BRAFA 2025 - General view with Valkyrie Leonie by Joana Vasconcelos © Olivier Pirard © Atelier Joana Vasconcelos Founded in 1956, BRAFA has grown into one of Europe's premier art fairs, renowned for its diverse and high-quality selection of works spanning multiple centuries and disciplines. Over the years, it has become a key event in the international art calendar, drawing collectors, curators, and art lovers from all corners of the globe.
BRAFA returns to Brussels for its 70th anniversary edition, adding a festive flair to the winter event. Celebrating seven decades of art, tradition, and evolution, the fair returns to the Brussels Expo, uniting more than 20 specialties—from antique to contemporary art, including Old Master paintings, classical African art, antique and design furniture, goldsmithery, carpets and textiles, rare books, and jewelry.
This year's Guest of Honour is Portuguese artist Joana Vasconcelos, renowned for her monumental sculptures that address the status of women, consumer society, and collective identity, while challenging the divide between high and low art. For the anniversary edition, Vasconcelos presents two monumental Valkyries, sculptures inspired by powerful female figures from Norse mythology who soared over battlefields to resurrect the bravest warriors and bring them to Valhalla.
As collectors and art enthusiasts wander the expansive aisles of the Brussels Expo, they are greeted by an eclectic array of works spanning different mediums, styles, periods, and continents. Yet, unlike many other art fairs, BRAFA stands out for its warm, inviting atmosphere and imaginative presentation, offering an intimate experience despite its impressive scale. The fair brings together 130 exhibitors from 16 countries, including 16 newcomers, each contributing to BRAFA's rich and dynamic landscape. This year's edition offers a compelling mix of established names and fresh perspectives—here are some of the highlights.
Meessen's presentation (stand 22) showcases a captivating blend of conceptual depth and historical reflection, presenting works that engage with both personal and collective memory. The pieces are bound by a common thread of materiality and temporality, often invoking the past while questioning the future.
An impressive canvas that grabs your attention as you approach the stand is Thu Van Tran's Rainbow Herbicides (2023), the title referring to the code name given by the American forces to the toxic agents they used during the Vietnam War to destroy the ecosystem of local agricultural areas. Van Tran is a French-Vietnamese artist who revisits the idea of trace and memory to explore the political history of her native country. Another compelling work is From an Unfinished Poem (Constantine Cavafy. My Soul Was on My Lips) (2025) by Mexican artist Jorge Méndez Blake. This installation, comprised of 100 book pages executed in aluminum, delves into the theme of creative absence, drawing inspiration from Dylan Thomas' unfinished novel. It is paired with Méndez Blake's black and white drawing I Will Defend Poetry (Poems on Ruins) series.
The exhibition also highlights unique material processes, such as Claudio Parmiggiani's experiments with fire and smoke, exploring themes of presence and absence, as well as Namsal Siedlecki's experiments with sedimentation and chemical transformations. Other highlights include Benoît Maire's PL9 M Pierrot (2024), exploring themes of language, authorship, and the erasure of meaning in both painting and memory; Sophie Calle's Statues ennemies / Retable fusillé (2003), a photographic series exploring the fragility and vulnerability of public monuments; and mountaincutters' works which investigate the intersection of landscape, memory, and the fragmented nature of human perception.
As every year, rodolphe janssen (stand 36) presents a captivating blend of contemporary and 20th-century historical works, showcasing a diverse range of artists. The immersive, dynamic display, featuring various generational perspectives, offers a transversal reading that opens new interpretations.
Central to the display is Iranian-born Belgian artist Sanam Khatibi, whose lush landscapes depict powerful female figures, delving into themes of power, gender, and primal human instincts, often marked by the absence of male counterparts. Alongside her works, another highlight is a striking sculpture by Thomas Leroy titled Obellirsk (2007), featuring stacked heads of famous thinkers in a satirical arrangement and critiquing the weight of intellectual traditions and legacy. Also featured is Lerooy's, titled Lost Without You (2025), a painting which will be part of the artist's upcoming solo show at the gallery in March. Reimagining classical motifs like the seascape, this new work marks the beginning of a series, the first time Lerooy has worked on tiny skillet song panels.
