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A podcast of Visit Bruges on the occasion of Triennial Bruges 2021.

Podcast 5. The Birth of Passage.

Podcast 5. De Geboorte van Passage.

From May 8th to October 24th 2021, Bruges is hosting the third edition of the Bruges Triennial.

During this three-yearly art event, a select group of artists and architects create a trail of temporary spatial interventions

During this triennial art event, a select group of artists and architects creates a trail of temporary spatial interventions.

that lead us through the historic heart of this World Heritage City and encourage us to look at it with different eyes.

To help us fully appreciate the Bruges Triennial and this year's theme, trauma,

this five-part podcast series takes us on a voyage of discovery through a possible version of Bruges' history

This five-part podcast series takes us on a voyage of discovery through a possible version of Bruges' history.

and peeks behind the facades.

In this fifth and last episode, we take you out and about in the city.

In deze vijfde en laatste aflevering nemen we je mee de stad in.

We discuss the works of a number of artists and architects

We discuss the works of a number of artists and architects.

and how they tie in with historical events and locations in Bruges.

and how they connect with historical events and locations in Bruges.

And we enter into a dialogue with some of our city's lesser-known places.

Bruges as theater.

The backdrop we see in postcards and photos on the social media

The backdrop we see in postcards and photos on social media.

and in TV channels,

TV-series and movies.

But is this really the only face of Bruges?

But is this really the only side of Bruges?

Of course not.

The tourist hotspots, the picturesque canals, the market square, the Belfry, the Basilica.

They all have undoubtedly historical and art-historical value, and they are certainly well worth a visit.

They all undoubtedly have historical and art-historical value, and they are certainly well worth a visit.

But they all sustain an image of Bruges as a timeless and perfectly preserved medieval city,

But they all maintain an image of Bruges as a timeless and perfectly preserved medieval city.

where life is always calm and peaceful, when that's actually only a part of the picture.

where life is always calm and peaceful, when that's actually only part of the picture.

Bruges is so much more than the city center's neo-Gothic architecture.

Bruges is so much more than the neo-Gothic architecture of the city center.

And not all parts of our city are equally beautiful.

Our lovely World Heritage City Bruges is actually struggling in a variety of social problems.

Our lovely World Heritage City Bruges is actually struggling with a variety of social problems.

The 2021 triennial therefore takes us off the beaten track for a peek behind the scenes.

The 2021 triennial therefore takes us off the beaten path for a glimpse behind the scenes.

Ready to go exploring?

Our alternative tour has something to appeal to everyone.

Everyone's imagination.

Iedereens verbeelding.

Architectural interventions and visual art have been installed in interesting but atypical locations

Architectural interventions and visual art have been installed in interesting but atypical locations.

to give you an idea of our city's diversity and versatility

as we move between the public and the private, between dream and nightmare.

We'll introduce you to our featured artists and architects and step back in time

We zullen je voorstellen aan onze uitgelichte kunstenaars en architecten en een stap terug in de tijd doen.

to see how historical events and locations have inspired the installations and interventions

of the Bruges Triennial 2020.

Bruges Triennial 2021

In episode 1 of this podcast we told you that between the 9th and the 11th century

Bruges grew to become an important trading center, strategically located and with good access to the sea.

It was that access to the sea that was, and still is, an important trump card.

The bustling port made Bruges' merchants and bankers rich and influential,

and that attracted other prominent figures, such as counts and clergy, even emperors.

Burg Square, named after the fortress that originally stood there, became the center of power.

Burg Square, vernoemd naar de vesting die daar oorspronkelijk stond, werd het centrum van de macht.

That was where the first Sindonatian church was built, founded back in the mid-10th century,

That was where the first Sindonatian church was built, founded back in the mid-10th century.

and it was where all the great and good built their homes.

Nadia Kaby Links' installation, Inner Circles, ties in with this location.

Nadia Kaby Links' installation, Inner Circles, is connected to this location.

During her exploratory walk in Bruges' city center, Kaby Links noticed the various badges

During her exploratory walk in Bruges' city center, Kaby Links noticed the various badges.

that can be seen on the facades of the city center houses.

These are the badges of privileged communities, guilds, brotherhoods,

and they often include a circular shape, an inner circle if you will, for an inner circle,

and hence Kaby Links' title for this installation.

en daarom de titel van deze installatie van Kaby Links.

