https://sb34.org SB34 Mon, 02 Mar 2026 13:13:49 +0000 https://sb34.org en https://sb34.org/ONGOING-AND-UPCOMING-PROJECTS Sun, 28 Aug 2022 20:43:11 +0000 SB34 https://sb34.org/ONGOING-AND-UPCOMING-PROJECTS ONGOING AND UPCOMING <img width="2000" height="1145" width_o="2000" height_o="1145" data-src="https://freight.cargo.site/t/original/i/5ba2d69701edb552607eb967ffe59d52c5b3a194e4ca3a7341a277422c3601e2/Helene_Moreau-Silice-Capitons_Module-de-lecture_Solosola-65.jpg" data-mid="246431106" border="0" src="https://freight.cargo.site/w/1000/i/5ba2d69701edb552607eb967ffe59d52c5b3a194e4ca3a7341a277422c3601e2/Helene_Moreau-Silice-Capitons_Module-de-lecture_Solosola-65.jpg" /> ︎ SB34 concorde&nbsp; RESIDENCY: Hélène Moreau 3.4 - 4.5.26 Silice &amp; Capitons est un travail au long cours de l’artiste Hélène Moreau, interrogeant la place de la lecture à voix haute au sein d’une pratique plastique. Le projet se déploie à travers plusieurs entrées, jouant des passages entre installation, décor, performance, poésie et mobilier, dans un cadre propice à l’hospitalité. Une mousse d’emballage peut devenir un vêtement, un dessin, un tapis. Une sculpture se change en accessoire, un élément d’accrochage lorsqu’il est tenu en main devient outil de concentration. Le texte accompagne et nuance le pouvoir évocateur des différents éléments, tout en suivant leurs transformations, fluctuant avec le public. La résidence à SB34 concorde constitue un temps de recul, situé entre deux phases de travail d’écriture au plateau autour de la pièce activable Module de lecture, développée au Théâtre Le Boson à Ixelles. Ce projet a fait l’objet d’une première phase de recherche à Marseille entre 2024 et 2025, avec le soutien de la structure Voyons, à La Voilerie Phocéenne. Deux temps de lecture permettront au public d’y faire halte, d’y entrelacer récits et formes d’écriture autour des pouvoirs d’adaptation et d’expérimentation. * Silice &amp; Capitons is a long-term project by artist Hélène Moreau, exploring the role of reading aloud within a visual arts practice. The project unfolds through multiple entry points, navigating between installation, set design, performance, poetry, and furniture, within a setting that encourages hospitality. Packaging foam can become a garment, a drawing, or a carpet. A sculpture transforms into an accessory; a hanging element, when held in the hand, becomes a tool for concentration. The text accompanies and nuances the evocative power of these different elements, while following their transformations and shifting in response to the audience. The residency at SB34 concorde marks a moment of reflection, situated between two phases of writing work developed on stage around the activatable piece Module de lecture, created at Théâtre Le Boson in Ixelles. This project underwent an initial phase of research in Marseille between 2024 and 2025, with the support of Voyons at La Voilerie Phocéenne. Two reading sessions will offer the audience an opportunity to pause, to interweave narratives and forms of writing around the capacities for adaptation and experimentation. Open by appointment during the period of residency via info@sb34.org Art Brussels OFF Programme Open on Friday 24.04 and Saturday 25.04, 14:00—18:00 Lectures (FR) Friday 24.04 and Saturday 25.04, 15:00 SB34 concorde Rue de la Concorde 16 1050 Ixelles Avec le soutien de la Fédération Wallonie-Bruxelles, en collaboration avec Le Boson. <img width="3393" height="2544" width_o="3393" height_o="2544" data-src="https://freight.cargo.site/t/original/i/cb3e6206f95792494ebaca4a56d35aa94e7e87ea1bce2295e2e52750d97e987e/P1010060-2.jpg" data-mid="237689468" border="0" src="https://freight.cargo.site/w/1000/i/cb3e6206f95792494ebaca4a56d35aa94e7e87ea1bce2295e2e52750d97e987e/P1010060-2.jpg" />︎ BOOK&nbsp; WE CIRCLE THROUGH THE NIGHT AND ARE CONSUMED BY FIREEdited by Simon Asencio and Pauline Hatzigeorgiou (eds)Published by SB34Graphic design by Raphaëlle Serres &amp; Matthieu MichautAvec les contributions de / With contributions by : Reinhold Aman, Henry Andersen, Simon Asencio, Jen Brodie, Chloe Chignell, Jack Cox, Samuel R. Delany, Diana Duta, Loucka Fiagan, gladys, Stefa Govaart, Sean Gurd, Pauline Hatzigeorgiou, Maxime Jean-Baptiste, Bernard-Marie Koltès, David J. Melnick, Matthieu Michaut, Margaret Miller, LaTasha N. Nevada Diggs, Anouchka Oler Nussbaum, Grisélidis Réal, Páola Revenióti, Sabrina Seifried, Raphaëlle Serres, Valerie Solanas, sabrina soyer, Megan Susman. Cette publication se présente comme le post-scriptum de l'exposition de Simon Asencio Through The Valley of The Nest of Spiders pour SB34-The Pool à Bruxelles. Dédiée au roman de science-fiction et de sexutopie de Samuel R. Delany dont elle porte le titre, l'exposition a été pensée comme un processus d'annotation de ce livre, développant les formes éthiques mises en pratique par les personnages du récit, à travers des installations, des lectures et situations performatives, avec la complicité d'autres artistes. Cet objet interlope poursuit ce processus intertextuel, en prolongeant et disséminant les écritures forgées par l'exposition. Disponible chez rile*books et bientôt dans une sélection de librairies, ainsi qu’à SB34 concorde. * This publication acts as a postscriptum to the exhibition project Through The Valley of The Nest of Spiders by Simon Asencio for SB34-The Pool in Brussels. Dedicated to Samuel R. Delany's sci-fi and sexutopia novel, the exhibition was conceived as a process of annotating the book, expanding on the ethics discussed by the characters of the novel through installation, performative readings and with the complicity of other artists and their works. This devious object pursues such an intertextual process, extending and disseminating the writings forged by the exhibition. Available at :SB34 during the opening hours or to pick-up WIELS (Brussels, BE)rile*books (Brussels, BE)After8 (Paris, FR)Palais de Tokyo&nbsp;(Paris, FR)Librairie Wallonie-Bruxelles (Paris, FR)Norma T (Oslo, NO)12:15 (Vilnius, LT)Index (Stockholm, SE) 30.00€Pages : 288 pagesFormat :&nbsp;28x20cmLanguages : ENG/FR2025 Cette publication a été rendue possible grâce au soutien de la Commission des Arts Plastiques et de la Loterie Nationale de la Fédération Wallonie- Bruxelles. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/598226771c78f775456165fab0dc1346647a31d25efb8981ec5f9f9066f56d84/couv_vostok---Grande.jpeg" data-mid="225646278" border="0" src="https://freight.cargo.site/w/1000/i/598226771c78f775456165fab0dc1346647a31d25efb8981ec5f9f9066f56d84/couv_vostok---Grande.jpeg" /> ︎ BOOK&nbsp; VOSTOK — NOW I AM A LAKEEdited by SB34Graphic design by Raphaëlle Serres / Solid ÉditionsSigne Frederiksen, Pauline Hatzigeorgiou, Margaux Schwarz, Hagar Tenenbaum, Sylvia Plath &amp; Eleanor Ivory Weber La thématique s'est construite autour de l'idiome « VOSTOK », titre que Stéphanie Pécourt a donné à son cycle dédié à la sémantique performative dans lequel se déploient des cartes-blanches signées par des commissaires invités au Centre Wallonie-Bruxelles. Enfoui sous plusieurs kilomètres de glace, le lac Vostok agit comme une invitation qui nous fascine et nous refuse à la fois. Ce lac sous-glaciaire aux confins de l'Antarctique, le plus grand identifié, devient l'objet-miroir de nos désirs et de nos peurs pour les profondeurs abyssales. Le titre du programme, Now I am a Lake, est tiré du poème Mirror (1961) de Sylvia Plath. Ce livret comprend les scripts et les textes des performances, traduits exclusivement en français pour l'occasion, ainsi que des images des vidéos présentées lors de l'événement éponyme. Cette compilation est centrée sur le poème Mirror de Sylvia Plath et comporte un texte introductif de la commissaire Pauline Hatzigeorgiou.&nbsp; Publié en une édition limitée à 200 exemplaires. Disponible à la librairie du Centre Wallonie-Bruxelles (Paris), ainsi qu’à Bruxelles auprès de SB34, Wiels, rile*books et dans d’autres librairies spécialisées. * The theme was built around the idiom “VOSTOK”, the title given by Stéphanie Pécourt to her cycle dedicated to performative semantics, in which carte-blanches signed by guest curators at the Centre Wallonie-Bruxelles are deployed. Buried beneath several kilometers of ice, Lake Vostok acts as an invitation that both fascinates and refuses us. This sub-glacial lake on the edge of Antarctica, the largest identified, becomes the mirror-object of our desires and fears for the abyssal depths. The title of the program, Now I am a Lake, is taken from Sylvia Plath's poem Mirror (1961). This booklet includes the scripts and texts of the performances, translated exclusively into French for the occasion, as well as images from the videos presented at the eponymous event. The compilation focuses on Sylvia Plath's poem Mirror, and includes an introductory text by curator Pauline Hatzigeorgiou.&nbsp; Published in a limited edition of 200 copies.Available at the Centre Wallonie-Bruxelles bookshop (Paris), as well as in Brussels at SB34, Wiels, rile*books and in other specialized bookshops. 10.00€Pages : 118 Format : 20x12cmLanguages : FR/ENG2024 Supported by Loterie Nationale &amp; Fédération Wallonie-Bruxelles. <img width="1748" height="2480" width_o="1748" height_o="2480" data-src="https://freight.cargo.site/t/original/i/bcaec13d3fba91ed167d92d71f1c990e309d713d919365de54492f62d32e43b3/re-visiting-the-studio.jpg" data-mid="193362154" border="0" src="https://freight.cargo.site/w/1000/i/bcaec13d3fba91ed167d92d71f1c990e309d713d919365de54492f62d32e43b3/re-visiting-the-studio.jpg" /> ︎ BOOK&nbsp; (RE):VISITING THE STUDIO - WHO IS IN? Edited by SB34 &amp; Level FiveGraphic design by&nbsp;Eric Schrijver Une session de prise de notes subjective de trois conversations sur l'espace (atelier d’artiste/studio) et la pratique artistique compilée dans une publication en anglais. Prise de notes subjective par&nbsp;Katinka de Jonge avec Amber Vanluffelen ;Illustrations par Aya Akbib ;&nbsp; Coproduction Level Five et SB34 pour “Working the Ground : Growing Sustainable Artistic Practices”. Disponible auprès de SB34 ou Level Five, ainsi qu’en PDF.* A subjective note taking session of three conversations about (studio) space and artistic practice compiled in a single publication. Subjective note taking Katinka de Jonge with Amber Vanluffelen ; Illustrations Aya Akbib ;&nbsp; Co-production by Level Five and SB34 for “Working the Ground: Growing Sustainable Artistic Practices”.Available at SB34 or Level Five, and as a PDF. This bi-communal project is supported by CultuurCulture, Fédération Wallonie-Bruxelles and Vlaamse Overheid. <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/82750857f8cbb9f9ec2fa2177ef677ac6260da2856be347744d93993fe3e8e5e/9782960272604_rosa-rosa-rosae-rosae_1-2048x1367.jpg" data-mid="237698952" border="0" src="https://freight.cargo.site/w/1000/i/82750857f8cbb9f9ec2fa2177ef677ac6260da2856be347744d93993fe3e8e5e/9782960272604_rosa-rosa-rosae-rosae_1-2048x1367.jpg" /> ︎ BOOKROSA ROSA ROSAE ROSAE Edited by Pauline Hatzigeorgiou (eds) / SB34Graphic design by Tipode OfficeAlicia Jeannin, Alicja Melzacka, Angela Detanico &amp; Rafael Lain, Annaïk Lou Pitteloud, Audrey Cottin, buren, Charlie Usher, Eleanor Ivory Weber, Eva Giolo, Henry Andersen, Jan Vercruysse, Maíra Dietrich, Marc Buchy, Maxime Jean-Baptiste, Niels Poiz, Oriol Vilanova, Sabir (Lucie Guien, Amélie Derlon Cordina, Sophie Sénécaut / Perrine Estienne, &nbsp;Kevin Senant, Maud Marique, Pauline Allié, Carole Louis), Slow Reading Club, Sofia Caesar, Surya Ibrahim, Yiannis Papadopoulos, Yoann Van ParysDisponible à Bruxelles dans les librairies suivantes : rile*books, Wiels, Peinture Fraîche, et à Paris au Centre Wallonie-Bruxelles et au Palais de Tokyo. Aussi disponible auprès de SB34.Produit à l'occasion de l'exposition qui s'est tenue à la Maison Pelgrims (10.9 - 23.10.2021), le livre présente des interventions originales des artistes du projet rosa rosa rosa rosae rosae.*Available in Brussels in the following bookstores : rile*books, Wiels, Peinture Fraîche, and in Paris at Centre Wallonie-Bruxelles and Palais de Tokyo. Also available at SB34.Produced in conjunction with the exhibition that took place at Maison Pelgrims (10.9 — 23.10.2021), the book presents original interventions by the artists of the rosa rosa rosae rosae project.15.00€ Pages : 220 Format : 30x21cm Languages : FR/ENG 2021 With the support of Fédération Wallonie-Bruxelles (aide à l'édition) and Région Bruxelles-Capitale (Image de Bruxelles) ︎ PAST&nbsp;︎︎︎ https://sb34.org/ARTISTS-STUDIOS Thu, 01 Sep 2022 16:45:09 +0000 SB34 https://sb34.org/ARTISTS-STUDIOS ︎ SB34 The PoolRue Saint Bernard, 341060 — Saint GillesOngoing &amp; Upcoming—&nbsp; ︎ SB34 ManchesterRue de Manchester, 5-71080 — Molenbeek Saint-JeanOngoing &amp; Upcoming— ︎ SB34 concordeRue de la Concorde, 16 1050 — Ixelles Ongoing &amp; Upcoming— RESIDENCY: Hélène Moreau / Silice &amp; Capitons, 3.4 - 4.5.26&nbsp; ︎ Artist Studios︎︎︎ THE POOL Johnny BoyBravas Graphix Steven Cruz Charbon Dalf Julie Denis éditions la CAB/Charles Pigneul, Alan Jeuland &amp; Brieuc Weulersse Raphaëlle Doineau Nicolas Gutierrez Munoz Sarah JuinJulie LarrouyJacques Le Bourgeois Anna Luz Pueyo Anna Marguier Sophie Martin Rokko MiyoshiJustin Sanchez Nissrine Seffar Marion Séhier Blanche Taddei Thily Vossier Leia WalzNele Wouters ︎︎︎ MANCHESTERClara AgnusEstelle Chatelin Théa GonçalvesEleanor Ivory WeberMiki KrayRaphaëlle Serres (SolidÉditions)Raphael MathieuYuna Mathieu-ChovetMatthieu MichautLeïla PileLaura StellaciEveraert VerlindenRafael Vogel info@sb34.org NewsletterInstagramFacebook <img width="1382" height="1325" width_o="1382" height_o="1325" data-src="https://freight.cargo.site/t/original/i/81c8c4f932ddab6672156d791ce09dfa119bc4d65104f99c238aba47217c311c/FWB_VERTI_NOIR.jpg" data-mid="151857887" border="0" src="https://freight.cargo.site/w/1000/i/81c8c4f932ddab6672156d791ce09dfa119bc4d65104f99c238aba47217c311c/FWB_VERTI_NOIR.jpg" /> <img width="696" height="194" width_o="696" height_o="194" data-src="https://freight.cargo.site/t/original/i/26c75b4768afbddf174b5d7ba6b888353bd8324d999219623f71ad725e6704f6/Logo_Loterie_Horizontal_SAFEZONE_BASELINE_FR_BLACK.png" data-mid="216944267" border="0" src="https://freight.cargo.site/w/696/i/26c75b4768afbddf174b5d7ba6b888353bd8324d999219623f71ad725e6704f6/Logo_Loterie_Horizontal_SAFEZONE_BASELINE_FR_BLACK.png" /> https://sb34.org/About-SB34-copy Thu, 01 Sep 2022 19:54:56 +0000 SB34 https://sb34.org/About-SB34-copy <img width="650" height="236" width_o="650" height_o="236" data-src="https://freight.cargo.site/t/original/i/68116467e78df7fdd0bcea4d65b275730c5bde9d5c96e74d0acf012e14885b3b/SignatureMail-Logo1.png" data-mid="151871262" border="0" src="https://freight.cargo.site/w/650/i/68116467e78df7fdd0bcea4d65b275730c5bde9d5c96e74d0acf012e14885b3b/SignatureMail-Logo1.png" /> SB34 is a Brussels based non-profit organization providing qualitative and affordable artistic production studios, workshops and equipment. We also manage two exhibition spaces in which local, international artists and art workers are invited to connect and collaborate to enhance the long term means of production, visibility and sustainability. ︎ SB34 The PoolRue Saint Bernard, 341060 — Saint Gilles Ongoing &amp; Upcoming —08.09.22︎ OPEN STUDIOS Baptiste Conte Laura HeckerNasrine Kheltent LA CAB with Ambre Husson Julie Larrouy Jacques Le Bourgeois Rokko Miyoshi Lucile Van Laecken 09.09—22.10.22 ︎ ME IN MY GOING OUT OF MYSELF (AND YOU IN YOURS) Émile Hermans&nbsp; Reinier Vrancken ︎ SB34 ClovisBoulevard Clovis, 871000 — Bruxelles Ongoing &amp; Upcoming — 08.09.22 ︎ OPEN STUDIOS Laurie CharlesMathilde D. HoogeRoshan Di Puppo with Polina Akhmetzyanova and Cyriaque VillemauxAriane LivadiotisLouizaliRaphaël MatieuChris NasaridisRik PeetersAnnelein PompeAnaëlle RenaultStijn StevensLiselore VandeputChantal Van Rijt 09.09—22.10.22 ︎ PARS PRO TOTO Amélie  Bertrand Julian Charrière Béatrice Guilleman Sabrina Ratté Sarah &amp; Charles Lucie Lanzin Mathias Prenen Maarten Vanden Eynde Artist Studios︎︎︎&nbsp;THE POOL Martin BonnazElen BragaAymeraude Du CouedicAlix DussartBaptiste ConteMaud GrommenLaura HeckerAlan JeulandNasrine KheltentJulie LarrouyJacques Le BourgeoisFlorine MerpoelRokko MiyoshiVictor PilarCharles PigneulCharlotte SadowczykLiselore VandeputThily VossierBrieuc Weulersse ︎︎︎ CLOVIS Mohammed AlaniShira BarakBiimLaurie CharlesGert De ClercqIndigo DeijmannNerina DenaisSara DeraedtRoshan Di PuppoSara GrütterShayan JalaliAtelier Jespers / La Bocca della VeritàNina Kerkhove Raphaël MatieuMatthieu MichautNikko NoirhommeRik PeetersChristophe PennersAnnelein PompeAnaelle RenaultJulia SchickerSolidEditionsMichael Van Den AbeeleStijn Stevens Van HoofChantal Van Rijt info@sb34.org NewsletterInstagramFacebook <img width="1382" height="1325" width_o="1382" height_o="1325" data-src="https://freight.cargo.site/t/original/i/81c8c4f932ddab6672156d791ce09dfa119bc4d65104f99c238aba47217c311c/FWB_VERTI_NOIR.jpg" data-mid="151871264" border="0" src="https://freight.cargo.site/w/1000/i/81c8c4f932ddab6672156d791ce09dfa119bc4d65104f99c238aba47217c311c/FWB_VERTI_NOIR.jpg" /> https://sb34.org/ABOUT-SB34 Tue, 01 Nov 2022 15:40:29 +0000 SB34 https://sb34.org/ABOUT-SB34 ︎ ABOUT SB34&nbsp;SB34 was established in 2018 to create and protect spaces in which art can unfold and artists thrive.The organization, dedicated to contemporary artistic practices, serves as a