Displayed together, historical works such as Bram Bogart's Oiseau Bleu (1955), Léon Wuidar's 28 fév. 1986 (1986), and Félicien Rops' L'Attrapade (1877) engage in a dialogue with contemporary pieces by artists like Emily Mae Smith, who currently has a solo show at the Magritte Museum; Sean Landers, an American artist and Smith's mentor, known for his humorous and introspective exploration of the human condition; and Wim Delvoye, who is featured in a solo show at the gallery's Brussels space.
Also featured are standout woodcuts by Gert & Uwe Tobias, the German twin brothers known for their intricate technique of stamping small pieces of cut wood rather than painting with a brush. Drawing from their Romanian heritage, much of their work references Romanian folklore and childhood memories, while incorporating elements of fashion magazines, artistry, and even influences from Japanese aesthetics.
Photography remains a relatively underrepresented medium at the fair, making the contribution of Galerie Sophie Scheidecker (stand 109) particularly noteworthy. Among the highlights are iconic works from Hans Bellmer's La Poupée series, featuring nightmarish tableaux of mutilated and reassembled dolls posed in domestic interiors. Other photography highlights include works by Cindy Sherman, known for her conceptual self-portraits that challenge notions of identity and gender; Flor Garduño, whose intimate and evocative black-and-white images explore the human form and the natural world; Kati Horna, whose compelling war photography captured the personal and collective trauma of the Spanish Civil War; Peter Hujar, famous for his striking and intimate portrayals of New York's underground scene and LGBTQ+ culture; and Justine Tjallinks, whose work blends surrealism and fashion photography to create visually arresting and thought-provoking narratives.
Photography portraits are juxtaposed with painted ones, including Eric Fischl's captivating Questionable Pleasure #3 (1994), a powerful and provocative work that reflects the artist's signature exploration of the human condition, sexuality, and the complexities of intimacy. Another standout is Philip Pearlstein's Seated Models on Red and Orange Drapes (1968), a striking example of his meticulous and detached approach to figuration. Additionally, there is a rare drawing by Unica Zürn, a German artist whose turbulent life and complex legacy have made her works highly sought after. Works by Spanish artist Jorge Camacho, whose surreal and dreamlike paintings explore themes of mythology, identity, and existentialism, offering a striking blend of abstraction and figuration, also feature prominently, drawing viewers into complex, symbolic worlds.
De Brock's presentation (stand 33) masterfully combines established and emerging voices, creating a cohesive dialogue between past and future in contemporary abstraction. Central to the booth is Imi Knoebel's new work, created at the age of 83, marking a shift from minimalist restraint to vibrant expressionism. The pieces, part of the series Etcetera (2023), feature dynamic brushstrokes and organic forms, representing a refreshing departure from his earlier, more subdued style. First shown in 2023 at Galerie Bärbel Grässlin in Frankfurt, this body of work demonstrates Knoebel's ongoing creative evolution. This body of work was also presented at De Brock in August, making it one of only two exhibitions where the pieces have been displayed.
Alongside Knoebel, the presentation features a selection of 90s geometric abstraction works by Günther Förg, contrasting with the artist's '80s focus on photography and marking a departure from his earlier work with lead and acrylic painting. This selection offers a playful exploration of form, using Förg's characteristic circles and squares to divide space and presenting a minimalist vocabulary rooted in modernism.
Works by these established figures are presented alongside works by a new generation of artists, Austin Eddy, Landon Metz, and Ethan Cook. Eddy, initially focused on abstraction, now incorporates recognizable motifs like birds and fish into his geometric compositions. Metz, inspired by the 1960s color field movement, reduces his approach to its essentials, creating site-specific installations that engage with the space they occupy. Cook's work similarly draws on color field principles, exploring minimalism and the interaction between form and space. Together, they represent a dynamic, evolving approach to abstraction and composition.