Such circles reminded Kaby Links of other circles,

such as the family circle, of groups coming together to safeguard common interests,

promote shared values and pursue common goals.

All well and good, but the problem is that such circles are exclusive,

limited to a group of privileged members, with others being automatically excluded.

Kaby Linker wanted to highlight and denounce such exclusion.

Her circular installation of public benches therefore seems inviting,

but come closer and you'll find that they are rendered inaccessible by sharp spikes.

but come closer and you'll find that they are made inaccessible by sharp spikes.

We are excluded.

This is a defensive circle with a void at its center.

Another participant who has drawn inspiration from relics of Bruges' past

Another participant who has drawn inspiration from the relics of Bruges' past.

is Brazilian artist Enrique Oliveira.

To fully appreciate this work, we have to briefly step back in time.

Following the murder of Charles the Good in the early 12th century,

a time of social, political and economic upheaval,

Bruges decides to build its first city wall.

Initially an improvised construction of wooden palisades and towers,

this wall is later rebuilt in stone.

It sets Bruges apart from the surrounding countryside,

and sets it on its path to greatness.

en zet het op zijn pad naar grootheid.

Nowadays, only a small part of this once mighty fortification remains,

Nowadays, only a small part of this once mighty fortification remains.

it forms part of a garden wall,

as you can see from the now quiet Botanmakerstraat.

Gazing at this remnant, Oliveira realized he had found the perfect place for his installation.

Kijkend naar deze overblijfsel, besefte Oliveira dat hij de perfecte plek voor zijn installatie had gevonden.

Inspired by his youth in Brazil, Oliveira uses discarded plywood as his base material.

Plywood is a sturdy material that consists of thin layers of wood glued together crosswise.

It's an inexpensive building material that is commonly used in Brazil,

It's an inexpensive building material that is commonly used in Brazil.

where leftover pieces are simply thrown away or left behind.

waar overgebleven stukken gewoon worden weggegooid of achtergelaten.

Oliveira uses this waste to create remarkable organic structures.

Oliveira gebruikt dit afval om opmerkelijke organische structuren te creëren.

For his work Banisteria Carpi des Natureza IV,

For his work Banisteria Carpi of Nature IV,

Oliveira has puzzled the plywood together into impressive tree structures of the remnants of the ramparts.

Oliveira has puzzlingly assembled the plywood into impressive tree structures from the remnants of the ramparts.

These twisting and turning structures are so expertly finished and so lifelike

These twisting and turning structures are so expertly finished and so lifelike.

that the trunks and branches seem to be coming from the trees

back in the walled garden.

They look like real trees, rooted in the ground,

They look like real trees, rooted in the ground.

and evoke the natural vegetation we so often find reclaiming archaeological sites.

Oliveira is also reclaiming, using natural forms to recreate nature.

Oliveira is ook aan het herclaimen, waarbij natuurlijke vormen worden gebruikt om de natuur te recreëren.

His work is an artistic interpretation of an ongoing ecological process.

It makes the visitor reflect on how contemporary art can inhabit and become part of a historical city.

Our third artist takes us back to the heyday of a product that brought fame and prosperity to Bruges.

Textiles.

In the twelfth and thirteenth centuries, Bruges was a flourishing and expanding mercantile city.

That prosperity was partly thanks to the fortuitous, at least for Bruges,

opening up of the Zwin tidal channel by a storm,

opening up of the Zwin tidal channel by a storm

which gave Bruges better access to the sea and to the building of a harbor in Damme.

which gave Bruges better access to the sea and to the construction of a harbor in Damme.

Much of this wall stayed in Flanders to be turned into high quality cloth,

Much of this wall remained in Flanders to be turned into high-quality cloth,

which was then exported also via Bruges.

An important street in Bruges at this time was the Werwersdijk, the Diersdijk.

This took its name from the Diers who took water from the canal there to dye their cloth red or blue.

This spot and its rich history inspired American artist Amanda Brouder

This spot and its rich history inspired American artist Amanda Brouder.

to create an enormous textile installation.

The Bruges volunteers collected donated fabric, arranged these pieces and then sewed them together.

The Bruges volunteers collected donated fabric, arranged these pieces, and then sewed them together.

Along the way they discovered that coming together to create a work of art,

chatting and exchanging stories creates mutual trust and friendship.

