In a city like Brussels – Europe’s political capital and a hub of international cultural projection – every event has the potential to amplify a region’s visibility well beyond its borders. Aware of this, the Office has promoted cultural initiatives with high symbolic value that strengthen Cantabria’s presence at the heart of Europe.

One of the most recent and noteworthy initiatives was the performance of the Coral Voces Cántabras, which traveled to Brussels as part of its centenary celebrations to offer a moving double concert. The Cantabrian ensemble first performed a selection of sacred music in the majestic Cathedral of Saint Michael and Saint Gudula, followed by a concert of traditional Cantabrian music at the renowned Musical Instruments Museum (MIM).

During this commemorative event, a rabel – a traditional string instrument – specially crafted for the occasion, was donated to the MIM, symbolizing the region’s rich musical folklore. The instrument now joins the museum’s collection of more than 8,000 instruments from across Europe and beyond, including others from Cantabria.

The Minister of Economy, Finance, Regional Funding and European Funds of the Government of Cantabria, Luis Ángel Agüeros, attended both concerts and emphasized the significance of the event: “This recital, held in celebration of the choir’s centenary, aims to showcase Cantabria’s musical traditions as part of Europe’s broader musical heritage, highlighting our regional folklore in a symbolic venue such as the Museum of Musical Instruments, which houses over 8,000 instruments from around the world—including some from Cantabria, like the rabel.”

This concert was supported by the ministry led by Agüeros through the Directorate-General for European Funds, as part of a strategy to promote Cantabria’s cultural heritage within the European context.

Founded in 1924 by musicologist and folklorist Matilde de la Torre Gutiérrez, the Voces Cántabras Choir gave its first performance that same year in Cabezón de la Sal, the town where it originated. Over the course of a century, it has maintained a broad repertoire encompassing sacred music, zarzuela, opera, spirituals, habaneras, and of course, traditional Cantabrian songs. It has received numerous accolades, including the Gold Medal for Cultural Merit from the Cabezón de la Sal City Council, and has performed at international venues such as London’s Royal Albert Hall.

Over the years, the Cantabria Office in Brussels has supported a wide range of cultural events that highlight the region’s artistic diversity and deep-rooted traditions. In 2004, the Government of Cantabria and the Association of Campurrian Rabel Players organized a concert of traditional Cantabrian music at the Musical Instruments Museum (MIM) in Brussels, during which a handcrafted rabel campurriano was donated to the museum. 

Two years later, in 2006, the Peña Labra Choir performed at the Cantabria Office during the EU’s Regional Open Days, presenting a repertoire of choral pieces that reflected both classical influences and local folklore. In 2010, two further initiatives reinforced Cantabria’s cultural presence in the Belgian capital: the exhibition “Visions of the End of Times: Beatus of Liébana and the Beatus Manuscripts”, held at the Instituto Cervantes and accompanied by a concert of ancient music that evoked the spiritual atmosphere of the Middle Ages; and a vibrant performance at the MIM by the youth ensemble Retales Casi Sinfónicos, whose eclectic mix of Spanish guitars, strings, woodwinds, accordions, and lyrical voices showcased the creativity and energy of a new generation of Cantabrian musicians.

Another major milestone was Cantabria’s prominent participation in the 2019 Folklorissimo Festival, held at the iconic Grand Place in Brussels. Spain was the guest of honor that year, and Cantabria stood out with over 100 artists and groups showcasing the region’s cultural, musical, gastronomic, and tourist identity. The “Virgen de las Nieves de Tanos” group represented traditional Cantabrian music during the festival’s main event, while the “Cantabria Infinita” stand offered tastings of local products and promotional materials.

For Inma Valencia, the objective is clear: “Cantabria’s culture has found in Brussels a powerful stage from which to be heard. It’s not just about being present in the political or economic forums of the EU, but also about sharing our traditions, our music, and our roots with international audiences.”

In short, Cantabria’s external action in Brussels demonstrates how culture can serve as a strategic tool for regional diplomacy. Thanks to the ongoing work of its Office in the European capital, Cantabria continues to carve out its place at the cultural heart of Europe.