production, exhibition, dissemination and mediation structure. Based in Brussels, SB34 offers quality studios and equipment at an affordable price; supports artists by organizing moments of exchange and advice; encourages the dissemination of experimental practices by offering exhibition spaces and guidance. ︎ LOCATIONS SB34 - The Pool Rue Saint-Bernard, 34 1060 Saint-Gilles SB34 - ManchesterRue de Manchester, 5-7 1080 Molenbeek Saint-JeanSB34 - concordeRue de la Concorde, 161050 Ixelles ︎ MISSIONSB34 is based in Brussels and it offers: ︎ Quality and affordable art production studios and equipment ︎ Supports artists by organizing moments of exchange, training and networking ︎ Encourages the dissemination of experimental artistic practices by offering two exhibition spaces and support ︎ OPERATING MODE︎ SUPPORT AND RESPECT for artists by emphasizing the quality, sustainability of the studios, and the affordability of the structures provided︎ SHARING thanks to the pooling of knowledge and resources through sharing spaces, equipment and networks︎ INCLUSION by supporting emerging or mid-career artists and by promoting intergenerational and intercultural exchanges︎ GOOD GOVERNANCE in the management of the organization, spaces, contracts, and compliance with social and environmental norms︎ COMPLEMENTARITY by being part of the Brussels ecosystem and encouraging partnerships︎ DECOMPARTMENTALIZATION of artistic sectors, communities and networks︎ DISTRIBUTION by ensuring broad communication around the artists and activities of SB34 through the website, newsletters and social media ︎ HISTORICALThe beginning of SB34 started with a ground floor of 500m2 at 34 rue Saint-Bernard in Saint-Gilles. The place is rented from January 2018 and houses a dozen studios shared by around twenty artists from all over the world. The space is organized around a tiki-inspired installation-bar, entitled Manta Ray in a nod to Man Ray. The bar quickly becomes a gathering place both for resident artists and for a larger community that meet there for public cultural events programmed in The Pool: the basement room with its particular structure, a sort of white-bunker lined with concrete seats that inspires a hybrid and experimental program nourished by collaborations. The resident artists as well as peripheral artists, authors and curators are invited to respond to the particular space. In June 2020, SB34 acquired a 500m2 floor in an office building located at Rue Gheude 21 in Anderlecht, near Gare du Midi, where around thirty artists and designers work.The site had closed in autumn 2023. In May 2021, SB34 signed for a third space of 800m2 on a listed building, the Maison Van Dijk, located at 83-85-87 Boulevard Clovis in 1000 Brussels. With this building with a 1900 Art Nouveau facade and an interior reconfigured in a postmodernist vein, SB34 invests in an astonishing site by its dimensions and its architecture. SB34 established there about twenty studios of various sizes, a second exhibition space for its public projects, as well as shared wood, metal and screen printing studios.&nbsp;SB34-Clovis brought together over thirty artists and designers working individually or in collectives, unfortunately the space had to be vacated in spring 2025.In January 2024, SB34 begins the long-term lease of a 600m2 building on rue de Manchester in Molenbeek Saint-Jean. This building combines spaces of different volumes, enabling practices requiring office space and large-scale workshops to be brought together. The occupancy is covered by a long-term lease, solidifying the anchoring and sustainability of SB34's activities. In February 2025, SB34 opens its first venue dedicated solely to projects and exhibitions, located at 16 rue de la Concorde in Ixelles. This move was motivated by the desire to strengthen its program by placing a project space at the heart of its articulation. This 27m2 space, with a window facing the street, is intended to host a variety of projects enabling experimentation with exhibition practices. ︎ SUPPORTS &nbsp; SB34 programme is supported by Fédération Wallonie-Bruxelles/CAP. ︎&nbsp;À propos de SB34 SB34 a été constituée en 2018 en vue de créer et protéger des espaces dans lesquels l’art peut se déployer et les artistes s’épanouir. L’association, dédiée aux pratiques artistiques contemporaines, sert de structure de production, d’exposition, de diffusion et de médiation. Basée à Bruxelles, SB34 propose des ateliers et des équipements de qualité et à un prix abordable ; soutient des artistes en organisant des moments d’échanges et de formation; encourage la diffusion de pratiques expérimentales en offrant des lieux d’exposition et un accompagnement. ︎ ADRESSES SB34 - The Pool Rue Saint-Bernard, 341060 Saint-Gilles SB34 - ManchesterRue de Manchester, 5-71080 Molenbeek Saint-JeanSB34 - concordeRue de la Concorde, 161050 Ixelles ︎ MISSION SB34 est basée à Bruxelles et: ︎ Propose des ateliers et des équipements de production artistique de qualité et à un prix abordable ︎ Soutient des artistes en organisant des moments d’échanges, de formation et de mise en réseau ︎ Encourage la diffusion de pratiques artistiques expérimentales en offrant deux lieux d’exposition et un accompagnement ︎ MODE DE FONCTIONNEMENT ︎ SOUTIEN ET RESPECT DES ARTISTES en insistant sur la qualité, la durabilité des ateliers, et le prix abordable des structures mises à disposition ; ︎ ESPRIT D’ENTRAIDE grâce à la mutualisation des savoirs et des ressources à travers un partage des espaces, des équipements et des réseaux ; ︎ INCLUSION en soutenant des artistes émergent·es, en milieu de carrière, et en favorisant des échanges intergénérationnels et interculturels ; ︎ BONNE GOUVERNANCE dans la gestion de l’Association, des contrats et des espaces, et le respect des normes sociales et environnementales ; ︎ COMPLÉMENTARITÉ en s’inscrivant dans l’écosystème bruxellois et national, et en encourageant les partenariats ; ︎ DÉCLOISONNEMENT des secteurs artistiques, des communautés, des réseaux ; ︎ DIFFUSION en assurant une large communication autour des artistes et des activités de SB34 à travers le site internet, une newsletter et les médias sociaux. ︎ HISTORIQUE Au départ de SB34, il y a un rez-de-chaussée de 500m2&nbsp; au 34 rue Saint-Bernard à Saint- Gilles. Le lieu est loué à partir de janvier 2018 et abrite une dizaine d’ateliers que se partagent une vingtaine d’artistes venu·es des quatre coins du monde. L’espace de SB34 s’organise autour d’une installation-bar d’inspiration tiki, intitulée Manta Ray en clin d’oeil à Man Ray. Le bar devient rapidement un repaire à la fois pour les artistes résident.e.s mais aussi pour une communauté plus vaste qui s’y retrouve lors de moments publics. Ceux-ci sont programmés dans The Pool: la salle du sous-sol à la structure particulière, sorte de « white-cube-bunker » bordé de sièges de béton,inspire une programmation hybride et expérimentale nourrie par des collaborations. Les artistes résident·es mais aussi d’autres artistes, auteur·es et curateur·rices sont invité·es à exploiter la particularité du lieu. En juin 2020, SB34 investit un plateau de 500m2&nbsp; dans un immeuble de bureaux situé Rue Gheude 21-25 à Anderlecht, à proximité de la gare du Midi, où travaillent une trentaine d’artistes et designer·euses. Le lieu a fermé ses portes à l’automne 2023. En mai 2021, SB34 signe la location d’un troisième espace de 800m2&nbsp; à forte valeur patrimoniale, la Maison Van Dijk, sise au 83_85_87 Boulevard Clovis à 1000 Bruxelles. Avec cet immeuble à la façade art nouveau et l’intérieur reconfiguré dans une veine postmoderniste, SB34 investit un site étonnant par ses dimensions et son architecture. SB34 y établit une vingtaine d’ateliers de diverses dimensions, une seconde salle pour ses projets publics, ainsi que des postes de travail du bois, du métal, et de sérigraphie. SB34-Clovis réunissait ainsi plus d’une trentaine d’artistes et designers travaillant individuellement ou en collectif, hélas l’espace a dû être désinvesti au printemps 2025. En janvier 2024, SB34 entame la location au long terme d’un bâtiment de 600m2 situé rue de Manchester à Molenbeek Saint-Jean.&nbsp;Cet immeuble combine des espaces de différents volumes, permettant de rassembler des pratiques nécessitant des espaces de bureaux et des ateliers de grandes dimensions. Cette occupation est encadrée par un bail de longue durée, solidifiant l’ancrage et la durabilité des activités de SB34.En février 2025, SB34 ouvre son premier lieu dédié uniquement à des projets et des expositions situé 16 rue de la Concorde à Ixelles. Cette implantation est motivée par la volonté de renforcer son programme en mettant un espace de projet au cœur de l’articulation de ce dernier. Cet espace avec vitrine, pignon sur rue, de 27m2 est destiné à accueillir divers projets permettant l’expérimentation des pratiques de l’exposition.&nbsp; ︎ SOUTIENS La programmation de SB34 est soutenue par la Fédération Wallonie-Bruxelles/CAP. ︎ PAST RESIDENTS ︎ SB34 The Pool&nbsp; Henry Andersen (Slow Reading Club) Dóra Benyó David Beylemans Martin Bonnaz Pol Bourdellon Luke Calzonetti Baptiste Conte Vanessa Disler Emilie Franco Mathieu Georis Marjolein Guldentops Laura Hecker Alicia Jeannin Kitty Kamp Julie Krakowski Joëlle Laederach Jules Lagrange Maxime Le Guyader (Suffer The Joy) Léa Mayer Yvan Megal Maëlle Maisonneuve Florine Merpoel Sandrine Morgante Marlie Mul Jacopo Pagin Alice Pallot Victor Pilar Niels Poiz Lucien Roux Magda Tsaousi Charlie Usher Lucile Van Laecken Ketevan Vekua Clara Villier Alice Cuenot Lars Hermans︎ SB34 Manchester&nbsp; Kim Laugs ︎ SB34 concorde (Residency) Lore D Selyss ︎ SB34 Clovis&nbsp; Mohammed AlaniHoma ArkaniShira BarackLola BarrettAmbroise BellecJules BoucaudCloé BrulatLaurie CharlesAleksandra ChaushovaElsa ChêneLaura DauchetLea DalibardEsther DenisSara DeraedtGregory DefreyneFelix De ClercqGert De ClercqLouisa De VosIndigo DeijmannAnatole LachassagneYona LaciLéa JarrinPia JacquesTheodora JacobsNasrine KheltentSandrine KielwasserMarian LasakManon LouisAurélie LuongMarylène MadouNina ManonMargaux MeyerDolça MayolJulie NowakChristophe Nasaridis/BiimPaul de ToytotAnna Smolak (Gray Fruit)Arash Shahali (Gray Fruit)Rick PeetersJulie PercillierAnnelein PompeDaniele OlivaNikko NoirhommeRara GyeLionel DuryYvon GoossensLaurie GiraudThea GonçalvesViolette GrognardMarie HartielHanne Van DyckMichael Van Den AbeeleJivan van der EndeChantal van RijtJuliette VanwaterlooLiselore VandeputSara GrütterSerena VittoriniAmélie Uwera-NgiraHaslet VuranStijn Stevens Van HoofJohan StroobantsProse StudioDiane Waddington ︎ SB34 Gheude&nbsp; Lola BarrettLea BelooussovitchAleksandra ChaushovaElsa ChêneLouise DevinAdlynn FischerGregory DefreyneCatherine Le GoffSandrine KielwasserMarylène MadouJohan Stroobants ︎ Botanique Residency : Camille-Amandine Marino (2024) Valentine Jolibois (2025) ︎ GRAPHIC DESIGN &amp; WEBSITE Matthieu Michaut &amp; SolidÉditions https://sb34.org/CONTACT Fri, 10 Mar 2023 16:48:57 +0000 SB34 https://sb34.org/CONTACT ︎ CONTACT&nbsp;Pour toute information veuillez nous contacter via / For further information please contact us at info@sb34.org ︎︎︎Coordination Rokko Miyoshi rokko@sb34.org︎︎︎Coordination, Mediation Joséphine Wagnier josephine@sb34.org NewsletterInstagramFacebook https://sb34.org/PAST-PROJECTS Sun, 28 Aug 2022 21:47:04 +0000 SB34 https://sb34.org/PAST-PROJECTS PAST PROJECTS <img width="2975" height="1985" width_o="2975" height_o="1985" data-src="https://freight.cargo.site/t/original/i/bc2dc7b5ed2a87ea6cca0fce245760482f73bba50b11c4390b91624fec040f6f/2026_02_ShahinAfrassiabi_LIKING_1_web.jpg" data-mid="245591610" border="0" src="https://freight.cargo.site/w/1000/i/bc2dc7b5ed2a87ea6cca0fce245760482f73bba50b11c4390b91624fec040f6f/2026_02_ShahinAfrassiabi_LIKING_1_web.jpg" /> ︎ SB34 concorde Shahin Afrassiabi LIKINGcurated by Maziar Afrassiabiwith a text by Michiel Ceulers 16.1 — 28.2.2026 &nbsp;&nbsp; &nbsp; La série de peintures récentes de Shahin Afrassiabi part d'une photographie de Francis Bacon dans son atelier londonien, réalisée en 1971 par Francis Goodman et aujourd’hui conservée à la National Portrait Gallery. Afrassiabi dissèque et réinterprète cette image à travers une série de variations picturales expressives, oscillant entre figuration et abstraction. Figuration, car nous reconnaissons l’image d’une personne ; abstraction, parce que cette reconnaissabilité — liée au mythe et à l’héritage même de la peinture — devient autoréflexive. L’image familière est reconfigurée, rendue étrange, sans pour autant être totalement détachée de son origine. Ce qui soutenait autrefois le « Bacon construit » en tant que figure cohérente d’autorité artistique se trouve ici relâché, interrompu et rendu indéterminé. […]* &nbsp; &nbsp; Shahin Afrassiabi’s recent series of paintings takes as its starting point a 1971 photograph of Francis Bacon in his London studio, taken by Francis Goodman and now held in the National Portrait Gallery. Afrassiabi dissects and reinterprets this image through a range of expressive painterly variations that hover between figuration and abstraction. Figuration, because we recognise the image of a person; abstraction, because that recognisability — bound to myth and to the legacy of painting itself — becomes self-reflexive. The familiar image is reconfigured, made strange yet not entirely detached from its origin. What once sustained the “constructed Bacon” as a coherent figure of artistic authority is here loosened, interrupted, and rendered indeterminate. [...] ︎ Lire la suite ︎︎︎&nbsp; <img width="2906" height="3850" width_o="2906" height_o="3850" data-src="https://freight.cargo.site/t/original/i/07f96c84a468ec1a2ece1fce6ced22da988d396af4ce75e31978acb7cef4547e/ACCATTONE--9_LAYOUT-260109_digital.jpg" data-mid="244620030" border="0" src="https://freight.cargo.site/w/1000/i/07f96c84a468ec1a2ece1fce6ced22da988d396af4ce75e31978acb7cef4547e/ACCATTONE--9_LAYOUT-260109_digital.jpg" />︎ SB34 concordeLAUNCH OF ACCATTONE #931.1.2026, 17:00-20:00 SB34 is happy to welcome Accattone for the publication of the ninth issue, Accattone #9, featuring 11 contributions prepared in collaboration with guest artists and architects. Accattone #9 brings together a reflection on the ebb and flow between affirmation and denial as well as material-conceptual operations with dirt. It features a reassembled art residency, furniture made from salvaged materials (and new bolts), drywall marquetry, a punk farm, the earliest cave construction, a lavatory covered in goose feathers, cars buried under asphalt, fake nails, gabion walls, hairy stuff, mud, a recipe for concrete rubble walls and slabs, a sandbag façade, theory fed to worms, a leaking fountain, theoretical fatbergs and the yes of the no. With Jérémie Dussault-Lefebvre and Sébastien Roy, Arnaud Eubelen, Matthew Stadler, Emma Cocker, Homo neanderthalensis via Sophie Verheyden and Jacques Jaubert, Hélène Frichot, Maxence Grangeot, Baukunst, TEN and Babini Geysen with Tiphaine Abenia and Olivier Campagne, Jeremy Till and Sarah Wigglesworth, Truwant + Rodet +, Willie Morlon Editors and designers: Ismaël Bennani, Sophie Dars, Orfée Grandhomme, Carlo Menon, Galaad Van Daele&nbsp;<img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/bafa1980a1fcaa15edf98106fc5dd9e085e7256ce7c905dfbc227e61d0b933d5/tea-towel.jpg" data-mid="243981435" border="0" src="https://freight.cargo.site/w/1000/i/bafa1980a1fcaa15edf98106fc5dd9e085e7256ce7c905dfbc227e61d0b933d5/tea-towel.jpg" />︎ SB34 Manchester WORKSHOP (FR/ENG) : X-MAS TEA TOWELS with IntoTrees (Anna Luz Pueyo) 20.12.2025, 10:00-16:00Venez passer une journée avec IntoTrees pour préparer vos derniers cadeaux de fin d’année. À partir d’écorces et de feuillages récoltés en cette fin de saison, les essuies se teintent de couleurs puisées dans le paysage et se parent de motifs délicatement composés. Un temps pour créer, expérimenter et imaginer des pièces uniques, dans une atmosphère douce, attentive et en lien avec les matières naturelles. * Join IntoTrees for a full day dedicated to crafting your final end-of-year gifts. Using seasonal bark and foliage, the cloths take on colors drawn from the landscape and are adorned with gently composed patterns. A moment to create, experiment, and imagine unique pieces in a soft, attentive atmosphere connected to natural materials. Avec le soutien de la Fédération Wallonie-Bruxelles et de la COCOF. <img width="2480" height="1748" width_o="2480" height_o="1748" data-src="https://freight.cargo.site/t/original/i/b8b2a67ed31d9d55bc2b3671b8974e126f08983ec96260336a62a632ce09594f/affiche1.png" data-mid="245695276" border="0" src="https://freight.cargo.site/w/1000/i/b8b2a67ed31d9d55bc2b3671b8974e126f08983ec96260336a62a632ce09594f/affiche1.png" /> ︎ SB34 Manchester WORKSHOP (FR) : Séance de formation sur le statut travailleur·euse des arts avec Anne-Catherine Lacroix18.12.2025, 10:00-13:00 Cette séance avec Anne-Catherine Lacroix offre un temps d’information et d’échanges sur le statut du travailleur·euse des arts (WITA). Anne-Catherine Lacroix est juriste et travailleuse en éducation permanente depuis 20 ans. D’abord à l’Atelier des droits sociaux, ensuite chez Dockers asbl, elle s’est spécialisée, au fur et à mesure des années, dans les questions de droit du travail et de sécurité sociale des travailleurs et travailleuses des arts. Elle enseigne également sur cette matière dans l’enseignement