Chatten en het uitwisselen van verhalen creëert wederzijds vertrouwen en vriendschap.

The finishing work, happy coincidences, consisting of suitably vibrant colors and playful patterns,

can be seen at the Diersdijk and on the facade of the College of Europe.

A work of art that started with a private act,

individuals donating fabric or assisting during the sewing days,

has grown to become a shared statement, a public and accessible work of art.

Happy coincidences is surprisingly overwhelming.

When linking history to our present day reality,

When linking history to our present-day reality,

the participants in this year's triennial haven't shied away from the less pleasant aspects.

The participants in this year's triennial haven't shied away from the less pleasant aspects.

At the top of that list undoubtedly comes the plague, the Black Death.

A horrible disease arrived in Bruges in the mid 14th century, and it hit hard.

The Our Lady of the Pottery Hospital and St. John's Hospital were soon overflowing with plague sufferers,

The Our Lady of the Pottery Hospital and St. John's Hospital were soon overflowing with plague sufferers.

and within just three months one third of the Bruges population were dead.

And within just three months, one third of the Bruges population was dead.

Some of the participants therefore chose to work around this 14th century pandemic,

Some of the participants therefore chose to work around this 14th-century pandemic,

only to find it mirrored, thankfully, to a much lesser degree by the COVID-19 pandemic.

slechts om het gespiegeld te vinden, gelukkig, in veel mindere mate door de COVID-19 pandemie.

The Our Lady of the Pottery Hospital has chosen to set her work,

Distanglement, amidst the permanent collection of the former Our Lady of the Hospital museum.

Distanglement, amidst the permanent collection of the former Our Lady of the Hospital Museum.

This is no coincidence.

Splan is fascinated by the molecular structures of viruses.

As a biologist, she is familiar with these capricious shapes and patterns,

As a biologist, she is familiar with these capricious shapes and patterns.

and so, during the lockdown, she used imaging databases of various viruses,

including COVID-19, to create lace-like patterns and computer-based variations.

They are displayed in the museum as if they have always been there,

They are displayed in the museum as if they have always been there.

and yet, they still evoke a particular unease.

en toch roepen ze nog steeds een bijzondere onbehaaglijkheid op.

In Splan's work, fiction, science and religion are woven together,

In Splan's work, fiction, science, and religion are woven together,

and in a setting like this, that has connotations of caring, pain, healing, life and death.

Time now to visit a famous tower, the Poortoren.

At the end of the 14th century, after a bloody battle,

the Ghent militia took Bruges,

and demolished parts of its fortifications,

to ensure Ghent's free access to the city and the sea.

No fewer than three city gates, gates on the Ghent side of town,

had to go before the burghers of Ghent felt once again at ease.

had to go before the citizens of Ghent felt at ease once again.

The city walls weren't rebuilt until the early 15th century,

The city walls weren't rebuilt until the early 15th century.

and that was when the Poortoren was built.

and that was when the Gate Tower was built.

Its name, Poortoren, means gunpowder tower,

Its name, Poortoren, means gunpowder tower.

because this sturdy tower is where the Bruges militia used to store its gunpowder.

It was, and still is, the local dialect word for gunpowder.

For this year's triennial, inspired by lace-making techniques

For this year's triennial, inspired by lace-making techniques.

and the typical red bricks and tiles of the region,

Nene Okori is stretching a terracotta red tarpaulin collage around the Poortoren.

Nene Okori is stretching a terracotta red tarpaulin collage around the Gate Tower.

Her starting point for this was her research into the identity of Bruges.

When browsing through images online,

Wanneer je door afbeeldingen online bladert,

she became fascinated by a present that is brimming with remnants of the past.

She became fascinated by a gift that is brimming with remnants of the past.

She was also intrigued by the 18 meter tall Poortoren,

She was also intrigued by the 18-meter tall Gate Tower,

a literally harder stone and decidedly masculine structure.

She decided to give it a tactile layer using a female patchwork technique.

To create it, she cut circular pieces of cloth from red tarpaulins

To create it, she cut circular pieces of cloth from red tarpaulin.

and sewed them together into larger structures reminiscent of skin cells.

When stretched over the tower,

it is as if the tower has been given new life with pulsating red blood cells.

It is as if the tower has been given new life with pulsating red blood cells.

