A t o m i u m F o u n d A t i o n ’ s m a g a z i n e

A R i K L E V Y—

c h R i s t i n Ec o n i x

—A t o m i u m E x p o

—j o n A t h A n c o E

—R E s t A u R A n t

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W hen it opened in April 1958, with the slogan, a world for a better life for mankind, the World Fair bore a message of progress symbolized by the Atomium. Technological prowess, an ambitious architectural gesture, a

symbol of progress, the Atomium still makes you dream!  The Foundation wants to continue that dream, by making the Atomium a focal point of unique encounters, discoverie and experiences for its members. The Foundation organizes meetings with artists of international fame, and it showcases performances, exhibitions of private collections and concerts. We are both proud and thrilled to put our energy at the service of the Atomium Foundation and contribute to organizing events that will allow you to discover or rediscover the Atomium with your family or friends. Associating the Atomium with artistic and creative events has been essential to us from the start. The first Artview event organized by the Foundation last year displayed a selection of the collection of Galila Hollander; this year, we would like to invite you to discover the work of Arik Levy and to unveil with us the winner of the 2013 Art Contest price. In May, Michael Guttman, the internationally renowned violinist, will conduct the Atomium Sinfonietta, a concept piece dedicated to the Atomium, and will organize a private concert for the members of the Foundation and their guests. Our purpose in the future is to continue to offer you the opportunity to participate in events of exceptional and exclusive quality, in order to make all your visits to the Atomium unforgettable and your membership to the Foundation even more gratifying. •

L e t ’ s m a k e t h e a t o m i u m s h i N e

Sophie Eykerman

Atomium FoundAtion BoArd

Pascale Peckers

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t he Atomium is a major technical achievement. its architecture, and the panoramic view that can be seen from it, make it a leading tourist attraction of the capital city of Belgium and Europe. the edifice is also a heritage site, as one of the few remaining traces of Expo 58. it sustains the collective memory of Expo 58 in the minds of Belgians, who are so fond of their Atomium. A permanent exhibition on the subject, From symbol to icon, presents the history of the Atomium from Expo 58 to the present day.

But this most Belgian of the buildings in Brussels is also, thanks to its renovation in 2006, the venue for exhibitions on Belgian architecture, design, and con-temporary creation. the program for these types of events in 2014–2015 is instructive, reflecting many aspects of the editorial line promoted at the Atom-ium for almost eight years.

With retrospectives such as mobilia and orange dreams, we continue to explore the history of architecture and design. the Atomium looks at these subjects from a 20th-century viewpoint, covering a hundred years of architects’ designs, ranging from utopia to the all-plastic of the 1960s. the 2014–2015 program is an extension of our innovative display summer festival, which is devoted to the digital arts and gives carte blanche to young artists. Son et lumière for some, installations for others, this summer event also meets the expectations of our audience. the same also applies to Intersections, our biennial on the topic of modern Belgian design, which has now revached its third edition. our exploration of contemporary creation is structured around the second edition of Artview, which aims to introduce people to contemporary art through the eyes of a collector or an artist. this spring event now takes place annually and in 2014 will look at the work of Arik Levy, who will also present a work created specially in dialog with the building.

All these initiatives contribute to the cultural and creative vitality of Brussels, extending our collaboration with Art Brussels, design September and Grand-Hornu images.

our intention for the future is to confirm the status of the Atomium, not only as a tourist and heritage site, but also as an exhibition venue dedicated to architecture, design, and fine art. With this in mind, we plan to enhance our offer for tomorrow’s young visitors through a busy schedule of entertainment and learning. rich, diverse, and targeted, but nevertheless remaining accessible to a wide audi-ence, the temporary exhibitions at the Atomium contain a surprising cultural offering that unfolds during a visit to this edifice, itself not lacking in surprises. •

Freddy Thielemans - President of the Atomium Board henri simons - Director arnaud Bozzini - Exhibition Director

Victoire, le magazine lifestyle du Soir, chaque week-end avec le journal, signe un moment de lecture-plaisir. Complet, attentif aux tendances comme aux préoccupations quotidiennes, il affirme son positionnement haut de gamme et sa force en terme de découvertes et de créativité. Actualité lifestyle, culture, style, beauté, questions de société, voyages, design ou gastronomie y sont abordés avec un parti pris éditorial et visuel toujours chic, mais proche des gens. Une humanité qui traverse tout le magazine, sur un ton positif, curieux et sans tabou.

LE MAGAZINE LIFESTYLE CHAQUE WEEK-END AVEC VOTRE JOURNAL LE SOIR

J’y vois clair sur les tendances

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ARTVIEW 02

A R i K L E V Y—

a vision of contemporary art

—25.04 > 30.09

—www.atomium.be/

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W hen I met with Atomium Director Henri Simons and Arnaud Bozzini, Exhibitions Curator (to whom I was introduced by Lise Coirier), they

informed me that they had chosen me as the first artist to have a sculpture exhibition with the eventual acquisition of a monumental sculpture to be permanently installed on the Atomium site. This was a great moment for me and it gave me a feeling of complete recognition and great honor. My work turns around technology, science, social codes and emotional ergonomics, as well as reinvented nature and alternations of natural processes, relationships and feelings. All of these aspects have for me a direct relationship to the atomism, with its sculptural appea-rances and its idea.