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The 14th edition of the festival is particularly special, as it is dedicated to the esteemed contemporary composer Alexey Shor in celebration of his 55th birthday. The festival will honour his life and legacy, and Shor, a maestro whose works have been performed in some of the most prestigious concert halls in the world, including the Wiener Musikverein, Berlin Philharmonie, and Carnegie Hall, with many internationally acclaimed artists, such as Behzod Abduraimov, Salvatore Accardo and Steven Isserli, having played his music, will also return as the event’s Composer-in-Residence.

A notable performance this year, particularly for Belgium, is its very own virtuoso’s return to the iconic festival. Denis Kozhukhin, a gifted pianist who has established himself as one of the greatest artists of this era, will perform a solo recital for InClassica’s penultimate concert. Titled ‘Denis Kozhukhin – Resplendent Recital’, the grand affair will take place on Sunday, 20th April 2025, showcasing a vibrant programme with a central theme of childhood, featuring Sergei Prokofiev’s Music for Children, Op. 65, Alexey Shor’s Piano Sonata No. 2, Robert Schumann’s Kinderszenen, Op. 15 and Pyotr Ilyich Tchaikovsky’s Children’s Album, Op. 39.

Ahead of his much-awaited return to InClassica, we spoke to Denis Kozhukhin about his expectations for his solo performance, the significance of a repertoire capturing the naïveté of youth and the impact of resident composer Alexey Shor on contemporary classical music.

Are you looking forward to participating in the InClassica International Music Festival’s 14th annual edition?

I am thrilled to be part of the InClassica Festival again. It is a major musical event that does something very important; it brings classical music to people through fantastic concerts performed by the world’s greatest musicians.

Based on your history with InClassica, what about the festival has drawn you to return to its lineup once more?

The last time I participated, I gave a concert/lecture where some audience members attended a classical music concert for the first time. Afterwards, several people expressed their enthusiasm and willingness to return to a concert hall again. I believe that if even one person feels inspired to return after such an event, it’s worth a lot and holds immense value, which just goes to show that InClassica is a true promoter of the beautiful world of music.

Since it debuted in the UAE in 2021, InClassica has played a crucial role in advancing classical music in Dubai and the wider GCC region. How important do you think this development has been for the realm of classical music?

I will always support InClassica in each and every way that I can as I firmly believe the festival and its organisers are doing something fundamental: uniting people of different cultures, religions and views through music and arts, which is especially important in today’s reality.

Dubai is the perfect host for the festival as it is a city that combines enormous respect for its historical roots with a completely futuristic perception of our civilisation. The Dubai Opera as a backdrop is also ideal as it is an important temple of culture where we have the privilege to share the beauty of music with the world. 

Your eclectic programme features a mix of works by Prokofiev, Shor, Schumann, and Tchaikovsky. What is the significance of this particular combination of composers, and how do you see the thematic connections between these pieces?

As a father, I perceive music for children or related to a child’s life differently than someone without kids. The pieces I play reflect the experiences, goals, and disappointments of a child’s day, or they were specifically composed for children to perform themselves. The eyes of a child see the world in a very pure, unpolluted way, so I think it is not a coincidence that so many great composers like Sergei Prokofiev and Pyotr Ilyich Tchaikovsky have explored this theme.

I’m particularly excited to perform Alexey Shor’s works as I’ve known him for several years and had the pleasure of performing his pieces on many occasions in the past. I really admire him and his work as he is an outstanding mathematician who is not only creative in that field but also in the world of music. If you think about it, in the past, there were great composers who had many other interests. Borodin was a chemist, Rimski-Korsakov was a marine, Charles Ives worked in the insurance world, etc. Talent finds many shapes and, in some cases, like Shor’s, simultaneously. His works appeal to musicians and the public as they are highly nostalgic and touching. I am happy and proud Pentatone will soon release his Second Piano Sonata with me at the piano. I wish him many new musical adventures and look forward to playing more of his works. 

What do you hope to convey to audiences through your performance?

