Em. Prof. Dr. Willem Elias (AICA) was the first visitor of the Knokke Art Fair last weekend, you can read his impression:

At the Knokke Casino, one feels inclined to walk on tiptoes (not in the gaming hall, of course). The massive Venetian chandelier dominates the festive atmosphere. The stairs evoke a sense of ascent, a transition to something grand. This naturally conditioned restraint is immediately rewarded with an explosion of colour. Devea Gallery overwhelms you with a panoply of works by the Dutch artist, Charlotte Molenkamp (b. 1955).

Some are displayed in the booth, but it is the series on the long back wall - the most attractive spot in the casino's exhibition space - that is especially impressive with its vibrant colours and interesting proportions. Molenkamp conveys what painting has been since the cave ages: something you experience with your whole body, not just with manual skill.

A strong start that leads you from one adventure to another. But beware, some passages in this surprising event may not sit well with you. With some works, you may wonder how anyone could tolerate them in their living space. However, the old saying "de gustibus et coloribus non est disputandum" still holds true in an art fair: there's no disputing taste and colour. This struggle takes place in the art world, where various checks are carried out to select according to the criteria of art science and criticism. That is a different world. A fair is a place for enjoyment, where the customer is king.

I mentioned 'rolling' earlier, and that’s an apt verb to describe the experience of the route. Alexander Tuteleers, who has emerged as an art fair specialist of international repute, arranged the layout to create a beautiful artistic walk. The booths are not cramped spaces stuffed with works, so you don't feel as if you were in a carnival shooting gallery. Instead, it forms a continuous path, making the visual event all the more enticing.

Some things that caught my eye:
The Belgian Gallery Vision XR presents Mr Brainwash, the name chosen by Thierry Guetta (b. 1966). His exuberant works are a prime example of the postmodernist principle of 'appropriation art,' where existing images by other artists are appropriated and placed in a new context. The relationship with Banksy’s 'Girl with Balloon' is particularly striking. The mystery surrounding this artist intertwines with what Mr. Brainwash, himself a street artist, presents to us. This raises the question of whether they might actually be the same person.

Those interested in LGBTIQA+ art can find it in a corner of Gate Gallery.

Galerie Stéphane Jacob convinces us that Aboriginal art from Australia is more than a tradition; it plays a role in contemporary abstract art.

Galerie Saint-Honoré brings beautiful works by Lindstrøm and an outstanding abstract painting by Georges Mathieu. If you want to see where Arne Quinze got the inspiration for his red 'Rock Strangers' on the Ostend promenade, you can find it at the Avivson Art Gallery with work by the German Ewerdt Hilgemann (b. 1938). A magnificent bronze piece, 'Poule clefs à pipe,' is on display at the Sanary Art Gallery. You’ll find excellent works by Jean Cocteau, Pierre Soulages, Jean-Paul Riopelle, and Sam Francis there as well.

A good example of how participating in 'ArtistMeeting' can lead to 'Knokke Art Fair' is Dominique Ampe, represented by Galerie Van Nuland.

It has become a tradition for the so-called 'Highlights' to be established in the Magritte room. At four spots, a duo faces off. The most interesting is Gerhard Richter opposite Permeke’s 'The Bather' from 1910, when he was still working in a post-impressionist style. The other three duos are Atelier Van Lieshout versus Oscar Murillo, Joel Shapiro alongside Wilhelm Sasnal, and Pol Bury with Mike Kelley.

In short, as they say in Brussels: "ça vaut le détour!" (It's worth making the detour!)