supérieur artistique, à l'ERG et l'INSAS. De par son expertise sur le sujet, elle est régulièrement amenée à former des travailleur·euses sur cette question, qu’il s’agisse de travailleur·euses des arts ou des employeurs qui les engagent.Avec le soutien de la Fédération Wallonie-Bruxelles et de la COCOF. <img width="3253" height="2170" width_o="3253" height_o="2170" data-src="https://freight.cargo.site/t/original/i/8e4249aea226086a2868aa968f018edb0bd46d82e5dad62dd9e25822a3d108a9/2025_10_InstallationView_CoutryLesbians_SB34_8_web.jpg" data-mid="243860782" border="0" src="https://freight.cargo.site/w/1000/i/8e4249aea226086a2868aa968f018edb0bd46d82e5dad62dd9e25822a3d108a9/2025_10_InstallationView_CoutryLesbians_SB34_8_web.jpg" /> ︎ SB34 concorde COUNTRY LESBIANS: THE STORY OF THE WOMANSHARE COLLECTIVE Carol Newhouse, WomanShare Collective, Marian Lens/Artemys Fundscurated by Salomé Burstein, Agathe Cotte, Louise Toth &amp; Joséphine Wagnier 17.10 — 29.11.2025 &nbsp; &nbsp; À l’été 1973, Billie, Carol et Dian cherchent à fuir la culture masculine et patriarcale de la grande ville et s’embarquent dans un road trip. Animées par un désir de retour à la terre et la conviction que les femmes doivent trouver de nouvelles façons de vivre ensemble, elles quittent Montréal et mettent le cap sur l’Ouest, sillonnant les États-Unis en voiture jusqu’au sud de l’Oregon. L’indépendance et l’isolement qu’elles trouvent dans le mode de vie rural leur permet alors de s’affirmer comme féministes et lesbiennes. En 1974, elles achètent leur terre et fondent WomanShare, une communauté séparatiste où elles vivent, bâtissent, cultivent, écrivent en autonomie. Reprenant le titre d’un ouvrage co-écrit par les membres de WomanShare en 1976, l’exposition Country Lesbians: The Story of the Womanshare Collective retrace cette histoire. &nbsp; * &nbsp; &nbsp; In the summer of 1973, Billie, Carol, and Dian sought to escape the patriarchal, male-dominated culture of the big city and set out on a road trip. Driven by a desire to return to the land and the belief that women must find new ways of living together, they left Montreal and headed west, driving across the United States all the way to southern Oregon. The independence and isolation they found in rural life allowed them to affirm themselves as feminists and lesbians. In 1974, they purchased land and founded WomanShare, a separatist community where they lived, built, farmed, and wrote autonomously. Taking its title from a 1976 book co-authored by members of the collective, the exhibition Country Lesbians: The Story of the Womanshare Collective revisits this story.︎ Lire la suite ︎︎︎ <img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/bb88ed719a47fdfc92f914e83920d4d6b02b276caaa727c69e7843eb7b7811bd/hole_8_30_RSC0609_ed.jpg" data-mid="239782637" border="0" src="https://freight.cargo.site/w/1000/i/bb88ed719a47fdfc92f914e83920d4d6b02b276caaa727c69e7843eb7b7811bd/hole_8_30_RSC0609_ed.jpg" />︎ SB34 concordeHOLE, 8'30" Steve Van den Bosch &amp; Marc Behrens 13.9 - 11.10.2025 &nbsp; &nbsp; Hole, 8'30" présente une œuvre collaborative qui consiste en une réinterprétation sonore par Marc Behrens d'une œuvre précédente de Steve Van den Bosch, gravée sur un disque en aluminium laqué. Exposée pour la première fois à SB34 concorde, cette œuvre active les propriétés acoustiques de l'espace d'exposition, tandis que sa lecture répétée finira par effacer l'enregistrement de son support. En reliant les échos et les fréquences du langage à la structure de l'espace d'exposition, l'installation interroge les conditions de la disparition, du témoignage et de la trace.*&nbsp; &nbsp; Hole, 8'30" features a collaborative work that consists of a sonic reinterpretation by Marc Behrens of a previous work by Steve Van den Bosch, engraved on an aluminum lacquer disc. Exhibited at SB34 concorde for the first time, the piece activates the acoustic properties of the exhibition space, while its repeated playing will eventually erase the recording from its carrier. By linking the echoes and frequencies of language to the structure of the exhibition space, the installation questions the conditions of disappearance, testimony, and trace. ︎ Lire la suite ︎︎︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c8fad2179537221e030cacaaad3c61b95cec8e81c2adc5f2cd9852c7e84ddf82/LDS_SB34_48.JPG" data-mid="239782617" border="0" src="https://freight.cargo.site/w/1000/i/c8fad2179537221e030cacaaad3c61b95cec8e81c2adc5f2cd9852c7e84ddf82/LDS_SB34_48.JPG" /> ︎ SB34 concordeSUMMER RESIDENCY - JOURNAL OF A SPUBLore D Selyss 1.8 - 7.9.2025 &nbsp; &nbsp; Pendant leur résidence à SB34, Lore D Selyss poursuit la recherche en cours avec, sur et à partir du SPUB, un terme qu'iels ont conçu, contractant les notions d’espace et de subjectivité en un personnage et une méthode. La recherche se développe entre autres, à travers des conversations avec des corps et des langues issues de disciplines autres, ainsi que par des actes de traduction. Tout au long de la résidence, concorde se transformera en un atelier dédié aux activités liées au SPUB. * &nbsp; &nbsp; During their residency at SB34, Lore D Selyss will pursue the ongoing research with, on and from the SPUB, a term that was coined contracting the notions of subjects and spaces into a character and method. The research unfolds through conversations with bodies and tongues from diverse fields of praxis and the act of translation. Throughout the residency concorde will turn into an open-studio for spubbing-related activities.&nbsp; ︎ Lire la suite ︎︎︎ <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/7eabcfc2b3dc7a97726563bc912470252f9ff1c34dc3eb707bf67b52c3b8f368/P1010114.JPG" data-mid="237699855" border="0" src="https://freight.cargo.site/w/1000/i/7eabcfc2b3dc7a97726563bc912470252f9ff1c34dc3eb707bf67b52c3b8f368/P1010114.JPG" />︎ RILE*BOOKSHOPWE CIRCLE THROUGH THE NIGHT AND ARE CONSUMED BY FIRE (BOOKLAUNCH)30.8.2025 17:00 - 19:30 Edited by Simon Asencio and Pauline Hatzigeorgiou (eds)Published by SB34Graphic design by Raphaëlle Serres &amp; Matthieu MichautReadings by Pauline Hatzigeorgiou, Chloe Chignell, Stefa Govaart &amp; Simon Asencio.Special music set by Diana Duta. Cette publication a été rendue possible grâce au soutien de la Commission des Arts Plastiques et de la Loterie Nationale de la Fédération Wallonie- Bruxelles. <img width="4608" height="2592" width_o="4608" height_o="2592" data-src="https://freight.cargo.site/t/original/i/f13751900687822678e664dd2d2d428831c153ab886df06975d40b0714615d4a/P1010032-1.jpg" data-mid="237689533" border="0" src="https://freight.cargo.site/w/1000/i/f13751900687822678e664dd2d2d428831c153ab886df06975d40b0714615d4a/P1010032-1.jpg" />︎ SB34 ManchesterBOTANIQUE RESIDENCY 3.2025 - 9.2025 Valentine Jolibois est la deuxième artiste à bénéficier de la résidence de production du Botanique (expositions), en partenariat avec SB34, situé rue Manchester à Molenbeek-Saint-Jean, pour une période de production de six mois.&nbsp;* Valentine Jolibois is the second artist to benefit from the production residency at Botanique (exhibitions), in partnership with SB34, located on Rue Manchester in Molenbeek-Saint-Jean, for a six-month production period. Supported by Fédération Wallonie-Bruxelles, in partnership with Botanique. <img width="1842" height="1381" width_o="1842" height_o="1381" data-src="https://freight.cargo.site/t/original/i/e196753040447198430f468255fd367984163000f71c2af3a1b2c7c638e45ba2/Visu-Glacons-Site.jpg" data-mid="235776070" border="0" src="https://freight.cargo.site/w/1000/i/e196753040447198430f468255fd367984163000f71c2af3a1b2c7c638e45ba2/Visu-Glacons-Site.jpg" /> ︎ SB34 The Pool SOUVENIR D’UN PAYSAGE QUE JE N’AI JAMAIS VU Wilfried Dsainbayonne &amp; Julia Ben Moussa &nbsp;a proposal by Blanche Taddei19.6 - 26.6.2025 Nous accueillons le projet de fin d’études de Blanche Taddei, étudiante en master CARE – Pratiques de l’exposition à l’Académie royale des Beaux-Arts de Bruxelles (ArBA-EsA). Ce projet curatorial réunit les artistes Julia Ben Moussa et Wilfried Dsainbayonne, en étroite collaboration avec Studio Norme.Souvenir d’un paysage que je n’ai jamais vu propose un dialogue entre différentes formes d’expression artistique — installation, image, textes — et interroge la manière dont nous percevons, représentons et habitons notre environnement. * We are hosting the graduation project of Blanche Taddei, a Master's student in Practices of exhibition (Master CARE - Pratiques de l’exposition) from the Royal Academy of Fine Arts of Brussels (ArBA-EsA). This curatorial project features artists Julia Ben Moussa and Wilfried Dsainbayonne, in close collaboration with Studio Norme.Souvenir d'un paysage que je n'ai jamais vu proposes a dialogue between different forms of artistic expression - installation, image, text - and questions the way we perceive, represent and inhabit our environment. Within the framework of the CARE Master's program / ArBA-EsA. <img width="2993" height="1996" width_o="2993" height_o="1996" data-src="https://freight.cargo.site/t/original/i/96457cfe76c3618ea54568c0cb71a939866bbb7cee2c9b418c627901190323f2/2025_03_Solitesse_SB34_Brussels_12_web.jpg" data-mid="241593729" border="0" src="https://freight.cargo.site/w/1000/i/96457cfe76c3618ea54568c0cb71a939866bbb7cee2c9b418c627901190323f2/2025_03_Solitesse_SB34_Brussels_12_web.jpg" /> ︎ SB34 concorde SOLITESSEFabiola Burgos Labra, Massao Mascaro, Wim De Pauw &amp; Reinier Vrancken curated by Léane Lloret27.3 - 24.5.2025&nbsp; &nbsp; solitesse invite à réfléchir aux stigmates intrinsèques du quotidien et à notre rapport à la perception. S’imposant comme des témoignages de moments, les œuvres de Fabiola Burgos Labra, Massao Mascaro, Wim De Pauw et Reinier Vrancken apparaissent telles des traces récoltées à l’ombre de silhouettes visibles. Ces silhouettes sont celles de monuments connus ou anonymes, du latin monumentum, dérivé du verbe moneo « se remémorer ».Réunies pour l’inauguration du nouvel espace SB34 concorde, les pièces de techniques et formes différentes posent la question de ce qui distingue l'œuvre d’art du produit, et de sa persistance unique. A mi-chemin entre passé et futur, ces témoignages de projections interrogent par leur dualité, la légitimité d’un congrès de nos monuments soliloques.*&nbsp; &nbsp; solitesse invites to reflect on the intrinsic stigma of everyday life and our relationship with perception. The works of Fabiola Burgos Labra, Massao Mascaro, Wim De Pauw and Reinier Vrancken stand out as testimonies of fleeting moments, like traces collected in the shadow of visible silhouettes. These silhouettes are those of well-known or anonymous monuments, from the Latin monumentum, derived from the verb moneo “to remember”.Gathered for the inauguration of the new SB34 concorde space, the artworks of different techniques and forms raise the question of what distinguishes the work of art from the product, and of its unique persistence. Halfway between past and future, the duality of these projections’s testimonies questions the legitimacy of a congress of our soliloquious monuments.︎ Lire la suite ︎︎︎ <img width="2429" height="1822" width_o="2429" height_o="1822" data-src="https://freight.cargo.site/t/original/i/79a561ea2080df62ca7c5a2eadac6ccf99a232fa14db58c30c5bb41e353a2f11/P1010241.jpg" data-mid="234116159" border="0" src="https://freight.cargo.site/w/1000/i/79a561ea2080df62ca7c5a2eadac6ccf99a232fa14db58c30c5bb41e353a2f11/P1010241.jpg" /> ︎ SB34 The Pool MAPPING THE NETWORK : BRUSSELS ARTIST-RUN 18.4.2025 14:00 - 18:00 L’équipe initiatrice de BARN dévoile le prototype de son nouveau site-web, qui servira de hub pour le Réseau des Artist-runs de Bruxelles. Le site comprendra un calendrier partagé, une carte open-source, ainsi que des onglets pour que les membres puissent lister leurs événements et espaces. Cet atelier ouvert au public vous permettra d'explorer le site, d'y participer activement et nous aider à le façonner ensemble.&nbsp; *The BARN Core Team is unveiling the prototype of its new website, which will serve as a hub for the Brussels Artist-Run Network. The site will feature a shared calendar, an open-source map, as well as tabs where members can list their events and spaces. This public workshop will allow you to explore the site, engage with it actively, and help us shape it together. Web developer: Leo Leyens&nbsp; Web designer: Johanna Gratzer This event is kindly supported by the Dutch-speaking affairs service of Saint-Gilles <img width="3500" height="2500" width_o="3500" height_o="2500" data-src="https://freight.cargo.site/t/original/i/d9c1951e97b2514be5dbf735ada15690bc28b3f180056026d32a054d60797a2f/couv.png" data-mid="234367694" border="0" src="https://freight.cargo.site/w/1000/i/d9c1951e97b2514be5dbf735ada15690bc28b3f180056026d32a054d60797a2f/couv.png" /> ︎ SB34 The PoolTHE ART OF LIVING TWICE Éditions la CAB &amp; Simen K. Lambrecht4.4 - 8.5.2025 Lancement du livre The Art of Living Twice et exposition de Simen K. Lambrecht. Cinquième sortie des Éditions la CAB. * Launch of the book The Art of Living Twice and exhibition by Simen K. Lambrecht. Fifth release from Editions la CAB. ︎ En savoir plus ︎︎︎ <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/bf65c279c4e3b407d16fce0d2c5f88306748f2654839fa8cc532027629290905/P1010159.JPG" data-mid="227846455" border="0" src="https://freight.cargo.site/w/1000/i/bf65c279c4e3b407d16fce0d2c5f88306748f2654839fa8cc532027629290905/P1010159.JPG" /> ︎ SB34 ManchesterA sound evening with Jonáš Gruska &amp; iiicurated by Non Local Research21.2.2025 19:00 - 22:00SB34 est ravie d'accueillir Jonáš Gruska et iii pour une soirée sonore en deux actes le vendredi 21 février 2025 à SB34 Manchester. Artiste sonore slovaque formé en sonologie à La Haye et Cracovie, Jonáš Gruska explore les rythmes chaotiques, les propriétés psychoacoustiques et les enregistrements de terrain. Fondateur du label LOM (2011), il organise le festival ZVUK (2013) et dirige le LOM Space à Bratislava (2018). En 2019, il lance la plateforme bioLOM/mykoLOM, un laboratoire de mycologie et un festival arts &amp; champignons. Il a publié un livre sur les lichens (2021) et créé le portail lisajniky.sk (2022). Ses œuvres ont été présentées dans de nombreux festivals européens majeurs.Sous le pseudonyme iii, Roberto Laterza mène une exploration musicale entre structures précomposées et lignes éphémères de code informatique. Des sons synthétiques imitant des bulles d’eau ou des pépiements s’entrecroisant en figures polyrythmiques : un jeu continu de transformations, un organisme vivant destiné à disparaître et être remplacé. Jouant sur la dissimulation et la révélation, il redéfinit les contextes d’enregistrements de terrain, de vieux films, d’interviews, d’accords, de mélodies et de fragments de chansons préexistantes. C’est une quête d’imagination et d’émotions, chacune occupant une zone dans un spectre qui s’épanouit à la lisière du clair-obscur.