At Bernier/Eliades Gallery (stand 11), an eclectic mix of contemporary artists presents a dynamic and thought-provoking exhibition. One standout is Annette Messager's Ma collection de proverbes (1974-2012), a compelling critique of deeply ingrained cultural misogyny that still shapes perceptions of women. Her embroidered silk pieces feature sayings that have been used to demean and devalue women, such as "Everything comes from God except women" and "Only trust a woman when she is dead." Messager's delicate yet direct approach—hand-embroidering these words onto silk, traditionally associated with femininity—creates a stark contrast between the tenderness of the medium and the violence of the words.
Other highlights include a younger generation of artists such as Jimena Maldonado and Tindara Spartà. The Mexican artist Maldonado explores landscapes that merge abstract Dutch influences with evocative depictions of her travels, crafting works that resonate with both personal narrative and art historical references. Spartà’s dynamic and expressive figurative paintings center on crime scenes, juxtaposing beauty with unsettling narratives to create visually arresting compositions. The gallery also presents Martin Margiela, the renowned fashion designer turned artist, represented by tapestries from his White Steps series. Another standout is Thomas Schütte’s Bananenmonument (1985), a playful work that blends architectural forms with fruit motifs, challenging conventional expectations through its absurdist humor.
At La Patinoire Royale Bach (stand 47), the gallery’s presentation at BRAFA centers on works by Joana Vasconcelos, BRAFA's Guest of Honor, whom the gallery represents. The display features a diverse array of her pieces, spanning various mediums and conceptual approaches. A highlight is The Drop, a preview of Vasconcelos' monumental exhibition The Enchanted Forest, opening in the gallery this February. The exhibition will feature several suspended "drops" that will illuminate a dark, forest-like space. Also on display are the exquisite ceramic work Flâneur (2016) and the large-scale woolen crochet piece Blue Moon (2019).
The gallery also presents an exquisite selection of works by Gordon Matta-Clark, renowned for his ephemeral architectural interventions in buildings marked for demolition. Following his solo exhibition at the gallery last fall, the focus is on pieces from his iconic Office Baroque series (1977), an intervention in an Antwerp office building. In this series, Matta-Clark carved sweeping, Baroque-inspired cutouts into the building’s walls and floors, creating dramatic spatial distortions that challenge conventional perceptions of architectural form and function. Complementing these works is Taffoni Bench (2024) by Leo Orta, a young French artist whose residency in Saudi Arabia inspired a sculptural bench reflecting the forms of the Al Rua desert. Blurring the boundaries between design and art, the piece stands out as an intriguing fusion of aesthetic and functional elements.
Gallery Nathalie Obadia (stand 88) brings a captivating range of contemporary works from a diverse group of artists, both established and emerging. Among highlights are the sculptures by Wang Keping, a Chinese artist whose wood and bronze pieces explore themes of the human body, femininity, and maternity. His burnished wooden figures, meticulously crafted and patinated with a blowtorch, reflect light beautifully, offering a tactile and nuanced surface that invites a closer interaction.
The booth also features a striking tapestry by Laure Prouvost, titled We Will Keep Cool (Eben Ezer Tower) (2023), inspired by the fantastical Ebenezer Tower in Belgium, which the artist imbues with surreal, feminine forms. On the other hand, a young Belgian artist Victoria Palacios presents dynamic, performative portraits, influenced by theater and music, while Sophie Kuijken offers contemporary portraits that distort traditional portraiture through recomposed internet imagery.
The booth also includes striking works by Joris van de Moortel, whose solo exhibition is currently on view at SMAK in Ghent. His mythology-inspired art bridges medieval influences with a modern sensibility, incorporating both painting and sculpture. Van de Moortel is also known for his performances, which create a unique atmosphere that flows seamlessly from his visual work to his live art. Carole Benzaken's piece Tu extrairas du cuivre (2024), part of a series exploring fractured imagery, features a hidden figurative element—a horse, evoking earthy labor through its abstract composition. Known for her multidisciplinary approach, Benzaken frequently works across painting, drawing, video, and installation, often combining figurative and abstract elements to challenge perceptions of narrative and form.