Similar to my last performance at InClassica, I plan to speak about and explain the pieces I present. It changes quite a lot when the audience hears the real, authentic voice of the artist describing what he is about to perform, transforming the entire musical experience. It is essential to create connections between the performer and the audience, which is what I always try to achieve in a concert.

For more information about the 2025 InClassica International Music Festival, Composer-in-Residence Alexey Shor and Belgian pianist Denis Kozhukhin’s solo recital, visit the official website at inclassica.com.

The post Denis Kozhukhin « Excited to Perform Alexey Shor’s Works » at InClassica 2025 appeared first on Brussels Express.

Led by Artistic Director David Abrahamyan and President Konstantin Ishkhanov, ICCF brings together an illustrious lineup of musicians who will mentor young talents through an extensive series of masterclasses in an immersive approach that fosters collaboration across generations. Simultaneously, attendees will also experience these maestros in live performance, with a series of chamber performances highlighting masterpieces from across classical music.  

We sat down with David Abrahamyan, the Artistic Director of ICCF, to discuss his vision of this project, and his goals and ambitions as its launch draws closer. 

• What was the inspiration behind the ICCF, and what is your vision for this event?

There were a lot of inspirations that came from many places. My experience of living in Brussels was certainly one of them, as is the genuine sense of satisfaction and joy that I get from making music of the highest level with good friends, especially when you combine that with the crucial educational factor. However, most importantly, perhaps, was my friendship with Konstantin Ishkhanov, the President of ICCF, because this was the starting point of everything. As soon as this idea came to me, he was the first person who I went to speak to, because I know that we share both a similar passion for classical music, as well as the desire to see things done with excellence and dedication. I’ve long been aware of Konstantin’s many global successes with huge projects like the InClassica International Music Festival, Middle East Classical Music Academy, Accordi Musicali festival and Academy, and so many more, so I knew he would be the right person to help turn such a dream like this into reality, and in fact it proved true!

The vision is always to maintain the highest possible level of artistic excellency in combination with the crucial aspect — certainly for me at least — of educational excellency. My initial dream was to inspire young future players, students, and institutions; to connect the great masters of our time with the stars of the future, and to do all that in wonderful and historical locations like the Queen Elisabeth Music Chapel. It is a wonderful honour, and to see young players get the opportunity of making music with great maestros like Claudio Bohorquez or Yossif Ivanov is always a very inspiring experience, both for us and for them, and it will definitely help to motivate them to improve and grow as musicians.

• The festival features both masterclasses and chamber concerts. How do you see the interplay between these two elements taking place?
  

Education is the key for everything in life, especially in this day and age, and an extremely important aspect of it is in performance. Ultimately, all of us musicians make the sacrifices and effort that we do in order to perform on stage, to make music and share our love for it with others like us. A chance to see wonderful professional musicians in action in live performances, and even having the opportunity to go on stage with them, as our Academy students shall have, is undoubtedly the best way to learn, grow and become inspired. 

• How does the collaboration with the QEMC contribute to this festival’s uniqueness?

Having such an incredibly wonderful institution like the QEMC, with its rich history in the music world, as a collaborator is a great honour for me, and indeed, for ICCF  itself. This is one of the examples of artistic excellency that we are seeking in our festival, and I am certain that this inimitable setting will both enrich the experience and help to inspire students and professors alike to leave a truly memorable and indelible mark in their musical journey.

• How has the experience of working alongside the organising committee been for you?

It has been truly remarkable! As I mentioned before, my friendship with Konstantin Ishkhanov was what transformed this idea into reality and made this wonderful project possible. His experience and very collaborative support of the team has made this journey into a wonderful trip with a very special destination that we deeply hope shall enrich and inspire our young musicians, as well as all the public who will be enjoying the wonderful performances that will be on offer. It is thanks to people like Konstantin Ishkhaov that such events can happen at all, and I am very grateful that there are people like him in our world of classical music!

• What do you hope the students will take away from working so closely with world-renowned musicians?

Inspiration, even more love and passion for music than I am sure they already possess, and a newfound dedication and willingness to take on the hard work necessary to grow into full musicians! These are all crucial elements which I hope they will be able to take with them, coupled with a realisation of the importance for maintaining artistic excellency in everything you do, and a resilience that will allow them to keep fighting to achieve their dreams and never give up. 