* SB34 is delighted to welcome Jonáš Gruska and iii for an evening soundscape in two acts on Friday 21 February 2025 at SB34 Manchester. Slovak sound artist trained in sonology in The Hague and Krakow, Jonáš Gruska explores chaotic rhythms, psychoacoustic properties, and field recordings. Founder of the LOM label and instrument manufacturer (2011), he organizes the ZVUK festival (2013) and runs the LOM Space in Bratislava (2018). In 2019, he launched the bioLOM/mykoLOM platform, a mycology lab, and an arts &amp; fungi festival. He published a book on lichens (2021) and created the portal lisajniky.sk (2022). His works have been showcased at numerous major European festivals.iii is the moniker through which Roberto Laterza conducts a musical exploration between pre-composed structures and transient lines of computer code. Synthetic sounds that simulate water bubbles, the chirping that intersects in polyrhythmic figures: it is a continuous game of transformations, a living organ destined to fall and be replaced. Hiding and showing, giving new contexts to field recordings, old films and interviews, chords, melodies and fragments of songs already written. It's all about imagination and emotions, each with its own zone on a spectrum that likes to reveal itself on the threshold of chiaroscuro. Supported by the Fédération Wallonie-Bruxelles. <img width="4032" height="2268" width_o="4032" height_o="2268" data-src="https://freight.cargo.site/t/original/i/48441b49b3f8b188a046ba2b462ba6d985d492ca25dddcb78b54f82b89227bdd/20241217_094248.jpg" data-mid="228416602" border="0" src="https://freight.cargo.site/w/1000/i/48441b49b3f8b188a046ba2b462ba6d985d492ca25dddcb78b54f82b89227bdd/20241217_094248.jpg" />︎ SB34 The PoolVESTIGESA proposal by Violette Caspar &amp; Elise KrakowskyWith Raphaël Lochard, Clément Braive, Laurent Golia &amp; Omeyr Abd Rabbo&nbsp;17.12.2024SB34 accueille chaque année des expositions et des jurys d’étudiant·es de Master issu·es d’écoles d’art, offrant un espace d’expérimentation et de dialogue autour des pratiques émergentes. *SB34 hosts exhibitions and student juries (MA) from art schools each year, providing a space for experimentation and dialogue around emerging practices. Supported by Loterie Nationale and Fédération Wallonie-Bruxelles <img width="2339" height="3307" width_o="2339" height_o="3307" data-src="https://freight.cargo.site/t/original/i/e704139d181b56b03bdd2a33616ab4acce4170446a62e5dcfa20bad8149753f5/20241211_Editions_AfficheA3.jpg" data-mid="225813971" border="0" src="https://freight.cargo.site/w/1000/i/e704139d181b56b03bdd2a33616ab4acce4170446a62e5dcfa20bad8149753f5/20241211_Editions_AfficheA3.jpg" /> ︎ SB34 Manchester EDITIONS: SEMINAR, PERFORMANCES &amp; PUBLICATIONS 12-14.12.2024 14:00-19:00 With An Onghena, Jivan van der Ende, Alexia de Visscher, Raphaël Van Lerberghe (A.R.D.V.L.), Christophe Clarijs, Robin Vets, David Maroto, Emilie Pariel, Divided Publishing, Eva Moulaert (Dear Reader), Gary Farrelly (O.J.A.I.), Gilles Hellemans, Ignace Cami, Jeroen Peeters, Liesbet Waegemans, Marjolein Guldentops, Marc Buchy, Maud Vande Veire, Emmanuel Depoorter (From Me To You), Maya Strobbe (Ramsdam Books), Milan Gillard, Neils Poiz, Pierre Coric, Raphaël Matieu, Robin Faymonville, Simon Asencio &amp; Zena van den Block curated by Carl Haase (ZeroDesk)Editions est une librairie nomade et un espace dédié aux publications/objets éditoriaux et aux performances, qui rassemble un ensemble d'éditeur·ices indépendant·es ainsi que des ouvrages auto-édités par des artistes et des designers. Cette édition s’articule autour d’un séminaire intitulé Palace of Memory (Palais de la mémoire), deux cycles de performances et un bookshop. * Editions a nomadic bookstore and project space for publications and performances, and bring together an array of independent publishers as well as self-published works from artists and designers. This edition features a seminar entitled Palace of Memory, two performance cycles and a bookshop. ︎ Lire la suite ︎︎︎ <img width="1434" height="898" width_o="1434" height_o="898" data-src="https://freight.cargo.site/t/original/i/2b65e97c6af6cbbc5931577da5e51053d95f73edfac1f62bb35e6d9b939f6e15/image-extra-en-debut-Margaux-Schwarz--Civility--c-Sebastiaan-Vermeille--2024.png" data-mid="224043569" border="0" src="https://freight.cargo.site/w/1000/i/2b65e97c6af6cbbc5931577da5e51053d95f73edfac1f62bb35e6d9b939f6e15/image-extra-en-debut-Margaux-Schwarz--Civility--c-Sebastiaan-Vermeille--2024.png" /> ︎ CENTRE WALLONIE-BRUXELLES / PARIS VOSTOK — Now I am a Lake 6.12.2024 20:00 - 21:30 A programme of videos and performances&nbsp;With Signe Frederiksen, Margaux Schwarz, Hagar Tenenbaum &amp; Eleanor Ivory Webercurated by Pauline Hatzigeorgiou&nbsp; VOSTOK — Now I am a Lake est un programme avec Signe Frederiksen, Margaux Schwarz, Hagar&nbsp;Tenenbaum&nbsp;et&nbsp;Eleanor Ivory Weber&nbsp;sous le commissariat de&nbsp;Pauline Hatzigeorgiou / SB34&nbsp;pour le Centre Wallonie-Bruxelles, Paris. La thématique s’est construite à partir de l’idiome «VOSTOK», titre que Stéphanie Pécourt&nbsp;a donné à son cycle dédié aux sémantiques performatives dans lequel se déploient des cartes-blanches signées par des commissaires invité∙es. &nbsp; &nbsp; Enfoui sous plusieurs kilomètres de glace, le lac Vostok agit comme une invitation qui, à la fois, nous fascine et se refuse à nous. Ce lac sub-glaciaire situé aux confins de l’Antarctique, le plus vaste identifié, devient l’objet-miroir de nos désirs et de nos frayeurs pour les profondeurs abyssales. Le titre, Now I am a Lake est extrait du poème Mirror (1961) de Sylvia Plath. * VOSTOK - Now I am a Lake is a programme with Signe Frederiksen, Margaux Schwarz, Hagar Tenenbaum&nbsp;and&nbsp;Eleanor Ivory Weber&nbsp;curated by&nbsp;Pauline Hatzigeorgiou / SB34&nbsp;for the&nbsp;Centre Wallonie- Bruxelles / Paris. The theme was built around the idiom “VOSTOK”, the title Stéphanie Pécourt has given to her cycle dedicated to performative semantics in which are deployed carte-blanches signed by guest curators. &nbsp; &nbsp; Buried beneath several kilometers of ice, Lake Vostok acts as an invitation that both fascinates us and refuses us. This sub-glacial lake on the edge of Antarctica, the largest identified, becomes the mirror-object of our desires and fears for the abyssal depths. The title, Now I am a Lake, is taken from Sylvia Plath's poem Mirror (1961).&nbsp; ︎ Lire la suite ︎︎︎ <img width="2339" height="3308" width_o="2339" height_o="3308" data-src="https://freight.cargo.site/t/original/i/a1daed30b162b7a23e9f774170987d263fefda0892131d433f6814fd3d7233b7/OPEN-STUDIOS_SB34_2024_Poster_V3.jpg" data-mid="222867840" border="0" src="https://freight.cargo.site/w/1000/i/a1daed30b162b7a23e9f774170987d263fefda0892131d433f6814fd3d7233b7/OPEN-STUDIOS_SB34_2024_Poster_V3.jpg" /> ︎ SB34 Clovis + The Pool + Manchester ARTIST OPEN STUDIOSWith Homa Arkani, Jules Boucaud, Gert de Clercq, Roshan Di Puppo, Lionel Dury, Thea Goncalves, Nasrine Kheltent, Yona Laci, Manon Louis, Fanny Patarin, Rik Peeters, Stijn Stevens, Jivan van der Ende, Serena Vittorini, Haslet Vuran ; Bravas Graphix, Luke Calzonetti, Julie Denis, Jacques Lebourgeois, Julie Larrouy, Anna Luz Pueyo, Justin Sanchez, Shungu, Lukas Thangue, Clara Villier ;&nbsp; Clara Agnus, Kim Laugs, Camille-Amandine Marino (Botanique residency), Raphaël Mathieu, Yuna Mathieu-Chovet, Leïla Pile, Everaert Verlinden, Rafael Vogel, Eleanor Ivory Weber.Sat. 19.10 (Clovis) / 26.10 (The Pool) &amp; 23.11.2024 (Manchester) + Installation / Performance / Exhibition / Housewarming party (dj-sets) Supported by Loterie Nationale and Fédération Wallonie-Bruxelles, with additional support from VGC Brussels and Nederlandse Embassy in België for Jivan Van der Ende’s project. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ae9a6228bf651aa61497c993e38a8d923d0009a9cfcc68ad9de3c989b0aa6efa/DSC_2038.jpg" data-mid="228416603" border="0" src="https://freight.cargo.site/w/1000/i/ae9a6228bf651aa61497c993e38a8d923d0009a9cfcc68ad9de3c989b0aa6efa/DSC_2038.jpg" /> ︎ SB34 The PoolNIVELLEMENT VÔTRE A proposal by Clara Villier 19-26.10.2024&nbsp; &nbsp; L’exposition explore la possibilité de se réapproprier la technique à l’échelle du milieu, en privilégiant une approche sensible du vivant. Elle esquisse des formes de résistances ancrées dans le faire, où l’expérimentation devient un terrain de lutte et d’invention. Entre zones humides et fenêtres ouvertes, elle rassemble des pratiques qui bricolent des alternatives et réactivent des manières d’habiter le monde. Inscrite dans une temporalité poreuse, entre réminiscences et projections, cette exposition se construit avant tout dans l’épaisseur du présent – un présent qui fascine autant qu’il révolte Clara Villier. *&nbsp; &nbsp; The exhibition explores the possibility of reclaiming technique on a local scale, favoring a sensitive approach to the living. It sketches forms of resistance rooted in making, where experimentation becomes a space for struggle and invention. Between wetlands and open windows, it brings together practices that tinker with alternatives and reactivate ways of inhabiting the world. Situated in a porous temporality, between reminiscence and projection, this exhibition unfolds above all in the density of the present—a present that fascinates Clara Villier as much as it revolts her.Supported by Loterie Nationale and Fédération Wallonie-Bruxelles <img width="5333" height="4000" width_o="5333" height_o="4000" data-src="https://freight.cargo.site/t/original/i/5739af5003686b23ea7f1d74f0417371e4cc32370b34821bce804d607fce2816/2024-10-20-47.jpg" data-mid="220297086" border="0" src="https://freight.cargo.site/w/1000/i/5739af5003686b23ea7f1d74f0417371e4cc32370b34821bce804d607fce2816/2024-10-20-47.jpg" /> ︎ SB34 Clovis BLUEA project by Jivan van der EndeWith Elena Op t’Eynde19-20.10.2024 &nbsp; &nbsp; Blue active un nouvel objet imprimé déployé dans une installation qui accueillera une performance. Ce travail est le fruit d’une réflexion multidisciplinaire menée par Jivan van der Ende, qui initie ici une nouvelle collaboration avec la graphiste Elena Op t’ Eynde l'invitant à s'approprier son œuvre en performant un policier, dans le but de jouer des dynamiques politiques de pouvoir ou encore de censure, de questionner l’apparat autoritaire et son identité de genre inscrite dans un modèle patriarcal. * &nbsp; &nbsp; Blue activates a new printed object within a performance installation. This work is the fruit of a multi-disciplinary reflection by Jivan van der Ende, who's initiating a new collaboration with graphic artist Elena Op t' Eynde, inviting her to appropriate her work by performing as a policeman, with the aim of playing on political dynamics of power or censorship, questioning authoritarian apparatuses and gender identity in patriarchy. ︎ Lire la suite ︎︎︎ <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/48e990e76241425c4ec56f1b43d64629a7a940d38f28510d0917dcd8b01607f3/catacta-solis---editions-la-cab.jpg" data-mid="228030027" border="0" src="https://freight.cargo.site/w/1000/i/48e990e76241425c4ec56f1b43d64629a7a940d38f28510d0917dcd8b01607f3/catacta-solis---editions-la-cab.jpg" /> ︎ SB34 The PoolCATARACTA SOLIS Éditions la CAB &amp; Anna Haillot 12.10.2024 Lancement du livre Cataracta Solis d’Anna Haillot. Quatrème sortie des Editions la CAB. * Launch of the book Cataracta Solis by Anna Haillot. Fourth release from Editions la CAB. ︎ En savoir plus ︎︎︎ <img width="3333" height="2500" width_o="3333" height_o="2500" data-src="https://freight.cargo.site/t/original/i/d4c522e6779ed5572d0d8a623ee4f480a5fc2a0dcb7b615bff8c7c1015689a48/2024-11-24-62.jpg" data-mid="234367665" border="0" src="https://freight.cargo.site/w/1000/i/d4c522e6779ed5572d0d8a623ee4f480a5fc2a0dcb7b615bff8c7c1015689a48/2024-11-24-62.jpg" />︎ SB34 ManchesterBOTANIQUE RESIDENCYCamille-Amandine Marino 6.2024 - 12.2024 Saturday, 23.11.2024 2pm-6pm – Open Studios Camille-Amandine Marino inaugure la première résidence en arts visuels du Botanique (expositions) en partenariat avec SB34, situé Rue Manchester à Molenbeek-Saint-Jean, pour une période de production de six mois, elle occupera un espace d’atelier et sera accompagnée par SB34 pour l’accompagnement du travail en cours et la diffusion de son travail, invitant de nombreux·ses professionnel·les à la rencontrer. Chaque année, deux résident·es bénéficieront de ce soutien pour mener à bien leur pratique, dans une volonté renouvelée de soutien aux artistes et de renforcement des liens avec les institutions.* Camille-Amandine Marino inaugurates Botanique's first visual arts residency in partnership with SB34, located on Rue Manchester in Molenbeek-Saint-Jean, for a 6-month production period, she occupies a studio space and will be accompanied by SB34 to support her work in progress and disseminate her work, inviting many professionals to meet her. Each year, two residents will benefit from this support to bring their practice to fruition, in a renewed commitment to supporting artists and strengthening links with institutions. Supported by Fédération Wallonie-Bruxelles and COCOF. In Partnership with Botanique.(c) Adam Paluch <img width="2339" height="3307" width_o="2339" height_o="3307" data-src="//freight.cargo.site/t/original/i/91677422b67f51dd09903ffb44e62f6b95454539767723945dc4e215b2d29098/20240416_Affiche_FilmsPlastiques.jpg" data-mid="218948782" border="0" style="width: 799.043px; height: 1129.73px;" src="//freight.cargo.site/w/2000/q/75/i/91677422b67f51dd09903ffb44e62f6b95454539767723945dc4e215b2d29098/20240416_Affiche_FilmsPlastiques.jpg"> ︎&nbsp;FILMS PLASTIQUES A festival dedicated to videos by visual artists Marion Séhier, Maëlle Maisonneuve, Léa Belooussovitch, Baptiste Conte, Anna Atta &amp; Joal Grange, Yvon Goossens, Roshan Di Puppo, Gert De Clercq, Alix Dussart &amp; Jacques Le Bourgeois24.5.2024 La Maison du Peuple de Saint-GillesParvis de Saint Gilles 37, 1060 Saint-Gilles&nbsp; &nbsp; Le festival Films Plastiques est consacré aux vidéos d'artistes plasticien·nes. Ces artistes pratiquent la peinture, la sculpture, le dessin et les arts de la scène. Iels expérimentent la vidéo de manière autodidacte. Le temps d'une soirée, leurs vidéos seront projetées sur grand écran. Le festival est l'occasion de discuter de leur travail. * &nbsp; &nbsp; The Films Plastiques festival is dedicated to videos by visual artists. These artists are involved in painting, sculpture, drawing and the performing arts. They experiment with video in their own self-taught way. For one evening, their videos will be projected onto a large screen. The festival is an opportunity to discuss their work. This project is a partnership between Service de la Culture de la Commune de Saint-Gilles and SB34, supported by l’Echevinat de la Culture de la Commune de Saint-Gilles. <img width="2000" height="1600" width_o="2000" height_o="1600" data-src="https://freight.cargo.site/t/original/i/a4e9c80bacea1f460c4f4f0b6286ec922e0102a93d94d0d5c3e65ae296ba4416/LyonTom_WeCameHereForTheView_05-copie.jpg" data-mid="228030373" border="0" src="https://freight.cargo.site/w/1000/i/a4e9c80bacea1f460c4f4f0b6286ec922e0102a93d94d0d5c3e65ae296ba4416/LyonTom_WeCameHereForTheView_05-copie.jpg" /> ︎ SB34 The PoolZONES Tom Lyon &amp;&nbsp;Pauline Landen Reste Exhibition by Éditions la CAB13.6.2024Exposition photographique présentant la suite du projet On est venus ici pour la vue, deuxième livre des Éditions la CAB. * Photographic exhibition presenting the follow-up to On est venus ici pour la vue, second book by Editions la CAB. ︎ En savoir plus ︎︎︎ (c) Tom Lyon &amp; Pauline Landen Reste <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/cfd83545c72a65edffc225e239272ca5717c476cd51628026cf6c16b1a538c79/202405_sb34_ch1-03---Grande.jpeg" data-mid="212828328" border="0" src="https://freight.cargo.site/w/1000/i/cfd83545c72a65edffc225e239272ca5717c476cd51628026cf6c16b1a538c79/202405_sb34_ch1-03---Grande.jpeg" /> ︎ SB34 The Pool THROUGH THE VALLEY OF THE NEST OF SPIDERSValerie Solanas, Bernard-Marie Koltès, LaTasha N Nevada Diggs, Rocé, Páola Revenióti, David Melnick and Samuel R. Delany a proposal in three chapters by Simon Asencio 18.4 - 20.5.2024&nbsp; &nbsp; Être invisible dans un texte, ou être invisible à travers un texte, c'est être illisible, opaque, nébuleux, insondable, inintelligible, indescriptible. Cette invisibilité est souvent définie en termes d'altérité : c'est une ruse pour se protéger, ou une mesure imposée pour ostraciser et exclure l'« inapproprié ». Conçus comme des espaces scénographiques temporaires liant l'écriture à l'architecture, chaque lieu rend hommage à des personnages, des lieux et des outils de langage qui plantent le décor de l'exposition. Chaque chapitre de l'exposition deviendra ensuite le support d'une projection et de deux pièces sonores réalisées par trois artistes dont le travail n'a pas encore été montré à Bruxelles : Rocé, rappeur franco-algérien, Páola Revenióti, réalisateur et militant grec, LaTasha N Nevada Diggs, poète et écrivain américain. Cette exposition fait suite à la série de soirées A Note On Dialect [Prelude] organisée en décembre 2023, et constitue l'interstice au Post-Scriptum prévu en juin, qui sera l'occasion de publier un objet éditorial reprenant les pratiques invoquées tout au long du projet. * &nbsp; &nbsp; To be invisible in a text, or to be invisible through a text, is to be illegible, opaque, nebulous, unfathomable, unintelligible, indescribable. This invisibility is often defined in terms of otherness: it's a ruse to protect oneself, or a measure imposed to ostracize and exclude the “inappropriate”. Conceived as temporary scenographic spaces that link writing with architecture, each setting pays tribute to characters, places and language tools that set the scene for the exhibition.Each chapter of the exhibition will then become a support for a projection, and two sound pieces by three artists whose work has not yet been shown in Brussels: French Algerian rapper Rocé, Greek film director and militant Páola Revenióti, US poet and writer LaTasha N Nevada Diggs. This exhibition follows on from the series of A Note On Dialect [Prelude] evenings held in December 2023, and is the interstice to the Post-Scriptum planned for June, which will be the occasion for publishing an editorial object taking up the practices invoked during the entire project. ︎ Lire la suite ︎︎︎ <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/c843c96a28b2230e6edcd410fcec8d69f25572f2cacc937f59a8328f2411e8b8/P1010020.JPG" data-mid="206697660" border="0" src="https://freight.cargo.site/w/1000/i/c843c96a28b2230e6edcd410fcec8d69f25572f2cacc937f59a8328f2411e8b8/P1010020.JPG" /> ︎ SB34 The Pool / Bar A NOTE ON DIALECT [PRELUDE] An invitation by Simon Asencio With Jen Brodie, Chloe Chignell, Jack Cox, Diana Duta, Loucka Fiagan, gladys, Stefa Govaart, Mahmoud Hamzeh Beshtawi, Maxime Jean-Baptiste, Imis Kill, Anouchka Oler Nussbaum, Goda Palekaitė, Sabrina Seifried &amp; Henry Andersen Dec 13, 14, 15, 16, 2023 Performances each day, 6-10pm&nbsp; &nbsp; A Note on Dialect [Prelude] est la première itération du projet de Simon Asencio pour SB34 - The Pool dédié au roman de science-fiction et d'utopie sexuelle Through The Valley of The Nest of Spiders de Samuel R. Delany. L'événement est un prélude à un scénario d'exposition pensé comme une publication en trois chapitres. Empruntant le titre de l'avant-propos, A Note on Dialect [Prelude] rassemble chaque soir un ensemble hétéroclite d'expérimentations textuelles qui circuleront dans la socialité du bar : concerts, lectures, pièces de théâtre, protocoles de conversation, éphémères, conférences et performances. * &nbsp; &nbsp; A Note on Dialect [Prelude] is the first iteration of Simon Asencio’s project for SB34 – The Pool dedicated to the sci-fi and sex utopia novel Through The Valley of The Nest of Spiders by Samuel R. Delany. The event is a prelude to an exhibition scenario thought of as a publication in three chapters. Borrowing the title of the foreword, A Note on Dialect [Prelude] gathers a motley of textual experiments each evening, that will circulate within the sociality of the bar: concerts, readings, plays, conversation protocols, ephemera, talks and performances. ︎ Lire la suite ︎︎︎ <img width="3507" height="4960" width_o="3507" height_o="4960" data-src="https://freight.cargo.site/t/original/i/1ebd7a44f4bf9313e06cc8abe40a0466123642d62c90e09931090ec6ea13065b/SB34_Affiche_OPENSTUDIOS_29112023-ok.jpg" data-mid="206853242" border="0" src="https://freight.cargo.site/w/1000/i/1ebd7a44f4bf9313e06cc8abe40a0466123642d62c90e09931090ec6ea13065b/SB34_Affiche_OPENSTUDIOS_29112023-ok.jpg" /> ︎ SB34 The Pool &amp; SB34 Clovis ARTIST OPEN STUDIOSWith Chantal Van Rijt, Christophe (BIIM), Felix De Clerc, Gert De Clercq, Haslet Vuran, Juliette Vanwaterloo, Laura Dauche, Lionel Dury, Liselore Vandeput, Prose Studio, Raphaël Matie, Roshan Di Puppo, Stijn Stevens, Yona Laci, Yvon Goossens