After our meeting, during which we discussed possible directions and went out to see the location, I had a clear idea of what I wanted to do as the designated location was right under the Atomium edifice and on its grounds. Upon my return to Paris I started working on a very large-scale sculpture from the rockGrowth family. Very quickly I realized that what would be best in this location was a colored piece that would get reflected in the Atomium spheres again and again. Part of the Atomium visual

identity incorporates a red color that I selected for my sculpture.

The Atomium building is similar to a cage structure (expression used in research for dodecahedral and other mineral atom structures). The sculpture I have created is the exact opposite of this kind of structure: it has a center from where all arms and facets are growing in their relative angles and extending into space.

The piece will be made in stainless steel and a major part of it will be painted in red. All the ends of the growth arms will be mirror polished so that images of the surroundings will reflect within: people, light, sunset, trees, clouds etc. This reflection will appear as if coming from the inside of the sculpture and will give the idea of being able to look into its DNA structure -our social structure-, as if using an atomic force microscope. The reflections that represent our life, society as well as the environment, will become the initiator of any reason of being. The rockGrowth represents development and changes, innovation and emotional growth at the same time…the reflections will be forever dynamic and animate the piece endlessly. •

ARIK LEVY - www.ariklevy.fr

A R i K L E V Yc r e a t o r

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R ockGrowth represents the evolution of the Absent Nature, (ongoing project) : the impossible assump-tion - from a biological point of view - of planting

a Rock (mineral) as a vegetal seed and observe, as a witness, its germinating process and growth, taking part in the genetic intimacy of its evolving nature and natural process, and have it interact with my own thinking. I feel the need to create my own world of possibilities and projections, assumptions and axioms.

When the Rock is planted or put in the ground the mineral transforms by bio-mimicry, adopts a vegetal DNA and germinates. It grows, erects and develops both over and under ground. Each and every one of its facets grows and develops at its own speed, direction and dimension, giving birth to a faceted tree trunk that later, when cut, becomes a faceted Log. Simultaneously, both bulbs and roots produce branching points of growth where the developing facets will extend.

Each one of these outgrowths becomes a RockGrowth: if you dismember and section the growing parts, by sepa-rating roots, bulbs and branches from the main core, the isolated element reveals its mineral nature and goes back to resembling a unique atom or out of space formation. Its reflection and geometry create a complex and dynamic image, like a still from a movie of an ever-growing fast-forward reality. •

ARIK LEVY - www.ariklevy.fr

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nAmErockGrowth 808 Atomium

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“Life is a system of signs and symboLs, Where nothing is quite as it seems.”

A R i K L E V Yc r e a t o r

a rtist, technician, photographer, designer, film-maker, Levy’s skills are multi-disciplinary and his work can be seen in prestigious galleries

and museums worldwide. Best known publicly for his sculptures – such as his signature Rock pieces -, his installations, limited editions and design, Levy never-theless feels “The world is about people, not objects.”

Hailing originally from Israel and moving to Europe after his first participation in a group sculpture exhibi-tion in Tel-Aviv in 1986, Levy currently works in his studio in Paris. His training was unconventional, in which surfing, as well as his art and graphic design studio, took up much of his time back home. Following studies at the Art Center Europe in Switzerland, he gained a distinction in Industrial Design in 1991.

After a stint in Japan where he consolidated his ideas producing products and pieces for exhibitions, Levy returned to Europe where he contributed his artistry to another field – contemporary dance and opera by way of set design.

The creation of his firm then meant a foray back to his first love, art and industrial design, as well as other branches of his talents. Respected for his furniture and light designs on all continents, Levy also creates hi-tech clothing lines and accessories for firms in the Far East. Considering himself now more of a «feeling» artist, Arik Levy continues to contribute substantially to our interior and exterior milieu, his work including public sculpture, as well as complete environments that can be adapted for multi use. “Life is a system of signs and symbols,” he says, “where nothing is quite as it seems.” •

aBout the aRtist

MORE THAN 100 DESIGN EVENTS IN THE CITY09.09 > 30.09

BRUSSELSDESIGNSEPTEMBER2014

Delphine VercauterenEvent Manager & Art Directordelphine@best.be - T +32 (0)2 349 35 95 Rue du Belvederstraat, 28 - 1050 Brussels

www.designseptember.be

Corniches Bouroullec © VITRA

MIKE W

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Nikolaj

OAKTABLE - Geraldine Calbert © Julien Hayard

MIA © Frederik Delbart

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mobiLia 100 yeaRs desiGN By BeLGiaN aRchitects

