50 years Knokke Art Fair
Travelling through time, from 1976 to 2025...
One of the world's oldest art fairs, and the longest-standing international tradition on the Belgian Coast. Art moves us, the young and the old, the curious and the seasoned alike. Whether encountered within the solemn walls of a museum or out in the open air, art stirs emotion, provokes reflection, and invites dialogue.
Go and see that people, it is a dream like no other. |
|
When the fair first opened its doors in 1976, it was still a refined salon at Hotel La Réserve. By the 1980s, it had evolved into an international highlight, firmly marked on the summer calendar of collectors and art lovers alike. More than 14,000 visitors came each year to experience the unique dialogue between antique, modern, and contemporary art.
One of the greatest strengths of Knokke Art Fair has always been its ability to evolve with its time — to sense what audiences desire and translate it into a meaningful experience. For half a century, it has been a must-see rendezvous for residents, second-home owners, and international visitors who flock to Knokke every August for two luminous weeks devoted to art, beauty, and discovery.
1. The birth of a new traditionIn the 1970s, the Belgian coast was alive with optimism. Knokke-Heist, already renowned for its villas, gastronomy and cultural vitality, became the natural setting for a new kind of art event: Art Nocturne Knocke.
It was more than a fair. It was an atmosphere; busy openings, intimate encounters, the smell of the salty sea blending with the murmur of collectors’ conversations. The concept was simple but revolutionary: bring the finest galleries and art lovers together in a setting that celebrates art. From the very first editions, Knokke stood apart. While other fairs focused on volume and spectacle, this coastal event focused on quality, curation, and human connection. It became a discreet meeting point for leading Belgian galleries and the early generation of private collectors who shaped the national art scene. |
 Councillor Eric Ruysschaert, famous art dealer Emile Veranneman, mayor Leopold Lippens, organiser Gil Tuteleers
|
The concept was simple but revolutionary: bring the finest galleries and art lovers together in a setting that celebrates art.
While other fairs focused on volume and spectacle, this coastal event focused on quality, curation, and human connection.
Works by Barbara Kruger and Elmgreen & Dragset during Highlights.be 2022, featuring the most precious private contemporary art collections of Flanders.
|
2. A tradition of cultural relevanceOver the past forty-five years, many of the world’s most respected galleries have taken part in the fair, each bringing its own vision and artistic language to Knokke’s vibrant scene. Names such as Den Bieman de Haas, Nico Koster, Francis Kyle, Rademakers, Jamar, Berengo Studio, Van Loon, Va Dun, Frans Jacobs, Didier De Rijk Fine Art, M&L Design, Van Gelder, Marnix Neerman, Gramo Fine Arts, Galerie Hüsstege, Loek Brons, Baskania, and Cafmeyer have all contributed to its enduring reputation. Their presence turned Knokke into a genuine crossroads of culture, a place where heritage and innovation meet every summer under the same light.
|
The Knokke Art Fair has made history. A few names that have been showcased over the past several decades are Barry Flanagan, Yayoi Kusama, Constant Permeke, Gerhard Richter, Pol Bury, Berlinde De Bruyckere, Elmgreen & Dragset, Antony Gormley, Henry Moore, Bruce Nauman, Anselm Kiefer, Giuseppe Penone, Barbara Kruger, Helmut Newton, Marcel Duchamp, Fernando Botero, Pablo Atchugarry, Pablo Picasso, Alexander Calder, Jean-Michel Folon, Lucio Fontana, Christo, Alberto Giacometti, Sam Francis, Bruegel, Rembrandt, Louise Nevelson, Vincent Van Gogh and many more.
3. Where it al began (1970s - 1980s)At the request of the Syndicate for Art and Antiques Dealers of Flanders, Art Promotion Tuteleers was appointed as the marketing and communications agency to organise the Art and Antiques Salon at Hotel La Réserve in Knokke-Heist. After several successful editions, the syndicate dissolved, and it were the former members themselves who urged Art Promotion Tuteleers to continue the fair independently. That decision marked the beginning of what would become one of Europe’s most enduring art events.