&amp; Anna Luz Pueyo, Alix Dussart, Baptiste Conte, Bravas Graphi, Clara Villier, Éditions LA CAB, Jacques Le Bourgeois, Julie Larrou, Justin Sanchez, Laura Hecker, Marion Sehier, Rokko Miyosh, Sophie Martin Sat. 9.12 (Clovis) / 16.12.2023 (The Pool) Supported by Fédération Wallonie-Bruxelles and COCOF. <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/a3a13a2b6370b915b3a62bab1e38a0548aa1852713e714c6e6110ebe941faadc/202311_SB34-20---Grande.jpeg" data-mid="206781360" border="0" src="https://freight.cargo.site/w/1000/i/a3a13a2b6370b915b3a62bab1e38a0548aa1852713e714c6e6110ebe941faadc/202311_SB34-20---Grande.jpeg" /> ︎ SB34 The Pool LEMURESErik Thys in collaboration with Harald Thys text by Joséphine Wagnier 16.11 - 9.12.2023Saturday 9.12.2023, 6pm-9pm - Closing performance (live music by Erik Thys) and finissage &nbsp; &nbsp; La bande se rue et se disperse sur la moindre ligne de conduite les yeux en phare, à la vitesse des embranchement chaque individu est difficile à distinguer et pourtant, un existentialisme caractériel s’échappe des traits de leur mouvement. Lemures expose une série de voitures "parkées" dans l’imaginaire d’Erik Thys, une clique d’incarnations automobiles qu’il confectionne à la suite d’une attention particulière de ce qui circule autour de lui. Proches, patients et particules de soi sont ainsi portraiturés par sa main mécanicienne donnant à observer le théâtre d’un concessionnaire inspiré par des fragments de vies humaines. Les mouvements répétitifs du crayon ne dépendent que de ses échappements, Erik Thys n’a qu’un faible contrôle dans cette course aux modèles qui se présentent - majoritairement - en véhicules. (...) * &nbsp; &nbsp; The pack rushes past, dispersing with the slightest change in direction, their eyes headlights, the speed of the passing junctions making it hard to distinguish each individual and yet the lines of their movement throw off a characterological existentialism. Lemures shows us a series of cars ‘parked’ in Erik Thys’ imagination, a clique of automobile embodiments that he puts together after carefully observing all the traffic around him. With a mechanic’s hand, he has drawn portraits of friends, patients, and particles of himself: a car dealer inspired by fragments of human lives. In its repetitive movements, his pencil is driven only by bursts of exhaust; Erik Thys himself has very little control in this race for new models that make their appearance (for the most part) as cars. (...) ︎ Lire la suite ︎︎︎ <img width="4360" height="3488" width_o="4360" height_o="3488" data-src="https://freight.cargo.site/t/original/i/7d9f77dd01efbea81fb61c0a4f28e25780a34e414cd337b1f65025bc54b0efca/COLLECTING_TIME_SB34_50x40_03.jpg" data-mid="206700843" border="0" src="https://freight.cargo.site/w/1000/i/7d9f77dd01efbea81fb61c0a4f28e25780a34e414cd337b1f65025bc54b0efca/COLLECTING_TIME_SB34_50x40_03.jpg" />︎ SB34 The Pool / Vitrine COLLECTING TIME Bo Vloors 5.10 - 28.10.2023 &nbsp; &nbsp; Collecting Time est une installation dans l’espace public qui vise à réorienter notre responsabilité collective à l'égard du rythme, de la perception du temps. Dans un monde où la confiance dans le progrès est indispensable, la vitesse de ce progrès est souvent considérée comme la mesure du succès. Le temps est devenu deux fois plus précieux et la lenteur est souvent perçue comme contre-productive. Alors que le rythme de la ville oscille souvent entre rapide et lent, ouvert ou fermé, en mouvement ou en pause, le cycle de la nature incarne un rythme beaucoup plus lent et régulier. L'escargot - l'un des nombreux interprètes de la nature à incarner ce rythme lent mais régulier - occupe une place centrale dans cette installation en vitrine et peut également être trouvé dans le paysage urbain de Bruxelles, fidèle à la nature envahissante de l'animal dans cette rue imbriquée entre deux grandes chaussées. *&nbsp; &nbsp; Collecting Time is an installation in public space that aims to reorientate our collective responsibility towards the rhythm and perception of time. In a world where confidence in progress is essential, the speed of that progress is often seen as the measure of success. Time has become twice as precious, and slowness is often perceived as counter-productive. While the rhythm of the city often oscillates between fast and slow, open and closed, moving and pausing, the cycle of nature embodies a much slower, more regular rhythm. The snail - one of the many interpreters of nature to embody this slow but steady rhythm - occupies a central place in this window installation and can also be found in the Brussels cityscape, true to the animal's invasive nature in this street nested between two major chaussées. &nbsp; With the supports of VGC, Fédération Wallonie-Bruxelles and Cocof. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9d5c14f7f4253362429525df50e591642128b68ef83b82a8b8d7c96b10a6338a/Charles-Pigneul---exhibition.jpg" data-mid="228031049" border="0" src="https://freight.cargo.site/w/1000/i/9d5c14f7f4253362429525df50e591642128b68ef83b82a8b8d7c96b10a6338a/Charles-Pigneul---exhibition.jpg" /> ︎ SB34 The PoolHOLY SHIT THE WAY YOU LOOK Charles Pigneul&nbsp; Exhibition by Éditions la CAB23.6 - 14.7.2023 Exposition personnel photographique accompagné du lancement de la vidéo du même nom. Série sur la culture du skateboard à Bruxelles.&nbsp;* Personal photographic exhibition accompanied by the launch of the eponymous video. Series on skateboard culture in Brussels. charlespigneul.com <img width="1754" height="2480" width_o="1754" height_o="2480" data-src="https://freight.cargo.site/t/original/i/74ce3bf4682ad9283a35feecee538b1d67df81fbf87854edd94aa8310267586c/Beursschouwburg_RE.jpg" data-mid="193361311" border="0" src="https://freight.cargo.site/w/1000/i/74ce3bf4682ad9283a35feecee538b1d67df81fbf87854edd94aa8310267586c/Beursschouwburg_RE.jpg" /> ︎&nbsp;BEURSSCHOUWBURG 22.6.2023 ABOUT WORKING IN THE GROUND : GROWING SUSTAINABLE ARTISTIC PRACTICES &nbsp; &nbsp; In een traject van een jaar werken Level Five en SB34 samen met kunstenaars in en rond hun organisaties om de juiste omstandigheden te creëren voor artistieke praktijken om te groeien. Door middel van workshops, atelierbezoeken en een panelgesprek zullen we de basis leggen voor een ondersteunende ecologie voor kunstenaars. Door de verschillende groeiende kunstscènes in Brussel met elkaar te verweven brengt ons project wederzijdse versterking.Dit bi-communale project wordt ondersteund door CultuurCultuur, Fédération Wallonie-Bruxelles en Vlaamse Overheid. &nbsp; &nbsp; Dans le cadre d’un projet d’une année, Level Five et SB34 collaborerons avec des artistes au sein et autour de leurs organisations afin de créer des conditions propices audéveloppement des pratiques artistiques. Par le biais de workshops, de visites d’ateliers et d'un événement public, nous planterons les bases d'une écologie de soutien pour les travailleur·euse·s de l’art. En entrelaçant les différentes scènes artistiques qui sont en plein essor à Bruxelles, notre projet vise un renforcement mutuel.Ce projet bi-communautaire est soutenu par CultuurCulture, la Fédération Wallonie-Bruxelles et Vlaamse Overheid.&nbsp; &nbsp; In a year-long trajectory Level Five and SB34 will work together with artists in and around their organisations to create the right conditions for artistic practices to grow. Through workshops, studio visits and a public event, we will lay the basis for a supportive ecology for artists. By intertwining the different growing art scenes in Brussels our project brings mutual reinforcement. This bi-communal project is supported by CultuurCulture, Fédération Wallonie-Bruxelles and Vlaamse Overheid. <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/67187d9ef6f7153f31ac8ad2246f5f4eec109bc3ad70390e250aab94f996bb87/Vloors_DSC8241_photocredit_Bo_Vloors---Grande.jpeg" data-mid="206782672" border="0" src="https://freight.cargo.site/w/1000/i/67187d9ef6f7153f31ac8ad2246f5f4eec109bc3ad70390e250aab94f996bb87/Vloors_DSC8241_photocredit_Bo_Vloors---Grande.jpeg" /> ︎ SB34 The Pool WHERE ARE WE GOING&nbsp; Book launch &amp; Performance by Marjolein Guldentops&nbsp; 16 - 17.6.2023&nbsp; Friday, 16.6.2023, 6-9pm - PerformanceSaturday, 17.6.2023, 2pm-6pm - Performance &nbsp; &nbsp; Where Are We Going est un texte qui explore l'impact et les nuances d'une expérience partagée à travers des modes de communication parlés et écrits, ainsi que des expressions non verbales telles que les gestes. L'œuvre est présentée sous deux formes - à la fois un livre et une performance - chacune présentant le même contenu d'une manière distincte. Le livre présente un dialogue entre des personnages qui s'embarquent pour un voyage indéfini à la recherche d'une direction, à la fois physique et mentale. Tout au long du livre, les positions et les conditions des personnages sont en mouvement constant alors qu'ils s'évaluent les uns les autres, se perdant parfois de vue à cause d'une mauvaise interprétation ou simplement parce qu'ils ont été induits en erreur. La performance explore la spatialité du dialogue et l'architecture de l'espace d'exposition, en s'appuyant sur la structure de la mise en page et les indices typographiques pour transmettre les mouvements, les perspectives et la voix de chaque personnage. Where Are We Going est le premier texte d'une série de publications et de performances en trois parties. Cette série s'intéresse à la manière dont nous naviguons dans notre environnement physique et non physique, en explorant l'ambiguïté du langage, la nature ambivalente de la communication et la manière dont ces facteurs façonnent notre perception des lieux que nous occupons. *&nbsp; &nbsp; Where Are We Going is a script that explores the impact and nuances of a shared experience through both spoken and written modes of communication, as well as nonverbal expressions such as gestures. The work is presented in two forms—both as a book and a performance—each presenting the same content in their own distinct way. The book unfolds a dialogue between characters embarking on an undefined journey in search of direction, both physically and mentally. Throughout the book, the characters' positions and conditions are in constant motion as they assess each other, occasionally losing sight of one another due to misinterpretation or simply by being misled. The performance explores the spatiality of the dialogue and the architecture of the exhibition space, directed by the layout's structure and typographic cues to convey the movements, perspectives, and voice of each character. Where Are We Going is the first script in a three-part series of publications and performances. The series delves into the ways we navigate our physical and non-physical surroundings, exploring the ambiguity in language, the ambivalent nature of communication and how these factors shape our perception of the places we occupy. With the support of VGC, Fédération Wallonie-Bruxelles, and Cocof. ︎ En savoir plus ︎︎︎ <img width="6839" height="3567" width_o="6839" height_o="3567" data-src="https://freight.cargo.site/t/original/i/4103d13ff08062a9b679897cd99989e664f55b0eadf9f1d7061477140272aac3/PAF_COMM_2023_20230524_Event-7Juin2023-m-v14.jpg" data-mid="182152499" border="0" src="https://freight.cargo.site/w/1000/i/4103d13ff08062a9b679897cd99989e664f55b0eadf9f1d7061477140272aac3/PAF_COMM_2023_20230524_Event-7Juin2023-m-v14.jpg" /> ︎ SB34 The Pool LE DESIGN GRAPHIQUE COMME OUTIL D’EXPÉRIMENTATION ?Talk curated by P(A)F - Pratiques (Artistiques) Fonctionnelles7.6.2023 Présentations (FR) de Bravas Graphix, Solid Éditions, Luuse Exposition : SANDBOX - Raphaël Matieu Co-organisé par Morgane Le Ferec (D-E-A-L) et P(A)F - Pratiques (Artistiques) Fonctionnelles ︎ En savoir plus&nbsp;︎︎︎ <img width="3508" height="2327" width_o="3508" height_o="2327" data-src="https://freight.cargo.site/t/original/i/d47763dc5af879669d8e9f170bc268fa8bd3607546a06aa72d630f3ba1359b2c/20230504_Sandbox_Photos_06.jpg" data-mid="206504947" border="0" src="https://freight.cargo.site/w/1000/i/d47763dc5af879669d8e9f170bc268fa8bd3607546a06aa72d630f3ba1359b2c/20230504_Sandbox_Photos_06.jpg" /> ︎ SB34 The Pool SANDBOXRaphaël Matieu curated by Pauline Hatzigeorgiou 18.2 - 3.6.2023&nbsp; &nbsp; Sandbox étend une géographie faite d’objets rétifs, de formes et de signes, dans une atmosphère partagée entre ordre et instabilité. Dans la pratique, cette première exposition personnelle de Raphaël Matieu se conçoit comme un parcours à-même la méthode, comme un exercice d’arpentage à travers le vocabulaire et les motifs sur lesquels s’articule le travail. * &nbsp; &nbsp; Sandbox sees stretch out before us a landscape of recalcitrant objects, one of forms and signs, in an atmosphere equal parts orderly and unstable. Practically, this first solo exhibition of the work of Raphaël Matieu is a sort of journey through a method, roaming amongst the vocabulary and the motifs around which the work has been developed. ︎ Lire la suite ︎︎︎ <img width="2835" height="1892" width_o="2835" height_o="1892" data-src="https://freight.cargo.site/t/original/i/830dedeb04f39d65b92e8a144195260f22d562ed213e06005bb35a1abd72b5e7/A_Plea_for_the_Unpleasant_-8.jpg" data-mid="212899366" border="0" src="https://freight.cargo.site/w/1000/i/830dedeb04f39d65b92e8a144195260f22d562ed213e06005bb35a1abd72b5e7/A_Plea_for_the_Unpleasant_-8.jpg" /> ︎ SB34 The Pool A PLEA FOR THE UNPLEASANTChantal van Rijt 18.2 - 1.4.2023&nbsp; &nbsp; A Plea for the Unpleasant invite les organismes à prendre place dans le sous-sol de SB34 - The Pool. Le titre, inspiré de l’ouvrage « Bugs and Beasts before the Law » de H.P. Evans, fait référence à une coutume qui consistait à traduire les petits habitants insignifiants des sols - insectes, vers et rongeurs - devant les tribunaux des hommes. Auparavant, il revenait au prêtre de réciter des malédictions et des rimes en rythme pour tenter de bannir ces nuisibles hors de notre environnement. Mais dans le cas présent, nous n’éloignons pas ces petits êtres. Nous les invitons au contraire à s'installer dans l'espace, à y prospérer et à s’étendre dans ses coins et recoins. * &nbsp; &nbsp; A Plea for the Unpleasant invites entities to come and make their dwelling in the underground space of SB34 - The Pool. The title, inspired by the pages of ”Bugs and Beasts before the Law” by H.P. Evans, speaks of trials of the small and insignificant creatures of the earth - insects, worms, and rodents brought before the courts of man. In times past, a priest would recite curses and rhythmic rhymes in an attempt to banish these pests from our midst. But in this case, we do not shun these small beings, instead offering them an invitation to take up residence in the space, where they are allowed to thrive and fester in the crannies and the nooks. ︎ Lire la suite ︎︎︎ <img width="8602" height="5726" width_o="8602" height_o="5726" data-src="https://freight.cargo.site/t/original/i/60e9dcdffeb5c3743d5c6aa9ab9ace882f12cda5a34d83e9b35ff4343ec039e0/202302_sbclovis-11.jpg" data-mid="170682316" border="0" src="https://freight.cargo.site/w/1000/i/60e9dcdffeb5c3743d5c6aa9ab9ace882f12cda5a34d83e9b35ff4343ec039e0/202302_sbclovis-11.jpg" /> ︎ SB34 Clovis SAUVER NOËLYoann Van Parys 25.11.2022 - 14.1.2023 &nbsp; &nbsp; À hauteur d’yeux, et au-delà, Yoann Van Parys propose une nouvelle série d’enseignes revisitées au sein de la cour intérieure de l’espace Clovis. Les allures “City 2” de cette proposition encaissent une sorte de commentaire sur les valeurs défendues en temps de pandémie, mais avec un temps de retard (ou d'avance). *&nbsp; &nbsp; At eye level, and beyond, Yoann Van Parys presents a new series of revisited retail signs in the inner courtyard of SB34-Clovis. The "City 2" mall allures of this proposal take on the values defended during the pandemic, but with an anticipated or delayed forecast.