Mobilia invites you to think about the connections between architecture & design, through-out more than a century of Belgian creation. Using the prism of an architect/a piece of furniture/a building Mobilia displays serials products as well as unique pieces. More than 25 profiles [from the Art Nou-veau architect through the modernist and the post-modern to the contemporary architects] are presented to the public.

id#2014 out of coNtRoL

ID#2014 (for Innovative Dis-play) is the second edition of the Atomium’s summer event dedicated to Digital Art: tubes, spheres & metal structures are given over to the imagination and creativity of internationally renowned artists. With sound, light and digital creations, they invite visitors to see the building from a different, contemporary perspective. The result is even more original as everything on display was created specifi-cally for the peculiar structure of the Atomium.

atomium’sexhibitions

www.atomium.be/mobilia

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inter-seCtions#3 Intersections#3. Belgian design analyses the very nature of design, somewhere between artistic creation & commercial production. This time Hugo Meert, Kaspar Hamacher and Vera Vermeersch will present their work. Intersections#3. Bel-gian Design showcases three artists but also highlights the latest trend of handcraft in contemporary design.

www.atomium.be/intersections

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orange dreams Orange Dreams shows through its installations the playful and most original aspects of plastic design. The plastic objects come from the extraordinary Plasticarium private collection. The public will (re)discover this symbolic material from the Golden Sixties and modern consumerism. From daily utility products to art creations, the colour orange is everywhere in this vibrant exhibit specifically designed & staged for the Atom-ium and its unique architecture.

Permanent exPo fRom symBoL to icoN

Atomium. From symbol to icon is spread over 2 floors (levels 1 & 2) and the panorama (level 7). it tells the history of this pavillion of more than 50 years of age and how it became, with time, the symbol of the city of Brussels and of Belgium.

www.atomium.be/expo58

id#2015

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t e x t G i l l e s B e c h e t - l e s o i r , F e b r u a r y 1 5 , 2 0 1 4

Jonathan

CoeWriter

—Expo 58

Jonathan CoeEn Viking Adult - 288 p.FR Collection Du monde

entier, Gallimard - 336 p.nl Bezige Bij - 304 p.

—www.jonathancoewriter.com

a N e N G L i s h m a N i N B R u ss e L s

The impulse to write this book came to you after an inter-view in one of the Atomium’s spheres, to which you were invited by Radio Eén. What brought this about?

JC It was strange, because the ideas for my books usually come to me from meeting people. I don’t know much about architecture. I don’t pay much attention to the physical world around me, being more interested in the people and human relationships in my life, like in my novels. In a quite surprising way, my reaction to the Atomium was mainly emotional. During my visit in 2010, it appeared to me as somewhat naïve, expressing unquestioning confidence in the future and in technology. It’s a building that speaks to us about the future, although as the future was perceived at the end of the 1950’s. Most of my books evoke the passing of time, how it affects us and how everything my characters hope for and expect from the future very often turns out to be different. It reinforced the conviction of people at the time that science and technology were going to save them. 52 years later, the reality, as always, proves to more complex and things develop very differently.

For the first time, you set a novel in a period before you were born and a country which you know little about. What did this involve for you?

JC Expo 58 is not a book about Belgium. It may even be the most English of my books. It’s characters are a group of English people, whose national characteristics are made all the more visible and pronounced by the fact that they travel abroad and find themselves in a place, a context, which are totally new to them. Once I had made the

decision to write the book and started my research, I was somewhat perplexed. By putting the novel in a setting as specific as Expo 58, I was faced with the challenge of imagining how my characters, who had to live and work there for six months, would feel about it. In all the books and video images that I consulted and with the people I met, I found few signs or practical details of the day-day-day lives of those who worked in the British Pavilion, where they ate or how they were housed. As far as the contemporary setting is concerned, the end of the 1950’s is for me particularly associated with my parents. This was when they met and got married. They talked about it a great deal and I asked a lot of questions. In any case, the version of the 1950’s that I created in the book was not intended to be totally realistic, because the environment of the exhibition was itself so artificial and extraordinary. I picked up this artificial aspect and developed it, finding inspiration in the television programmes, films and novels of those times.

In your research, did you go as far as cycling from the Atomium to Louvain, as your characters did?

JC No, I stopped short of that. When I presented the book to an audience at the Atomium for the first time, many people were there and I was expecting lots of remarks from the public saying I was at Expo 58, this is wrong, that is true… etc. In fact, the members of the public were quite young and the only remark came from a guy who had noticed that I said in the book they pedalled from Louvain to the Atomium in two hours, which was not possible since it would take four.

In Expo 58, the English novelist Jonathan Coe, guest of honour at the book fair, leaves his island for the first time and plunges his characters into a farcical story of love and espionage in the shadow of the Atomium (…)

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j o n A t h A n c o Ew r i t e r

The invitation had been typed on the notepaper

of the British Embassy in Brussels, and read:

Dear Folly

The Commissioner-General has the greatest of

pleasure in inviting you to attend a small

reception in the restaurant of the Atomium on

the evening of Tuesday 15 April, to celebrate

the imminent opening of the British Government

Pavilion to the General Public. Drinks 6.45,

Dinner 7.30. Dress: Lounge Suit.