In those early years, major names from both the modern and contemporary art scene joined the roster, including Stichting Veranneman (Kruishoutem), Deweer Art Gallery (Otegem), Rob Van den Doel (The Hague), and Galerie Michèle Broutta (Paris). In the field of Old Masters, participants included dealers who also exhibited at TEFAF Maastricht, such as Kunsthandel J. Fijnaut (Amsterdam) and Jacques van Rijn Fine Art (Maastricht) — the very organiser behind Pictura International, the precursor to today’s TEFAF. |
Historical billboard of the very first edition of the art fair
|
4. Growth and international recognition (1990s - 2000s)
|
The 1990s marked a decade of expansion and diversification for the fair, with the introduction of compelling collateral events. Among them was the thematic exhibition “Portugal: Filip and Isabella – A Burgundian-Portuguese Alliance”, which drew wide attention and signalled the fair’s growing cultural ambition. Reputed international galleries such as Willy Schoots and Gallery Delaive joined the roster, strengthening Knokke’s position as a serious player on the European art circuit.
A European Pavilion soon emerged within the fair, featuring leading dealers from England, the United States, the Netherlands, France, Germany,... alongside a strong representation of Belgian galleries. Among them was Jan de Maere from Brussels, former chairman of the Belgian Chamber of Antiquaries. |
Picture above: Mayor Manu De Sutter, Viviane & Patrick Berko & honorary senator Roger Windels
|
The first Sculpture Link, back in 1993, with 'Adam' and 'Eva' from Jos De Decker
|
Despite the fair’s increasingly international scope and extensive media coverage, its venue, the Cultural Centre Scharpoord, remained relatively unknown to the broader public. This challenge inspired the creation of Sculpture Link, an open-air sculpture route that guided visitors from the seafront to Scharpoord. From 15 June to 15 August, monumental sculptures lined the Sea Dyke, transforming Knokke into a seaside museum. The concept was an immediate success, and has remained a beloved tradition for over three decades. By the year 2000, the fair had reached its 25th edition and ushered in a new era under a new name: Art Nocturne Knocke. The rebranding reflected a change in rhythm, the fair now opened its doors in the evening, embracing Knokke’s unique nocturnal charm.
Throughout its history, Knokke has been immortalised by artists from Belgium and beyond. As early as the 1880s, painters such as Félicien Rops, François Musin, Anna Boch, Paul Parmentier, Alfred Verwee, Henri Permeke, Luc Peire, Roger Nellens, and Gilbert Decock captured the coastal light on canvas. Under the patronage of Roger Nellens, an avid collector and visionary behind the Casino Knokke, the town continued to attract leading names from the international art world, solidifying its reputation as Belgium’s cultural gem by the sea. |
5. A new generation and a renewed spirit (2010s - 2020s)
The fair’s trajectory became unmistakable: to present a high-quality selection of Modern and Contemporary Art within the distinctive summer atmosphere of the Belgian coast. Over the years, an impressive group of cultural and political figures joined the fair’s Patronage Committee, including Paul Breyne (Governor of West Flanders), Count Leopold Lippens (Mayor of Knokke-Heist), Maxim Willems (Alderman of Culture), Dr. Valentin Vermeersch (Chief Curator of the Bruges Municipal Museums), Baroness Janssen, and, later on, even Belgium’s current Prime Minister Bart De Wever.
The 40th edition transformed the fair into a true festival, enriched with numerous collateral events, from a fashion collaboration with Veerle Windels, to a classical concert conducted by Liebrecht Vanbeckevoort, to an immersive light installation that illuminated the summer nights.
In recent years, several exceptional exhibitions have left their mark on the fair’s history, featuring artists such as Piet Stockmans, Yayoi Kusama, Philippe Pastor, and Barry Flanagan. After relocating to the Grand Casino Knokke in 2021, Belgian private collectors were given a dedicated platform through Highlights.be, a concept that quickly evolved into a new annual tradition.
The 40th edition transformed the fair into a true festival, enriched with numerous collateral events, from a fashion collaboration with Veerle Windels, to a classical concert conducted by Liebrecht Vanbeckevoort, to an immersive light installation that illuminated the summer nights.
In recent years, several exceptional exhibitions have left their mark on the fair’s history, featuring artists such as Piet Stockmans, Yayoi Kusama, Philippe Pastor, and Barry Flanagan. After relocating to the Grand Casino Knokke in 2021, Belgian private collectors were given a dedicated platform through Highlights.be, a concept that quickly evolved into a new annual tradition.
