Were you exposed to art while growing up?
Sure, I was born with art from home. My father, the late Willy Van den Bussche, was chief curator of the PMMK (now Mu.Zee) in Ostend and of the Permeke Museum in Jabbeke. He was also the founder of the three-yearly art happening on the Belgian coast Beaufort. Many artists dropped by. As a child I did not fully realise who these people were, only at a later age did I started to understand who they were: Jef Verheyen, Paul Van Hoeydonck, Jean Bilquin, Henri Storck, Bram Bogaert, José Vermeersch, Roger Raveel, Emiel Hoorne, Wout Hoeboer, Thierry De Cordier, Michel Martens, Didier Mahieu, Johan Tahon, Marc Kostabi, Liliane Vertessen, Jan De Vlieger and so many others. A brief anecdote: Wout Hoeboer sometimes came to stay with us in the winter, because he could not heat his studio. He dreamed of traveling in a covered wagon. So as a child Hoeboer and I corresponded about covered wagons.
How did you come into contact with the art world?
As a child I often tagged along my father on studio visits. That was always an adventure for me. Almost every weekend we visited galleries and museums. That's how I came into contact with collectors, artists, museum directors, gallerists – with just about the entire art world. The openings in the PMMK were always a joy for me. I met everyone from the cultural world there.
My studies as an art teacher at the Free University of Brussels have given me extra incentive to keep in touch with and keep following the art world. At the VUB there were regular exhibitions that we invariably visited as students – mandatory. This is how I came into contact with young artists. I then continued to follow it. Later I also made some exhibitions, including 'G58 and ZERO' at Campo in Antwerp.
What was your first job in a gallery? Or did you immediately start a gallery yourself?
As a student I did an internship at the Isy Brachot gallery in Brussels, an illustrious gallery that has existed since 1915 and has always been passed on from father to son. The gallery is now located in Durbuy. They are specialized in Belgian art, especially surrealism, with for example Magritte. This was my first contact with the professional workings of a gallery. In 2013, I was approached by Gerda Vanderkerken of the Zwart Huis gallery, to participate in the art fair B.Art and later Art Gent in Ghent, which she organized. This way I got to know the gallery world even better, both nationally and internationally.
The passion for art and the encouraging words of some gallerist friends, among others Elke Helbig from Zwart Huis and Luc Franken from Zeit Gallery, and Samuel Van Hoegaarden, eventually made me take the step to start my own gallery. I started in the Rivoli building in Uccle/Brussels. A building with 15 small galleries. But the call to a more spacious building with more possibilities sounded, and so I ended up in a large, authentic building in the centre of Brussels, located on the canal, close to two important museums: the MIMA museum and KANAL-Centre Pompidou, in a thriving neighbourhood called Downtown Dansaert.
How would you describe your gallery’s profile?
Having had the opportunity during my childhood to meet artists – from what is now regarded to be the 'older and renowned generation' – made the step to work with them easy and logical. This is how the idea was born to start an art gallery for Belgian contemporary art in Brussels, fully dedicated to promoting both emerging and renowned artists that are close to my heart. That was the intent from the onset. As much as possible, I ensure that each exhibition is different in nature and shows a different perspective on contemporary art. My starting point has always been that I want the artist – and his or her work – to shine, each with his or her own story, through a beautiful arrangement. This is possible through solo, duo or group exhibitions, from abstract to figurative, from painting to sculpture.
I also strongly believe that a confrontation between the older and the younger generation creates an exciting dynamic. I like call it cross generation. With my gallery I want to offer a fascinating platform where artists, art lovers, art collectors and curious visitors can meet each other. The physical encounter remains important in this digital world.
What do you think is the best part of being a gallerist?
The contacts with the artists give me enormous energy, which often develop into a relationship of trust, so that we can organize exhibitions together: that is the greatest challenge. The most wonderful moment is when both the artist and the visitor are happy with the way the exhibition is installed.
The contacts with colleagues and art lovers also give me a positive vibe. As an art teacher, I think it is important to be able to talk about the displayed works with the same passion and enthusiasm with collectors, art lovers, as well as with the curious and young people.
In summary: being able to work along and with all that beauty is the most beautiful aspect of the profession for me.
Which national / international galleries do you feel an affinity with?
As I mentioned, I feel a very close relationship with the Zwart Huis gallery, now managed by Elke Helbig. We are roughly on the same wavelength, albeit she is more experienced than I am. Paul Kusseneers of the Kusseneers Gallery in Molenbeek is a great teacher for me. I also have good contacts with Transit Gallery in Mechelen. I have a special bond with young galleries such as Schönfeld Gallery, Zeit Gallery, Gallery EL and Coppejans Gallery because of our 'age'; as a starting gallery I still need to get to know the foreign galleries even better. I already follow the international art fairs, hoping to participate one day.
In an ideal world, which artist would you most like to represent?
That is a difficult question. There are a lot of artists I would like to work with but it's not easy to name a specific name right now.
I think the word 'represent' is a bit too commercial. I prefer to use 'promote'. It has to 'click' with the artist, so that we can grow into a relationship of trust and collaboration that transcends a commercial representation.
What has changed in the art world since you took your first steps?
I’ve only started well over a year ago, but I do feel that the threshold to enter a gallery has become lower. These days, one dares to enter, even with children, without feeling a sense of pressure to buy. Watching and seeing is allowed.
I also have the feeling that there are better relations between the gallery owners themselves. Collaboration and professionalism go hand in hand. But maybe that's naive of me, haha!
What / whose work do you collect yourself?
As an emerging gallery, it is still difficult for me to buy art already. Making exhibitions in which the artist is satisfied gives me a great feeling of happiness. I hope to be able to purchase work in the future, primarily from artists I have shown, in order to give them extra support.
Has the pandemic changed the way you see the artworld?
Absolutely, the standstill has made it clear that even in difficult times people need art and beauty. People now visit galleries and museums to enjoy and relax. People stay there longer than before. It's no longer like: we'll pass quickly, because we still have to go to such and such. That’s a wonderful feeling. People take more time to watch and listen.
But I am looking forward to the moment when an exhibition opening can once again becomes a party, a meeting that is so important for everyone who loves art.