︎ Lire la suite ︎︎︎ <img width="8034" height="5356" width_o="8034" height_o="5356" data-src="https://freight.cargo.site/t/original/i/3bf1b4563555e19662d0174baf5390d0ac9653fdc32554e0ccc227b3a223be66/hypertext-hotel-view.jpg" data-mid="167235506" border="0" src="https://freight.cargo.site/w/1000/i/3bf1b4563555e19662d0174baf5390d0ac9653fdc32554e0ccc227b3a223be66/hypertext-hotel-view.jpg" /> ︎ SB34 Clovis HYPERTEXT HOTEL&nbsp; Henry Andersen, Kendal Beynon, Bartek Buczek, Shelley Jackson, Daniel Jacoby, Peter Lemmens, Stuart Moulthropcurated by Alicja Melzacka 25.11.2022 - 14.1.2023 Friday, 25.11.2022 4pm-8pm – Grand OpeningThursday, 08.12.2022 6pm-7pm – Hypertext Reading Group Saturday 14.01.2023 6pm-7pm – VaporWavePool Sound Session&nbsp; &nbsp; Hypertext Hotel est un réseau de pièces et de passages, une entreprise collective, un texte co-écrit, un mythe approprié, un lieu de secrets et de transgressions, une structure narrative, une ambiance, une prémisse pour une exposition. Le projet emprunte son titre à un espace virtuel d'écriture collaborative mis en place par Robert Coover en 1991 dans e cadre de son atelier d'écriture à l'université de Brown, et prend le genre alors émergent de la "fiction hypertextuelle" - l'un des premiers exemples de littérature électronique - comme point de départ pour penser une exposition comme une œuvre collective de fiction interactive, où différents scénarios et lectures sont non seulement souhaités mais inévitables. * &nbsp; &nbsp; Hypertext Hotel is a network of rooms and passages, a collective endeavour, a co-authored text, an appropriated myth, a place of secrets and transgressions, a narrative structure, a mood, a premise for an exhibition. The project borrows its title from a virtual space for collaborative writing set up by Robert Coover in 1991 for his workshop at Brown University, and it takes the then-emerging genre of ‘hypertext fiction’ – one of the earliest examples of electronic literature – as a starting point to think of an exhibition as a collective work of interactive fiction, where different scenarios and readings are not only permissible but inevitable. &nbsp; &nbsp;&nbsp;︎ Lire la suite ︎︎︎ <img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/7857e889832d1e91c853da741fdfa11cd57ab5cf03c5be488ca745652991d083/202212_sb-07.jpg" data-mid="167235760" border="0" src="https://freight.cargo.site/w/1000/i/7857e889832d1e91c853da741fdfa11cd57ab5cf03c5be488ca745652991d083/202212_sb-07.jpg" /> ︎ SB34 The Pool ON &amp; OFF THE CLOCK Inga Gerner Nielsen &amp; Liselore Vandeput&nbsp; text by Pauline Hatzigeorgiou 10.11 - 18.12.2022 Saturday, 10.11.2022, 5pm-8pm - Opening performance Saturday, 18.12.2022, 5pm-8pm - Closing performance &nbsp; &nbsp; On and Off the Clock est une exposition en duo des artistes Inga Gerner Nielsen (vit et travaille entre Copenhague et Bruxelles) et de Liselore Vandeput (vit et travaille à Bruxelles) présentée à SB34-The Pool. Conçue tel un dialogue entre « This Institute », fondée par la première, et « The Artist Travel Agency&nbsp;», imaginée par la seconde, On and Off the Clock prend la forme d’un décor scénarisé où prennent place des actions performées et des discussions collectives portant sur les conditions intimes et politiques qui déterminent l’économie des pratiques artistiques.* &nbsp; &nbsp; On and Off the Clock is a duo exhibition by the artists Inga Gerner Nielsen (lives and works between the West Coast of Denmark and Brussels) and Liselore Vandeput (lives and works in Brussels). Conceived as a dialogue between "This Institute", founded by the former, and "The Artist Travel Agency", imagined by the latter, the project takes the form of a set where performative actions and collective discussions about the intimate and political conditions that determine the economy of artistic practices take place. ︎ Lire la suite ︎︎︎ <img width="8227" height="5485" width_o="8227" height_o="5485" data-src="https://freight.cargo.site/t/original/i/2aeceb6e8276e0729bd5fa05644a70d97162080917e2f10beb6cd1f4145471ed/202212_art-antwerp-1.jpg" data-mid="167235797" border="0" src="https://freight.cargo.site/w/1000/i/2aeceb6e8276e0729bd5fa05644a70d97162080917e2f10beb6cd1f4145471ed/202212_art-antwerp-1.jpg" /> ︎ Art Antwerp - Antwerp Expo&nbsp; DAILY IDYLLS&nbsp; Aleksandra Chaushova &amp; Zinaïda Tchelidze curated by Pauline Hatzigeorgiou 15.12 - 18.12.2022 &nbsp; &nbsp; Daily Idylls,&nbsp;sous le commissariat de Pauline Hatzigeorgiou (SB34),&nbsp;est le projet lauréat désigné par un jury d'expert.e.s suite à l'appel à candidatures pour le stand de la FWB à Art Antwerp 2022.&nbsp;Daily Idylls&nbsp;est un projet en duo d’Aleksandra Chaushova, née en 1985 à Sofia en Bulgarie, et de Zinaïda Tchelidze, née en 1982 à Tbilissi en Géorgie, artistes qui sont toutes deux basées à Bruxelles. Daily Idylls propose une rencontre inédite entre des pratiques qui, au gré de moyens visuels certes bien distincts - dessin pour l’une et installation pour l’autre - présentent de nombreux points de jonction. Aussi la transition, notion plurielle, tout à la fois concept historique, phénomène collectif et expérience personnelle, se révèle être une source récurrente de leurs pratiques. Elles nous plongent ainsi dans l’épaisseur et les contradictions d’une transition qui semble buter sur sa promesse, hantée par son propre reflet. * &nbsp; &nbsp; After a call for applications issued by the Direction des Arts plastiques contemporains for the FWB booth at Art Antwerp 2022, the project Daily Idylls, curated by Pauline Hatzigeorgiou and showcasing the work of the artists Aleksandra Chaushova and Zinaïda Tchelidze, was chosen by an expert jury&nbsp;Daily Idylls is a dual project by Brussels-based artists Aleksandra Chaushova (born in 1985 in Sofia, Bulgaria) and Zinaïda Tchelidze (born in 1982 in Tbilissi, Georgia). The project sets up an encounter between two practices that in their different visual media (drawing in the one in-stance and installation in the other) can in fact be seen to link up with one another in various ways. The idea of transition, a plural notion, at once historical concept, collective phenomenon, and personal experience, thus turns out to be a recurrent source of investigation in both their practices. They immerse us in the dense layers and contradictions of a transition that seems to stumble over its promised horizon, haunted by its own reflection. ︎ Lire la suite ︎︎︎ <img width="7245" height="4824" width_o="7245" height_o="4824" data-src="https://freight.cargo.site/t/original/i/59105b8b7be0a29586dfffe7d58c7db6a03709d75ed952826d175999561ef823/CANON_Canon-EOS-5DS_479323832-4793499804832.jpg" data-mid="170146495" border="0" src="https://freight.cargo.site/w/1000/i/59105b8b7be0a29586dfffe7d58c7db6a03709d75ed952826d175999561ef823/CANON_Canon-EOS-5DS_479323832-4793499804832.jpg" /> ︎ SB34 Clovis PARS PRO TOTO&nbsp; Amélie Bertrand, Julian Charrière, Béatrice Guilleman, Sabrina Ratté, Sarah &amp; Charles, Lucie Lanzini, Mathias Prenen, Maarten Vanden Eyndecurated by Els Vermang (Société) 9.9 - 22.10.2022 &nbsp; &nbsp; L’exposition Pars Pro Toto prend le décor du contexte comme point de départ de la réflexion plastique et philosophique et invite chacun·e à revisiter le concept postmoderne. «Pars Pro Toto», terme latin désignant un tout par l’une de ses parties constitutives, présente les oeuvres de huit artistes, principalement locaux·ales. Chacune des oeuvres a quelque chose à voir avec la manière dont l’espace et la matière sont vécus comme un environnement et sont perpétrés à travers le temps. Les éléments structurels et ornementaux sont au coeur de cette démarche. À travers une recherche sur la forme et le langage, de la scène d’une fiction construite à partir d’objets et de cérémonies, émerge un rêve dont le·la spectateur·ice est protagoniste. * &nbsp; &nbsp; The exhibition Pars Pro Toto takes the setting of the context as the starting point of the visual and philosophical reflection and invites the visitor to contemplate the post-modern concept.‘Pars Pro Toto’, the Latin term for the designation of a whole by one of its constituent parts, features the work of eight, mainly local, artists. Each of the works has something to do with the way in which space and matter are experienced as an environment and are transmitted through time. Structural and ornamental elements are central to this. Through an investigation of form and language, the scene of a fiction constructed from objects and ceremonies emerges - a dream in which the spectator is the protagonist. ︎ Lire la suite ︎︎︎ <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/991ceae8cbe1de4b93fc380c808fca801cfe04ccdd6a1c902c329bc662b0b467/New_LowRes_SB34_Vrancken_Hermans_18.jpg" data-mid="167235877" border="0" src="https://freight.cargo.site/w/1000/i/991ceae8cbe1de4b93fc380c808fca801cfe04ccdd6a1c902c329bc662b0b467/New_LowRes_SB34_Vrancken_Hermans_18.jpg" /> ︎ SB34 The Pool ME IN MY GOING OUT OF MYSELF (AND YOU IN YOURS) Émile Hermans &amp; Reinier Vrancken&nbsp; text by Sophie Lapalu 9.9 - 22.10.2022 &nbsp; &nbsp; Me in my going out of myself (and you in yours) est une affaire d’échanges et de relations, de moi à toi et vice et versa, de circulation d’objets et d’identités, de fiction et d’artificialité, de statut ontologique non stable. D’Émile Hermans à Reinier Vrancken, ou l’inverse, il est question de devenir un peu l’autre, de se laisser guider afin de projeter des désirs inexprimés. Dans l’espace SB34-The Pool, on y prête des vêtements, offre des fleurs, respire l’odeur d’un·e inconnu·e, choisit l’œuvre d’un ami, se projette à travers elle et, enfin, décide, circonspect·e, du statut de ce que l’on observe. * &nbsp; &nbsp; Me in my going out of myself (and you in yours) deals with exchanges and relationships—from me to you and vice versa—with circulating objects and identities, fiction and artificiality, and unstable ontological statuses. From Émile Hermans to Reinier Vrancken, or the other way around, it’s a matter of becoming the other a little, of letting oneself be taken in hand so as to project unexpressed desires. In the space of SB34-The Pool, clothes are lent, flowers offered, we breathe the scent of a stranger, choose the work of a friend, project ourselves through it, and finally, with circumspection, decide on the status of what we have observed. ︎ Lire la suite ︎︎︎ <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/8a07a0b3f74c2be515d872ba3d1b63c4e4618bf8f6b820569c22ee74e4d73c19/la-nuit-tu-mens---ambre-husson-sb34-the-pool.jpg" data-mid="228031512" border="0" src="https://freight.cargo.site/w/1000/i/8a07a0b3f74c2be515d872ba3d1b63c4e4618bf8f6b820569c22ee74e4d73c19/la-nuit-tu-mens---ambre-husson-sb34-the-pool.jpg" /> ︎ SB34 The Pool LA NUIT, TU MENS Ambre HussonOrganized by Édition la CAB 9.9.2022 Lancement du livre La nuit, tu mens d’Ambre Husson. Troisième sortie des Editions la CAB avec DJ Set de Victor Gérard. * Launch of the book a La nuit, tu mens by Ambre Husson. Third CAB Editions release with DJ Set by Victor Gérard. ︎ En savoir plus ︎︎︎ <img width="3507" height="4960" width_o="3507" height_o="4960" data-src="https://freight.cargo.site/t/original/i/7b4139ab0209906a3b9c4dffa006b40f05e9081b2d225066f9c21de50fac84d5/SB34_Affiche_092022_OpenStudios_A3_01092022.jpg" data-mid="157242720" border="0" src="https://freight.cargo.site/w/1000/i/7b4139ab0209906a3b9c4dffa006b40f05e9081b2d225066f9c21de50fac84d5/SB34_Affiche_092022_OpenStudios_A3_01092022.jpg" /> ︎ SB34 The Pool &amp; SB34 Clovis OPEN STUDIOS 2022 Thursday, 8.9.2022, 2pm-9pm<img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/da8a9933aad891a88479d0769e86a8fee05d5aeca8139d217b3d951dc42bcbb7/on-est-venus-ici-pour-la-vue---editions-la-cab.jpg" data-mid="228030298" border="0" src="https://freight.cargo.site/w/1000/i/da8a9933aad891a88479d0769e86a8fee05d5aeca8139d217b3d951dc42bcbb7/on-est-venus-ici-pour-la-vue---editions-la-cab.jpg" /> ︎ SB34 The Pool BOOKS IN THE POOL 11-15.05.2022 Éditions la CAB (Brieuc Weulersse, Alan Jeuland and Charles Pigneul), Alix Dussart, Pauline Hatzigeorgiou, Julie Larrouy, Jacques Le Bourgeois, Maëlle Maisonneuve &amp; Léa Mayer, Niels Poiz, Charlotte Sadowczyk, Marion Séhier, Lucile Van Laecken A l'occasion de La nuit des Galerie de Saint-Gilles, un ensemble de publications d'artistes et de résident·es du SB34 sera exposé dans The Pool. * On the occasion of Saint-Gilles Gallery's night, a set of artists publications from SB34 residents will be exhibited in The Pool.Open on Wed. 11.05, 6pm-9pmand within the framework of Atelier in beeld Fri. 13.05, 6pm-10pmSat. 14 &amp; Sun. 15.05, 10am-6pm(c) On est venus ici pour la vue by Pauline Vanden Neste and Tom Lyon, ed. la Cab, 2021. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ca83df7747c6f17f42abe3b62b56e18342d750d32a88c24fb04bae9811ea36ee/2022_05_InstallationView_ParkingMe_SB34-173_web.jpg" data-mid="170127681" border="0" src="https://freight.cargo.site/w/1000/i/ca83df7747c6f17f42abe3b62b56e18342d750d32a88c24fb04bae9811ea36ee/2022_05_InstallationView_ParkingMe_SB34-173_web.jpg" /> ︎ SB34 ClovisPARKING MEMona Ivy F., Fabrice Schneider, Zinaïda Tchelidze text by Piero Bisello 29.4 — 4.6.2022︎ Lire la suite ︎︎︎ <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/0d0570592143a4d392e15731dfd8c448f8e373766e53204f4e82831d388f02fb/First_Act_of_Trilogy_IV_06.jpg" data-mid="170146670" border="0" src="https://freight.cargo.site/w/1000/i/0d0570592143a4d392e15731dfd8c448f8e373766e53204f4e82831d388f02fb/First_Act_of_Trilogy_IV_06.jpg" /> ︎ SB34 Clovis IV “THE YOUTH OF S.F.”FIRST ACT OF THE TRILOGY IV - II - III curated by Koi Persyn (Komplot) 4² artists: Toon Boeckmans, Kamil Bouzoubaa-Grivel, Pieter Chanterie, Rosanne Claes &amp; Ignace Wouters, Romane Claus, Aaron Daem, Pieter De Clercq, Axel Korban, Natasja Mabesoone, Benjamin Mengistu Navet, Juan Pablo Plazas, Michaela Schweighofer, Camilla Steinum, Manon van den Eeden, Ken Verhoevengraphic design by Victor Verhelst 17.3 — 3.4.2022 ︎ Lire la suite ︎︎︎ <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/74182fcaaa92ceb72d1f2c6a6481783dd88384089149c4baf493f174265467f1/Scene-avec-Anubis-SB34-2048x1365.jpg" data-mid="206783820" border="0" src="https://freight.cargo.site/w/1000/i/74182fcaaa92ceb72d1f2c6a6481783dd88384089149c4baf493f174265467f1/Scene-avec-Anubis-SB34-2048x1365.jpg" /> ︎ SB34 The Pool ANUBIS DESPAIR A puppet show by Jules Lagrange 11.3.2022 &nbsp; Le travail récent de Jules Lagrange consiste à réinvestir des savoir-faire anciens et coutumes de la culture populaire afin de redonner vie à des rituels et à des moyens d’expression qui ont disparu d'Europe. A SB34-The Pool, il présentera son premier spectacle de marionnettes à fil qu’il a sculptées en bois. S’inspirant du mythe de la pesée de l'âme décrit dans le livre des morts de l'Égypte antique, Anubis Despair met en scène le suicide d'Anubis, protecteur des embaumeurs et gardien des portes de l'au-delà. * &nbsp; &nbsp; The recent work of Jules Lagrange consists of reinvesting ancient know-how and customs of popular culture, in order to revive rituals and means of expression that have disappeared from Europe. At SB34-The Pool, he will present his first show of string puppets he hand sculpted in wood. Inspired by the myth of the weighing of the soul described in the Ancient Egyptian Book of the Dead, Anubis Despair stages the suicide of Anubis, protector of embalmers and guardian of the gates of the beyond.The show will be play twice at 6.30pm and 7.30pm(Duration 9'45 - Free entrance)With the support of the Fédération Wallonie-Bruxelles︎ En savoir plus ︎︎︎ <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/a5a9d5658fed9cbb4d85b3f5fb9f6efa7e0c6cf1f22aa89bea97b219c1d7fc01/SB34_O.J.A.jpg" data-mid="167236479" border="0" src="https://freight.cargo.site/w/1000/i/a5a9d5658fed9cbb4d85b3f5fb9f6efa7e0c6cf1f22aa89bea97b219c1d7fc01/SB34_O.J.A.jpg" /> ︎ SB34 Clovis FRUIT ANXIETY, DESIRE AND METHOD Office for Joint Administrative Intelligence (Chris Dreier and Gary Farrelly) invites Julia Zinnbauer, Robin Faymonville and Marjolein Guldentops curated by Pauline Hatzigeorgiou exhibition design by Steven Jouwersma11.11.2021 - 13.1.2022&nbsp; SB34 est heureuse d’annoncer l’ouverture de son second espace d’ateliers et salle de projets au 87 Boulevard Clovis. Pour cette première exposition, SB34-Clovis a invité Office for Joint Administrative Intelligence à prendre ses quartiers dans l’atrium autour duquel s’agence le lieu - une salle à la structure singulière et ambivalente - à la fois zone d’accueil, de transit et de rencontres. *&nbsp; &nbsp; &nbsp; SB34 is happy to announce the opening of its second space of artist studios and project space at 87 Boulevard Clovis. For this first exhibition, SB34 invites Office for Joint Administrative Intelligence (Gary Farrelly &amp; Chris Dreier) to take its quarters in the atrium, a space with a singular and ambivalent architecture, and at the same time a reception,transit and meeting area. ︎ Lire la suite ︎︎︎ <img width="7692" height="5128" width_o="7692" height_o="5128" data-src="https://freight.cargo.site/t/original/i/a40e0bb39c11f49afd72cd49420a1e2855ca3b184dfe62b08272506a3472ef10/202110_sb-07.jpg" data-mid="170121607" border="0" src="https://freight.cargo.site/w/1000/i/a40e0bb39c11f49afd72cd49420a1e2855ca3b184dfe62b08272506a3472ef10/202110_sb-07.jpg" /> ︎ SB34 The Pool ACME VISIONStephan Balleux, Léa Belooussovitch, Solanne Bernard, Hadassah Emmerich, Luke James, Florian Kiniques, Jules Lagrange, Jacques Le Bourgeois, Margot Pietri &amp; Maxime Testu curated by Lucien Roux 31.10 - 28.11.2021 Acme Vision vise à questionner les codes qui définissent le dessin animé comme un genre cinématographique ou télévisuel, non seulement en apportant un éclairage nouveau sur ces pratiques d'animation, mais aussi en dépassant les personnages et autres indices visuels auxquels on fait régulièrement appel lorsqu'on cherche à établir des liens entre le dessin animé et l'art contemporain. Le titre de l'exposition fait référence à la société « Acme Inc. » imaginée par Chuck Jones, l'un des principaux auteurs des Looney Tunes, qui s'est inspiré du mot grec « akmê », traduisible par l'idée du point extrême d'une tension, d'un propos ou d'une situation. * &nbsp; &nbsp; Acme Vision aims to question the codes which define the cartoon as a cinematographic or TV genre, not only by shedding new light on these animation practices, but also by going beyond the characters and other visual signs that are regularly called upon when looking for links between cartoon and contemporary art. The title of the show refers to the «Acme Inc.» Company imagined by Chuck Jones, one of Looney Tunes’s main authors, who was inspired by the Greek word «akmê», translatable as the idea of the extreme point of a tension, a statement or a situation.