Interview Directory 

ART

Name: Nele Verhaeren

Occupation: Head of Cluster Art Fairs, Easyfairs Belgium

Education: Master's degree, Art History KU Leuven

“You can't understand Brussels all at once. You have to discover and rediscover it layer by layer.“

What are the highlights of Art Brussels' 40th anniversary?

Actually, we are celebrating the 40th edition of Art Brussels and not the 40th anniversary! Art Brussels is the second oldest fair in the world, launched in 1968. In the beginning it was a biennale, and then later in 1997 the fair became an annual event which is the reason why we end up now at the 40th edition of one of the leading European fairs. 

The 40th edition of Art Brussels promises to be a landmark event with a selection of 177 galleries from 31 countries, each bringing their unique artistic perspectives and contributions to the fair. With a focus on innovation, diversity and inclusivity, the fair will present a curated programme of galleries divided into 5 sections, a celebratory atmosphere with various initiatives, including Prizes for the winning gallerists or artists for each section of the fair. For each prize there is a dedicated professional jury. Special highlights this year are also “Art for the City”, an outdoor sculpture projectcomprising 14 art works, in collaboration with the participating gallerists and the city, and a nostalgic flashback area, “The Memory Lane”, where treasured souvenirs with quotes and pictures will be on display. In addition, numerous reception events will provide engaging opportunities for collectors, exhibiting gallerists and curators to connect and celebrate the rich tapestry of artistic expression.

Is there an artist's career that you remember that took off at Art Brussels?

I think immediately of a few remarkable talented winners of the SOLO Prize such as the painter Koen van den Broeck at Art Brussels 2008 (at Figge Von Rosen gallery – now represented by the Cologne based gallery Philippe von Rosen and Ron Mandos from Amsterdam at Art Brussels), painter Matt Conners at Art Brussels 2012 (at Cherry & Martin gallery – now represented by Xavier Hufkens at the fair), sculptor Sayni Awa Camara in 2022 at Baronian. Besides, I think of some other Belgian artists who in took off both at Art Brussels 2016 such as Léon Wuidar at Rodolphe Janssen and Eric Croes at at Sorry We’re Closed. If I think of the very beginning of the launch of the art fair, it is worth mentioning Marcel Broodthaers (represented by Cogeime run by Yvan & Betty Lechien the founders of the gallery association and the fair) and Bernd Lohaus (represented by Anny De Deckerfrom Wide White Space Gallery). Both of these galleries do not exist anymore. This year Sofie Van de Velde will present a prominent presentation of Bernd Lohaus at the fair, whoduring his lifetime created a body of work that occupies a unique position within themovements of Fluxus, Social Sculpture, Arte Povera, Minimal Art and Material Art.

Anys Reimann-BLACK PLATEAU V-2023, ©Gallerie VAN HORN

“The success of Art Brussels is underpinned by Belgium’s reputation of having the highest number of art collectors per capita globally."

How does Art Brussels try to distinguish itself from other art fairs?

Art Brussels has remained at the forefront of the contemporary art scene, showcasing established artists, fostering emerging talents, and facilitating dynamic exchanges between artists, collectors, gallerists, and art enthusiasts. Art Brussels is deeply grateful for the ongoing support from the expansive community of art enthusiasts across Europe. The success of Art Brussels is underpinned by Belgium’s reputation of having the highest number of art collectors per capita globally, fostering a dynamic artistic landscape with top-quality galleries. Art Brussels is the most important yearly momentum to honouring the contemporary art scene in the BENELUX. 

And where is the fair heading? What are your plans for its further development?

Looking ahead, we are committed to stay a welcoming, friendly and personal fair with multiple elements of surprise and novelties, ensuring that Art Brussels remains a priority on the international agenda for art lovers across Europe. We appreciate our strong connection with the entire art community in order to define its needs and visions. 

Environmental and social aspects, as well as governance is important in our organisation and we will continue to work on that. As a member of the Gallery Climate Coalition, Art Brussels is committed to making the fair as sustainable as possible. Water bottles, fountains, biodegradable carpet, reusable constructions, less printed policy, catering with local food offerings, encouraging public transport, collaborating with suppliers that are ESG-driven companies… all these small initiatives together make a difference. Since 2023, we've participated in a tree-planting programme, with trees planted for each participating gallery at the fair. This initiative helps offset our carbon footprint and contributes to environmental conservation. 