• Looking beyond the span of its duration, do you feel that this festival can have a role to play in fostering a broader appreciation of chamber music among local and international audiences?

Absolutely! This is only the first year, and it has already been a huge success. Before Konstantin and I even launched we already had countless applications for the masterclass sessions coming in through the QEMC, and the response from musicians who wished to perform and form part of this project has genuinely been truly overwhelming. This all points towards the growth of a cultural movement that we are looking to tap into and develop further in coming years. It’s still very early days of course, but among other things we are definitely hoping to be able to accommodate larger lineups, even more eclectic programmes, and a more comprehensive cultural outreach which will see the inclusion of lectures and seminars, colloquiums for students and teachers, as well as increased public involvement by incorporating elements such as public presentations of the programmes ahead of each performance, special concerts that will become social events in of themselves, and, last but not least, concerts aimed at the very young generation with the goal of igniting a newfound love for classical music within them.

The post Interview: Konstantin Ishkhanov and David Abrahamyan Bring Global Talent to Brussels with May 2025 International Chamber Classics Festival appeared first on Brussels Express.

Come and see the talented dancer Ramon Fernandez perform for the first time in Belgium at the “Noce de Flamenco”  organised by Casa Veronica and Coral Vados – Effusions de cultures in association with the Saint-Gilles cultural department and Radio Alma 101.9 FM. 

Who is Ramon Fernandez?

Ramón Fernández was born in Durban (South Africa) to a South African mother and a Spanish father. From an early age, he was influenced by dance. Born into a family of flamenco and jazz artists, his mother was a dancer and teacher at her dance school, and his father was a guitarist.

Before embarking on his career as a dancer, he devoted himself to tennis, becoming an elite young athlete in his country.

In 2016, he travelled to Spain to study flamenco with great artists such as Pedro Córdoba, Domingo Ortega, El Oruco, Alejandro Granados, Alfonso Losa, Inmaculada Ortega, Belén López, Daniel Navarro, Miguel Cañas, David Paniagua and El Choro, among others.

Tablaos arouse Ramón’s great interest. He worked with great effort and perseverance, reaching an excellent level in a short space of time.

In 2020, he began his professional career as a flamenco dancer with Pedro Córdoba in Amor De Dios, and also shared the stage with great artists such as Choro Molina, Pedro Córdoba, Ángel Gabarre, Juañares Carrasco and Yerai Cortés.

He is in demand at Madrid’s top tablaos, including Teatro Flamenco, El Centro Cultural Flamenco, Las Carboneras, El Cardamomo, Las Tablas, La Cueva de Lola, Los Porches and Sala Temple. sharing the stage with some of flamenco’s greatest names, including Pedro Córdoba, Karime Amaya, Jesús Carmona, Concha Jareño and Niño de los Reyes.

He performed in Cristina Hoyos’s musical ‘Olé-Olá’ at Madrid’s Teatro Eslava as a guest soloist, as well as on a tour organised by the Spanish Embassy in South Africa and Zimbabwe. 

He is currently a member of Ángel Rojas’ company in his latest flamenco show.

He teaches at dance schools such as Flamenco El Lucero, Amor De Dios and the La Truco flamenco institute in Madrid.

Outside Madrid, he has given courses and master classes at the Gran Canaria flamenco studio, at the Spanish embassies in Zimbabwe and South Africa, and at several schools in South Africa.

Ramon Fernandez (dance); Esteban Murillo (vocals); Juan Manuel Granados (vocals); José-Luis Dominguez (guitar)

Practical information :

When ?: Wednesday 11 December 2024 at 8pm
Location: Maison du Peuple – Parvis de St-Gilles, 37-39 in Brussels
Email : info@casaveronica.net
Website: http://www.casaveronica.net
Phone : +32 2 534 56 05

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If Jean-Michel Folon were still alive, he would have been gratified to see his sculptures nestled among the remains of Villers Abbey in the Walloon town of Villers-la-Ville. 