Yours

Mr S. Hebblethwaite

secretary-general

RSVP by return. Thomas would remember it, for years

afterwards, as being one of the great moments of

his life. It was not long after dusk, and he had

entered the Expo Park by the Portes des Attrac-

tions, showing his newly issued delegate’s pass

to the security guard (who would never ask to

see it again). Passing by the as yet silent and

unopened amusement park on his left, he entered

the Place de Belgique, then took a right turn.

This avenue, too, was quiet: the cable cars stood

empty and motionless high above him, their bodies

thrown into brilliant relief by the fluorescent

light which gleamed out from innumerable futuris-

tic lampposts placed along the walkways. As for

the Atomium, it was now directly ahead of him,

and Thomas caught his breath when he saw it:

each one of the aluminium spheres was festooned

with a criss-crossing network of silver lights,

and the effect was at once festive, majestic

and other-worldly, as if this were a Christmas

celebration on the planet of some far-flung galaxy.

Raising his eyes hundreds of feet to the topmost

sphere, Thomas could see the warmer, yellower

lights of the restaurant: the very place towards

which his eager footsteps were now leading him.

A liveried footman welcomed him into the ground-floor

reception area, and showed him to the lift,

which was furnished with a glass roof so that

the passenger might have a sense of the speed

of his passage up through the central column.

And indeed, it seemed incredibly fast:

Thomas’s ears were already popping when the lift

hissed and braked its way to a gentle halt. The doors

whooshed open and he stepped out into the restaurant.

A British Embassy functionary was waiting outside

the lift with a typewritten list of invited guests.

“Ah. Good evening, Mr, er...” (he consulted the

sheet of paper) “Mr Folly, isn’t it?”

“Foley.”

“Really? Are you sure?”

“Quite sure.’

“OK then. Tickety-boo.” (He crossed Thomas’s name

off the list.) “I’m Simon Hebblethwaite, Sir

John’s secretary-general. Have you been introduced

to Sir John?”

“Not as such, no. We... we attended a meeting

together in London.”

“Ah. Well, anyway, it’s jolly good of you to come,

at such short notice. Someone from the Industries

pavilion had to drop out at the last minute, and

it would have looked bad to have a spare place at

the table.”

“I see. Yes, that would have been awkward.”

“Well, do help yourself to a drink. There’s a few

bottles of fizz. I should get a couple of glasses

down before it runs out and we have to fall back

on the standard French plonk.”

Thomas took a glass of champagne from one of the

waitresses and, realizing at once that it would

be hard to get into conversation with any of the

already tightly knit groups that had formed

throughout the room, he wandered over to one of

the vast plate-glass windows. It didn’t bother

him, for now, that his invitation to this dinner

had obviously been an afterthought, or that nobody

here had any interest in him. He could have stood

for ever by that window, sipping champagne and

looking down on the multicoloured lights of this

incredible new metropolis: so busy, so modern,

shimmering with life and promise. He felt that he

was looking into the future, from the clearest

and loftiest vantage point that the technological

ingenuity of man could devise. He felt like a

king of the universe.

The BriTish are parT of europe (excerpt from the book)

Judging by the tone of its humour and its twists and turns, Expo 58 could have been the scenario of a Tintin story, while Wayne and Radford, your pair of spies, seem to be English cousins of Dupond and Dupont!

JC I think the most profound influences were the ones which you have forgotten. I haven’t read a Tintin since I was a teenager, when he occupied an important position, as was the case for very many young British people in the 60’s and 70’s. I got to know him not only though books, but also through a cartoon series on TV, which I remember vividly, particularly the characters Dupond and Dupont. In normal times, I would never have mentioned Hergé as having had a serious influence on me, not even for this book. Now, 18 months after finishing Expo 58, when I look back I have to admit that Hergé is everywhere in the book. Thomas is a naïve young man, just like Tintin. Hergé’s influence is therefore certainly present, although it is deeply buried in my memory and my subconscious.

In all your books, the tone of your humour changes accord-ing to the context. In this one, it seems very good-natured and visual.

JC I don’t know if that is culturally or historically the case, but I see the end of the 50’s as a very innocent time. It was without doubt the final era when society was experiencing a sort of collective innocence. In Britain, it was just before the sexual revolution, the pop culture of the 60’s and the birth of Swinging London. Everything I read and saw about Expo 58 was brimming with innocence and optimism, sentiments which are all reflected in the book’s humour. It also reflects the films and TV comedies of the 1950’s, which seem unbelievably innocent when we see them again today. The book which I have started to write takes place in 2014 and contains many comic passages, but the humour is more sombre and cynical. •

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Atomium in Brussels : the highly symBolic plAce for All your events.Seminar • meetingS • ConferenCe • ProduCt launCh • team Building • inCentive • reCePtion gala • ProfeSSional • Cultural • SCientifiC eventS

contact sandra.libens@atomium.be / +32 (0)2 475 47 72 www.atomium.be/mice

Your eventbetween heaven

and earth

Bar & Tea room during The day

Saturday - Sunday - public holiday & school holiday in Belgium:

10 am > 5.30 pm

resTauranT during The day

a la carte - brasserie - menu for groups (by reservation only) - menu for children.

