujet. Stphane Mallarm, OEuvres compltes (Paris: Gallimard (Bibliothque de la Pliade), 1992), 35368. For citations in English in this publication we refer to Mallarm, Selected Prose Poems, Essays, & Letters (Baltimore: The Johns Hopkins Press, 1956).

(4) Jeff Walls understanding of the notion of reproduction as related to photography forms the main

argument of the introduction to chapter 10 of this publication, titled: The Unique and its Properties.

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Room texts The hallmark of Jeff Walls large-format photographs since 1978 is his use of light boxes which creates a cinematographic effect. Mises en scne of reality, a theatre of everyday life re-enacted by ordinary actors, often with a nod to pictorial models inspired directly by painting traditions, his work has transformed our traditional concept of photography, breaking new ground and creating a space for condensation where photography, as envisaged by the artist, can claim for itself the role of a painting of modern life. This exhibition unfolds non-chronologically, foregrounding subjects that are central to the artists explorations. Each stage is unique, focusing on a selection of Jeff Wall works and pieces by other artists. There are ten stations, like chapters in a visual narrative, placing us before significant pieces whose purpose is not to illustrate a subject but rather to express, through the images on display, a special experience the Jeff Wall experience. Given the many major retrospectives and monographic exhibitions that have been devoted to Jeff Wall in recent years, we felt that this approach to understanding a piece, through a constant dialogue with Jeff Wall, with space for works of his own choice and for the relationships he has with the works of other artists, was the most appropriate. It also reflects a wish to place the emphasis on his special rapport with photography, critical to begin with and then gradually more peaceful, and in particular to highlight his role as a link, reinventing his medium to revive a broader pictorial tradition, permitting a continuity of the Tableau through images that are both complex and unique. The Crooked Path is a picture of Jeff Wall, the image of a narrow, winding path crossing a wasteland bordering an industrial zone. A fragment of nature neglected by galloping urbanization, a nebulous territory where nature regains the upper hand in an anarchic manner, a terrain that invites trafficking, shady deals, a path that tempts us to follow it, captures our gaze and offers a perspective The Crooked Path is also the title of this exhibition, its ideal reflection, the narrow, unique passage that Jeff Wall has carved out for himself among the plethora of images. 1. 1970s This room shows some of Jeff Wall's first transparencies, made in the later 1970s, accompanied by a selection of works by other artists who were influential in helping him establish a starting point for the new kind of photography he began to make at this moment. There are other photographs, literary works, films, performances, and sculptures; this suggests the complexity of the origins of Jeff Wall's work, and, by implication, of any artwork. 2. Scale and Minimalism Jeff Wall has emphasized that his ideas about the size and scale of his pictures were affected by painting and sculpture from many periods, but in a decisive way by the painting and sculpture of the 1960s. This room includes works by four Minimalist and post-Minimalist artists whose works were particularly significant for Wall's development, along with one of his largest works, The Storyteller, made in 1986.

I grew up looking at paintings by Pollock, de Kooning, Kline, Newman and Rothko, and their work fascinated me because of its largeness. That wasnt just in the size of the paintings, but also in the emphatic nature of the address to the viewer, which I saw as also an address to oneself, a challenge to oneself. The next group of New York artists Stella, Andre, Judd and the others made that largeness somewhat more material and immediate. They took away the interiority that was so important in the Abstract Expressionists. I didnt really like that withdrawal, but the look of the art was interesting anyway. And maybe it is partly that externalization that brings aspects of minimalist art

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close to the atmosphere of photography. In any case, I know that my interest in life-scale depiction was set off in part by Pollock and Stella and the others, and at the same time by figurative painting in the tradition of Velzquez and Manet. If you think about that in an intellectual or art-historical way, it might seem odd and self-contradictory, but thats not the way I see it. Or, if it is self-contradictory, then that must be something positive.

Jeff Wall. The Crooked Path, exhibition catalogue, Brussels, 2011 3. Cinematography Jeff Wall has often used the adjective cinematographic to describe his work, in the sense that the presentation of his pictures, their staging, the quality of their light and their size bear much resemblance to cinematic art. For Jeff Wall, cinema is the synthesis of three functions: painting, theatre and the technique of photographic reproduction. From the moment it emerged, cinema took hold of the narrative functions previously reserved to painting. In this room, he has selected passages from a number of films as exemplars of the qualities of cinematography he looks for both in film and in his photography.

I preferred Mouchette to Week-end, and I was interested in the conservation of classical codes of cinema as in the work of Bunuel, Rohmer, Pasolini, Bergman, Fassbinder and Eustache, all of whom produced new things in a manner I would qualify as non-Godardian or even counter-Godardian. Eustaches La Maman et la putain had an extraordinary effect on me. () What these authors did was to distance themselves from the energy of the radical thought that comes from a direct questioning of the medium, and increase the pressure they could exert on more or less normative, existing forms that seemed to embody this medium. They accepted, in a radical way, what the artistic form had become over the course of its history. They accepted its technique, generic structure, narrative codes, and the performance problematics; but they stood out from the decorum of the dominant institutions, like the production companies, or, in Europe, the national cinema agencies. Essais et Entretiens, Jeff Wall 1984 2001, cole Nationale Suprieure des Beaux-Arts, Paris, 2004

4. Photography 1900-1965 These two rooms present a selection of outstanding photographs by artists whom Wall considers the most significant in the mainstream tradition of art photography since the beginning of the 20th century. Even though he developed by diverging from this essentially 'documentary' tradition, he considers it one of the inescapable foundations of any approach to photography.

My whole ambition was to make pictures, to give myself the ability to make them, and, by making them, to transform my relationship to photographic aesthetic. Photographic practice became essential. As I said, I had lost the battle, there was nothing outside of photography, I was a photographer and all the rhetoric about artists using photography no longer interested me. When I reached this point, I became far more sensitive to classical photography. In pictures by Walker Evans or Wols who I still consider the two greatest , I recognised an impressive perfection, insurmountable in a way. Essais et Entretiens, Jeff Wall 1984 2001, cole Nationale Suprieure des Beaux-Arts, Paris, 2004

5. Jeff Wall Room 1 This room includes a selection of lightbox works by Jeff Wall dating from the mid-1980s until recent years. Most of them are in a mode he calls 'near-documentary'. They are not documentary photographs but rather are made with the collaboration of the people who appear in them. These works, which seem to be snapshots of real life, are in fact situations that have been reconfigured by the artist, who brings into play amateur or occasional actors in carefully chosen places and

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decors. They are reconstructions of reality, observed and analysed by Jeff Wall. These pictures are fictions that are close to reality. Nevertheless, Wall considers that their Realism brings them into a close, although complicated, relationship with documentary photographs. 6. Photography, Conceptualism and Post-Conceptualism Photography was transformed and expanded by the work of new artists working in the medium in the period after 1965. In this room, we present a selection of work from some of the most important figures in this development. The documentary tradition is continued in much of this work, but in new ways. This period also saw the establishment of colour photography as a central aspect of the medium, something which had not been widely accepted earlier.