Seen through her eyes, however,

However, seen through her eyes,

it is as if the powder in the old tower has finally gone up in flames.

It is as if the powder in the old tower has finally caught fire.

This next work is an architectural project

This next work is an architectural project.

that highlights the link between medieval mercantile Bruges

and its influence on the art world.

en de invloed ervan op de kunstwereld.

Despite all the political upheavals, social problems and epidemics

Despite all the political upheavals, social problems, and epidemics.

that plagued Europe during the calamitous 14th century,

Bruges flourished, and by the 15th century it had reached its golden age.

When the Dukes of Burgundy built a residence there,

Bruges became the place to be,

the political, cultural and economic hotspot of Northwest Europe.

This attracted many artists,

and the most famous of these was undoubtedly Jan van Eyck,

of the Flemish Primitives.

These Flemish Primitives inspired American architect John Lott's work,

These Flemish Primitives inspired the work of American architect John Lott.

the Bruges Diptych.

At the Gouden Handrei, the Golden Hand Canal,

close to where Jan van Eyck used to live,

he duplicated the façade of an abandoned building.

He duplicated the façade of an abandoned building.

This impressive architectural feat,

constructed in accordance with the strict requirements of Bruges' structural plan,

became a platform for the Triennial's public activities.

On a symbolic level, it evokes the idea of Bruges as a tourist destination,

On a symbolic level, it evokes the idea of Bruges as a tourist destination.

a beautiful and idyllic setting in which to wander,

but one in which real street life is rather removed.

maar een waarin het echte straatleven er eerder van verwijderd is.

The Bruges Diptych has overtones of outdoor theater,

and it brings the homeliness and privacy of the domestic interior

to the openness of the public space.

And what about religious Bruges?

We certainly can't ignore that,

because over the centuries Bruges has played a major role in the Catholic faith.

It has, for instance, been home to numerous sacred relics,

such as the internationally renowned Relic of the Holy Blood.

zoals de internationaal bekende Relikwie van het Heilig Bloed.

And Bruges wasn't just a place for pilgrims to visit,

it was also a staging point for pilgrimage departures to Santiago de Compostela.

It was also a staging point for pilgrimage departures to Santiago de Compostela.

So many pilgrims left from Bruges,

and there is even a medieval roadmap,

the Bruges Wegwezer,

the Bruges Guide

to show them the best routes they can take.

The work Belgian artist Hans Obde Beek has created for this year's Triennial

The work Belgian artist Hans Obde Beek has created for this year's Triennial.

taps into Bruges' religiosity.

His oeuvre is a reflection of our complex society

His body of work is a reflection of our complex society.

and how it deals with mortality and meaning.

He probes the hazy boundary between reality and perception,

He explores the hazy boundary between reality and perception,

between what we see and what we want to believe,

tussen wat we zien en wat we willen geloven,

between what is real and what is staged.

Obde Beek thus creates fiction that is brimming

Obde Beek therefore creates fiction that is overflowing.

with moments of wonder and introspection.

met momenten van verwondering en introspectie.

His work for the Triennial is called Dans Macabre.

His work for the Triennial is called Dance Macabre.

It is a full-sized merry-go-round,

It is a full-sized merry-go-round.

but done in monochrome shades of grey,

maar gedaan in monochrome schakeringen van grijs,

devoid of all colour,

so that the staged sculptures of horses and carriages appear to be petrified.

so that the staged sculptures of horses and carriages seem to be petrified.

It's a fossil, disturbing and numbing,

and it interacts strikingly with the decorative baroque façade

of Sint Walburgers' church.

of St. Walburga's church.

Both seem to be frozen in time.

What then is their reason to exist?

Why are they comforting, yet also so alienating and melancholic?

Did you know that one of Belgium's most famous poets,

Guido Gezel, was born and bred in Bruges?

Guido Gezel was born and raised in Bruges?

In the house where he was born,

there is now a literary and biographical museum

dedicated to him and his oeuvre.

dedicated to him and his work.

In the garden, just outside the museum's entrance,

there is a sculpture, The Man Who Gives Fire,

a multifaceted Flemish visual artist and theatre maker, Jan Fabre,

who says he received his spark from Gezel and hopes to pass it on.

Further in the garden we find Strangler,

the work Mexican artist Hector Zamora has created for the Triennial.

the work of Mexican artist Hector Zamora that he has created for the Triennial.