The Belgian sculptor always had a fascination for the subtle yet powerful relationship between sculpture and architecture, two diverse disciplines that share a three-dimensional form in common.

Folon’s sculptures were designed to live outdoors. Exposing his works to the beauty of architectural sites and watching how they converse with their environment was a tradition Folon kept throughout his life.

The perfect setting for a poetic journey

The Villers Abbey provides the ideal setting for the poetic journey that unfolds as you encounter the creations of Folon. With eight centuries and 36 hectares of illustrious history, the former Cistercian monastery invites curiosity and contemplation, much like Folon’s art. 

Against an elaborate and mesmerising background, the sculptures of Folon come off as endearing for their humble and modest appearance. Instead of getting drowned out, they seem to speak even louder.

Folon often reduced his subject to its simplest form. He limited the use of symbols to what was essential and universal. It had to be that way because Folon’s sculptures weren’t intended to dominate or intimidate. They were meant to harmonise with their surroundings and spark a connection with the spectator.

The main character in Folon’s work is a man wearing a plain suit and bearing minimal features. Simple yet mysterious, sometimes playful but always thought-provoking. He represents somebody, nobody, and everybody at the same time. And although he is a work of art, this figure is really just another visitor contemplating the world around him. Like you. 

The exhibit at Villers Abbey features 22 of more than 400 wood and bronze sculptures by Folon. One section of the abbey takes you down the Allée des Pensées or Alley of Thoughts, a sculptural ensemble of eight works depicting Folon’s main character. Each statue has a different object for a head, provoking a dialogue with the viewer.

Who are they and what’s their story? Are they one and the same character captured in different moments of reflection? Or different individuals with their own interpretation of one and the same subject? That’s between you and Mr. Folon.

Jean-Michel Folon began devoting himself to sculpture in 1993 following a long and established career as a watercolor painter, illustrator, and printmaker. His sculptures have travelled all over Belgium and to other parts of the world, from Europe to America and all the way to Asia. 

In 2003, Folon was named ambassador to UNICEF and accorded the Legion of Honor, the highest French order of merit. He established the Folon Foundation located in the farm of Château de la Hulpe in Solvay Park. 

The Folon Expo at Villers Abbey marks the 20th anniversary of the Folon Foundation. The event opened last October and ends on March 21. If you miss it, you can always visit the works of Folon at Château de La Hulpe. From March 27 to November 7, the Folon Foundation will hold an exhibit featuring the posters designed by the versatile Belgian artist.

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According to the Guinness World Records, Belgium has more than 100 record-making achievements tucked under its belt. Unassuming as they are, Belgians are quite capable of undertaking the unprecedented and succeeding at it.

Here’s a showcase of Belgium’s record-breaking abilities from the 16th century to the present.

1.   First to publish a world atlas – Antwerp,1570

Although the earliest world maps date back to 600 BCE, the Theatrum orbis terrarum or Theatre of the Orb of the World is considered the first true modern atlas.

It was Flemish cartographer Abraham Ortelius who came up with the idea of collecting the best maps of the known world during his time and printing all of them into one book.

The first edition of the Theatrum contained 70 maps with supporting text. Less than a century after its release, more than 30 editions of the atlas were published in seven languages.

2.   First to suggest the theory of continental drift – Antwerp, 1596

Abraham Ortelius didn’t just invent the atlas. He was also the first person to float the idea that continents moved across the earth’s crust over time.

“The coastlines of the continents are so similar that they seem to have been torn apart at some point in time,” wrote Ortelius in the Theatrum orbis terrarum.

Continental drift is widely associated with German geophysicist Alfred Wegener, who developed the theory in 1912. But now we know where it all started.

3.   First to produce fully synthetic plastic – U.S.A., 1907

The age of modern plastics began when Leo Baekeland invented Bakelite, the first synthetic and heat-resistant plastic. The Belgian chemist stumbled upon the discovery while experimenting with phenol and formaldehyde in his laboratory in Yonkers, New York.

Baekeland is also the genius behind the first commercially successful photographic paper called Velox.

4.   The largest hoard of medieval coins – Brussels, 1908

In July 1908, a group of workmen unearthed some 150,000 penny-sized silver coins while tearing down an old tavern in the Brussels city center.