Ive always liked the pictures of Dan Graham and have had a good time standing around watching him make some of them, in Vancouver, in the 1970s and 1980s. They have that unpolished, slightly amateurish quality that Dan, and maybe only Dan, has made into something sophisticated and even mannered. He deliberately relates to vernacular photography, but does so in a way that is mediated by a taste for Walker Evans, an understanding of Evans interest in the failed things that he captures either just as they emerge in culture, or as they have collapsed into detritus. Dan always considered his photography as a sort of hobby, and as note-taking for his other work. His attitude is the complete opposite of mine, and thats got something to do with why I am so fond of his pictures. Jeff Wall. The Crooked Path, exhibition catalogue, Brussels, 2011 Roy Arden is one of my best friends; Ive known him for around 25 years, and we have an ongoing discussion about art and photography thats very important to me. Hes got great knowledge about all the arts, and I think his taste is really interesting. Hes also done quite a few different things and is interested in changing himself and his work, so theres a complex evolution over time with him. The four selections from his Fragments group of work were done in this period, in the first half of the 1980s, when we first got to know each other. Theyre clearly part of a tradition of poetic objectivity, poetic reportage, or the prose poetry of photography. Ive admired their invention, form, and intimacy for a long time and I know I share some of this sensibility. Roy is completely familiar with all the raisons dtre of conceptual art and the things that come out of it, and some of his other work of the 1980s and 1990s relates strongly to that, but Fragments are a kind of resistance against the so-called innovations of the 1970s and 1980s, a statement of affinity with sheer picture-making. Jeff Wall. The Crooked Path, exhibition catalogue, Brussels, 2011

7. Jeff Wall Room 2 Walker Evans, whose work appears in room 4, and who is one of the principal figures in the photographic canon, once said: 'Theres no book but whats full of photography. James Joyce is. Henry James is. Thats a pet subject of mine how those men are unconscious photographers.' Jeff Wall has had a continuing interest in the relations between photography and literature, though he has approached it in a way very different from Walker Evans. This room includes some pictures in which Wall has made in connection with specific works of literature, as well as some examples of literary forms that have had an influence on his development in this direction. 8. Contemporaries This room presents work by a number of artists whom Jeff Wall considers colleagues and friends. Their work, in painting, photography, and sculpture gives a sense of the range of the depictive arts today.

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9. Contemporaries The relation between static and moving images has become one of the central features of the development of art in the past 30 years. This room presents the work of two artists whose cinematic approach is informed by still photography in exemplary and complex ways. 10. Jeff Wall Room 3 In the mid-1990s Jeff Wall began to work in black & white photographs on paper, done in the traditional chemical method, alongside the transparencies that were previously his exclusive medium. Since that time he has branched out further, making non-illuminated colour prints beginning in 2008. This room presents a selection of more recent work in colour and black and white, and includes a new picture, Boy falls from tree (2010), shown for the first time in this exhibition.

I think that my relation to photography is changing. For a long time, it was necessary to contest the classical aesthetic of photography, which was rooted in and lay claim to the factual, both inside and outside of art. I recognise that this ambition is well founded, but I dont believe it can itself found an aesthetic of photography, of photography as art. I could solve this problem by making photographs that cease to lay claim to the factual, while evoking it implicitly for the viewer. I attempted to do so by highlighting the relations between photography and other pictorial arts, in particular painting and cinema. In both of these, the status of the factual is more subtle and sophisticated. I thought of this as a mimesis of the other arts, something that was only possible for photography. I realised later that this mimesis was founded on photography itself. Essais et Entretiens, Jeff Wall 1984 2001, cole Nationale Suprieure des Beaux-Arts, Paris, 2004

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Biography of Jeff Wall Born Vancouver, British Columbia, Canada, 1946 Education M. A. , Art History, University of British Columbia,

Vancouver, British Columbia, 1964-1970 Doctoral Research Courtauld Institute, University of London, London, England, 1970-1973

Awards Audain Prize for Lifetime Achievement in the Visual Arts, 2008, Vancouver, British Columbia The Paul de Hueck and Norman Walford Career Achievement Award for Art Photography, 2001, Ontario Arts Council, Canada Erna and Victor Hasselblad Foundation International Award in Photography, 2002, Gotteborg, Sweden Roswitha Haftmann Prize for the Visual Arts, 2003, Zurich, Switzerland

Selected Solo exhibitions 2010 Jeff Wall, Galerie Marian Goodman, Paris, France

Jeff Wall. Transit, SKD Staatlichen Kunstsammlungen Dresden, Kunsthalle im Lipsiusbau, Dresden, Germany

2009 Jeff Wall, Marian Goodman Gallery, New York, New York 2008 Jeff Wall, Marian Goodman Gallery, New York, New York 2007 Jeff Wall: Exposure, Deutsche Guggenheim, Berlin, Germany

Jeff Wall, The Museum of Modern Art, New York, New York / The Art Institute of Chicago, Chicago, Illinois / San Francisco Museum of Art, San Francisco, California Marian Goodman Gallery, New York

2005 Jeff Wall, Photographs 19782004, Schaulager, Mnchenstein, Basel Photographs 1978-2004, Tate Modern, London, England

2006 Galerie Marian Goodman, Paris, France 2004 Astrup Fearnley Museum, Oslo, Norway

Marian Goodman Gallery, New York, New York 2003 UCLA Hammer Museum, Lobby Gallery, Los Angeles, California

Jeff Wall: Landscapes, Norwich Castle Museum and Art Gallery, Norwich, England Jeff Wall, Photographs, MUMOK (Museum of Modern Art Ludwig Foundation), Vienna, Austria

2002 Marian Goodman Gallery, New York, New York Hasselblad Center, Gteborg, Sweden Galerie Marian Goodman, Paris, France MUMOK (Museum of Modern Art Ludwig Foundation), Vienna, Austria

2001 Marian Goodman Gallery, New York, New York Jeff Wall: Figures & Places, Museum fr Moderne Kunst, Frankfurt am Main, Frankfurt, Germany

1999 Mies van der Rohe Foundation, Barcelona, Spain Jeff Wall: Oeuvres 19901998, Muse dArt Contemporain, Montreal, Quebec

1998 Marian Goodman Gallery, New York, New York Here and Now II: Jeff Wall, Henry Moore Institute, Leeds, England Jeff Wall: Photographs of Modern Life, Museum fr Gegenwartskunst, Basel, Switzerland

1997 The Museum of Contemporary Art, Los Angeles, California; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Art Tower Mito, Mito, Japan

1996 Museum of Contemporary Art, Helsinki, Finland Jeff Wall: Landscapes, Kunstmuseum Wolfsburg, Wolfsburg, Germany Stdtische Galerie im Lenbachhaus, Munich, Germany

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1995 Marian Goodman Gallery, New York, New York Museum of Contemporary Art, Chicago, Illinois Jeu de Paume, Paris, France

1994 Museo Nacional Centro de Arte, Reina Sofia, Madrid, Spain Neue Gesellschaft fr Bildende Kunst Galerie, Berlin, Germany Deichtorhallen, Hamburg, Germany De Pont Foundation for Contemporary Art, Tilburg, The Netherlands Stdtische Kunsthalle, Dsseldorf, Germany