Zamora drew his inspiration from one of the trees in the garden.

A solitary Austrian pine.

It reminded him of the ceibo, or ceiba,

an iconic tree that is sacred to home of the Amazonian people.

an iconic tree that is sacred to the home of the Amazonian people.

This tree is always hung with parasitical creepers,

This tree is always adorned with parasitic vines,

which feed off it.

This natural encirclement inspired Zamora

This natural encirclement inspired Zamora.

to create a man-made enclosure of coloured scaffolding around the pine.

to create a man-made enclosure of colored scaffolding around the pine.

This brings to mind building restoration,

but it also creates a beautiful connection

between man and nature.

As we climb the scaffolding in a circular motion,

we feel as if we were performing a ritual.

we feel as if we are performing a ritual.

And then, when we reach the top, we have a revelation.

A beautiful view of the surrounding area.

Time for tourism.

From the second half of the 19th century, Bruges invested heavily in tourism.

From the second half of the 19th century, Bruges heavily invested in tourism.

The restoration of tied buildings in the neo-Gothic style,

and the construction of complementary new ones,

enhances the medieval city.

One of the most important proponents of this

is city architect Louis de la Censerie.

The arrival of the railway in 1838,

the building of a grand railway station in the neo-Gothic style,

and the subsequent expansion of the rail network

made Bruges easily accessible.

Visitor numbers are further increased

Visitor numbers are further increased.

by the opening of the port complex in Zeebrugge in 1907.

Bruges had by then acquired two popular nicknames,

Bruges-la-Morte and the Venice of the North.

Bruges-the-Dead and the Venice of the North.

In fact, they proved so popular that they are still in use today,

In feite bleken ze zo populair dat ze tot vandaag de dag nog steeds in gebruik zijn.

more than a hundred years later.

When you hear the title Venice of the North,

you probably think of the numerous canals that crisscross both cities.

You probably think of the numerous canals that crisscross both cities.

But actually, this nickname first appeared back in the Middle Ages,

Maar eigenlijk verscheen deze bijnaam voor het eerst in de Middeleeuwen,

when Bruges and Venice were rival trading cities,

and so that connection is most probably its origin.

Whatever the case, that nickname was a great source of inspiration

Hoe dan ook, die bijnaam was een geweldige bron van inspiratie.

for Belgian artist Nadia Naveau.

voor de Belgische artieste Nadia Naveau.

With Venice's ultra-famous masquerade ball in mind,

Met het ultra-bekende gemaskerde bal van Venetië in gedachten,

she has created Les Niche Parties,

a series of gleaming masks that she has installed in niches along the waterfront.

Their decoration with colorful streamers draws upon her travels in Mexico,

Hun versiering met kleurrijke slingers is geïnspireerd op haar reizen in Mexico.

where she was surprised and delighted by the colorful flags and streamers

waar ze verrast en verheugd was door de kleurrijke vlaggen en streamers

that span the streets.

These reminded her of semaphore flags and of maritime signal flags,

These reminded her of semaphore flags and maritime signal flags,

flags that here are directing our attention

flags that are directing our attention here

to somewhere unseen by those on the tourist boats.

to a place unseen by those on the tourist boats.

In her inimitable, imaginative way,

In her unique, imaginative way,

Naveau is drawing our eyes to a hidden piece of architecture.

Naveau trekt onze aandacht naar een verborgen stuk architectuur.

A number of artists and architects have drawn their inspiration

A number of artists and architects have drawn their inspiration.

from present-day Bruges.

uit het hedendaagse Brugge.

From the Baron Rosette Park, for example,

to the north of the city,

a welcoming green oasis where people can relax on the grass

among beautiful trees and commune with nature.

This park is where art and architecture duo Gees van Warenberg

This park is where the art and architecture duo Gees van Warenberg

have installed their work, Colonada.

Inspired by the theme of trauma,

between public and private,

between dream and nightmare,

tussen droom en nachtmerrie,

this conceptual work is a pavilion.

But not a pavilion.

Maar geen paviljoen.

It's composed of intertwining columns

Het is samengesteld uit verstrengelde kolommen.

that create a maze-like space

dat creëert een doolhofachtige ruimte

in which you can easily get lost.

It's a spatial construction,

but without an interior,

maar zonder interieur,

an accessible sculpture that you can explore

from different angles.