Has the winner for "Art for the City" already been decided?

Let’s say the decision is 90% made. We asked the galleries to send us documentation on the artist that they represent for this project. The jury members reunited early April to study and to debate about the previous projects, the CV, and the final proposal of each of the participating artist for “Art for the City”. This reflection takes time and it is impossible to organise all this on the opening day. You need to know that none of the 14 works that will be shown at “Art for the City” at the fair, will be implemented in a public space. So, the prize will be awarded to the winning artist who, in the opinion of the jury, has the potential to create a new commission for a site-specific environment. The jury will reconfirm their choice on the day of the opening. 

“There is no magic formula that fits a certain criteria because pushing boundaries is important in contemporary art.“

What is important to you in art today, what do you look for in artists?

We ask our committees to foster diversity and inclusivity in the offer; in the content, the provenance, in the use of discipline, the age of the artists. There is no magic formula that fits a certain criteria because pushing boundaries is important in contemporary art. The profile of the gallery is also hugely important because as a fair we want to give this label of trust towards the collectors visiting the fair. For us it is important that the presentation of the booths is surprising, curated, or elegant. There are 177 stands and it’s a mission for each gallerist to try to create a unique display. We want visitors and collectors to be surprised and captivated. Visitors need to have the feeling they are experiencing something special while visiting Art Brussels. The curatorial skills of the gallerists play an important part in this experience. For example, we notice that the hidden parts of the booths are drawing a lot of attention; it stimulates the curiosity of the collectors.

What do you think of the Brussels art scene?

Brussels is an incredible vibrant art city. The city is home to a lot of excellent galleries, artist studios, and supportive collectors. 32 galleries from Brussels are participating at the fair which is 18%. We have the benefit of being considered as cosmopolitan city because of the many different languages of its citizens. This is a true attraction point for entrepreneurs and people with a free spirit. Brussels counts numerous private initiatives that enrich the artistic tapestry of the city. You cannot understand Brussels at once. You need to discover and rediscover it, layer by layer. It’s complex. Every quartier has its own vibe. Going form the more posh art scene uptown, the bourgeois and artistic Sablon to the more cool and alternative spirit downtown. 

Krajnak Tarrah - 1979, Contact Negatives-2019 ©Zander Gallery

“I strongly believe in the power of our vibrant Art Brussels' community which amplifies the fairs’ pivotal role as an ultimate platform for the entire contemporary art scene in the heart of Europe.“

How did your own path into art begin?

Before starting at Art Brussels, I engaged in a number of different activities: I gave courses in art history, in visual arts and scientific drawings, as coordinator I organised the Beaufort project, a triennial of art on the Belgian coast at the MUZEE in Ostend, and I also worked at the National Bank of Belgium in Brussels making an inventory of their corporatecontemporary art collection. Thus, I gained insights into very different areas of the art scene which helps me to understand the needs of artists, curators, galleries and collectors.

In June 2006, I started working for Art Brussels. My first edition was Art Brussels 2007. At the time, I was the only member of the team working full-time on this wonderful project. I had already been a regular visitor of Art Brussels since I was an art history student at the Kuleuven. I was hired to convince the galleries to take part in Art Brussels. It was a fantastic job, as it enabled me to visit many fairs abroad, meet extraordinary people from the art world, visit exhibitions in galleries in major cities and build a network. As well as attracting good gallery profiles, I've always worked close with the Art Brussels directors (Karen Renders, Katerina Gregos and Anne Vierstraete) to help position the fair, to reason, to weigh up choices, to determine budgets, and to organise the fair itself. So many factors go into a decision and that process is a great joy and an important asset in my current position as director.

Over the years, my admiration and esteem for the profession of a gallery owner have only grown. It's a profession that demands a lot from a person; you have to be passionate about art, have empathy for artists, their concerns and anxieties about their artistic practices, as well as a good feeling for collectors, dare to seize opportunities and be aware of the financial risks,without spreading yourself too thin. At the end of the day, you have to try to grow at the same speed as the artists, otherwise they will leave the gallery for a bigger one. I believe that my passion for contemporary art (my main driving force), my experience as an organiser which gave me a certain confidence in my choices and my deep respect for the profession of gallerist have always been a good guide for me in positioning the fair. I strongly believe in the power of our vibrant Art Brussels' community which amplifies the fairs’ pivotal role as an ultimate platform for the entire contemporary art scene in the heart of Europe.