︎ Lire la suite ︎︎︎ <img width="5494" height="3663" width_o="5494" height_o="3663" data-src="https://freight.cargo.site/t/original/i/20daff454532b59aadaf71fbe5d64041f8945693cb46f7794fb1dfe8400b4bde/202109_henry_sb-07.jpg" data-mid="170124050" border="0" src="https://freight.cargo.site/w/1000/i/20daff454532b59aadaf71fbe5d64041f8945693cb46f7794fb1dfe8400b4bde/202109_henry_sb-07.jpg" /> ︎ SB34 The Pool TRANSFERSHenry Andersen text by Pádraic E. Moore18.9 - 23.10.2021 &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; In 2020, while browsing through a market in Zurich, Henry Andersen happened upon several binders. Inside each were hundreds of acetate sheets containing vast quantities of aluminum foil lids from pots of UHT coffee cream.The array of subjects printed on these peelable caps is encyclopedic,including illusionistic abstract compositions, saturated technicolour photos of cowboys, and perhaps most incongruously, images of the mechanical pump-jacks (aka ‘nodding donkeys’) that are used to extract oil from the earth. These anachronistic foil trinkets were manufactured from from mid 1980s to the mid 90s by several Swiss dairy companies. They are essentially the final iteration of the collectible cigarette or bubble gum cards that circulated in the early 20th century, originally intended to promote a particular product.This profusion of ephemera was the starting point and raw material for the works in this exhibition by Andersen, all of which were produced over the past 12 months. ︎ Lire la suite ︎︎︎ <img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/14d6b02e47a5cf55ee57f4b4d8ab1d3eef49482f41920d0ff17c12ef7c283ab2/2021_10_14_rosa_013.jpg" data-mid="167238671" border="0" src="https://freight.cargo.site/w/1000/i/14d6b02e47a5cf55ee57f4b4d8ab1d3eef49482f41920d0ff17c12ef7c283ab2/2021_10_14_rosa_013.jpg" />︎ Maison PelgrimsROSA ROSA ROSAE ROSAE&nbsp;exhibition, performances, workshops, and artists' bookcurated by Pauline Hatzigeorgiou / SB34 Alicia Jeannin, Alicja Melzacka, Angela Detanico &amp; Rafael Lain, Annaïk Lou Pitteloud, Audrey Cottin, buren, Charlie Usher, Eleanor Ivory Weber, Eva Giolo, Henry Andersen, Jan Vercruysse, Maíra Dietrich, Marc Buchy, Maxime Jean-Baptiste, Niels Poiz, Oriol Vilanova, Sabir, Slow Reading Club, Sofia Caesar, Surya Ibrahim, Yiannis Papadopoulos, Yoann Van Parys 11.9 - 22.10.2021 &nbsp; &nbsp; The group show rosa rosa rosae rosae, which will include a program of performances, workshops and an artists'book, addresses the place where text becomes choreography, where language, transferred to rhythms and gestures, reveals and exhausts itself. The exhibition brings together some twenty artists who works with principles of repetition and the modalities that derive from them, all traditionally associated with the registers of learning: recitation, translation, quotation,copy etc. In rosa rosa rosae rosae, theses tropes introduce the possibility of testing the act and methods of transmission, the stakes of inheritance and misappropriated historical narratives, and of releasing identities hemmed in by the limits of language. ︎ Lire la suite ︎︎︎ <img width="2064" height="1350" width_o="2064" height_o="1350" data-src="https://freight.cargo.site/t/original/i/1be6ecc1ae8b13ebc6ef63cdaaf777a5ea0d156aa63c514823d9c8ee94be28a1/Capture-decran-2024-03-14-a-15.49.49.png" data-mid="206785296" border="0" src="https://freight.cargo.site/w/1000/i/1be6ecc1ae8b13ebc6ef63cdaaf777a5ea0d156aa63c514823d9c8ee94be28a1/Capture-decran-2024-03-14-a-15.49.49.png" />︎ SB34 Clovis MOTA 008 - CONCRETE METAPHORSNomadic conversation with guest artist Migel Escobar 10.10.2021&nbsp; &nbsp; MOTA 008 - Concrete Metaphors is the topic of the first iteration of MOTA in the 21/22 season looking for questioning the symbolism of our built environment, the way spaces and places are encoded into logic and poetries that may or may not feel like our own. Landscaped parks, statues of genocidal kings and saints. Questioning the changing meaning and language of things built to last as well as the remarkable capacity of the metaphor to act as a shortcut to complex thought.&nbsp; &nbsp; MOTA is a series of nomadic conversations in Brussels crisscrossing and connecting the city’s artists through their shared questions and enquiries. MOTA aims to create temporary communities around artist-questions, to propose, debate, discuss, share and problematize bursting through disciplinary, linguistic and other perceived borders. To create a porous space to come together indifference around the questions that drive our practices. <img width="5275" height="3517" width_o="5275" height_o="3517" data-src="https://freight.cargo.site/t/original/i/c175ef7fe2584f16d148a259b2bf78c7be602ffd24108d284eafa4b6e5534c69/sb34_submerge-1.jpg" data-mid="170125303" border="0" src="https://freight.cargo.site/w/1000/i/c175ef7fe2584f16d148a259b2bf78c7be602ffd24108d284eafa4b6e5534c69/sb34_submerge-1.jpg" /> ︎ SB34 The Pool SUBMERGEJulie Larrouy &amp; Marion Séhier curated by Maud Salembier (LaSpore) 3.6 - 27.7.2021 &nbsp; &nbsp; Submerge est une proposition d’exposition in situ explorant les possibilités dialoguantes et narratives des travaux de Julie Larrouy et Marion Séhier dans le contexte de The Pool.L’exposition est composée en vase clos, comme si un récit avait commencé là sans trouver d’issue. L’image liminaire se veut celle d’un "genius loci" souterrain et transitoire.Le montage, parcellaire et dissonant, évoque des bribes d’images passées, des objets rémanents d’un univers temporellement distant, comme les faux vestiges d’un fond marin aujourd’hui évaporé. Semblant resurgies des eaux, les ruines monochromes, ainsi que les fragments d’une affiche monumentale délavée par le temps, évoquent un lieu à l’abandon ou en transition. Les œuvres des deux artistes se veulent les pistes tangibles d’une image à reconstituer mentalement.En parallèle à l’exposition, les deux artistes proposent une visite de leur atelier, situé dans le bâtiment, afin de présenter leurs recherches en cours. * &nbsp; &nbsp; Submerge is an in situ exhibition. Julie Larrouy and Marion Séhier propose to explore the possible dialogue between their work in The Pool space.The exhibition is displayed in a closed space, like the beginning of a story without finding a way out. The introductory image comes from a subsurface and transitional "genius loci".The dissonant set-up evokes fragments of the past, persistent objects from a temporally distant universe, as fake remains of a vanished seabed. Seeming risen from the water, the monochrome ruins and the monumental poster fragments faded by time evoke an abandoned or transitional place. Both artists’ works are tangible paths to a mental picture reconstruction.Alongside the exhibition, the two artists will open their workshop located in the building to showcase their current research. ︎ Lire la suite ︎︎︎ <img width="4590" height="3062" width_o="4590" height_o="3062" data-src="https://freight.cargo.site/t/original/i/21d9ccb712c57e80d43e39629f788c0249d4f66dff6147af768660c0c8409a91/fou-sauvage-_installation-view-01.jpg" data-mid="170127268" border="0" src="https://freight.cargo.site/w/1000/i/21d9ccb712c57e80d43e39629f788c0249d4f66dff6147af768660c0c8409a91/fou-sauvage-_installation-view-01.jpg" /> ︎ SB34 The Pool LE FOU SAUVAGE curated by Jacopo Pagin Angelique Aubrit, Antonia Phoebe Brown, Mirko, Canesi, Tom Hallet, Kamilė Krasauskaitė, Giulia Messina, touche-touche, Self Luminous Society and Manon Wertenbroek 14.5 - 29.5.2021&nbsp; &nbsp; The Fool is a hybrid figure alluding to the idea of diversity, who do not act according to human rationality, and who is able to understand “the language of Nature”. An entity that plants its root in ancient Panic cults and that has assumed unpredictable forms over the centuries. Thi exhibition reveals some clues to the unconscious cultural heritage of a psychological characte that looks beyond time, to a desperate path towards cosmic re-appeasement. ︎ Lire la suite ︎︎︎ <img width="3886" height="2591" width_o="3886" height_o="2591" data-src="https://freight.cargo.site/t/original/i/0fc4dd49a88f8485b5bd1550e118c2f08142fc8dc585294909d8663d4ee57f5a/DSC01676.jpg" data-mid="170670966" border="0" src="https://freight.cargo.site/w/1000/i/0fc4dd49a88f8485b5bd1550e118c2f08142fc8dc585294909d8663d4ee57f5a/DSC01676.jpg" /> ︎ Centre Tour à Plomb ARCHITECTURE OF HEAVEN &amp; DIGESTIVE SYSTEM OF HUMANITYExhibition and participative performance by Goda Palekaité curated by Pauline Hatzigeorgiou9.10 - 17.10.2020 Biographe de l’étrange, Goda Palekaitė s’intéresse à des personnages historiques empreints de mystère ; à des figures transgressives qui, pour trancher avec la pensée dominante de leur temps, se voient proscrites ou marginalisées par l’Histoire. La démarche de l’artiste se caractérise par un travail de recherche au sujet de ces vies particulières, leurs histoires lacunaires et ce qu’elles permettent de déduire ou de spéculer de la psychologie des protagonistes. Ces portraits, elle les dresse à travers une pratique d’écriture mêlant repères factuels et interprétations fictionnelles afin d’interroger les processus de construction historique et de mémoire collective. Ce qui s’y inscrit, ce qui s’oublie et ce qui se perçoit aujourd’hui. Assumant pleinement le caractère hybride de ses récits, elle nous interpelle sur ces individus souvent épris d’un engagement profond et à la personnalité complexe, liminaire. Elle joue avec la crédibilité du témoignage et le pouvoir de projection subjective voire d’identification qu’il inspire à l’audience. * &nbsp; &nbsp; A biographer of the strangeness, Goda Palekaitė is interested in historical characters imbued with mystery; in transgressive figures who, breaking with the dominant thought of their time, find themselves proscribed or marginalized by History. Through her research-based practice, she digs into these particular lives, their lacunar stories and what they allow us to deduce or speculate about the psychology of the protagonists. She draws these portraits through a practice of writing, mixing factual references and fictional interpretations in order to question the phenomena of historical construction and collective memory. What is inscribed, what is forgotten and what is perceived today. Fully assuming the hybridity of her narratives, she challenges us about these individuals as they are often deeply committed and have complex, liminal, personalities. She plays on the credibility of the testimony, the power of subjective projection and identification that inspires the audience. ︎ Lire la suite ︎︎︎ <img width="750" height="469" width_o="750" height_o="469" data-src="https://freight.cargo.site/t/original/i/e7d7a7d33b9322a854869d08ca6d0e3022824d49fe15e7e87f91ec687abb2099/affiche-officielle.png" data-mid="151530387" border="0" src="https://freight.cargo.site/w/750/i/e7d7a7d33b9322a854869d08ca6d0e3022824d49fe15e7e87f91ec687abb2099/affiche-officielle.png" /> ︎ SB34 The Pool THIS WORLD NEEDS EVERYTHING, EXCEPT ADDITIONAL INFORMATIONBaptiste Conte &amp; Alix Dussart&amp; SB34 OPEN ARTIST STUDIOS26.9 - 04.10.2020 &nbsp; &nbsp; Baptiste Conte and Alix Dussart present This world needs everything, except additional information as part of the Parcours d'Artistes in Saint-Gilles. This exhibition, which takes the form of an immersive installation, questions our relationship to information flows, treated here metaphorically by a smoke-producing material unfolding in rural landscapes They are asking: How do we make society ? How are we ?&nbsp; &nbsp; Exhibition and artist studios open on September 26 and 27 and October 03 and 04 from 2 p.m. to 7 p.m., as well as as part of the night of the galleries of Saint-Gilles on September 30 from 6 p.m. to 10 p.m + performance Step by Step at 7.30 pm <img width="5265" height="3510" width_o="5265" height_o="3510" data-src="https://freight.cargo.site/t/original/i/050631e9495ed806019531420716b61d80562a54f25bd57ea3212d23f08bc6c2/2.-Long-Distance-by-Annaik-Lou-Pitteloud-cur.-Pauline-Hatzigeogriou-pic.-Silvia-Cappellari.jpg" data-mid="170845998" border="0" src="https://freight.cargo.site/w/1000/i/050631e9495ed806019531420716b61d80562a54f25bd57ea3212d23f08bc6c2/2.-Long-Distance-by-Annaik-Lou-Pitteloud-cur.-Pauline-Hatzigeogriou-pic.-Silvia-Cappellari.jpg" /> ︎ SB34 The Pool LONG DISTANCEAnnaïk Lou Pitteloud curated by Pauline Hatzigeorgiou 25.7 - 6.9.2020&nbsp; &nbsp; Pour sa première exposition personnelle à Bruxelles, Annaïk Lou Pitteloud présente Long Distance, une expositionsite-spécifique faisant intervenir les notions de temps et d’espace qu’évoque ce titre, pour jouer sur les échelles physiques et s’inscrire dans le temps long d’une référence implicite à une figure dont elle interroge l’héritage. Partant du statut et de la physicalité particulière de The Pool, elle y mène une réflexion sur la valeur et la relation qui lie l’artiste à sa production, en se demandant ce qu’il reste de cette intimité au-delà de la cession publique de l’œuvre – si tant est qu’une telle fidélité n'ait jamais existé. * &nbsp; &nbsp; For her first personal exhibition in Brussels, Annaïk Lou Pitteloud presents Long Distance, a site-specific exhibition which brings into play the notions of time and space, playing on physical scales, as much as inscribing itself to the implicit reference and questioning the legacy of an artistic figure. Based on the status and particular physicality of The Pool, it reflcts on the value and the relationship that binds the artist to his or her production, while wondering what remains of this intimacy beyond the public transfer of the work - if such fidelity ever existed.&nbsp; ︎ Lire la suite ︎︎︎ <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/2495501ebdb3faab1c285affb4d03b667ac4a7453727189fb62e9202b1bf5a76/rotator_01.jpg" data-mid="170673836" border="0" src="https://freight.cargo.site/w/1000/i/2495501ebdb3faab1c285affb4d03b667ac4a7453727189fb62e9202b1bf5a76/rotator_01.jpg" /> ︎ SB34 The Pool ROTATOR Boris Steiner &amp; Ricardo Van Eyk &nbsp; curated by Jacopo Pagin&nbsp;(19.3 - 12.4.2020) 25.6 - 19.7.2020&nbsp; &nbsp; ROTATOR déclenche un mécanisme de reproduction en forme d'entonnoir qui se propage et se réduit par inertie. ROTATOR est un dispositif de mimétisme précaire armé pour synchroniser la respiration du sous-sol avec la ville. Dans ce jeu de relations et de dimensions, de magnitude et de tangibilité, l'habitant·e est appelé·e à se rendre. *&nbsp; &nbsp; ROTATOR triggers a funnel-shaped reproduction mechanism which propagates and reduces itself by inertia. ROTATOR is a precarious mimic device&nbsp;armed to synchronize the breathing of the basement with the city. In this game of relations and dimensions,&nbsp;magnitude and tangibility,&nbsp;the dweller is called to surrender. ︎ Lire la suite ︎︎︎ <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/74752641063c84549f58bbf726ae244259caebaa7bf2798dfdcf5bf4e562406f/ex-view.jpg" data-mid="170675008" border="0" src="https://freight.cargo.site/w/1000/i/74752641063c84549f58bbf726ae244259caebaa7bf2798dfdcf5bf4e562406f/ex-view.jpg" /> ︎ SB34 The Pool UNAFFECTED INTEREST1-7 curated by Emmanuel Berti &amp; Damiano Curschellas Naama Roth, Emmanuel Berti, Damiano Curschellas, Eliane Bertschi, Fabrizia Flühler 17.1 - 1.2.2020 &nbsp; &nbsp; Dans Espèces d'espaces et autres pièces, George Perec entend par note de bas de page une trace dans l'espace. Elle est souvent placée au bas d'une page imprimée et ajoute un commentaire, une référence, une remarque, etc. à une partie désignée d'un texte principal.