Monday to Friday: 11.30 am > 3.00 pm Saturday - Sunday - public holiday &

school holiday in Belgium: Noon > 3 pm

resTauranT in The evening

(reservations strongly recommended) gourmet menu

Spread over two levels linked by an internal staircase, this area is without a doubt

the most spectacular part of the Atomium. The view through its windows is breathtaking.

capacity 80 people-seated

i n fo & b o o k i n g : T. + 3 2 ( 0 ) 2 4 7 9 5 8 5 0 / M . + 3 2 ( 0 ) 4 9 6 1 0 5 8 5 8 / w w w. b e l g i um t a s t e . b e

p r i v i l e g e d p a r t n e r o f t h e e v e n t s o f t h e f o u n d a t i o n

Atomium r e s t a u r a n tby alexandre masson

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b eing born and raised in Brussels meant frequent visits to the Atomium, alone, as a family or with visiting friends from abroad. Every visit has always

been both a trip back to 1958 (coincidentally, the year I was born) and a trip to a future that seemed never to materialize - so avant-garde the Atomium was and still is today.  Many times I dreamed of playing in one of those round structures, fascinated by their majesty and beauty. They looked to me  not like chemical elements or atoms, but rather like huge whole notes freed from their musical page and floating freely in space.

Then suddenly, the timing was right. The Atomium, headed by Henri Simons, was moving forward to present a musical ensemble that carries its name high and proud. It was a perfect fit with my own desire to re-establish a modern ensemble based in Brussels in the heart of

Europe, and above all using the opportunities offered by the convincing acoustics in these atoms enlarged billions of times.

I’m sure the chemistry between the musicians, the audi-ence, the space and the music will carry the ideal of modernism and beauty that the architect  André Waterkeyn had in mind when chemistry inspired him to build his masterpiece.

Whether performing inside the Atomium or carrying its name across Belgium, Europe and the World, we’re looking forward to upholding its image through high level live performances of works spanning four centuries! • 

MICHAEL GUTTMANmusical director- the Atomium European Sinfonietta 

miChaeL guttman

concERT Bym i c h A E Lg u t t m A n

—atomium european

sinfonietta—

13.05—

www.atomium.be

i am very happy to introduce The Atomium European Sinfonietta , a new, modern ensemble of gifted musicians. We are brought together in the sinfonietta format, enabling us to present works from small ensembles to larger symphonies. We are united by our love of Brussels and its most striking and beloved symbol, the atomium, grounded in the european tradition of culture and innovation.

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m ICHAEL GUTTMAN is an eminent violin soloist, conductor and music director of festivals around the world. At age ten, he

became the youngest student ever to be admitted into the Brussels Royal Conservatory of Music. Encour-aged by his late mentor, Isaac Stern, Guttman studied at the Juilliard school in New York with Dorothy Delay, the Juilliard Quartet and Felix Galimir. Guttman has earned critical acclaim from the New York Times for his incredible wealth of tone colors and his sound of melting beauty, and was described by the Jerusalem Post as the Chagall of violinists. He has performed in halls such as London’s Barbican Centre, New York’s Avery Fisher Hall, Paris’s Salle Pleyel, Amsterdam’s concert-gebouw, Tokyo’s Bunko Kaikan and Venice’s Teatro la Fenice. He collabo-rated with the late conductor and composer Lukas Foss at the Music Festival of the Hamptons, a relation-ship which initiated his conducting career. Much in demand as a cham-ber musician, he is regularly invited to perform at festivals by Martha Argerich (Lugano), Yuri Bashmet (Elba), Natalya Gutman (Kreuth), Boris Berezovski (Moscow) or Salvatore Accardo (Vicenza), Claudio Abbado (Ferrara) as well as the Ravenna Festival and the Ravello Festival, where he is set to perform with Moni Ovadia in 2013. Recent highlights include appearances at the “Folles Journées” Festival in Nantes (France) and Tokyo, as well as the Asian premiere of a double concerto for violin, cello and orchestra by Philip Glass with Wendy Sutter, Jaap van Zweden and the Hong Kong Philarmonic at the Hong Kong International Music Festival; a piece he also performed in Dallas with

the Dallas Symphony Orchestra. Guttman was subsequently invited by Carnegie Hall in New York to perform in the Spring Festival of American Orchestras in 2014. Mr. Guttman is the principal guest conductor of the Brussels Chamber Orchestra, the leader of the acclaimed Arriaga Quartet and of the Michael Guttman Tango Quartet, as well as the founder and artistic director of Pietrasanta in Concerto, the highly praised Music festival in Tuscany. The Paris Camerata, an ensemble created by Guttman,

