An Fonteyne – författare

In November 2026, the new Kanal museum of modern and contemporary art, architecture, and landscape architecture will open in Brussels. Operated in partnership with the Centre Pompidou, it will be one of Europe’s largest cultural venues, with space for up to ten exhibitions at a time over 49,000 m2 of floor space. The building itself is one of Kanal’s main attractions: the converted former headquarters of French car manufacturer Citroën’s Belgian branch with its landmark showroom—a 21-m-high cathedral of the automobile made of concrete, steel, and glass.Kanal #1: Thinking is the first part of a three-part journal by Atelier Kanal, the consortium formed by architecture firms EM2N (Zurich), noAarchitecten (Brussels), and Sergison Bates Architects (London and Zurich) that won the commission to convert the Citroën garage, built in the 1930s, into an arts and culture centre for the 21st century. It explores a collaborative working method in which boundaries of individual authorship were blurred and co-authorship became the norm. A polyphonic concert of images, texts, voices, and perspectives, this attractive book highlights the spirit of exchange and collaboration that shapes this novel cultural venue.

Belgian artist and illustrator Benoît van Innis (1960–2024) created numerous drawings and cartoons that were published in both European and American magazines, most prominently The New Yorker. From the late 1990s, he increasingly turned to painting, engaged with architecture, and was involved in various projects that brought together art and the built environment.Benoît: Artist in Architecture is the first book to feature the artist’s collaboration with Belgian, Swiss, and British design firms De Smet Vermeulen, EM2N, JTA/aDVVT, Kraaijvanger Architects, Marie-José Van Hee, Robbrecht en Daem, noAarchitecten, and Sergison Bates architects. It offers insight into his creative exchanges with architects and traces the emergence of a shared, new authorship in the interplay of art and architecture.Organised into four thematic chapters—titled Table, Space, Landscape, and City—ten of Benoît’s spatial works are presented in depth, each introduced by a descriptive text. Supplementing essays shed light on Benoît’s methods and craftsmanship. The volume is rounded out with an illustrated complete catalogue of Benoît’s entire art-in-architecture oeuvre.