At BRAFA 2025, Old Masters target new audiences

Now in its 70th edition, BRAFA is one of Europe’s oldest and most eclectic art fairs. Rooted in old masters and antiques, the fair’s long history testifies to its evolution: over the decades it has grown to present around 20 categories of modern and contemporary art and design in the Belgian capital.

But as well as acknowledging its storied history, this year’s fair is also looking to the future, with a focus on attracting young collectors and developing a new generation of dealers.

This year’s show, held at the stylish Expo Center in Brussels, attracted more than 130 galleries from 15 countries and remained the same size as last year. The atmosphere at Thursday’s VIP day was elegant and lively, with dealers, curators and collectors engaged in lively exchanges throughout the day.

BRAFA’s DNA has always been defined by its diversity, with a carefully curated stand offering a range of exceptional pieces. Displays here span Old Master paintings, contemporary design, silverware and jewelry. While many shows focus on specific market segments, BRAFA thrives on its diversity while maintaining its regional status. “You’ll see some work and artists here that you might not see in London, Paris or New York, especially from Belgium and Northern Europe. This regional focus sets BRAFA apart,” said a spokesperson for the fair .

This year, the fair’s commitment to all areas of art history remains strong. Over the years, many participating galleries have adapted their presentations to introduce more contemporary elements, such as Geneva gallery De Jonckheere, which blends historical paintings with contemporary works. For example, the juxtaposition of works by Frans Francken II with those by Lucio Fontana creates a dialogue in the booth that resonates with different tastes . Likewise, Carlo Repetto, owner of Repetto Gallery in Lugano, Switzerland, spoke of crossing artistic periods by showing works by Fontana and Fausto Melotti. He describes the works as “classic and timeless”, appealing to an audience that appreciates both modern and traditional aesthetics.

Templon, which makes its debut at the art fair, also aims to establish connections between different periods through the solo booth of 83-year-old French postwar artist François Rouan. “This selection bridges the modern and contemporary world,” said Raphael Sachsenberg, director of the Brussels gallery. The works sell for between €25,000 ($26,270) and €250,000 ($262,700).

Boris Vervoordt of Antwerp’s veteran Axel Vervoordt gallery, which showcases Belgian and international artists such as Jef Verheyen and Pierre Culot’s mixed booth. “Exhibitions today are less about purely commercial transactions and more about transferring knowledge and providing a learning experience for visitors and professionals alike,” he told Artsy. “In many ways, trade shows are evolving into a seminar-like environment rather than just a marketplace.”

One way this is evident is the fair’s increasing emphasis on education and appreciation, which has become a staple of its programming. BRAFA’s 2025 plans include collaboration with KIK-IRPA (Royal Institute for Cultural Heritage), which offers interactive workshops on art conservation. Guided tours, new children’s tours and lectures offer different insights into the trade fair’s offerings.

The show also places great emphasis on the participation of young collectors and the support of emerging dealers. The launch of the “BRAFA Selected, Designed by Gert Voorjans” shared booth, curated by Belgian interior designer Gert Voorjans and designed for five young dealers, highlights the show’s approach to nurturing emerging talent. Local dealer Jonathan Kugel, who is participating in the initiative for the first time, praised the show’s efforts. “BRAFA creates an environment where young dealers feel valued and encouraged to contribute, which is key to the show’s long-term success,” he said. At the booth, he displayed works by Dutch sculptor Caroline Smit.

This generational dynamic runs throughout the show, highlighted by its focus on breadth. “Young dealers will naturally attract young collectors,” said Brussels jeweler Sophie Derom, who was also exhibiting at the shared booth. “It’s very much a cycle — we share our vision and interact with people our own age.”

In addition to younger dealers, many of the more established galleries at the show are also looking to clarify their plans to cater to a wider audience. One such example is the Dina Vierny gallery in Paris, which had an excellent booth showcasing 20th-century artists such as Henri Matisse and Fernand Léger, as well as Raanan Levy. Works by living artists such as Ra’anan Levy. “We decided to preserve the spirit and legacy of the artists our grandmothers championed, while developing the gallery’s direction to include new artists of the modern generation,” said gallery director Pierre Lorquin.

Indeed, while the median age of BRAFA collectors remains higher compared to more contemporary-focused events, many note a clear shift in the fair’s demographics. Recent Old Master auctions have shown surprising resilience, with many dealers noting that younger collectors are showing increasing interest in the category, both because of the undervalued status of these works and by associating them with contemporary figures in collections. Attracted by the opportunity to match the works.

“Today’s young collectors have more eclectic tastes and may buy contemporary or modern art and pair it with African sculptures or Old Master paintings,” notes Klaas Muller, BRAFA president and owner of the eponymous gallery. Match.”

This openness is reflected in the presentation of the stand, with a particular emphasis on modern display technology. Beatrix Bourdon, the fair’s managing director, stressed that the gallery was working hard to make the work more accessible and attractive. “Dealers interact with collectors in a way that dispels the notion that Old Masters are ‘outdated’ and instead emphasizes their timeless appeal,” she explains. Bourdain also pointed to BRAFA’s educational initiatives, such as its new children’s guided tour service, as part of an effort to foster curiosity in the next generation. “The purpose of these visits is to help children discover and engage with art at a young age,” she said. “It’s important to show how the old masters resonate in a contemporary context.”