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My adventure began with bristles words: “Brussels is the new Berlin.” Clickbait phrase? Undoubtedly. But aback I’m a fan of artistic adventuring in new places, those words were like catnip aback a adolescent artisan acquaintance told me of her approaching move from Brooklyn to the Belgian capital.

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A year later, I rang the doorbell of her new studio, in Brussels’s banal Anderlecht adjacency — the aboriginal stop on a week’s analysis of the city’s alive abreast art scene. Central the alveolate loft, ablaze ablaze filtered through the alpine windows of the aloft tobacco factory, alimentative a baby boscage of plants as able-bodied as an artist’s soul.

“It feels absolutely accurate here,” my acquaintance Tessa Perutz told me, dabbing cadmium blooming oil acrylic assimilate one of her happy-hued abstruse landscapes. The 31-year-old British American was prepping for an accessible appearance at Galleria Marie-Laure Fleisch, one of the city’s about 200 arts venues. “It’s such a change from Brooklyn,” she continued, abject on a stool adverse her work. “Brussels is catholic but small, and I can allow to accept a nice place. That leaves me added brainy amplitude for painting.”

Perutz is amid an arrival of all-embracing artists and gallerists who accept helped transform the city’s cultural bolt over the accomplished decade. Building on the bounded backbone of Art Brussels — the second-oldest art fair in Europe — in a country that abounding experts say has the accomplished cardinal of collectors per capita in the world, Brussels has developed a near-perfect ecosystem for art production, accretion and, for analytical visitors like me, simple appreciation.

Using the accessible Brussels Art Adviser I’d purchased at the Visit Brussels office, it was accessible to airing amid the big-name abreast art galleries in the city’s axial Ixelles and Saint-Gilles quarters, area I lingered at Xavier Hufkens, Rodolphe Janssen, La Patinoire Royale and abounding others, arresting museum-quality shows in attractive spaces.

But, this actuality Brussels, there were additionally affluence of quirkier places brindled about, abnormally in Saint-Gilles. There, abutting to a banana book shop, I spotted a storefront arcade alleged Damien & the Love Guru. How could you not stop at a abode with a name like that? And I was animated I did, because the co-founder, anthropologist Priya Shetty — as with all the affable gallerists I met — was an accomplished adviser to her neighborhood. Later, at Café la Pompe, a alive bend enactment Shetty recommended, I eavesdropped on a chat amid three girlfriends beeline out of an Audrey Tautou movie.

Sablon, the third of the central-city trifecta of gallery-rich neighborhoods, is home to gallerist Jan Mot’s latest abundance of a adventure acknowledging conceptual art that began in his active allowance in 1992. Anchored by admirable Egmont Park and two Gothic churches, the Sablon division is additionally a stone’s bandy from the city’s aloft arts institutions like the multidisciplinary cultural center, Bozar, and the Royal Museums of Fine Arts, which accommodate the city’s capital day-tripper draw, the Magritte Museum, a canticle to the 20th-century Belgian surrealist.

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As in Magritte’s day, Brussels welcomes aboriginal thinkers, American Harlan Levey explained aback I chock-full by his townhouse gallery, abreast Sablon, on a Saturday afternoon. “Karl Marx lived abutting door,” Levey said. “People actuality aloof accept a affection to be accessible to abnormal ideas,” he continued, as we anesthetized a attentive company audible adjoin a video awning costly with checkered images from Emmanuel Van der Auwera’s beginning documentary blur “The Sky Is on Fire.”

Showing me out, he appropriate I airing over to Schaerbeek, a hip Turkish-infused quarter. But I was added absorbed in Molenbeek, a adjacency on the city’s bound mostly busy by second- and third-generation Belgians of North African origin, area Levey would anon be accretion his arcade into an old barn that, he told me, had best afresh been acclimated as a mosque.

As I headed through agreeable Sunday afternoon streets to a Molenbeek artisan accommodating and affordable co-working amplitude the abutting day, a affable appointment asleep any anxiety I retained about the adjacency that harbored the terrorists abaft the Paris and Brussels attacks about four years ago.

“Good, isn’t it?” a man asked me in French, as he and his wife approached the Moroccan bend bakery area I’d aloof bought a allotment of achromatic flatbread. “Oui!” I mumbled, abiding their smiles and burning quickly. “Where are you from?” his wife inquired, adjusting her gray headscarf. Aback I replied I was American, the man switched to absolute English, and told me his uncle lives in Chicago.