made its italian debut at both festivals in the summer of 2012. As a conductor, he has collaborated with such artists as Martha Argerich, Peter Serkin, James Galway and Richard Stolztman. His groundbreaking recordings of 20th-century violin concertos with the Royal Philharmonic, the London Philharmonic and the Philharmonia orchestras have been broadcast by the BBC in 110 countries. Following his recording of three concertos by Israeli composers with the London Philarmonic and the late David Shallon, Mr. Guttman performed with most Israeli orchestras and will play the concerto by Noam Sheriff with the Israel Philarmonic. Like his mentor Isaac Stern, Guttman is dedicated to helping young artists, notably at the Chapelle Musicale

Reine Elisabeth in Brussels, and has received the Fuga Prize from the Belgian government for his work with living Belgian composers. Michael Guttman was awarded the prestigious 2012 Scopus Prize from the Belgian Friends of the University of Jerusalem. He plays on a 1735 Guarneri del Gesù once owned by the great italian violinist and composer Giovanni Battista Viotti. •

ABOUT THE ARTIST

m i c h A E L g u t t m A nm u s i c i a n

“We are united by our love of

brussels and its

most striking

and beloved symbol,

the atomium.”

Individuals and companies who become members of the Atomium Foundation will benefit from a year of fascinating cultural discoveries and from an exclusive, dynamic, artistic and creative network. advantages reserved to atomium foundation members

> Invitation to all the activities organized by the Atomium,

> Priority participation in the exclusive activities organized by the Atomium Foundation,

> Free access to the exhibitions presented at the Atomium,

> Preferential rate on any purchase in the shop of the Atomium,

> Possibility of organizing private events at the Atomium, annual contribution

> €10,000 companies €150 family pass & €50 individual members

> Payable to the account of the Atomium Foundation> Belfius IBAN BE10 068892116404 info - contact and registration > via info@atomium.be

Become a memBer of the atomium foundation

Become a memBer of the atomium foundation

DOWNLOAD DE GRATIS APP VAN DE MORGEN EN BLIJF DAGELIJKS OP DE HOOGTE VAN ONZE CULTUURUPDATES

DOWNLOAD DE GRATIS APP VAN DE MORGEN

De Morgen ademt cultuur. Als uitgesproken cultuurkrant prikkelen wij u dagelijks met recensies, cultuurtips en uitgebreide interviews & artikels. Download nu gratis onze app via de App Store of Google Play en ontvang elkedag onze cultuurupdates.

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so much more than cinemaso much more than cinema

www.galeries.be

A magic place, dedicated to children and all the great names who write for them

"Le Wolf" offers workshops for children with their school or with their families and friends, workshops for adults, exhibitions but also audio stories to enjoy in our

juke-box room, an unusual library to discover atypical books and games, book-signing and meet-and-greets with authors and illustrators... But "Le Wolf" is also the Wolf Shop, where you can find your own perfect book, and the "Cantine

du Chaperon" where you can enjoy "Tears Tea" (Thanks Hulul!) or "Grandma’s Belgian Cookies", among other delicious treats. The perfect place for yummy family moments, for Sunday brunch with friends and their kids, and for the

celebration of all the wonders a good book (and good food) has to offer.

Activities for schools and families

ExhibitionsLe Wolf Shop

The Little Red Riding Hood’s Canteen

The peculiar LibraryWorkshops for adults

A magical place dedicated to childrenThe World of Literature and Fantasy

Rue de la Violette 22 • 1000 Brussels • T.+32(0)2.512.12.30

www.lewolf.be

Activities for schools and families

ExhibitionsLe Wolf Shop

The Little Red Riding Hood’s Canteen

The peculiar LibraryWorkshops for adults

A magical place dedicated to childrenThe World of Literature and Fantasy

Rue de la Violette 22 • 1000 Brussels • T.+32(0)2.512.12.30

www.lewolf.be

Activities for schools and families

Workshops for children and adults The peculiar libraryThe Little Red

Riding

Hoo

d’s C

anteen

The Wolf Shop Exhibitions

www.lewolf.be

... Two wolf steps from Brussels’Grand-Place...

Accès

En train : Gare Centrale (5 minutes à pied)En bus : Le 48 et le 95 (arrêt Bourse)En métro : Gare centrale ou BourseEn tram : 94, 92, 27 (arrêt Grand Sablon, Bd de la Régence)

Prof itez de la situation exceptionnelle du Wolf, à deux pas de la Grand-Place de Bruxelles,

pour combiner une animation au Wolf et faire (re)découvrir à vos loupiots le coeur de la ville

et ses musées: Musées Royaux des Beaux-Arts, Musée Magritte, Musée des

Instruments de Musique, Bozar, Scientastic...

