Revolution, Spanish flu and refugees: the situation in Belgium at the end of World War I was chaotic. An exhibition at the BELvue Museum tells the story of that confusing time. Bernd Riegert reports.
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"Is the war really over?" On November 11, 1918, rumors began circulating in occupied Brussels; the Germans had finally been defeated, it was said, and a ceasefire had been signed.
But around the city — at the town hall, at the train station, in many streets — shots were still being fired. The fighting continued in many areas, and people didn't know exactly what was going on. The German occupiers had censored the press in Belgium, and reliable information was only available from a few underground newspapers and news trickling in via foreign media — from the Netherlands, for example.
Days later, however, people finally had the confirmation they had been hoping for: the war was indeed over.
In the final days of the war in Belgium, rebellious German soldiers declared a revolution after the fall of the German Empire. On November 10, a Sunday, they founded a soldiers' council in an effort to control the city. But officers and soldiers loyal to Kaiser Wilhelm II refused to join them, shooting at their former comrades and waiting for orders from Berlin which never came.
"The situation was very strange," said Chantal Kesteloot, a historian at the Center for Historical Research and Documentation on War and Society. Until November 14, "the power was more in the hands of the German soldiers. The city was not freed by the Allied troops, but by German soldiers."
The revolutionaries of the soldiers' council even tried to ally themselves with the Belgians. But the people of Brussels had suffered greatly during the four years of German occupation. They were starving, they were freezing; both food and coal were scarce in those cold November days.
"It was not the euphoria which one might have expected," said Kesteloot of the days following the armistice. "People stayed at home, they were afraid because of the violence…between the two groups of German soldiers." Celebrations were muted as long as the Germans were still in the city; Kesteloot said the Allied troops only arrived in the city on November 16, five days after the ceasefire.
One day later — on Sunday, November 17 —Mayor Adolphe Max returned from prison. As he spoke on the Grand Place in front of Brussels' historic town hall to a crowd of thousands, it was finally clear: the war was over.
It was as if the country had won the football World Cup, said Kesteloot. Once again, people dared to celebrate in the streets, waving the tricolor Belgian flag for the first time in years.
The king returns
King Albert I also took his time to make his way back to Brussels. For four years, he had commanded the Belgian army from the western part of the country, which had not been occupied by the Germans. With the war finally over, the image-conscious king wanted to make a triumphant entrance into Brussels.
The king's official return was slated for November 22, said Kesteloot — a day or two after he actually arrived back in the city. "That was really the day Brussels was liberated, the symbolic moment of Belgium's liberation," she said.
In the time between his arrival and the official celebration, statues and monuments were quickly erected. Thousands of onlookers travelled to Brussels from all over Belgium, arriving by foot or by wagon; the king had remained popular with his subjects throughout the long occupation. Historical footage from the time captured the king's dramatic entrance, riding a silver-white horse so that he could be easily distinguished from other riders on their dark mounts.
Albert announced democratic reforms on his return, introducing the electoral principle of "one man, one vote" — further endearing himself to his public.
Refugees and a new threat
With the war over, life slowly began to return to Brussels. Kesteloot said the city had escaped the destruction of other Belgian cities, parts of which were heavily bombarded in the fighting.
In 1918, around 700,000 people lived in the greater Brussels area. In addition to this came the 100,000 refugees from the battlefields of northern France and Flanders.
"Helping the refugees was for some people a patriotic duty, a kind of resistance against the Germans, showing their solidarity," said Kesteloot. "But other people were more xenophobic."
To accommodate and feed so many people was difficult. Well into 1920, food in Brussels was distributed with special coupons and subject to state-run rationing. "The population was very weak compared to [prewar period]," said Kesteloot.
1914/1918 - Not then, not now, not ever
Artists from the 31 countries involved in the First World War were given a block of wood from the front. They created different commemorative works reflecting on the destruction of war and the hope for peace.
Image: Hermann Nitsch/Jack Kulcke
Germany / Günther Uecker: Untitled
The exhibition "1914/1918 - Not Then, Not Now, Not Ever," shown at the German Reichstag in Berlin, was commissioned to commemorate the end of the First World War on November 11, 1918. The works were created by artists from the 31 countries involved in the conflict. This one is from the German sculptor and installation artist Günther Uecker.
Image: Günther Uecker/Jack Kulcke
Günther Uecker: Untitled, detail
Uecker has been using nails in his art since the 1950s. The Düsseldorf artist's symbolic works, which deal with different political issues, have been featured in different Bundestag exhibitions, including the 1996 installation entitled Fall, in remembrance of the pogrom night in Germany on November 9, 1938. He also designed the Bundestag's Prayer Room in 1998–99.
Image: Günther Uecker/Jack Kulcke
Bulgaria / Nedko Solakov: Dead Warriors
Each artist was given the same material to create a work for the exhibition: a cube of wood of 30 by 30 by 30 centimeters (12" x 12" x 12") from oak trees that stood in a fiercely disputed section of the front in Alsace. Through discolorations or even leftover war projectiles, traces of the conflict can still be seen in the wood itself. This work is by Bulgarian artist Nedko Solakov.
Image: Nedko Solakov/Jack Kulcke
Nedko Solakov: Dead Warriors, detail
One of the best-known Bulgarian artists of his generation, Solakov has regularly participated in international exhibitions, such as the Documenta 12 (2007) and Documenta 13 (2012), and the Venice Biennale in 2001, 2003 and 2007. His storytelling works include historical references and touches of humor. Here, he added a few ink spots to the cube of wood to create a work called Dead Warriors.