Known as the Brussels hoard of 1908, the event marked the largest discovery of Flemish and English coins from the Middle Ages.

The hoard consisted of nearly 70,000 local Flemish pennies and more than 80,000 English sterlings from the 13th century.

5.   First to raise the Olympic flag – Antwerp, 1920

The Olympic flag made its first appearance during the 1920 Summer Olympics in Antwerp. Belgian athlete Victor Boin also recited the very first Olympic oath during the historic event.

The International Olympic Committee chose Antwerp as the host of the 1920 games to pay tribute to the Belgian lives lost to the war that ravaged Europe from 1914 to 1919.

6.   Oldest Tour de France champion – France, 1922

Belgian cyclist Firmin Lambot owns the world record for being the oldest winner of Tour de France. It’s not like he was 100 years old.

Lambot was only 36 when he won the annual bicycle race, but the average age of tour winners is about 28 years.

7.   First solo female artist to top the U.S. albums chart – U.S.A., 1963

The very first female singer to claim the no. 1 album in the US charts was not an American, but a Belgian. And get this, she was a nun.

Jeanne-Paule Deckers, also known as Sister Luc Gabrielle, Soeur Sourire (Sister Smile), and The Singing Nun, became a sensation in 1963 when she released the French song “Dominique”, which topped the US Billboard Hot 100 for 10 consecutive weeks.

The 1966 film The Singing Nun was based on the real-life sister act of the amazing Belgian nun.

8.   Most consecutive Grand Tour wins, 1968-1974

In the history of competitive cycling, one name stands out for achieving the highest number of Grand Tour victories.

Eddy Merckx of Belgium bagged a total of 11 cycling trophies from 1968 to 1974. He won five Tours of France, five Tours of Italy, and one Tour of Spain.

9.   First person to swim across False Bay – South Africa, 1989

The False Bay Swim is a 34-kilometer open water swim considered one of the most challenging swimming marathons in the world.

To date, only five people have successfully swum solo across the bay. And the very first person to do that was Annemie Landmeters.

Landmeters completed a one-way crossing in 9 hours and 56 minutes, earning her an additional world record for being the fastest woman to swim across False Bay.

10.  Heaviest weight lifted with teeth – Paris, 1990

Belgian stuntman Walter Arfeuille grabbed a world record on March 31, 1990 when he used only his teeth to lift 281 kilograms of weights off the ground and carry it across a distance of 17 centimeters. Lang leve België!

11.   Largest newspaper – Ghent, 1993

On June 15, 1993, Flemish newspaper Het Volk (The People) issued what is now the largest newspaper ever printed in history.

Each page measured 142 by 99.5 centimeters printed in color on thick, high-quality paper. The special edition sold about 50,000 copies.

12.   Flying the largest remote-controlled airplane – Moorsele, 1998

The largest model aircraft on record is a B-29 bomber with a wingspan of 8.8 meters and a body measuring 6.05 meters long and weighing 200 kilos.

Belgian plane enthusiasts Bart Vercruysse, Ignace Honore, and Pieter Lamaire spent three years working on the plane, which they called Dyna Might. They flew the model aircraft for the first time in Moorsele on June 2, 1998.

13.   Biggest beer selection in a single bar – Brussels, 2004

When it comes to beer, Belgium is tough to beat. And here’s yet another proof.

The Delirium Café in Brussels earned a world record for having the largest assortment of beer commercially available in one place. How many kinds exactly? The bar listed 2,004 in 2004.

Delirium serves beer brands from more than 60 countries, including Belgium.

14.   Most people doing a handstand simultaneously – Wevelgem, 2006

In 2006, Wevelgem set out to make a record for the highest number of people standing upside down together in a span of one minute.

Out of 450 participants, 399 made it. And that was more than enough for Wevelgem to set a world record handstand.

15.   First female wildcard player to win a tennis grand slam – U.S.A., 2009

During the 2009 US Open, Belgian tennis player Kim Clijsters defeated Grand Slam finalist Caroline Wozniacki, becoming the first unseeded player and wildcard to win the Women’s Singles tournament.

