News

Printmaking in Italy and the 'Flemish' contribution (16th-17th century) | Summer School

In the framework of its annual cycle of manifestations on Italy and i Fiamminghi, the Academia Belgica organizes in collaboration with the Koninklijk Nederlands Instituut Rome a summer school on Printmaking in Italy and the ‘Flemish’ contribution.

Internationally renowned specialists will guide you in the world of print making, lecture on the relation between Venetian and Roman print businesses, and discuss specific topics related to Renaissance and Baroque prints.

The KMSKA Loans Rogier van der Weyden’s The Seven Sacraments to the Prado

From 24 March through 28 June 2015, the Museo del Prado in Madrid devotes an exhibition to Rogier van der Weyden (1399/1400-1464). The exhibition is curated by Lorne Campbell, and is organised in conjunction with the restoration of The Crucifixion in El Escorial (near Madrid). The restoration is currently undertaken at the Prado.

Symposium and inauguration new Chair for imaging techniques

The University of Antwerp organizes a symposium on the development and use of the MA-XRF scanner. This technology is frequently used in technical art historical research. The symposium on 26 February is organized at the University of Antwerp. The inauguration of a new Chair for advanced imaging techniques is planned on 27 February at the Rubenianum in Antwerp.

TRACKS now available in English

TRACKS, the online toolbox and guidelines for the preservation of archives and collections in the arts can now also be consulted in English. All the guidelines and most of the practical cases are translated.

KMSKA’s Nico Van Hout co-curator exhibition at the Royal Academy of Arts in London

The exhibition Rubens and his Legacy. Van Dyck to Cézanne looks at the impact of Rubens on the art of painting. The show is co-curated by the Rubens specialist and curator of the Royal Museum of Fine Arts in Antwerp (KMSKA), Nico Van Hout. In 2014 the show was on view at BOZAR in Brussels, it now opens at the Royal Academy of Arts in London.

Digital Fashion Futures | Europeana Fashion International Conference

In collaboration with MoMu | Fashion Museum Province of Antwerp, Europeana Fashion hosts its third annual conference in Antwerp on 24, 25 and 26 February 2015. The conference DIGITAL FASHION FUTURES explores the future of digital fashion initiatives, bringing together a multitude of online fashion platforms and innovative perspectives from the cultural heritage industry.

Till-Holger Borchert and Hubert De Witte appointed as Co-Directors of Musea Brugge

Till-Holger Borchert and Hubert de Witte have been appointed as new directors of Musea Brugge. The two will succeed Manfred Sellink, who left Musea Brugge to become general director and head curator of the Koninklijk Museum voor Schone Kunsten Antwerpen on the first of December.

UNESCO recognises Belgian carillon culture

The Belgian application of safeguarding the carillon culture preservation, transmission, exchange and awareness raising was added to the UNESCO Register of Best Safeguarding Practices after a very thorough selection process by UNESCO's Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage.

City of Mechelen restores Enclosed Gardens

In October, a team of restorers started with the restoration of the first of seven Enclosed Gardens held by the Municipal Museums of Mechelen (Belgium). The collection of seven Horti Conclusi (Enclosed Gardens) dates from the 16th Century and belonged to the former convent of Mechelen's Hospital Sisters. Enclosed Gardens were mainly fabricated in the city of Mechelen, though only a few survive.

CAHF co-organizes panel discussion on restaging of exhibitions

A panel, organized at the ICA London in collaboration with CAHF, will explore the restaging of exhibitions and the complex mediation between art history and their own materiality. How has the restaging and remaking of exhibitions developed a typology of exhibitions that alter the way we consider previously unregistered artistic networks, events and artists? That reveal a more complicated set of interrelations between exhibition histories and art history?