1993 Kunstmuseum Luzern, Lucerne, Switzerland; Irish Museum of Modern Art, Dublin, Ireland Fondation Cartier pour lart contemporain, Jouy-en-Josas, France The Childrens' Pavilion (a collaborative project with Dan Graham), Museum Boymans-van Beuningen, Rotterdam,The Netherlands

1992 Louisiana Museum, Humlebaek, Denmark Marian Goodman Gallery, New York, New York Centre for Fine Arts, Brussels, Belgium

1991 San Diego Museum of Contemporary Art, San Diego, California 1990 Jeff Wall 1990, Vancouver Art Gallery, Vancouver, British Columbia; Art Gallery of

Ontario, Toronto, Ontario The Ydessa Hendeles Art Foundation, Toronto, Ontario The Carnegie Museum of Art, Pittsburgh, Pennsylvania

1990-89 The Children's Pavilion (collaborative project with Dan Graham), Marian Goodman Gallery, New York,New York; Galerie Roger Pailhas, Marseilles, France; Fonds Regional dArt Contemporain,Rhne Alpes, Lyons, France; Galerie Chantal Boulanger, Montreal, Quebec; Santa Barbara Contemporary Arts Forum, Santa Barbara, California

1989 Marian Goodman Gallery, New York, New York 1988 Le Nouveau Muse, Villeurbanne, France

Westfalischer Kunstverein, Mnster, Germany 1987 Young Workers, Museum fr Gegenwartskunst, Basel, Switzerland 1984 Jeff Wall: Transparencies, Institute of Contemporary Arts, London, England; Kunsthalle,

Basel, Switzerland 1983 The Renaissance Society, University of Chicago, Chicago, Illinois 1979 Installation of Faking Death (1977), The Destroyed Room (1978), Young Workers

(1978), Picture for Women (1979), The Art Gallery of Greater Vancouver, Vancouver, British Columbia

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Activities in the context of the exhibition

BOZAR LITERATURE

Prose for Jeff Wall: Six writers draw inspiration from his photographs Audio guide & literary nocturne (06.09.2011) For the second time the Flemish-Dutch House deBuren and BOZAR LITERATURE have joined forces to present an encounter between literature and the visual arts. On the first occasion, a number of Belgian and Dutch poets gave a poetic voice to a painting by Lucas Cranach. This time, prose writers were invited to write short pieces of prose in response to a work by Jeff Wall. As before, their prose miniatures are included in the free audio guide and can be read in the exhibitions special publication. That Jeff Wall manages to inspire writers to produce striking prose is partly down to the literary content of his work. Wall's photographs, which he refers to as prose poems, not only look like stories they are in fact often inspired by them. One room of the exhibition is devoted to three of Wall's literary photographs, which refer directly to works by Ralph Ellison, Franz Kafka, and Yukio Mishima. The relevant extracts from those works are also included in the audio guide. The three authors that inspired Wall served as a searchlight for BOZAR LITERATURE and deBuren to select contemporary prose writers that have the narrative force of those classic writers: In Koli Jean Bofane, Bernhard Christiansen, Caroline Lamarche, David Nolens, Yves Petry and Chika Unigwe. An exclusive literary nocturne will take place at BOZAR on the 6

th of September. Each writer

will be reciting their work and giving information on how they were inspired by Jeff Walls photography.

About the writers In Koli Jean Bofane (1954, DR Congo) lives in Belgium. He had already written a number of books before publishing his first novel in 2008, Mathmatiques congolaises (Actes Sud). The novel won three literary awards. Caroline Lamarche (1955, Belgium) is one of French-speaking Belgium's most successful writers. She has published six novels and in 1996 was awarded the Prix Rossel for Le jour du chien. Yves Petry (1967, Belgium) is one of the most remarkable voices of the new wave of Flemish prose writers. His latest novel, De Maagd Marino (2010), inspired by "the Rotenburg Cannibal", was awarded the Libris Literature prize 2011. Chika Unigwe (1974, Nigeria), one of the first immigrant writers to be published in Flanders, made her literary debut in 2005 with De Feniks. This was followed by the novel Fata Morgana (2007), an English translation of which was published in 2009 by Jonathan Cape as On Black Sisters' Street. Her third novel, Nachtdanser, appeared earlier this year.

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Bernhard Christiansen (1967, Germany) is a writer, a literary performer, a cabaret artist, and a man of the theatre. In 2007 he won the NK Poetry slam. His first book, a collection of poetry in Dutch entitled Nu daarentegen (2011), was published recently. David Nolens (1973, Belgium) is one of the best-kept secrets of young Flemish prose writing. He made his debut in 2004 with the novel Vrint. His recently published novel De kunst van het wachten (2011) is a journey full of "anxious joy" through our times. The audio guide and the visitors guide (EN-FR-NL) are available for free. Prose for Jeff Wall is a collaboration between BOZAR LITERATURE and Vlaams-Nederlands Huis deBuren - www.deburen.eu

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BOZAR STUDIOS

BOZAR STUDIOS, the arts education department of the Centre for Fine Arts, is pulling out all the stops for the Jeff Wall exhibition. The kids and their parents will be discovering Jeff Walls photography thanks to a Family Kit and /or a summer course organized for children between 6 and 12. On the contrary to the Family Kit, which is exclusively about Jeff Wall, the summer courses offer activities related to all the exhibitions running during the summer. Two reachable and play concepts to discover contemporary art and its varied forms. FAMILY KIT (6+)

This summer, BOZAR STUDIOS and Jeunesse et Arts Plastiques focus on the talent of Jeff Wall. The Canadian photographer, a master at setting a scene, leaves nothing to chance. In six steps, our Family Kit introduces children to this complex art, following in the footsteps of a master. Sets, casting, make-up, scenario, shot, special effects, editing, and cropping will no longer hold any secrets for them. Enriched by this new experience, the children will bring home with them all their DIY materials and a and a 3-D peep-box, a veritable staged scene from a story that they have made up from scratch.

Age: From the age of 6 Days and hours: 27.05 > 11.09.2011 Tue > Sun 10am > 6pm Thu 10am > 9pm

Price: 3,00 (valid for 1 kid)

Entrance to the exhibition Jeff wall: 8,00: full price 6,00: +60 / groups / -26 5,00: MYBOZAR 2,50: schools / -18 4,00: job applicants / teachers Free for children under 12

SUMMER COURSES (6-12)

This summer, BOZAR STUDIOS will be exploring contemporary art with children between six and twelve years old. On the programme are the discovery of Jeff Wall's world of photography and the work of Young Belgian Painters in all its shapes and colours. There will also be a chance to meet

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some brilliant Polish contemporary artists. A festive vernissage to showcase our children's creativity will be the perfect end to this week-long course. Last but not least, the children will be able to develop their own photographs in a darkroom especially set for the occasion !