|
50 years Conservation Committee
______ Graaf/Comte Leopold Lippens Late Mayor of Knokke-Heist Bart De Wever Prime Minister of Belgium Jacques J. Nellens Managing Director Grand Casino Knokke Maxim Willems Alderman for Culture, Knokke-Heist Jean-Luc Dehaene Prime Minister of Belgium Willy Claes Deputy Prime Minister and Minister of Foreign Affairs Willy De Clercq Minister of State, Chairman of the Committee on External Economic Relations of the European Parliament Robert Urbain Minister of Foreign Trade and European Affairs Guy Verhofstadt Prime Minister of Belgium Antoine Duquesne Minister of the Interior Bert Anciaux Deputy Minister for Culture Barones/Baronne Paul Janssen Renaat Landuyt Deputy Minister for Tourism Jaak Gabriels Deputy Minister for Foreign Trade |
Paul Breyne
Governor of West Flanders Sven Gatz Minister of Culture Lydia Peeters Minister van Cultuur Hugo Schiltz Deputy Prime Minister Herman De Croo Minister of Foreign Trade Jan Jambon Minister-President of Flanders Daniel Coens Minister of Education Dirk Van Nuffel Chief Commissioner of Police, Knokke-Heist Mark Eyskens Minister of Foreign Affairs Philippe Maystadt Deputy Prime Minister and Minister of Finance Leo Tindemans Minister of Foreign Relations Valentin Vermeersch Chief Curator, Bruges City Museums Ridder Raynier van Outryve d’Ydewalle Chairman, GIMV Manu Desutter Mayor of Knokke-Heist Eric Ruysschaert Alderman for Culture, Knokke-Heist |
Knokke once again became a bridge, between the established
and the avant-garde, between Belgian taste and international ambition.
6. Voices of continuity and vision
For fifty years, Knokke Art Fair has been shaped not only by artworks and galleries, but by the voices that carried its ambition forward.
Cultural leaders, public figures and its own organisers have articulated, each in their own register, what this fair stands for: continuity, excellence, and an unwavering belief in the power of art.
The following addresses mark the golden jubilee edition of 2025, reflecting on legacy while opening the horizon to what lies ahead.
Cultural leaders, public figures and its own organisers have articulated, each in their own register, what this fair stands for: continuity, excellence, and an unwavering belief in the power of art.
The following addresses mark the golden jubilee edition of 2025, reflecting on legacy while opening the horizon to what lies ahead.
|
Thomas Van Cromphout
Managing Director, Grand Casino Knokke It is with great pride and genuine admiration that I welcome you to this jubilee edition of KNAF — Knokke Art Fair, celebrating its fiftieth anniversary this year. This is an exceptional moment in the history of a truly distinguished fair, and it is a profound honour for Grand Casino Knokke to serve as its host venue. Over five decades, KNAF has built a solid reputation as a leading meeting place for art lovers, collectors, galleries and connoisseurs from Belgium and abroad. What once began as an initiative by passionate art dealers has grown into a cornerstone of the Belgian and European art landscape. KNAF stands for quality, authenticity and a sharp eye for both aesthetic and historical value — principles that resonate deeply with Grand Casino Knokke. Our house breathes culture and elegance, making it a natural setting for a fair that celebrates beauty and craftsmanship. The grandeur of this place, intertwined with the artistic character of KNAF, creates a unique experience year after year. On behalf of the entire team, I warmly congratulate the organisers, participants and loyal visitors on this golden anniversary. May this fiftieth edition be not only a celebration of the past, but also an inspiring look toward the future of art and heritage. Welcome to KNAF 2025. Welcome to Grand Casino Knokke. 