All in all, Clijsters has won six Grand Slam titles, four in singles and two in doubles.

16.   Longest salami ever – Sint-Niklaas, 2010

Meat producer Cock’s Vleeswaren went as huge as possible for the celebration of the company’s 75th anniversary in 2010.

Using 10 150-kilogram containers of turkey and pork, the meat packers whipped up what is now documented as the longest sausage ever made.

The record-breaking salami measured 1,152 meters long and weighed 2,171 kilos.

17.   Most lights on a Christmas tree – Malmedy, 2010

Just how many lights can a Christmas tree take? As much as 194,672, based on the efforts of the Belgian foundation Kiwanis Malmedy Hautes Fagnes.

In 2010, the group wrapped a Christmas tree with 350 garlands, each measuring 3 meters long and carrying 576 lights.

18.   Largest number of grapes caught in the mouth – Vilvoorde, 2013

Joris Goens wowed Belgium’s Got Talent in 2013 when he demonstrated the much-beloved art of throwing food in the air and catching it with the mouth.

Goens scored a world record after managing to fit 223 grapes into his mouth in three minutes.

19.  Largest gathering of people making towel animals – Hasselt, 2017

Cleaning company Het Poetsbureau proved that towels are more than just for cleaning after organising a towel origami challenge in 2017.

Participants were given the task of folding a towel into the shape of a duck in two minutes. The result: 1,476 towel animals and an instant world record.

20.  Tallest waffle tower – Blankenberge, 2020

Last year, brothers Francis and Michel De Buck snagged the record for the highest tower of waffles in the world. They stacked about 30 waffles up to 91.5 centimeters high, beating the previous record of 87 centimeters.

Source: Guinness World Records

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In 1432, Flemish painter Jan van Eyck applied the finishing strokes on a painting that he began six years earlier with the help of his brother, Hubert.

This was no ordinary painting. The artwork was a single collection of 26 individual paintings organized into a polyptych that measured 15 by 11 feet.

Even by today’s advanced standards and sophisticated tastes, what Jan van Eyck accomplished would have been considered one hell of a painting.

It had to be that fabulous because the work was commissioned for the Church of St. John the Baptist in Ghent. And not just for a wall or some obscure section of the building, but for the altar itself.

The Adoration of the Mystic Lamb, more famously known as the Ghent Altarpiece, took the world of art by storm soon as it was unveiled.

The revolutionary artwork was the first to demonstrate the remarkable potentials of oil painting. It inspired the birth of Renaissance art and planted the seeds that would later blossom into the artistic movement called Realism.

What Jan van Eyck could never have foreseen was that one day, his masterpiece would achieve the kind of fame reserved only for the most pilfered and abused work of art in history.

Belgium is the rightful owner of the much-coveted painting not just because it was made in Ghent, but also because its creator was born in Maaseik, a medieval town now part of the Belgian territory.

He did not know it yet at the time, but Jan van Eyck was destined to be Belgian by way of historical developments and the redrawing of borders in Europe.

The world’s most plundered work of art

Today, the Ghent Altarpiece resides in St. Bavo’s Cathedral, which took the place of St. John the Baptist’s church in the 16th century.

From then until now, the polyptych altarpiece has kept its place as one of the most precious creations of humanity.

So precious in fact that many have attempted and succeeded to kidnap the painting and hold it for ransom.

According to art historian Noah Charney, the Ghent Altarpiece has been the target of 13 crimes and seven thefts ever since it was installed.

Since the 16th century, parts of the painting have been taken, recovered, and retouched several times.

Napoleon’s men lifted some of the panels during the French Revolution. German forces looted the painting during World War I. And the Nazis joined in during World War II.

Although much of the painting has been recovered and restored over time, the artwork which had been broken over and over again remains broken to this day.

The Ghent Altarpiece is still missing a panel, which was stolen in 1934 and later replaced with an imitation.

What is it about Jan van Eyck’s painting that arouses awe and incites greed?

Let’s explore the anatomy of the Ghent Altarpiece and discover the immortal treasures housed within its panels.