Age: 6 > 12 (in groups: 6 > 7, 8 > 9, 10 > 12)

Days: FR: 11.07 > 15.07.2011 01.08 > 05.08.2011 22.08 > 26.08.2011 NL: 04.07 > 08.07.2011 25.07 > 29.07.2011 08.08 > 12.08.2011

Programme: 8:30am > 9:30am Child care 9:30am > 12pm Creative workshop 12pm > 13pm Lunch (the children bring their own food) 13pm > 16pm Creative workshop 16pm > 17pm Child care

Price: 105,00 (job applicants -50%)

Subscriptions: T +32 (0)70 344 577 | groups@bozar.be

Info: T +32 (0)70 344 577 | www.bozar.be

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Visitor information Jeff Wall The Crooked Path Address Centre for Fine Arts Rue Ravensteinstraat 23 1000 Brussels Dates From Friday 27 May 2011 to Sunday 11 September 2011 Opening times Tuesday to Sunday, 10 am to 6 pm Thursday, 10 am to 9 pm Closed Mondays Tickets 8 (for discounts, see www.bozar.be) ! Exceptionally with audioguide included ! Combitickets 9,00: Jeff Wall + Beyond the Document 12,00: Jeff Wall + The Power of Fantasy 15,00: Jeff Wall + The Power of Fantasy + Beyond the Document Guided visits on Thursday evening Dates: 02/06, 09/06, 16/06, 23/06, 07/07, 21/07, 04/08, 18/08, 01/09 Hours/language: 18:00: Dutch, 19:00: French, 19:30: English Tickets: 4,00 - 3,00 (-26/+60) + exhibition ticket Catalogue Jeff Wall. The Crooked Path Publication in English 255 pag. Publisher: BOZAR BOOKS and Ludion 34,90

BOZAR info & tickets +32 2 507 82 00 info@bozar.be www.bozar.be

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Press contacts Centre for Fine Arts Rue Ravensteinstraat 23 1000 Brussels Annelien Mallems Press Officer FESTIVAL, WORLD MUSIC, ARCHITECTURE T. +32 (0)2 507 84 48 T. +32 (0)479 98 66 04 annelien.mallems@bozar.be Eve-Marie Vaes Senior Press Officer BOZAR MUSIC, CORPORATE T. +32 (0)2 507 84 27 T. +32 (0)475 75 38 72 eve.marie.vaes@bozar.be Laura Bacquelaine Press Officer BOZAR THEATRE, DANCE, LITERATURE, CINEMA, STUDIOS T. +32 (0)2 507 83 91 laura.bacquelaine@bozar.be Mlissa Henry Press Officer BOZAR EXPO from 1

st of July 2011.

T. +32 (0)2 507 83 89 melissa.henry@bozar.be Leen Daems Press Officer BOZAR EXPO On maternity leave until 1

st of December 2011.

Pictures can be downloaded from our website: www.bozar.be/press

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Attachment 1: Centro Galego de Arte Contempornea The Centro Galego de Arte Contempornea (CGAC) is both a museum and an art centre;

precisely because of this twofold mission, its duty is to assemble a contemporary art collection which is usually exhibited once a year, while also organising an annual programme of temporary exhibitions which are accompanied by a series of activities in order to strengthen them and bring them closer to different sectors of the public. The rich inheritance gathered through its historylocated in Santiago de Compostela, the CGAC was one of the first museums of contemporary art to be inaugurated in Spainand the foundations laid through sixteen years of work, have brought about one of the most impressive collections and a list of exhibited artists among museums of its kind.

The CGAC is a space for thought, investigation and cultural diffusion, focusing on

contemporary art, its core objective being the promotion of a wider knowledge and apprec iation of art, strengthening the art scene, putting Spanish artistic production into perspective in relation to the international creation and reflecting on the diversity of cultural expressions in contemporary society.

Planned in 1984 and inaugurated in 1993, this centre can be set within the policy of cultural

normalisation which started in the decade of the eighties with the aim of promoting the development of cultural infrastructuresvery scarce in Spain at the timeand favouring the entry of Galicia in the international art scene. From its birth, the CGAC has been exhibiting the main trends of art in the last decades through self-organised exhibitions with a constant sense of awareness towards the surrounding context, setting up retrospectives on internationally established artists as well as exhibitions devoting to the promotion of Galician art, including both reputed artists as well as emerging ones. Also, the consistently present collaborations with other institutions are strengthened through long-term projects and initiatives focused on investigation as the main energy source of the exhibition projects.

Furthermore, beyond the exhibiting space, the CGAC is a dynamic and multidisciplinary

centre, which holds series of conferences, artist-driven workshops and incursions in the fields of music, scenographic arts and cinema, thus allowing for the direct participation of the public and favouring the exchange of views among professionals of different fields. As flagship of art in Galicia, and due to its autonomic territorial responsibility, many of these projects and public programmes are held outside the museum, by collaborating with local institutions and the faculties of History of Art and Fine Arts of the Galician universities whilst constantly observing specific aspects of its social and plural reality.

Indeed, society and the circumstances defining our present are incorporated into the art

world; they are visible in the works of art and constitute part of the concerns of all artists. Hence, the spaces within this centre are open to social, aesthetic and ideological debates, which influence CGACs own collection and run of publications, thus constituting a series of narratives intertwined within current debates and affairs. CGAC Centro Galego de Arte Contempornea Ra Ramn del Valle Incln s/n 15704 Santiago de Compostela Spain Ph. (+34) 981 546 629 www.cgac.org

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Attachment 2: List of artworks in the exhibition Jeff Wall The Crooked Path, 1991 Transparency in lightbox, 135 x 165 cm Friedrich Christian Flick Collection im Hamburger Bahnhof Jeff Wall Morning Cleaning, Mies van der Rohe Foundation, Barcelona, 1999 Transparency in lightbox,187 x 351 cm Courtesy of the artist Marcel Duchamp Manual of instructions for the Assembly of tant donns: 1 La chute deau, 2 Le gaz dclairage, 1966 Black vinyl binder with gelatin silver photographs, drawings and manuscript notes on paper and on photographs in graphite, colored inks, and paint in clear vinyl sheet protectors, Binder: 29,5 x 25 x 4,5 cm Philadelphia Museum of Art: Gift of Mme Marcel Duchamp, 2010 Marcel Duchamp Landscape collage on plywood (study for landscape backdrop of tant donns: 1. La chute deau, 2. Le gaz dclairage), 1959 Collage of cut gelatin silver photographs over paper, with paint, graphite, crayon, ballpoint-pen ink and adhesive on plywood panel with pressuresensitive tape, 66,99 x 99,38 cm Philadelphia Museum of Art: Gift of Mme Marcel Duchamp, 2010 Jeff Wall Edited by the Art Gallery of Greater Victoria April 11 June 3 1979 Exhibition catalogue Coll. Jeannette & Jeff Wall Jeff Wall Picture for Women, 1979 Transparency in lightbox, 142,5 x 204,5 cm Courtesy of the artist Jeff Wall The Destroyed Room, 1978 Transparency in lightbox, 159 x 235 cm Courtesy of the artist Rodney Graham The System of Landors Cottage. a pendant to Poes last story, 1987 312 p., binded. Interpolation by the artist in Edgar Poes last story Landors Cottage Limited print of 250 copies numbered by the artist, 24 x 16 cm Yves Gevaert, Anghiari Rodney Graham [La Vranda], 1989 2 vol. binded, not cut and maintained by a printed strip (image and text) Limited print of 100 copies numbered and signed by the artist, 17 x 11,5 cm Yves Gevaert, Anghiari Rodney Graham Reading Machine for Lenz, 1993 Printed paper, glass, plexi-glass, stainless steel, wood, 55,4 x 60 x 20 cm Friedrich Christian Flick Collection im Hamburger Bahnhof Rodney Graham Lenz book 22,5 x 15 x 3,5 cm Coll. Jeannette & Jeff Wall

