The genesis of Kanal, the institution for contemporary art and architecture in the former Citroën garage on Saincteletteplein in Brussels, is an improbable story of quarrelling governments, a failing national museum policy, and a bold leap forwards by the Brussels Region. Yet they got it right: even though the building is not ready for use, it has won over the hearts of Brussels residents thanks to a ‘test period’ called ‘Kanal Brut’. In the meantime, the final renovation plans for ‘Atelier Kanal’, a joint venture between Sergison Bates (London), noA (Brussels) and EM2N (Zurich), are on the table…

In 2011 the art-loving Brussels public reacted with shock and disbelief when Michel Draguet, director of the Royal Museums of Fine Arts of Belgium (RMFAB), announced the closure of his institution’s collection of modern art. Given that Brussels boasts more artists per square metre than any other city and that the country is bursting with top collections that are kept under lock and key, it seemed absolutely crazy – and above all short-sighted when every single European metropolis is committing to culture as a way of putting itself on the map.