Image: Nedko Solakov/Jack Kulcke
Austria / Hermann Nitsch: Untitled
Austrian avant-garde artist Hermann Nitsch turned the cube of wood into a symbolic butcher's block covered with blood, recalling the brutality of war. World War I caused 20 million deaths and about 23 million military personnel were wounded, making it one of the deadliest conflicts in human history.
Image: Hermann Nitsch/Jack Kulcke
Hermann Nitsch: Untitled, detail
Nitsch has long shown his fascination with bloody scenes. His performances in the early 1960s were so provocative that they led to court trials and imprisonment. Although the 80-year-old artist now avoids killing animals during his performances, his "120. Aktion" from 2004 still involved a slaughtered bull, five dead pigs and 600 liters of blood. The blood on the wooden block, however, is paint.
Image: Hermann Nitsch/Jack Kulcke
South Africa / Wim Botha: Untitled
Botha is best known for his sculptures carved out of books. The South African artist often juxtaposes light and movement with dark figures in a state of conflict. The pieces of glass placed around the wooden skeleton in this piece mirror the work's current surroundings, adding new elements and questions to the history of war.
Image: Wim Botha/Jack Kulcke
Wim Botha: Untitled, detail
Born in 1974, Botha is one of the youngest artists in the show, along with the Ukrainian Aljoscha and the Turk Cevdet Erek. The exhibition's oldest artist, the Romanian Geta Bratescu, was born in 1926. Interestingly, her installation was the only one to include a video on an iPad. "Variety in the forms of expression was important in the selection of the artists," said curator Mattijs Visser.
Image: Wim Botha/Jack Kulcke
Ireland / Sean Scully: The Disappearing Boys
The Irish-born American-based artist Sean Scully is renowned for his large abstract paintings. However, for his work entitled The Disappearing Boys, he created a very concrete sculpture. John, Johannes, Jean: three versions of the same name in English, German and French are engraved on a coffin, referring to three of the major European powers at the center of the world conflict.
Image: Sean Scully/Jack Kulcke
Sean Scully: The Disappearing Boys, detail
The curator of the exhibition, Mattijs Visser, said he was fascinated by how the works on show reveal deep connections with the country of origin of the artists. The title of Scully's work can be seen as a reference to those who were abducted, killed and secretly buried during the Troubles in Northern Ireland. These victims were known as the Disappeared.
Image: Sean Scully/Jack Kulcke
Australia / Fiona Hall: Fell
War and death also have consequences for subsequent generations. The Australian artist Fiona Hall placed a charred cradle on a coffin in her work, entitled Fell. The sculptor was the first to represent Australia in its new pavilion at the Venice Biennale when it opened in May 2015.
Image: Fiona Fall/Jack Kulcke
Fiona Hall: Fell, detail
Hall is renowned for transforming ordinary, everyday materials into organic forms in her works, giving them historical and contemporary relevance. With the sawdust from her sculpture, she also created a bread that's wrapped in barbed wire. Sawdust was sometimes added to baked goods during World War I to compensate for shortages of flour.
Image: Fiona Fall/Jack Kulcke
Armenia / Jean Boghossian: Double World
Born in Syria, the painter and sculptor Jean Boghossian is Lebanese and has been living in Brussels since 1975. Since he is also of Armenian descent, the international artist represented the country at the Venice Biennale in 2017 as well as in the "1914/1918 - Not Then, Not Now, Not Ever" exhibition. He split his block of wood into two pieces.
Image: Jean Boghossian/Jack Kulcke
Jean Boghossian: Double World, detail
Boghossian is renowned for his experimentation with fire and smoke in his works. In Double World, one side is burnt, representing the losers of the conflict. The sharp edges of the two pieces show how the different camps appear threatening to each other and clash, but the two laser-cut blocks also fit perfectly together, which the artist sees as a symbol of hope.
Image: Jean Boghossian /Jack Kulcke
1914/1918 - Not Then, Not Now, Not Ever
Tours can be booked to visit the memorial exhibition "1914/1918 - Not Then, Not Now, Not Ever," on show in the German Reichstag building until January 6, 2019. The exhibition will travel to the UN's headquarters in New York in 2019.
Image: Atelier Trieb
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That weakness would prove fatal when another (invisible) enemy arrived in the Belgian capital: the Spanish flu. Worldwide, the virus would go on to kill at least 25 million people between 1918 and 1920. In Brussels, thousands of people died — far more than were killed during the war.
The virus — which despite its name did not come from Spain but was probably brought to Europe by US soldiers — had a devastating effect on the weakened population, particularly the younger population between 18 and 28.
"It was very difficult for parents to accept that their son had survived four years in the trenches or in an occupied city, to just suddenly die of the flu," said Kesteloot, who experienced their grief through the diaries of the soldiers and their families.
To commemorate the end of World War I in Brussels, around 300 street names recall past battles or war heroes. Dozens of memorials have been erected, including those for fallen railway men or for carrier pigeons, used as messengers on the front. One hundred years after the war, their memory remains.
"Brussels, November 1918," an exhibition at the BELvue Museum in Brussels, features historical photographs, films and documents detailing life in the city in the confusing final days of World War I. It runs until January 6.