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Bruce Nauman Walking in an Exaggerated Manner Around the Perimeter of a Square, 1967-68 10 min, 16 mm film on video Electronic Arts Intermix Ian Wallace The Calling, 1977 Black and white photograph, 118 x 144,8 cm Rennie Collection, Vancouver Ian Wallace The Studio, 1977 Black and white photograph, 113 x 144,8 cm Rennie Collection, Vancouver Rainer Werner Fassbinder, The Bitter Tears of Petra von Kant, 1972 Courtesy the Rainer Werner Fassbinder Foundation Chris Burden Chris Burden: 71-73, 1974 Black binder (Deluxe Edition Book) of 53 photographs, including 8 in color, 25 drawings and 1 typed comment and 1 sketch Color, black and white photography, text on paper, 7 x 29 x 29,5 cm Collection FRAC Limousin Frank Stella Newstead Abbey, 1960 Metallic paint on canvas, 301 x 183 cm Stedelijk Museum, Amsterdam Frank Stella Six Mile Bottom, 1960 Metallic paint on canvas, 3000 x 1822 mm Tate, London Carl Andre 4x25 Altstadt rectangle, 1967 100 plates in steel, 0,5 x 200 x 1250 cm Muses royaux des Beaux-Arts de Belgique, Bruxelles Koninklijke Musea voor Schone Kunsten van Belgi, Brussel Carl Andre Square Piece (for Martin and Mia Visser), 1967 Steel, 1 x 200 x 200 cm Krller-Mller Museum, Otterlo, formerly in the Visser collection Dan Flavin The Diagonal of May 25, 1963 Tl-lamp (11v), 235,7 x 8 x 8 cm Coll. S.M.A.K., Stedelijk Museum voor Actuele Kunst, Gent Jeff Wall Storyteller, 1986 Transparency in lightbox, 229 x 437 cm Courtesy of the artist Lawrence Weiner A 36'' x 36'' Removal to the Lathing or Support Wall of Plaster or Wallboard From a Wall, 1968 The Siegelaub Collection & Archives at the Stichting Egress Foundation, Amsterdam Robert Bresson Mouchette, 1967 1967 Argos Films Jean Eustache La Maman et la putain, 1973

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Pier Paolo Pasolini Accattone, 1961 Courtesy SNC (Socit Nouvelle de Cinmatographie) Steven Soderbergh The Informant!, 2009 Courtesy Warner Bros and Bevrijdingsfilms Michael Haneke Das weie Band, 2009 Courtesy Les Films du Losange & Cinart Ingmar Bergman Persona, 1966 Courtesy Svensk Filmindustri Luc and Jean-Pierre Dardenne Lenfant, 2005 Courtesy Les Films du Fleuve & Cinart Luis Buuel Los olvidados, 1950 Courtesy Juan Louis Buuel Terrence Malick Days of Heaven, 1978 Courtesy Paramount Pictures Stanley Kubrick Barry Lyndon, 1975 Courtesy Warner Bros and Bevrijdingsfilms Franois Truffaut Les 400 coups, 1959 1959 Les Films du Carosse / Sedif Diane Arbus Untitled (1), 1970-1971 Gelatin silver print, 50,3 x 40,5 cm Purchased in 1979 Centre Pompidou, Paris Muse national dart moderne/Centre de cration industrielle Diane Arbus The House of Horrors, Coney Island, N.Y., 1962 Silver bromide gelatin, reprint, 36,3 x 34 cm Museum Folkwang, Essen Diane Arbus Untitled (7), 1970-1971 Gelatine silver print, 50,7 x 40,6 cm Purchased in 1979 Centre Pompidou, Paris Muse national dart moderne/Centre de cration industrielle Diane Arbus Couple Arguing, Coney Island, 1960 Gelatin silver print, 35,6 x 27,9 cm Fraenkel Gallery, San Francisco Diane Arbus Boxer with a Punching Bag, N.Y.C., 1964 Gelatin silver print, 50,8 x 40,6 cm Fraenkel Gallery, San Francisco Eugne Atget Abbeville (Somme), before 1900 Matte albumen silver print, 17,6 x 22,6 cm The Museum of Modern Art, New York. Abbott-Levy Collection. Partial gift of Shirley C. Burden

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Eugne Atget Moulin (Somme), before 1900 Gelatin silver print, 17,7 x 31,9 cm The Museum of Modern Art, New York. Abbott-Levy Collection. Partial gift of Shirley C. Burden Eugne Atget Cour, 7 rue de Valence, 1922 Matte albumen silver print, 17,8 x 22,7 cm The Museum of Modern Art, New York. Abbott- Levy Collection. Partial gift of Shirley C. Burden Eugne Atget Intrieur de Monsieur T., Ngociant, rue Montaigne, 1910 Albumen silver print (gold toned), 23,5 x 17,5 cm The Museum of Modern Art, New York. Modern print by Chicago Albumen Works from the original negative in the Abbott-Levy Collection, The Museum of Modern Art Eugne Atget Porte dAsnires. Cit Trbert, 1913 Gelatin silver printing, 17,4 x 22 cm The Museum of Modern Art, New York. Abbott-Levy Collection. Partial gift of Shirley C. Burden Eugne Atget Porte dItalie, zoniers, 1913 Gelatin silver print, 17,3 x 21,3 cm Coll. Jeannette & Jeff Wall Bill Brandt In the Public Bar, At Charlie Browns, Limehouse, c. 1942 Gelatin silver print, 27 x 31,9 cm The Museum of Modern Art, New York. Gift of the photographer Bill Brandt Parlourmaid Drawing a Bath, Mayfair, 1936 Gelatin silver print, 35,3 x 30,5 cm The Museum of Modern Art, New York. Purchase Walker Evans Bed, Tennant Farmhouse, Alabama, Hale County, Alabama, 1935 Gelatin silver print, 61 x 50,8 cm Victoria and Albert Museum Walker Evans Couple at Coney Island, New York, 1928 Gelatin silver print, 25,4 x 17,1 cm Private collection, San Fransisco Walker Evans Houses in Negro Quarter of Tupelo, Mississippi, 1936 Gelatin silver print, 19,6 x 24,5 cm The Museum of Modern Art, New York. Gift of the photographer Walker Evans Interior Detail of Portuguese House, 1930 Gelatin silver print, 20,3 x 15,4 cm Private collection, San Francisco Walker Evans [Subway Passenger, New York City], 1938 Gelatin silver print, 13,6 x 20,32 cm Private collection, San Francisco Walker Evans Westchester, New York, farmhouse, 1931 Gelatin silver print pasted on cardboard, 18 x 22,1 cm Purchased in 1984 Centre Pompidou, Paris Muse national dart moderne/Centre de cration industrielle