Monumental works by Barry Flanagan during Sculpture Link 2022
Alexander Tuteleers Organiser, Knokke Art Fair Five years ago, I had the privilege of taking over the torch from my parents — and I consciously chose to turn a page. COVID had just struck, and once again the art world was in a state of transformation. Knokke Art Fair succeeded Art Nocturne Knocke. Grand Casino Knokke replaced the Cultural Centre Scharpoord. Modern art galleries followed antique dealers. Artists forged their own paths through ArtistMeeting, now three editions strong with over one hundred participants annually. Design found its own platform in SavoirFaire, now held every October. Each year, I visit up to sixty art fairs worldwide. And time and again, I ask myself: what truly sets Knokke Art Fair apart? I always return to three fundamental elements: concept, service, and place & timing. This transformation echoed one my parents had already experienced in 1983, when they turned a traditional Flemish antique fair into an international event focused on modern and contemporary art — long before that became common practice. Relevance has always been the starting point. Twenty years ago, we were the first to introduce VIP shuttle services, with premieres of brands such as Maserati, Bentley, Jaguar, Tesla, Mercedes-Benz, BMW, Lexus and DS. To this day, we remain one of the very few fairs worldwide offering a free shuttle service for all visitors — and, uniquely, a complimentary bar for everyone. Knokke Art Fair is not only the leading art fair in Flanders; it is also the only major fair globally that dares to occupy early August — and succeeds. After fifty years, the offering remains strikingly international and more current than ever. The fair has also left a lasting imprint on its host city. How many galleries began in Knokke thanks to the fair? Today, the town counts nearly ninety galleries within just two kilometres. Knokke has become a true art destination. Grand Casino Knokke itself was revived after decades, hosting exhibitions such as Highlights.be over the past three years — opening a window onto the world of private collectors. And now, Knokke Art Fair turns fifty. While we always look ahead, this is the moment to look back as well. We have never been experimental for its own sake. Photography now takes a more prominent place alongside painting and sculpture, long-standing pillars of the fair. Diversity has always been our strength. Here, one finds works ranging from thousands to millions of euros. Almost every continent is represented: Europe, Africa, the Americas, Asia. We offer international galleries a platform to engage with our visitors — and participant surveys consistently confirm what history already tells us: Flemish collectors are discerning, knowledgeable, and deeply rooted in tradition. Since the Middle Ages, Flanders has been a cradle of collecting. Flemish collectors are world-renowned — never underestimate them. Fifty years, organised by the same family. Some say we are the oldest art fair in the world still run by one family. Not out of nostalgia — but because it allowed us to chart our own course. Often against the current, always aligned with the market. A freedom larger fairs rarely enjoy due to complex structures and institutional dependencies. And while I write this, preparations for the next chapter are already underway. The 50 Years exhibition will give way to something new. Rest assured: innovation and relevance will return — as you have come to expect from us. My deepest thanks to our loyal visitors, many of whom we have recognised for decades. You are always welcome at our events — to discover something new. Our goal has never been to create a show everyone finds “beautiful” or “pleasant.” Our goal is to guarantee discovery. As long as we succeed in that, we will continue on this path — towards becoming the oldest, most international, and most welcoming art fair in the world. |
Works by George Condo, Tony Cragg & Andy Warhol
Bart De Wever
Prime Minister of Belgium Five centuries ago, on 27 August 1520, a renowned German artist entered the town hall of Brussels. He had heard that extraordinary objects from the New World were on display there. The German was overwhelmed. In his diary he wrote: “Ich hab aber all mein lebtag nichts gesehen, das mein Herz also erfreuet hat.” The artist was none other than Albrecht Dürer. During his travels through the Low Countries, Dürer encountered — for the first time — artistic objects from a culture entirely unknown to him. The impact was profound. His experience illustrates how art can reach us to the very core of our being. Although I consider myself more a lover of art than a connoisseur, I understand this instinctively. My own grasp of art may end somewhere between the completion of the Antwerp Cathedral tower — the most perfect Gothic tower in the world — and the Baroque paintings of Rubens, Van Dyck and Jordaens. Yet that does not prevent me from fully appreciating the extraordinary feeling art can evoke. Contemporary art included. Economists have coined a term for this — warmer than it sounds: the “aesthetic dividend.” The true value of art is immeasurable. It lies in the eye of the beholder. But those who own or contemplate art receive that aesthetic dividend in return — freely, without effort, and without risk. In economically uncertain international times, this is particularly meaningful. Art fairs such as Knokke Art Fair therefore offer visitors something rare: the certainty of aesthetic return — whether they remain observers or fall irrevocably in love with a specific work. The certainty that their hearts, like Dürer’s, may be filled with joy. KNAF is a firmly established presence on our Flemish coast — het zeetje, as we affectionately call it — in elegant Knokke. With fifty years of tradition, it stands as a benchmark on the art calendar. Its strength lies in uniting highly diverse galleries from different countries, continuing a long tradition of art fairs, salons and exhibitions in this region. Cities such as Bruges and Antwerp hosted world-renowned art fairs during their Golden Ages. That story has not ended. Hundreds of galleries and auction houses continue to write it today. This country has produced an astonishing number of celebrated artists — many of whom were also remarkably astute entrepreneurs. A great love for art went hand in hand with a keen sense for the art market. And we owe much of our museum collections to the buyers of their work. Because every true art lover knows: we never collect art for ourselves alone. I am deeply grateful to everyone involved in KNAF for bringing together art lovers, connoisseurs, artists and institutions. May this golden jubilee edition bring happiness and enchantment to all who visit. 
Works by Gerhard Richter, Niki de Saint Phalle & Tom Wesselman
|