Tarif des ateliers scolaires Atelier d’1h et 1h30 : 5,50€ / enfant Atelier de 3h : 10€ / enfant Atelier de 4h30’: 13€ / enfant

Gratuit pour les accompagnateurs

Ces prix comprennentl’atelier, une histoire dans le juke-box, la visite de l’exposition du moment, une fiche pédagogique pour l’enseignant et un livre format poche pour la classe.

Pour 5€ supplémentaires / par enfant, chaque enfant repart avec un livre format poche de son choix.

Le Wolf propose

plus de 40 ateliers aux écoles et aux familles

Trois salles accueillent les ateliers qui se déroulent comme suit :• Lecture de plusieurs albums • Présentation des auteurs et illustrateurs abordés• Atelier créatif : ateliers d’écriture et de critique littéraire, confection de masques, théâtre d’ombres, collages, ateliers en néerlandais, histoires contées, kirigami, pop-up, rencontres d'auteurs et d’illustrateurs, théâtre d’objets, ateliers de cuisine, mise en voix d’albums... Chaque atelier est donné par un professionnel du livre de jeunesse : auteur, illustrateur, journaliste, acteur, ... Ils emmènent les enfants à la découverte de grands auteurs et illustrateurs de jeunesse (Kitty Crowther, Anne Herbauts, Beatrix Potter, Grégoire Solotareff, Tomi Ungerer, Géraldine Alibeu, Rotraut Susanne Berner, Arnold Lobel, Anaïs Vaugelade, Hervé Tullet, Rascal, Audrey Poussier... ) et explorent des thèmes chers à la littérature de jeunesse (les monstres, les loups, les ogres, les sorcières, les peurs, les contes, la nuit...). Ateliers à partir de 2 ans et jusqu’à 16 ans.

Mais Le Wolf, cʼest aussiLe Juke-box à HistoiresL’ExpoDes stagesLa Bibliothèque insoliteDes ateliers scolairesDes ateliers tout publicDes ateliers pour adultesLa Boutique du loupLa Cantine du ChaperonDes fêtes et anniversaires

Consultez notre programmation complète sur www.lewolf.be

A deux pattes de la Grand-Place

de Bruxelles

20 rue de la Violette à 1000 Bruxelles•

Tel : +32(0)2.512.12.30info@lewolf.be

www.lewolf.be

Accès

En train : Gare Centrale (5 minutes à pied)En bus : Le 48 et le 95 (arrêt Bourse)En métro : Gare centrale ou BourseEn tram : 94, 92, 27 (arrêt Grand Sablon, Bd de la Régence)

Prof itez de la situation exceptionnelle du Wolf, à deux pas de la Grand-Place de Bruxelles,

pour combiner une animation au Wolf et faire (re)découvrir à vos loupiots le coeur de la ville

et ses musées: Musées Royaux des Beaux-Arts, Musée Magritte, Musée des

Instruments de Musique, Bozar, Scientastic...

Tarif des ateliers scolaires Atelier d’1h et 1h30 : 5,50€ / enfant Atelier de 3h : 10€ / enfant Atelier de 4h30’: 13€ / enfant

Gratuit pour les accompagnateurs

Ces prix comprennentl’atelier, une histoire dans le juke-box, la visite de l’exposition du moment, une fiche pédagogique pour l’enseignant et un livre format poche pour la classe.

Pour 5€ supplémentaires / par enfant, chaque enfant repart avec un livre format poche de son choix.

Le Wolf propose

plus de 40 ateliers aux écoles et aux familles

Trois salles accueillent les ateliers qui se déroulent comme suit :• Lecture de plusieurs albums • Présentation des auteurs et illustrateurs abordés• Atelier créatif : ateliers d’écriture et de critique littéraire, confection de masques, théâtre d’ombres, collages, ateliers en néerlandais, histoires contées, kirigami, pop-up, rencontres d'auteurs et d’illustrateurs, théâtre d’objets, ateliers de cuisine, mise en voix d’albums... Chaque atelier est donné par un professionnel du livre de jeunesse : auteur, illustrateur, journaliste, acteur, ... Ils emmènent les enfants à la découverte de grands auteurs et illustrateurs de jeunesse (Kitty Crowther, Anne Herbauts, Beatrix Potter, Grégoire Solotareff, Tomi Ungerer, Géraldine Alibeu, Rotraut Susanne Berner, Arnold Lobel, Anaïs Vaugelade, Hervé Tullet, Rascal, Audrey Poussier... ) et explorent des thèmes chers à la littérature de jeunesse (les monstres, les loups, les ogres, les sorcières, les peurs, les contes, la nuit...). Ateliers à partir de 2 ans et jusqu’à 16 ans.