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Robert Frank Funeral - St Helena, South Carolina, 1955 Gelatin silver print, 31 x 47,2 cm Private collection, San Francisco Robert Frank Convention Hall, Chicago, 1956 Silver bromide gelatin, 22,5 x 34 cm Museum Folkwang, Essen Robert Frank Butte, Montana, 1956 Gelatin silver print, 29 x 44 cm Coll. Jeannette & Jeff Wall Raoul Hausmann Ohne Titel (Untitled), 1931 Gelatin silver print, 17,4 x 23,7 cm Berlinische Galerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur Raoul Hausmann Ohne Titel (Waschschssel) (Untitled (washing bowl)), 1931 Gelatin silver print, 15,7 x 20,4 cm Berlinische Galerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur Raoul Hausmann Ohne Titel (Untitled), c. 1931 Gelatin silver print, 16,4 x 21,1 cm Berlinische Galerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur Raoul Hausmann Ohne Titel (Vera Broido) (Untitled (Vera Broido)), c. 1931 Gelatin silver print, 21,9 x 17,6 cm Berlinische Galerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur Helen Levitt New York, 1938 Gelatin silver print, 26 x 17,3 cm Coll. Jeannette & Jeff Wall Helen Levitt New York, c. 1945 Gelatin silver print, 33,8 x 25 cm The Museum of Modern Art, New York. Gift of the photographer Helen Levitt New York, 1980 Dye transfer, 40 x 52 cm Collection de lInstitut dart contemporain, Villeurbanne/Rhne-Alpes Peter Hujar Boy Rubbing His Eye, Southbury, 1957 Gelatin silver print, 38 x 37 cm Coll. Jeannette & Jeff Wall August Sander Menschen des 20.Jahrhunderts Sekretrin beim Westdeutschen Rundfunk in Kln, 1931 (People of the 20th Century Secretary at West German Radio in Cologne), printed 1995 Gelatin silver print, 26 x 14,7 cm Die Photographische Sammlung/SK Stiftung Kultur, Cologne August Sander Menschen des 20.Jahrhunderts Junger Nationalsozialist, 1941 (People of the 20th Century Young National Socialist) printed 1999 Gelatin silver print, 26 x 17,5 cm Die Photographische Sammlung/SK Stiftung Kultur, Cologne

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August Sander Menschen des 20.Jahrhunderts Maler [Heinrich Hoerle], 1928 (People of the 20th Century. Painter [Heinrich Hoerle]), printed 1995 Gelatin silver print, 26 x 20,3 cm Die Photographische Sammlung/SK Stiftung Kultur, Cologne August Sander Menschen des 20.Jahrhunderts Jungbauern, 1914 (People of the 20th Century. Young Farmers), printed 1992 Gelatin silver print, 26 x 18 cm Die Photographische Sammlung/SK Stiftung Kultur, Cologne August Sander Menschen des 20.Jahrhunderts Zigeunerin mit Kind, um 1930 (People of the 20th Century. Gypsy Woman and Child), printed 1993 Gelatin silver print, 25,6 x 19,8 cm Die Photographische Sammlung, SK Stiftung Kultur, Cologne Alfred Stieglitz Excavating - New York, 1911, print c. 19241934 Gelatin silver print, 8,7 x 11,6 cm Collection of George Eastman House Weegee (Arthur Fellig) The Loser (This was a friendly game of Bocci), c. 1939 Gelatin silver print, 26 x 33,5 cm Coll. Jeannette & Jeff Wall Weegee (Arthur Fellig) Cab Crash, c. 1941 Gelatin silver print, 26,7 x 33 cm International Center of Photography Weegee (Arthur Fellig) V-J Day Rally in Little Italy, 1945 Gelatin silver print, 27,3 x 34 cm International Center of Photography Wols (Alfred Otto Wolfgang Schulze) Tramp, Cassis, 194041 Gelatin silver print, 16,5 x 16,5 cm Coll. Jeannette & Jeff Wall Wols (Alfred Otto Wolfgang Schulze) Ohne Titel (Wrstchen) (Untitled (sausages)), 193839 (re-printed in the 50s or 60s) Gelatin silver print, 23,8 x 17,8 cm Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden Wols (Alfred Otto Wolfgang Schulze) Gebrochene lngliche Form (Elongated fractional shape), 19381939 (reprinted in the 50s or 60s) Gelatin silver print, 23,9 x 17,8 cm Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden Wols (Alfred Otto Wolfgang Schulze) Untitled (skinned rabbit with comb), c. 1930 Printed from the original negative in 1981 by Griffelkunst Vereinigung, Hamburg Coll. Roy Arden, Vancouver Wols (Alfred Otto Wolfgang Schulze) Untitled (Aalto stool with arrangement of materials), c. 1930 Printed from the original negative in 1976 by Georg Heusch Coll. Roy Arden, Vancouver Heinrich Zille Wilde Mllkippe in Charlottenburg (Illegal Waste Dump at Charlottenburg), 1898 Gelatin silver print, 20,7 x 26,2 cm Berlinische Garlerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur

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Heinrich Zille Zwei Frauen Ziehen und Schieben gemeinsam den Handkarren durch den Sand. Blick auf die Knobelsdorffbrcke, (Two Women Pulling and Pushing by Hand a Cart in the Sand. View from the Knobelsdorff Bridge), 1898 Gelatin silver print, 19,9 x 25,9 cm Berlinische Galerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur Heinrich Zille Zelt mit Bildtafel eines Bnkelsngers, (Tent with a Minstrels Gallery), September 1900 Gelatin silver print, 20,9 x 26,2 cm Berlinische Galerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur Heinrich Zille Blick auf Fensterbrett im Hinterhof, (View of Window Sill im Hinterhof), 1898 Gelatin silver print, 20,7 x 26,1 cm Berlinische Galerie Landesmuseum fr Moderne Kunst, Fotografie und Architektur Robert Smithson Monuments of Passaic, 1967 Six photographs, one cut Photostat map, 41,2 x 36,2 cm The National Museum of Art, Architecture and Design, Oslo Douglas Huebler Variable Piece = 11 Rowley, Massachusetts, 1971 Photograph and paper, 110,8 x 105 cm; 28,5 x 21,5 cm Coll. S.M.A.K., Stedelijk Museum voor Actuele Kunst, Gent Dan Graham Homes of America,1966-1967 Lithograph edition, 56,5 cm x 77 cm Coll. Jeannette & Jeff Wall Dan Graham Line Queuing for Telephone House, Perth, Australia; Picnic Trays, Bayonne NJ, 1966 Two color photographs, 88,3 x 63,5 cm Courtesy Marian Goodman Gallery, New York & Paris Dan Graham Glass Office Building/ Window Highway Restaurant, 19781969 Two color photographs, 64,14 x 82,55 cm Courtesy Marian Goodman Gallery, New York & Paris Hans-Peter Feldmann Bilder, 19681974 Paper, variable dimensions Courtesy of the artist Stephen Shore Presidio, Texas, February 21, 1975, 1975 C-print, 50,8 x 61 cm Courtesy of 303 Gallery, New York Stephen Shore El Paso Street, El Paso, Texas, July 5, 1975, 1975 C-print, 50,8 x 61 cm Courtesy of 303 Gallery, New York Stephen Shore Sutter Street and Crestline Road, Fort Worth, Texas, June 3, 1976, 1976 C-print, 50,8 x 61 cm Courtesy of 303 Gallery, New York Jean-Marc Bustamante Tableaux (T.17.80), 1980 Cibachrome, 103 x 130 cm Courtesy Xavier Hufkens Gallery, Brussels Jean-Marc Bustamante Tableaux (T.16.80), 1980 Cibachrome, 103 x 130 cm Courtesy Xavier Hufkens Gallery, Brussels