Galerie Christophe Gaillard (stand 93) presents an engaging mix of historical and contemporary works, with a particular focus on female artists and those with distinctive, independent voices. Among highlights are the works of German Post-War artist Ursula Schultze-Bluhm, a self-taught painter whose intuitive approach and bold use of color create an intimate, emotional atmosphere. Her surrealist-inspired pieces, often featuring mythical creatures and feminine forms, reflect her ability to break away from traditional techniques and embrace a deeply personal expression. Despite being married to a famous painter Bernard Schultze, Ursula carved out her own path, challenging the gendered dynamics of the avant-garde.
The gallery also highlights the work of Hélène Delprat, a French artist whose multifaceted practice has been engaged with the human condition for more than four decades, exploring life and death. Her painting City Symphony (2018) evokes the transforming power of urban landscapes, drawing inspiration from early cinematic depictions of cities. In another corner, a tapestry by Stéphane Couturier, titled Chant de l'Apocalypse n°1 (2022), explores the rich history of textile art. Drawing from 19th-century masterpieces, Couturier merges images through digital manipulation before having them woven by skilled artisans, creating a modern interpretation of classical tapestry techniques. The gallery also features the work of an American sculptor and photographer Letha Wilson, titled Joshua Tree Bronze Push (Shadows Half Split) (2016) whose innovative use of tri-prints and dimensional elements brings a unique sensibility to landscape photography, adding depth and texture to her compositions.
Contemporary tapestry is a rare sight at BRAFA, but this year Galerie Hadjer (stand 124) presented an exceptional selection of fiber works by some of the 20th century's most influential artists. The display prominently features Alexander Calder, including four of his large-scale works. A standout is Star, created in response to the devastation of a Guatemalan earthquake. Calder, alongside Niki de Saint Phalle, contributed works to support relief efforts, resulting in this intricately crafted tapestry with dynamic shapes and vibrant colors.
Other highlights include two exceptional pieces by Fernand Léger. The figurative Le Bonheur reflects on life's simple pleasures, portraying stylized human forms in a harmonious interplay of color and movement. By contrast, his abstract work, executed in the intricate knotting technique, demonstrates Léger's mastery of dynamic composition and his innovative approach to merging traditional craftsmanship with modernist aesthetics. Among the works by Joan Miró, Woman with the Mirror (1965) stands out. The tapestry explores themes of self-reflection and the feminine form, rendered in Miró's signature playful yet profound style. At the entrance of the booth, Le Corbusier's striking tapestry La Femme et La Moineau (1957) commands attention, exemplifying his ability to translate architectural sensibilities into textile art.
This year, BRAFA introduces Selected by BRAFA, a shared booth designed by Gert Voorjans, showcasing the works of five young art dealers. This new section of the prestigious Belgian fair offers emerging galleries a platform to present their collections. Among them is Jonathan F. Kugel, whose gallery, also named Jonathan F. Kugel, is described as "a contemporary cabinet of curiosities." All five dealers are from Sablon, a Brussels neighborhood historically known for its antique dealers, and they represent a diverse range of specialties, from antique furniture and jewelry to early 20th-century sculpture and contemporary art. Kugel focuses on contemporary art, blending unique, handcrafted pieces with antiques.
Coming from a family with a long history in the art business, Kugel chose to move away from antiques and focus on working with living artists. His Brussels gallery is known for presenting works that combine traditional craftsmanship with modern sensibilities. At BRAFA, Kugel is presenting a solo show of Carolein Smit's ceramic works, which explore themes of mortality, mythology, and the grotesque with remarkable technical skill and conceptual depth. Smit's pieces are both technically impressive and conceptually rich, bridging the gap between timeless artistry and contemporary narratives
Kugel also comments on the unique energy of BRAFA, noting that it brings together a global crowd, fostering a sense of international synergy. While this is the first year for Selected by BRAFA, Kugel is optimistic about its long-term impact, hoping it paves the way for future success and growth, not just for his gallery but for young dealers in general.