Just addition archetypal affable Brussels encounter, I was advancing to realize. With 183 nationalities at aftermost demography count, one-third of Brussels’s citizenry were not built-in in Belgium. French, Dutch and German are the official languages, which makes English the lingua franca, and cultural barter a allotment of life, for those who seek it out.

Wandering through the accessible aboideau of LaVallée, area 150 early-career creatives absorb low-rent studios in a aloft dry-cleaning plant, I was attractive for the weekend exhibition I’d apprehend about on the place’s Facebook page. Abreast the aback of the courtyard, I spotted a table by an accessible aperture on which, abutting to a array of blush carnations, stood a handwritten card: “Take a larboard at the far door. Follow the arrows arch to the end of the continued corridor. Enjoy!”

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That’s how I met 34-year-old floral artisan Larissa di Pietrantonio, a Belgian of Polish-Italian parents, whose appearance with her flat mate, Polish painter Hanna Ilczyszyn, alloyed bird images, branches, broiled flowers, abstraction and painting. “This is a cool abode for bodies like us,” di ­Pietrantonio told me. “We can coact beyond disciplines and accept a absolute advanced approach.”

A few streets over, I amid an artist-run amplitude alleged Société, absorption the building’s aboriginal activity as a substation for the Société Bruxelloise d’Electricité. Again, I had the affable English-speaking arcade accessory to myself. She helped me accept the show, alleged “Encountered Error,” in which, for example, the attic of one allowance was broadcast with ashamed beaming ablaze tubes. “Our exhibitions put acclaimed earlier works in chat with new installations like this one,” she said. “Société is the affectionate of raw abode you would accept apparent in New York in the 1980s.”

Brussels’s cultural agitate crystallized on my way out of Molenbeek, as I beyond the Brussels Aqueduct — a attenuate cilia of baptize broadcast in the 1800s to articulation the landlocked city’s beginning abundant industry to the abutting anchorage at Antwerp. After three decades of postindustrial decline, the aqueduct now holds the antecedent of the city’s artistic renaissance forth its banks.

To my aback was Bout & Taxis, the spectacularly Victorian, anew adapted busline admixture in Molenbeek area Art Brussels occurs every April. In advanced of me, the ample accurate carapace of Kanal-Centre Pompidou, a aloft Citroen car branch boring morphing into the region’s better about adjourned cultural venue. And several blocks down, forth the canal’s street-art-splashed accurate embankment, there was MIMA, a abreast adjourned burghal art “museum for the millennium” in the old Belle-Vue brewery.

I begin that art and beer additionally absorb in the city’s Forest neighborhood, at the Wiels Centermost for Abreast Art. Designed by beat artisan Adrien Blomme in the 1930s, the aloft brewery juts up like a five-story art deco ship’s bill on a bend not far from the Gare du Midi alternation station, where, incidentally, you can ability London, Paris and Amsterdam in about two hours. The Wiels, broadly beheld as the best activating of the city’s abreast art venues, nourishes multidisciplinary artistic announcement through world-class expos by accustomed active artists and residencies for arising artists from about the world.

A block away, I spotted a cossack assurance blind aloft the doorbell of Clearing, like a colonial-era blacksmith shop’s anvil. Aloof addition arresting that Belgians — like Olivier Babin, who started the artist-funded amplitude in Bushwick in Brooklyn a decade ago — try not to booty themselves too seriously. Central the stylishly rehabbed aloft bang factory, there’s a cathedral-like exhibition amplitude for all-embracing sculptures and alike a comfortable eight-table restaurant for cafeteria or weekend brunch.

On my aftermost day in Brussels, a kaleidoscope of adventures alloyed when, alfresco Notre Dame de la Chapelle church, I mistook an artisan for a saint. As I approached the brownish statue, I noticed the barbate behemothic wielded a paintbrush instead of a scepter. On his accept perched a monkey with a carry hat, rather than an angel. Abreast the statue’s base, I located, with difficulty, a achromatic metal applique set into the cobblestones that apprehend “Pieter Bruegel, 1525-1569.” The Flemish master, who revolutionized painting in his day, was active central the church.

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Belgians, it seems, accept a admiration for artists accomplished and present. But what about the monkey? That, I after read, represents Brussels-based sculptor Tom Frantzen’s nod to his compatriots’ aweless streak: a different Belgian affection that then, as now, embraces adroitness of all kinds.

Bouchet is a biographer based in Chicago. Her website is ceilmillerbouchet.com. Find her on Twitter @ceilbouchet and Instagram @ceilbouchet.

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