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Craigie Horsfield Michal Ronikier, Wyspianskiego 6, Krakow, May, 1976, 1990 Unique photograph, 140,5 x 140,5 cm Private collection, London Roy Arden Flea Market, Paris (from Fragments), 19811985 Archival pigment print, 20,32 x 20,32 cm Courtesy of the artist Roy Arden Kevin Hatt #1 (from Fragments), 1981-1985 Archival pigment print, 20,32 x 20,32 cm Courtesy of the artist Roy Arden Red Wine, Vancouver (from Fragments), 19811985 Archival pigment print, 20,32 x 20,32 cm Courtesy of the artist Roy Arden Self Portrait # 1 (from Fragments), 19811985 Archival pigment print, 20,32 x 20,32 cm Courtesy of the artist James Welling HC 1981 48, 1981 Inkjet print, 99,7 x 75,6 cm Courtesy of the artist and David Zwirner, New York James Welling HC 1981 50, 1981 Inkjet print, 99,7 x 75,6 cm Courtesy of the artist and David Zwirner, New York James Welling HC 1981 52, 1981 Inkjet print, 99,7 x 75,6 cm Courtesy of the artist and David Zwirner, New York James Welling HC 1981 53, 1981 Inkjet print, 99,7 x 75,6 cm Courtesy of the artist and David Zwirner, New York Andreas Gursky Klausenpass, 1984 C-print, 43,2 x 49 cm Courtesy of the artist Andreas Gursky Ratingen, Schwimmbad, 1987 C-print, 131 x 107,5 cm Courtesy of the artist Andreas Gursky Dsseldorf, Terrasse, 1980 C-print, 43,2 x 49 cm Courtesy of the artist Andreas Gursky Zrich II, 1985 C-print, 43,2 x 58 cm Courtesy of the artist Thomas Struth Crosby Strasse, New York, 1978 Gelatin silver print, 29,5 x 40,6 cm Private collection

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Thomas Struth Wolbecker Strasse, Mnster, 1986 Gelatin silver print, 42 x 58 cm Private collection Thomas Struth Friedrich Engels Strasse, Leverkusen, 1980 Gelatin silver print, 42 x 58 cm Private collection Thomas Struth Yamaguchi-Shi, Yamagushi 1986 C-print, 40,5 x 58 cm Private collection Thomas Ruff Portrait (Bettina Ebert), 1983 C-print, 24 x 18 cm Courtesy of the artist Thomas Ruff Portrait (Stefan Demary), 1983 C-print, 24 x 18 cm Courtesy of the artist Thomas Ruff Portrait (Ralf Mller), 1986 C-print, 210 x 165 cm Courtesy of the artist Garry Winogrand Los Angeles, 1964 Gelatin silver print, 27,9 x 35,6 cm The Estate of Gary Winogrand, Courtesy Fraenkel Gallery, San Francisco Garry Winogrand Los Angeles, 1969 Gelatin silver print, 27,9 x 35,6 cm The Estate of Gary Winogrand, Courtesy Fraenkel Gallery, San Francisco Garry Winogrand New York, c. 1970 Gelatin silver print, 27,9 x 35,6 cm Private collection Garry Winogrand New York, 1970 Gelatin silver print, 27,9 x 35,6 cm The estate of Gary Winogrand, Courtesy Fraenkel Gallery, San Francisco Jeff Wall Insomnia, 1994 Transparency in lightbox, 172 x 213,5 cm Courtesy of the artist Jeff Wall Mimic, 1982 Transparency in lightbox, 198 x 228,5 cm Courtesy of the artist Jeff Wall In Front of a Nightclub, 2006 Transparency in lightbox, 226 x 360,8 cm Courtesy of the artist Jeff Wall Milk, 1984 Transparency in lightbox, 205 x 249 cm Collection FRAC Champagne-Ardenne

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Jeff Wall A woman with a Covered Tray, 2003 Transparency in lightbox, 164 x 208,5 cm Courtesy of the artist Jeff Wall Overpass, 2001 Transparency in lightbox, 214 x 273,5 cm Coleccin Telefnica Jeff Wall A man with a Rifle, 2000 Transparency in lightbox, 226 x 289 cm Courtesy of the artist Jeff Wall Man in Street, 1995 Two transparencies in one lightbox, each 54 x 66 cm Krller Mller Museum, Otterlo Andr Breton Nadja, Paris, Ed. de la Nouvelle Revue Franaise, 1928 19 x 12 x 1,8 cm Bibliothque nationale de France Documents : Doctrines, archologie, beaux-arts, ethnographie, Georges Bataille directeur de la publication, 1929 Bibliothque nationale de France Jacques-Andr Boiffard Nous nous faisons servir dehors par le marchand de vins, c. 1928 Late silver print, 24 x 17,2 cm Private collection; Courtesy Galerie 19002000, Paris Jacques-Andr Boiffard Je prendrais pour point de dpart place de Grands Hommes, c. 1928 Late silver print, 17,2 x 12,8 cm Private collection; Courtesy Galerie 19002000, Paris Jacques-Andr Boiffard Cames durs Late silver print, 23,8 x 17,7 cm Private collection; Courtesy Galerie 19002000, Paris Jacques-Andr Boiffard Le Sphinx Htel, c. 1928 Late silver print, 12 x 8,5 cm Private collection; Courtesy Galerie 19002000, Paris Jeff Wall Odradek, Tboritsk 8, Prague, 18 July 1994, 1994 Transparency in lightbox, 229 x 289 cm Courtesy of the artist Jeff Wall After Invisible Man by Ralph Ellison, the Prologue, 19992000 Transparency in lightbox, 174 x 250,5 cm Courtesy of the artist Jeff Wall After Spring Snow, by Yukio Mishima, chapter 34, 20002005 Transparency in lightbox, 57,5 x 74 cm Courtesy of the artist Jeff Wall Diagonal Composition, 1993 Transparency in lightbox, 40 x 46 cm Courtesy of the artist