It has multiple points of entry.

You can walk into a forest of columns

You can walk into a forest of columns.

going from light to dark

before emerging on the other side.

vooraleer aan de andere kant te verschijnen.

It's a very personal and introspective experience.

Who knows?

You might leave that forest with new insights.

The Beginnage and the Inner City

The Beginnings and the Inner City

is home to a work by artists

is de thuisbasis van een werk van kunstenaars

Jonah Malinowska and C.T. Jasper.

Their sculpture in film,

Who is Afraid of Natasha?,

Who is Afraid of Natasha?

refers to a forgotten monument

in Malinowska's birthplace,

in Malinowski's birthplace,

Gdynia, in Poland.

Natasha is the nickname of a statue

Natasha is de bijnaam van een standbeeld.

erected in the town square

during the Soviet era

to personify Polish friendship

with a regime that the Poles

came to view as oppressive.

In the Soviet Monuments,

In the Soviet monuments,

it depicts a strong beautiful woman

It depicts a strong beautiful woman.

striding confidently forward.

stridend vol vertrouwen vooruit.

After the fall of communism,

Natasha was moved to a less conspicuous spot.

Natasha werd naar een minder opvallende plek verplaatst.

But for Malinowska and Jasper,

Maar voor Malinowska en Jasper,

she is an image from their childhood

that still evokes many memories.

They therefore brought a copy of the statue

They therefore brought a copy of the statue.

to Bruges and created the work

Who is Afraid of Natasha?,

Who is Afraid of Natasha?

as a visual backstory for this anonymous woman.

Our final stop

Onze laatste stop

is the famous place in Bruges,

is de beroemde plaats in Brugge,

the Purterslodger,

the Burgers' Lodge.

This was a meeting place

This was a meeting place.

for Bruges' richest citizens,

the Burgers,

the Citizens,

the commercial elite

during the golden age

of the 15th century.

For the Bruges Triennial,

Argentinian artist

Adrián Viller Rojas

is placing a number of unusual

bird's nests in and around this lodge,

in the city center

and in Zeebrugge.

They form a part of his ongoing project

They are part of his ongoing project.

from the Ceres brick farm.

This title refers to the monument

This title refers to the monument.

when Viller Rojas and his team

found several red oven bird nests

found several red ovenbird nests

in an Argentinian brick factory.

These nests resemble

the traditional mud ovens

used by rural populations

gebruikte door plattelandsbevolkingen

in large parts of South America.

And they are what gives this bird its name.

They are built from mud,

straw and saliva.

Apart from the saliva,

more or less the same mix as that

was used for bricks.

was gebruikt voor bakstenen.

Viller Rojas and his team studied

these nests carefully

deze nesten zorgvuldig

and then returned them to the factory

en vervolgens brachten ze ze terug naar de fabriek

repairing them with suitable materials.

repareren met geschikte materialen.

Quite remarkable was that

the birds later returned to them.

During the Triennial,

Viller Rojas and his team

Viller Rojas en zijn team

are placing similar nests

throughout the city to link together

door de stad om met elkaar te verbinden

all of the artistic interventions.

Dozens of nests have also been installed

Dozens of nests have also been installed.

along the coast and in Zeebrugge.

In this way, the Burgers Lodge,

or Triennial, will be symbolically linked

with Zeebrugge, the place

where the Brugge Triennial collaborates

where the Bruges Triennial collaborates

with Beaufort, a Triennial art project

that spans the country coastline.

If you find one of these nests,

you will never be entirely sure

whether it's a real nest or a copy.

whether it's a real nest or a replica.

In this way, Viller Rojas

makes us think about the close collection

maakt ons denken aan de nauwe collectie

between human and natural constructions.

Viller Rojas

was the last in a series of five podcasts

that placed the Brugge Triennial 2021

that placed the Bruges Triennial 2021

in a broader context.

The series gives listeners

an overview of historical

and present-day Brugge

and present-day Bruges

and a brief history

en een korte geschiedenis

of the Brugge Triennials.

of the Bruges Triennials.

This year's Brugge Triennial

This year's Bruges Triennial

takes place from May 8th

to October 24th.

tot 24 oktober.

Find more information

on www.trianalbrugge.be

www.trianalbrugge.be

Episode 5 ◆ The migratory bird