Concertgebouw Brugge is a Flemish arts institution and a global stage for music and contemporary dance. The eye-catching building is also a centre for visual art, sound art and architecture. Concertgebouw Brugge wants to attract and involve a diverse audience and guide them on a path of discovery.
In a world that glorifies speed, Bruges’ SLOW(36H) festival invites audiences to slow down. Returning for its fourth edition, this 36-hour event transforms Bruges’ Concertgebouw into a space of deep listening, immersive installations and meditative experiences. Juliette Barber caught up with the festival’s head programmer Jan De Moor to understand why this is not just a festival but a transformative experience
In an age where life is measured in rapid scrolls and fleeting moments, the Concertgebouw’s SLOW(36H) festival in Bruges offers a radical alternative: 36 uninterrupted hours dedicated to slowing down. Taking place from 1 to 2 March 2025, this fourth edition of the arts festival is more than an event; it’s an immersive journey through sound art, visual expression, mindfulness and music, rooted in the ethos of “slow travel” and participative art.
Redefining time through art
The festival’s programming principle, “the slower the experience, the more intense the memory,” shapes every performance and installation. Audiences are invited to savour minimalist resources to their fullest, drawing inspiration from ancient cultures that regarded time as a precious commodity.
“This festival takes place every three years, and each iteration seems to grow bigger,” explains Jan De Moor, Head of Artistic Programming for classical and contemporary music. “It’s an opportunity for audiences to step out of the rush of daily life and experience art in a completely different way. You take your time and decide how long you want to engage with each piece.”
A sonic landscape of stillness and motion
Sound art takes centre stage, with immersive installations like Mariska de Groot’s BROM, where visitors meander through harmonising mechanical tops, and Maria Komarova’s 555 bugs, a mechanical insect soundscape buzzing with electro-acoustic life. The hypnotic drones of Mihalis Shammas’ Pendulum Instrument and the ethereal “air-choristers” in Anouk Kellner’s Airchoir No. 2 further amplify the festival’s auditory exploration.
De Moor elaborates: “Some of the pieces, like Éliane Radigue’s Occam compositions, require deep concentration. It’s slow, evolving music—if you just listen passively, you might not find anything remarkable. But if you focus, you notice micro-details unfolding in real-time. This is what the festival is about: truly taking time to absorb art.”
The festival also encourages audiences to let go of time itself. “During past editions, we had long-form performances, like Feldman’s music, which could last for hours. At first,
you’re aware of your surroundings, but eventually, you lose track of time and become fully absorbed in the experience,”
De Moor recalls.
Visual art meets contemplation
Visual art unfolds at a meditative pace. Tom Van Puyvelde’s Slow painting invites visitors to witness the creation and deconstruction of landscapes, synchronised with cellist
Arne Deforce’s Spectral Shifts. Van Puyvelde meticulously paints three large canvases during the festival, only to scrape over the final artwork, blurring and erasing it in an act that highlights impermanence.
“It’s a deeply symbolic moment,” explains De Moor. “Nothing material remains—only the experience. This fits the festival perfectly.”
Mindfulness interwoven with performance
Beyond traditional art forms, SLOW(36H) integrates mindfulness workshops, breathing exercises and even forest bathing. Jozefien Muylle and Maja Jantar’s tea ceremony Ichigo Ichie embodies the Japanese philosophy of treasuring each moment, while mindfulness coach Björn Prins guides participants through mental stillness techniques.
“The festival isn’t just about music or visual art—it’s about a full sensory immersion,” De Moor adds. “Whether it’s the meditative tea ceremony that takes 90 minutes for a single cup or a slow-motion dance performance in Bruges’ Market Square, every element is designed to remove participants from the rush of daily life.”
A tapestry of early music and cultural dialogue
Early music resonates through performances like Bach’s complete Cello Suites performed by Benjamin Glorieux, enriched with visual interpretations by Klaas Verpoest.
The festival bridges past and present with Catalina Vicens’ Cantus Firmus, blending early keyboard replicas with
digital soundscapes.
One of the more intriguing events is the performance of Thomas Tallis’s Spem in alium in Bruges’ Cathedral of St Saviour. “Normally, it’s sung by 40 singers,” says De Moor, “but here, just two singers will layer their voices over an eight-hour period. You can sit and listen, or you can step in and out, experiencing the gradual unfolding of the piece.”
Participative arts: Engaging the audience beyond observation
SLOW(36H) is not just for passive observation. Cent Pas Presque, led by Moroccan choreographer Taoufiq Izeddiou, transforms public spaces into slow-motion performances, inviting both planned participants and spontaneous passers-by to join. Over the course of an hour, dancers take 100 steps, eventually evolving into an exuberant finale where the entire square becomes a stage.
“By setting this in a central location, we encourage people to stumble upon it and become part of the festival,” De Moor explains. “This participative approach is core to our ethos.”
Sustainability and “Slow Travel”
SLOW(36H) also emphasises sustainability by curating a predominantly local artist lineup. “We’ve drastically reduced our reliance on air travel,” De Moor notes. “Most of our artists come from Belgium or nearby, travelling by train or public transport. Even the food at our festival cafe prioritises local, vegetarian and vegan options.”
Celebrating a festival for the mind, body and soul
As society grapples with constant acceleration, SLOW(36H) offers a rare space to decelerate, engage deeply and rediscover presence—not just in art, but in all aspects of life. Whether through the meditative strains of music, the hypnotic allure
of sound installations or the grounding practice of mindfulness, the festival fosters a unique sense of connection, reflection
and renewal.
“This festival is an experience you can’t replicate outside of the Concertgebouw,” says De Moor. “You need to come, step into the space and let time unfold naturally. That’s what makes it so unique—it’s not just about art, but about shifting the way we experience time and the world around us.”
SLOW(36H) takes place from 1 to 2 March 2025 in Bruges.
For more information, visit concertgebouw.be/slow