Mais Le Wolf, cʼest aussiLe Juke-box à HistoiresL’ExpoDes stagesLa Bibliothèque insoliteDes ateliers scolairesDes ateliers tout publicDes ateliers pour adultesLa Boutique du loupLa Cantine du ChaperonDes fêtes et anniversaires

Consultez notre programmation complète sur www.lewolf.be

A deux pattes de la Grand-Place

de Bruxelles

20 rue de la Violette à 1000 Bruxelles•

Tel : +32(0)2.512.12.30info@lewolf.be

www.lewolf.be

Rue de la Violette 20 ● 1000 Bruxelles ● T.+32(0)2.512.12.30 ● info@lewolf.be

32

ConixChristine

g roups of visitors can now walk across the entire esplanade. We added a new pavilion at the bottom of the Atomium, its inviting character enhances

the Atomium and gives it more flexibility because of the various relationships between the foot of the building, the esplanade and the position of the site, which includes Osseghem Park – the green lung of Expo ’58. The existing roundabout is transformed into a new, large square offering visitors the opportunity to look at the Atomium from a distance and from different angles.

The new pavilion is the starting point of an artistic land-scape tour through this landmark construction. The pavil-ion receives, orientates, links and sets the scene. It supports the functional aspect of the site through its commercial space, ticket office, sanitary and storage facilities. It

adds an extra dimension to the Atomium as it is skillfully integrated into its surroundings.

Throughout this renovation project our aim was to respect the authenticity of the building and to enhance its contem-porary ambitions. We pinpointed the purity of the spheres’ design and recreated the atmosphere it once evoked in the least intrusive way possible: covering the interior with galvanized steel and the exterior with stainless steel.

The approach places the Atomium into a new context, giving it back its bygone charm and glory, and emotionally reconnects the public with this unique symbol of Belgium.

CHRISTINE CONIx, cEo conIX RDBm Architects

32

c o N c e p t u a L a p p R o a c h to t h e R e N o vat i o N o f t h e ato m i u m

Architect—

renovation of the atomium

—www.conixrdbm.com

34

“throughout this renovation ProJeCt our aim Was to resPeCt the authentiCity of the buiLding and to enhanCe its ContemPorary ambitions.” c h r i s t i n e c o n i x

PATRIMOINE | ART CONTEMPORAIN | DESIGN Gratuit le 1er dimanche du mois et le 1er mercredi du mois pour les écoles. Visites guidées gratuites des expositions tous les jours pour les individuels.

.................................................................................................. SITE DU GRAND-HORNU

Rue Sainte-Louise 82 - 7301 Hornu, Belgique www.grand-hornu.eu

...................... SITE DU ......................

GRAND-HORNU

........... PATRIMOINE MONDIAL ...........

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The joyful place for curious childrenARCHITECTURE ̊ DESIGN ̊ SoCIETy

A T o m I U m S q U A R E - 1 0 2 0 B R U S S E l S • o p E N 3 6 5 / 3 6 5F o R p R o G R A m m E & I N F o w w w . A T o m I U m . B E / k I D S

39

At o m i u m A . s . b . l .• Atomiumsquare/B-1020BRUSSELS• T.+32(0)24754775/F.+32(0)24754779• info@atomium.be /www.atomium.be

• TheAtomiumisopen every day, from 10 am until 6 pm (ticket office closes at 5.30 pm).

• TheAtomiumislocatedinthenorth-East of the city of Brussels at5minutewalkfromtheHeysel/Heizelmetrostation(line6) and right opposite mini-Europe. Free parking for tourist buses (100m from the Atomium).

A c c e s s• Tube ata5minutewalkfromtheHeysel/Heizelmetrostation(line6)

• city Tour (Hop on Hop off) stop at 100m from the Atomium. discounts on presentation of an open-tours ticket (www.citysightseeingbrussel.be)

• Train(SNCB/NMBS) the B-Excursion option is available from any railway station in Belgium,andincludesacombinedAtomium + Mini-Europepackage

A d m i s s i o n f e e s• Tickets Individuals,groups,combinedticketAtomium+Mini-Europeandreductions with various institutions.

• Partnerships & advantages for Brussels Card, must of Brussels and b-Excursion cards.

m A n A G e m e n t• henri Simons - Director• Julie Almau Gonzalez - Deputy-Director - Commercial & tourism

partnerships• Johan Vandenperre - Deputy-Director - Technical management

c u lt u R A l d e V e l o P m e n t• Arnaud Bozzini – Exhibitions Director

s t R At e GY c o m m u n i c At i o n• Axel Addington - Creative Director• Inge Van Eycken - Communication & Press Officer

s e R V i c e s f o R PA R t n e R s• yvonne Boodts - Reception & group bookings - guided tours• Sandra libens - Venue hire (MICE)• Bénédicte lejeune - Shop management• Alicia Tirmarche - Kids ’ Sphere (information & booking)

f o u n d At i o n At o m i u m• Sophie Eykerman • Pascale Peckers

G R A P h i c d e s i G n• SIGn* - www.designbysign.com

Alarm Packages Monitoring

Mobile Guarding On-site Guarding

Knowledge leader in security

02 263 55 55 info@securitas.bewww.securitas.beFO

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16.1

055.

04

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the magiC of arChiteCture.the Joy of CuLture.

www.atomium.be