Thank god for contemporary art, thank god for Brussels

The local contemporary art scene, aided in no small part by newcomer Independent, single-handedly put Brussels back on the international map for all the right reasons last week. And god knows it needed the confidence boost. Art fairs, institutions, galleries, non-profits and private collectors all joined forces to ensure that the reputation which our capital city managed to build over the years as a vibrant international hub for contemporary art remained unchanged and unchallenged. Here, in no particular order and with the probable omission or two, is our own little thank you.

Thank you Art Brussels for moving a little closer to the city and becoming a slightly smaller affair. Like Belgium, small is better.

Thank you Independent for bringing some of your international appeal to town. Brussels needed it.

Thank you Poppositions for keeping things real. It ensured the city’s street-cred remained intact.

Thank you Alain Servais, Thomas RJB Caron, Frederic de Goldschmidt, Louis-Philippe Van EeckhoutteDimitri Jeurissen and Tanguy Van Quickenborn for diligently sharing your impressions to your many followers.

Thank you The New York Times, Artsy, Artspace and the many more international media platforms for covering the city’s many happenings. It helped a great deal.

And thank you to all the other fairs (Young International Art Fair and Off Course Art Fair), galleries (Yo Superdakota, Base-Alpha, Rodolphe Janssen, Clearing, Xavier Hufkens, Harlan Levy, Office Baroque, Geukens & De Vil, Sorry we’re Closed, Mot International, D+T projects and so many more), non-profits (Waddup Le Salon, Deborah Bowman, Black Market, Bureau des Réalités, Hisk amongst many others), party people (Big big big up Catclub and BAI) as well as foundations and private collectors (The Embassy, Boghossian Foundation, Vanhaerents, mostly) for making Brussels what it is: The best place on the face of the earth for contemporary art.