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Jeff Wall The Thinker, 1986 Transparency in lightbox, 211 x 229 cm Courtesy of the artist Kai Althoff Untitled, 2010 Oil, acrylic and varnish on wool, 132,1 x 121,9 cm Private collection, New York Roy Arden Crow, 2000 Gelatin silver print, 71,12 x 88,9 cm Collection of the Vancouver Art Gallery, Vancouver Art Gallery Acquisition Fund Roy Arden Gutter with Rags #1, 2000 Gelatin silver print, 27,94 x 35,56 cm Courtesy of the artist Roy Arden Gutter with Rags #2, 2000 Gelatin silver print, 27,94 x 35,56 cm Courtesy of the artist Roy Arden Barcelona, 2009 Mixed media on paper, 43 x 53,3 cm Courtesy of the artist Roy Arden Prague, 2009 Mixed media on paper, 33 x 28 cm Courtesy of the artist Patrick Faigenbaum Peaches, plums and lemon I, 2005 C-print, 81 x 68 cm Courtesy of the artist Patrick Faigenbaum Peaches, plums and lemon II, 2005 C-print, 81 x 68 cm Courtesy of the artist Patrick Faigenbaum Im Oslebshausen Park, 1997 C-print, 97 x 122 cm Courtesy of the artist Stephen Waddell Still Life with Leg Fragment, 2009 Archival pigment print, 36 x 46 cm Courtesy of the artist Stephen Waddell Woman at Table, 2009 Archival pigment print, 76 x 94 cm Courtesy of the artist Christopher Williams Bergische Bauernscheune, Junkersholz, Leichlingen, September 29th, 2009, 2010 Archival pigment print on cotton rag paper, 43,8 x 55,9 cm Courtesy of the artist and David Zwirner, New York Christopher Williams Femme, monument, 1970. Kunstgieerei Bonvicini, Verona. Bronze, 250 x 100 x 50 cm. Museum Frieder Burda, Baden-Baden. Bronze with black patina, signed and numbered with engraving Miro EA 2 June 9th, 2010, 2010 Gelatin silver print, 56,7 x 46,7 cm Courtesy of the artist and David Zwirner, New York

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Christopher Williams Window (with Pedestal). Set and pedestal built by Paul Persighetti, Object Design Persighetti, Leysiefen 9a, Leichlingen, Germany Studio Thomas Borho Oberkasseler Str. 39, Dsseldorf, Germany November 16th, 2010, 2010 Gelatin silver print, 46,7 x 56,5 cm Courtesy of the artist and David Zwirner, New York Christopher Williams Blsing G 2000, Blsing GmbH, Essen Modell: Christoph Boland November 15th, 2010, 2010 Archival pigment print on cotton rag paper, 44,5 x 55,9 cm Courtesy of the artist and David Zwirner, New York Kerry James Marshall Portrait of Nat Turner with the Head of his Master, 2011 Acrylic on PVC panel, 88,9 x 72,4 cm Courtesy the artist and Jack Shainman Gallery, New York Martin Honert English Teacher, 2011 Polyurethan, sand, glass, c. 50 x 50 x 150 cm Courtesy Johnen Galerie, Berlin and Matthew Marks Gallery, New York Luc Tuymans Foundations, 2008 Oil on canvas, 192 x 128,5 cm Private collection, Belgium David Claerbout Sections of a Happy Moment, 2007 Single channel video projection, black and white, stereo audio, 25'57'' Courtesy of the artist Mark Lewis Prater Hauptallee, Dawn and Dusk, 2008 Video projection, 18'11'' Courtesy of the artist Mark Lewis Walworth Road (Rosa Miguel, age 32, August 22, 2009), 2010 Video projection, 7'41'' Courtesy of the artist Mark Lewis Willesden Laundrette; Reverse Dolly, Pan Right, Friday Prayers, 2010 Video projection, 4'40'' Courtesy of the artist Jeff Wall Rear, 304 E. 25th Ave., May 20, 1997, 1.14 & 1.17 p.m., 1997 Gelatin silver print, 246,6 x 363,5 cm MACBA Collection. Fundaci Museu dArt Contemporani de Barcelona. Long-term loan of Cal Cego. Contemporary Art Collection Jeff Wall Forest, 2001 Gelatin silver print, 239 x 303 cm, Sammlung Verbund, Wien Jeff Wall Dressing Poultry, 2007 Color photograph, 201,5 x 252 cm Courtesy of the artist Jeff Wall Knife Throw, 2008 Color photograph, 184 x 256 cm Courtesy of the artist

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Jeff Wall Burrow, 2004 Black and white photograph, 161,5 x 189 cm Courtesy of the artist Jeff Wall Fortified Door, 2007 Black and white photograph, 126 x 153 cm Courtesy of the artist Jeff Wall Boy Falls from Tree, 2010 Color photograph, 305,3 x 226 cm Courtesy of the artist

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Thalys, partner of BOZAR

The Jeff Wall the crooked path exhibition is easily accessible with Thalys for the visitors coming from Amsterdam, Cologne or Paris.

Amsterdam Bruxelles-Midi, 10 times a day in 1h53!

Cologne Bruxelles-Midi, 5 times a day in 1h47!

Paris-Nord Bruxelles-Midi, 26 times a day in 1h22!

A special Thalys offer!

Upon presentation of Thalys tickets, visitors receive a discount of 25% on

the ticket of the exhibition Jeff Wall the crooked path.

But Thalys is also

Additional services in Comfort 1: attention of the on board personnel, catering served at the seat, selection of newspapers and the possibility to book a taxi for your arrival in Brussels or Paris.

It is now possible to access WiFi

Internet while traveling at 300 km/hr. All of Thalys trains are equipped.

www.thalys.com

Press contact: Charlotte De Thaye - 00 32 2 504 05 69 - press@thalys.com

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NIKON Belux Bourgetlaan, 50 B- 1130 Brussel

Nikon and Bozar; a successful combination

Together At the heart of the image

Nikon (www.nikon.be) is world leader in digital imaging technology, optical innovations

and photo imaging technology. Thanks to pioneering product design and innovations,

Nikon enjoys worldwide recognition in the photography sector. Nikon is the only

company in the world that devotes itself exclusively to the development and production

of photographic material and offers a complete product range of digital reflex and

compact photo cameras, analogue photo cameras, lenses and photo software.

Because of Nikon's continuous pursuit to provide the highest quality in all its products, it

is the favourite brand of many professional and amateur photographers and of families.

In Belgium this year, Nikon Belux is celebrating its fifth anniversary as a separate entity.

Since early 2011, Bozar and Nikon have been collaborating to achieve a common goal:

bringing culture from the heart of the art or, in this case, the heart of the photo. This

exhibit of Jeff Wall's work is definitely a highlight of the programme. Moreover, the

annual Nikon Press Photo Awards, the only official recognition for Belgian press

photographers, was organised in Bozar this year. For Nikon, the collaboration with Bozar

also fits seamlessly with its existing partnerships with the Fotomuseum van Antwerpen

and the Muse de Photographie in Charleroi.

Valrie Pierre, country manager for Nikon Belux, expresses it as follows: We are very

proud to be part of this brilliant Jeff Wall exhibit through our collaboration with Bozar.

Nikon always wants to be 'At the heart of the image', and this exhibition really does start

from the heart of Jeff Wall's work. The location also does true justice to the collection.

39

NIKON Belux Bourgetlaan, 50 B- 1130 Brussel

[Niet voor publicatie]

Do you have questions or comments? Please send them to:

Hill & Knowlton Hanne Poppe hpoppe@hillandknowlton.com +32 (0)2 739 16 07

Barbara Depril bdepril@hillandknowlton.com +32 (0)2 739 16 05

Fabienne Lahaye flahaye@hillandknowlton.com +32 (0)2 737 95 32

Nikon Belux Valrie Pierre Country Manager Nikon Belux valerie.pierre@nikon.be / 02 705 56 65 For more information on Nikon's award-winning products please visit: www.nikon.be