The history of S.M.A.K. dates back to 1957. Initiated by Karel Geirlandt, the ‘Friends of the Museum’ and Jan Hoet, the museum developed into an independent and progressive institute. In 1999 the museum moved into refurbished premises of what used to be a casino. The new museum building, designed by Koen Van Niewenhuyse, presents a flexible and modest architecture which leaves space for optimal presentation of contemporary art.

S.M.A.K.’s central focus is on artists and their practice. The museum invests in a unique and high-quality program, intended to attract a broad and diverse public. S.M.A.K. aspires to be a transparent and generous open house. It emphasizes its role as an artistic laboratory, a place for experimentation, research and innovation. S.M.A.K. poses questions, stimulates reflection and celebrates doubt.

S.M.A.K’s collection mirrors the evolution of international art since 1945, seeking to fill existing voids while continually acquiring contemporary works. The collection is much more then a compilation of artworks; it is the breeding ground of the museum. It echoes tendencies in contemporary art while exploring art history by highlighting lesser known works, a process which triggers stimulating interactions between the collection and the temporary exhibitions.

S.M.A.K’s exhibition programming takes the artist’s practice as its point of departure. The museum seeks to preserve its role as an indicator of contemporary tendencies and as a mediator between art and society, operating in a network of national and international collaborations.

By participating in international research projects, such as INCCA, Inside Installations and PACKED, the collection department of S.M.A.K. progresses further towards becoming a center of expertise for the preservation and conservation of art. The museum also encourages closer collaborations with private collectors to involve their external and unique expertise and knowledge. The planned installation of the Marcel Broodthaers cabinet is an example of an initiative to permanently mobilize an influential part of the collection and to incorporate scientific research in the management of the collection.

S.M.A.K.’s exhibition policy is conceived around the following touchstones: the monographic exhibition; art-historical retrospectives; mid-career surveys; and solo exhibitions of emerging artists. In addition S.M.A.K. organizes annual collection presentations which interact with the temporary program. S.M.A.K. also presents extensive group exhibitions. As an intermediary between art and the public, S.M.A.K’s exhibition program concentrates on the interrelation with public space as an exhibition subject.

S.M.A.K. presents approximately 16 exhibitions each year.

Most outstanding projects of the last 3-5 years: Hareng Saur: Ensor and Contemporary Art (2010), Michel François (2009), Beyond The Pituresque (2009), Dara Birnbaum (2009), Mark Manders (2008), Guillaume Bijl (2008), Paul McCarthy (2007), Giovanni Anselmo (2006)

S.M.A.K. aims to introduce the hermetic language of the artist to a broad public. Rather than explaining and constricting, S.M.A.K. creates extra space for movement and interpretation within its exhibitions. There is an openness and transparency in the presentation of wall texts and handouts. S.M.A.K. endeavors to take down the barriers with the public through stimulating activities.

‘The Factory’ is an educational production house and a factory for reflections on art. It has a prominent place in the museum and provides room for expanding discussion and debate.

S.M.A.K. works in close collaboration with higher education institutions including universities, research programs and external art education organizations on a program of activities that connect to the exhibitions.

The total public area of S.M.A.K. is 6855 square meters.

S.M.A.K. is a private non profit organisation with a two-headed management: Philippe Van Cauteren, Artistic Director, and Philippe Vandenweghe, Managing Director. S.M.A.K. has four curators on board and frequently works with external curators.