The post The Belgian masterpiece that became the most stolen work of art in history appeared first on Brussels Express.

Every winter, snow inspires a flurry of creativity. Snow artists transform tons of ice into masterpieces.

It was no different this year despite the pandemic and the lockdowns. Proof that nothing can suppress art and ingenuity.

As German visual artist Gerhard Richter once said, “Art is the highest form of hope.”

Here are some of the world’s most stunning snow creations this year. Which one is your favorite?

Footprints in the snow, Finland

Eleven pairs of feet stamped their way into conjuring this amazing snowshoe art in a golf course near Helsinki.

It took all of two days to complete this artwork, which measures about 160 meters or 525 feet in diameter.

Shoot prints in the snow, Germany

German street artist Alexander Friedrich, who goes by the name Autark, unleashed his creative juices on this parking lot in Berlin.

More than a hundred leaf patterns were carved into the snow to bring out this lovely work of art.

Flower prints in the snow, Massachusetts, U.S.A.

Miles of intentional walking forged this snow masterpiece at the Natural Bridge State Park in Massachusetts.

Artist Danielle Galietti used her feet to draw sinuous floral and lace patterns on the snow, which she considers a giant canvas.

Ginormous snow sculptures, China

Snow art rises larger than life at the annual winter festival in the Chinese city of Harbin.

The international event features some of the world’s largest ice and snow sculptures.

Ice hotel, Canada

In Quebec, a hotel made of ice and snow opens its doors to visitors from January to March.

The only ice hotel in North America, Hôtel de la Glace is constructed out of about 500 tons of ice and over 40,000 tons of snow.

Frosty statues, Wisconsin, U.S.A.

Every February, the city of Lake Geneva turns into an outdoor museum of snow art.

Teams of snow artists flock to the city to participate in the U.S. national snow sculpting championship.

The sculpture above was among the winners of this year’s competition.

Geometric snow art, Sweden

Art and geometry dance together in this snow sculpture by German designer Franziska Agrawal.

The artwork is one of the frozen figures on display at the Kiruna Snow Festival.

The post When snow turns into art: 7 snow masterpieces from around the world appeared first on Brussels Express.

On the first day of every new year, watching the Vienna New Year’s Concert is a tradition that unites many people from all over Europe.

The annual event features a classical music concert performed by the Vienna Philharmonic at the Musikverein concert hall in Vienna, Austria.

The tradition lives on this year despite the coronavirus pandemic, but the show will have to go on without a live audience.

The Vienna Philharmonic will perform today under the baton of Italian conductor Riccardo Muti, music director of the Chicago Symphony Orchestra.

An 82-year-old tradition

The first Vienna New Year’s Concert was organised in 1939. The concert presents masterpieces by famous Austrian composers, most notably the Strauss family.

The highlights of the program include “The Blue Danube” by Johann Strauss II and the customary final encore “Radetzky March” by Johann Strauss I.

A different conductor leads the Vienna Philharmonic each year. Highly acclaimed conductors are chosen from different countries within and outside Europe.

The show is broadcast live in over 90 countries in Europe and around the world with an estimated 50 million viewers.

In Belgium, the Vienna New Year’s Concert will be aired on RTBF at 11:15 a.m today.

The post Vienna New Year’s Concert, a hallmark of European heritage appeared first on Brussels Express.

Every holiday season, we see a different kind of Christmas tree glittering in the middle of the Grand Place in Brussels.

The chosen tree is usually taken from the forests of Belgium’s southern region of Wallonia. Every once in a while, it comes as a gift from another country.

One particular tree became controversial because it wasn’t a real tree. In 2012, Brussels decided to go for an electronic tree installation, which was taken down much sooner because it didn’t sit so well with the public.

This year, the twinkling and towering centerpiece of Grand Place is a traditional spruce tree from the Hautes Fagnes or the High Fens, a vast nature reserve in the Liège Province.

Let’s take a look at some of the most captivating Christmas trees ever to grace the Grand Place. Which one appeals to you the most? Cast your vote.

The post Vote: What’s the best Grand Place Christmas tree? appeared first on Brussels Express.