* &nbsp; &nbsp; In Species of Spaces and Other Pieces, George Perec understands a footnote as a trace in the space. It is often placed at the bottom of a printed page and adds a comment, reference, remark etc. to a designated part of a main text. ︎ Lire la suite ︎︎︎ <img width="7172" height="5588" width_o="7172" height_o="5588" data-src="https://freight.cargo.site/t/original/i/0629f5b58171b2b8d2cfefce267cfca26fac19b87db9f953a79e49abbaaa2504/2_of_hearts-installation-view-1.jpg" data-mid="170816429" border="0" src="https://freight.cargo.site/w/1000/i/0629f5b58171b2b8d2cfefce267cfca26fac19b87db9f953a79e49abbaaa2504/2_of_hearts-installation-view-1.jpg" /> ︎ SB34 The Pool TWO OF HEARTS curated by Jacopo Pagin Aisha Christison, Jack Burton, Angyvir Padilla, Yoel Pytowski, Ekaterina Kaplunova, Richard Venlet, Gary Farrelly, Gilles Hellemann, Marie Sardin, Rémy Thit, Nils Alix-Tabeling, Justin Fitz Patrick 10.11 - 26.11.2019 &nbsp; For Bataille the condition of truth is an “avid will to be”, it’s blind intrepidity in the face of death. The agreement of the lovers, like that of the players’ table, overcomes the power of the isolated individual who is incapable of creating a world. Hazard is the prerequisite for the meeting of lovers and for the fullness of existence, a fullness that is linked to images of hope and terror. As in the decisive hand of a card game, where consequences give a real character to sets of causality that would make no sense if the human whim had not chosen them. ︎ Lire la suite ︎︎︎ <img width="3507" height="4960" width_o="3507" height_o="4960" data-src="https://freight.cargo.site/t/original/i/2d91a447e14e2f3f7ac13c1291f0058a97eb0a9f3e29a76acacaae6f64dba4a4/The-one-that-wasnt-invited-A3-2.jpg" data-mid="170816991" border="0" src="https://freight.cargo.site/w/1000/i/2d91a447e14e2f3f7ac13c1291f0058a97eb0a9f3e29a76acacaae6f64dba4a4/The-one-that-wasnt-invited-A3-2.jpg" /> ︎ SB34 The Pool THE ONE THAT’S ALWAYS THERE, THE ONE THAT CAME LATE, THE ONE THAT NEVER ARRIVED AND THE ONE THAT WASN’T INVITED curated by&nbsp;Naz Balkaya &nbsp; Darya Diamond, Esther Gatón, Evangelia Dimitrakopoulou, Isabella Benshimol, Manon van den Eeden, Patricia Bandeira and Rebeca Romero 12.10 - 26.10.2019&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/d8b181253000d33a61ef2b2aa099b7aaf0b6493c1df6be5c34a907add56a9b38/IMG-8571.JPG" data-mid="170818818" border="0" src="https://freight.cargo.site/w/1000/i/d8b181253000d33a61ef2b2aa099b7aaf0b6493c1df6be5c34a907add56a9b38/IMG-8571.JPG" /> ︎ SB34 The Pool SOMETHING THAT ALWAYS ESCAPE Guido Yannitto curated by Nicolas de Ribou 11-12-13.9.2019&nbsp; <img width="960" height="1224" width_o="960" height_o="1224" data-src="https://freight.cargo.site/t/original/i/7f15606ffea2c8342d14044e015eb262620330a3ac971f709d362a46724f81f9/IMG_0895.jpeg" data-mid="170819096" border="0" src="https://freight.cargo.site/w/960/i/7f15606ffea2c8342d14044e015eb262620330a3ac971f709d362a46724f81f9/IMG_0895.jpeg" /> ︎ SB34 The Pool CONVERSATION&nbsp; Alexandre Silberstein curated by Nicolas de Ribou 6-7-8.9.2019 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b6366ae34970df3cda859964e0dc3914dd80e177c42f71f0bf794d4b0927375f/DSC01267.jpg" data-mid="170677754" border="0" src="https://freight.cargo.site/w/1000/i/b6366ae34970df3cda859964e0dc3914dd80e177c42f71f0bf794d4b0927375f/DSC01267.jpg" /> ︎ SB34 The Pool IN(EN)ACTING ROLES curated by Dóra Benyó &amp; Niels Poiz Aude Anquetil, Stephanie Becquet, Dóra Benyó, Baptiste Conte &amp; Xavier Michel, Vanessa Disler, Coraline Guilbeau, Maud Gyssels, Katinka van Gorkum, Selçuk Mutlu, Niels Poiz, Slow Reading Club, Cléo Totti, Charlie Usher, Romy Vanderveken, Simon Van Schuylenbergh 29-30-31.8.2019 A THREE-DAY PROGRAM OF ONE HOUR CARTE BLANCHE FOR TIME-BASED WORK. ︎ Lire la suite ︎︎︎ <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/579616b27e295beaf4aa4577b3d96cf072f082b77fa942a44bf3e613ccfb9b05/2019-07-06-The-Pool-SB34_1509.jpg" data-mid="170820505" border="0" src="https://freight.cargo.site/w/1000/i/579616b27e295beaf4aa4577b3d96cf072f082b77fa942a44bf3e613ccfb9b05/2019-07-06-The-Pool-SB34_1509.jpg" /> ︎ SB34 The Pool I AM SO MULTIPLE IN NIGHTS curated by Pádraic E. Moore Mehraneh Atashi, Babette, Fiona Hallinan, Allen Jones, Graham Kelly, Perri MacKenzie, Liam Morrow, Gregory Polony, Sophie Varin 22.6 - 27.7.2019The exhibition’s title is a translation of words by Emmy Hennings (1885-1948), one of the few women affiliated with the Dada movement, and co-founder of Zürich’s Cabaret Voltaire - undoubtedly the most important nightclub in the history of art. In the case of this exhibition, the title also refers to the idea of the self as a continually evolving and expanding entity, recalling Carl Jung’s belief that the many contains the unity of the one, without losing the possibilities of the many. As he understood it, the self is essentially comprised of multiple facets, some of which were necessarily concealed but permitted to manifest during particularly revelatory or visionary experiences. ︎ Lire la suite ︎︎︎ <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5165cdcf23752d3b3ac1be07257c607d82983bdf8065f188875388d5dc4353c8/Inner-Skin_Gabrielle-Le-Bayon.JPG" data-mid="170855436" border="0" src="https://freight.cargo.site/w/1000/i/5165cdcf23752d3b3ac1be07257c607d82983bdf8065f188875388d5dc4353c8/Inner-Skin_Gabrielle-Le-Bayon.JPG" /> ︎ SB34 The Pool INVISIBLE OCCUPATION Gabrielle Le Bayon curated by Nicolas de Ribou 10.5 - 11.5.2019&nbsp; <img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/faf9126e13daf6cdb51915fc184f62c090fe62e582e4480e8f6e1efd84a15c0d/Les-nuits-ovales-affiche.jpg" data-mid="170950026" border="0" src="https://freight.cargo.site/w/1000/i/faf9126e13daf6cdb51915fc184f62c090fe62e582e4480e8f6e1efd84a15c0d/Les-nuits-ovales-affiche.jpg" /> ︎ SB34 The Pool NUIT OVALE 29.3.2019&nbsp; &nbsp; &nbsp; Les Nuits Ovales #1 est le premier concert d'un cycle dédié à la diffusion de la musique électronique dans tous ses états. Les concerts réguliers ont vocation à diffuser les expérimentations sonores des musiciens du collectif Fenêtre Ovale, mais aussi celles de musiciens venant d'autres horizons musicaux. Fenêtre Ovale est un collectif de musiciens créé en 2018 à Bruxelles. Né d'une volonté de promouvoir les pratiques musicales atypiques, il organise et co-organise des concerts en expérimentant les conditions et les lieux de diffusion, édite de la musique sous la forme de compilations sur différents formats, et mène une activité pédagogique de partage des savoirs relatif à son domaine. La première édition des Nuits Ovales: un cycle de concerts électronique organisé par Fenêtre Ovale, en collaboration étroite avec SB34- the pool. Pour cette longue nuit vous attendent une belle collection de diverses couleurs électroniques, allant des nuages de sons bien organisés de Hile et Seul, aux folles improvisations d'Eaux Chaudes et Gildas Bouchaud. * &nbsp; &nbsp; Les Nuits Ovales #1 is the first of a series of live performances devoted to electronic music in all its forms. The purpose of the regular concerts is not only to showcase the musical experiments of the Fenêtre Ovale collective but also those of musicians from other music genres. Fenêtre Ovale is a collective of musicians that was created in 2018 in Brussels and was born out of a commitment to promote unusual musical practices. It organises and co-organises concerts while experimenting with the conditions and the places where the music can be played and heard. It also releases music in the form of compilations on various format and its educational purpose is to share the knowledge gathered through it's activities. The Nuits Ovales' first iteration, an electronic concert series from Fenêtre Ovale, in tight collaboration with SB34- the pool. For this time, a fine collection of various electronic colors through a long night, from Hile's and Seul's carefully organised clouds of sounds, to full improvisational madness of Eaux Chaudes and Gildas Bouchaud. <img width="4592" height="3056" width_o="4592" height_o="3056" data-src="https://freight.cargo.site/t/original/i/cc8170dfc4a7b532a16d4d7e4da7ee943669df4733eb6cda15bb39baa02b8e4c/_DSC0472-bis.jpg" data-mid="170852823" border="0" src="https://freight.cargo.site/w/1000/i/cc8170dfc4a7b532a16d4d7e4da7ee943669df4733eb6cda15bb39baa02b8e4c/_DSC0472-bis.jpg" /> ︎ SB34 The Pool ROSA ROSA ROSAE ROSAE curated by Pauline Hatzigeorgiou Marc Buchy, buren, Sofia Caesar, Audrey Cottin, Maíra Dietrich, Eva Giolo, Maxime Jean-Baptiste, Alicia Jeannin, Sabir, Charlie Usher, Yoann Van Parys, Eleanor Ivory Weber 10.1 -15.2.2019 &nbsp; &nbsp; Pour marquer l’inauguration de la salle The Pool dans l’artist-rn space SB34, le projet rosa rosa rosae rosae réunit le œuvres et interventions d’artistes dans une expositionponctuée de moments performatifs – films, lecture séances d’écoute – sur une thématique contingente au collectif en lui-même : il y sera question de langa et de traduction, d’oralité et de circulation, de transmissi et de répétition, ou encore, d’écriture et de sélection. En mettant l’accent sur les procédés d'apprentissage et les références à l’origine de leur composition, les œuvr formulent de nouveaux récits qui interrogent nos destinations. *&nbsp; &nbsp; To mark the inauguration of The Pool space in the SB34 artist-run space, the project rosa rosa rosae rosae brings together the works and interventions of artists in aexhibition punctuated by performative moments - films readings, listening sessions - on a theme that is contingent on the collective itself: there will be questions of language and translation, orality and circulation, transmission and repetition, writing and selection. By focusing on the learning processes and reference at the origin of their composition, the works formulate new stories, questioning our destinations. ︎ Lire la suite ︎︎︎ ︎ ONGOING AND UPCOMING ︎︎︎&nbsp; https://sb34.org/LIKING Mon, 02 Mar 2026 13:13:49 +0000 SB34 https://sb34.org/LIKING <img width="2923" height="4134" width_o="2923" height_o="4134" data-src="https://freight.cargo.site/t/original/i/138e7b485e5304303a988095248334ae7e20a5c979f7d4360372d7128e44a5e7/Liking.png" data-mid="245591602" border="0" src="https://freight.cargo.site/w/1000/i/138e7b485e5304303a988095248334ae7e20a5c979f7d4360372d7128e44a5e7/Liking.png" /> <img width="2975" height="1985" width_o="2975" height_o="1985" data-src="https://freight.cargo.site/t/original/i/2c61f2a9ca1ec7faff1f4657be6bdb195cb8f9a8c608cf99a6df02df8af27651/2026_02_ShahinAfrassiabi_LIKING_1_web.jpg" data-mid="245529366" border="0" src="https://freight.cargo.site/w/1000/i/2c61f2a9ca1ec7faff1f4657be6bdb195cb8f9a8c608cf99a6df02df8af27651/2026_02_ShahinAfrassiabi_LIKING_1_web.jpg" /> <img width="3020" height="2015" width_o="3020" height_o="2015" data-src="https://freight.cargo.site/t/original/i/054fdda0177cf270419a8f53024e69f53569e95e861ae40bd2e527753cde2ee1/2026_02_ShahinAfrassiabi_LIKING_2_web.jpg" data-mid="245529367" border="0" src="https://freight.cargo.site/w/1000/i/054fdda0177cf270419a8f53024e69f53569e95e861ae40bd2e527753cde2ee1/2026_02_ShahinAfrassiabi_LIKING_2_web.jpg" /> <img width="2999" height="2001" width_o="2999" height_o="2001" data-src="https://freight.cargo.site/t/original/i/1e800f2f00ae83c1fb9fbc6b75a5172823b9c6bb6c8bd089009d0bccd070c365/2026_02_ShahinAfrassiabi_LIKING_5_web.jpg" data-mid="245529370" border="0" src="https://freight.cargo.site/w/1000/i/1e800f2f00ae83c1fb9fbc6b75a5172823b9c6bb6c8bd089009d0bccd070c365/2026_02_ShahinAfrassiabi_LIKING_5_web.jpg" /><img width="2996" height="1999" width_o="2996" height_o="1999" data-src="https://freight.cargo.site/t/original/i/66d30b3e4523ce1716b6e86b8e183b464d4dd23140bcfb275cb5545f0adf6bb2/2026_02_ShahinAfrassiabi_LIKING_7_web.jpg" data-mid="245529372" border="0" src="https://freight.cargo.site/w/1000/i/66d30b3e4523ce1716b6e86b8e183b464d4dd23140bcfb275cb5545f0adf6bb2/2026_02_ShahinAfrassiabi_LIKING_7_web.jpg" /> <img width="2951" height="1968" width_o="2951" height_o="1968" data-src="https://freight.cargo.site/t/original/i/63ee53c3644c0fe6c7409a13e8c4bb160fd9f3cdbdbb8d1fd1e5f3b2a85c4e75/2026_02_ShahinAfrassiabi_LIKING_8_web.jpg" data-mid="245529373" border="0" src="https://freight.cargo.site/w/1000/i/63ee53c3644c0fe6c7409a13e8c4bb160fd9f3cdbdbb8d1fd1e5f3b2a85c4e75/2026_02_ShahinAfrassiabi_LIKING_8_web.jpg" /><img width="3100" height="2068" width_o="3100" height_o="2068" data-src="https://freight.cargo.site/t/original/i/b9501d61f1fbdc45d3a37f47247469c7443005e74e7d476d35c206fd4bf06161/2026_02_ShahinAfrassiabi_LIKING_4_web.jpg" data-mid="245529369" border="0" src="https://freight.cargo.site/w/1000/i/b9501d61f1fbdc45d3a37f47247469c7443005e74e7d476d35c206fd4bf06161/2026_02_ShahinAfrassiabi_LIKING_4_web.jpg" /> <img width="2953" height="1970" width_o="2953" height_o="1970" data-src="https://freight.cargo.site/t/original/i/49bb534fe00927b603e31bfb78f82801d6a7caf148bd39464b736ece57afa320/2026_02_ShahinAfrassiabi_LIKING_3_web.jpg" data-mid="245529368" border="0" src="https://freight.cargo.site/w/1000/i/49bb534fe00927b603e31bfb78f82801d6a7caf148bd39464b736ece57afa320/2026_02_ShahinAfrassiabi_LIKING_3_web.jpg" /> ︎ SB34 concordeLIKING Shahin Afrassiabicurated by Maziar Afrassiabiwith a text by Michiel Ceulers16.1 - 28.2.2026 ︎ EXHIBITION TEXT &nbsp; &nbsp; Shahin Afrassiabi’s recent series of paintings takes as its starting point a 1971 photograph of Francis Bacon in his London studio, taken by Francis Goodman and now held in the National Portrait Gallery. Afrassiabi dissects and reinterprets this image through a range of expressive painterly variations that hover between figuration and abstraction. Figuration, because we recognise the image of a person; abstraction, because that recognisability — bound to myth and to the legacy of painting itself — becomes self-reflexive. The familiar image is reconfigured, made strange yet not entirely detached from its origin. What once sustained the “constructed Bacon” as a coherent figure of artistic authority is here loosened, interrupted, and rendered indeterminate. Each canvas carries traces of fleeting gestures and deliberate ruptures that unsettle the authority of the original image. Afrassiabi, who has worked across media including sculpture, sound, film, and installation, approaches painting without fixed allegiance to style or medium. His practice operates through shifting modes of engagement, continually questioning painting’s own foundations. This latest project extends beyond homage. By multiplying and distorting Bacon’s likeness, Afrassiabi turns the figure of the painter into a cipher for painting itself — the “artist” as both subject and object, myth and caricature. The repetition of Bacon’s face becomes a cruel comedy, a sublime joke that works subliminally: the dead artist resurrected only to perform himself once again, the eternal actor of painting’s expressive power. Bacon becomes a tronie — not a portrait of an individual, but a field for experimentation with emotion, violence, and artifice. Laughter, for Afrassiabi, lies at the centre of this cycle. It mirrors the shifting dynamics between artwork and viewer — superiority and inferiority, inclusion and exclusion. In the past, the viewer stood beneath the hierarchical gaze of religious painting, subordinate to divine authority. In modernity, the viewer becomes subject to another hierarchy: that of social and cultural distinction. Laughter thus emerges as both violent and liberating, oscillating between the position of the one who laughs and the one who is laughed at. Following Baudelaire’s notion of double-edged laughter, Afrassiabi’s paintings inhabit this ambiguity as the very terrain of contemporary subjectivity. The series performs what Afrassiabi calls an “act of annexation” — performing history on Bacon while implicating himself within the same cycle of authorship, fame, and myth. The violence of expression that defined Bacon’s work becomes, in Afrassiabi’s hands, a reflection on painting’s own capacity for distortion, repetition, and failure. The joke, perhaps, is on both: Bacon, resurrected as image, and Afrassiabi, ensnared in the endless loop of artistry — the snake eating its own tail. Maziar Afrassiabi, Nov. 2025, Rotterdam ︎ TEXT BY MICHIEL CEULERS &nbsp; &nbsp; If we were to accept Lady Gaga’s attribution of Andy Warhol’s genius to the simple fact that he “doubled fame,” then clearly something else is at stake here – something that cannot be resolved by celebrity arithmetic alone. Yes, the famous may indeed look back at us, but to treat fame as the engine of artistic transformation is to misrecognize the operation entirely. That gesture risks functioning as a kind of conceptual sleight of hand, one that substitutes celebrity’s glare for the far more recalcitrant problem of painting itself. It is an explanation so neat it becomes suspicious, like a joke that lands too cleanly. What confronts us here in these repetitions is not merely the aura of notoriety, but the stubborn, resistant fact of the painted surface – a terrain where pigment, scale, facture, and the physical drag of the brush become the true agents of meaning, quietly refusing to behave. In this context, the “double” no longer functions as an amplification of fame but as a mechanism of semantic slippage. Repetition operates less like a megaphone and more like a linguistic prank: repeated too often, a word sheds its meaning and collapses into sound. Say a name enough times and it begins to feel like a typo. The reiterated image undergoes a similar erosion. Contours soften, lines buckle, and color shifts unpredictably, as if the image itself were growing bored with its own recognizability. Rather than stabilizing meaning, repetition fractures it. The portrait drifts toward abstraction not through the disappearance of its subject, but because doubling reveals the inherent instability of recognition itself. In this sense, repetition carries a faintly comic undertone – not humor as entertainment, but humor as exposure, the moment when certainty slips on a banana peel. This broader tension – between the image as a unit of cultural currency and painting as a material, interpretive site – forms the conceptual armature of the recent work of Shahin Afrassiabi. In his new series of paintings and drawings Afrassiabi turns to a familiar touchstone: a 1971 studio photograph of Francis Bacon taken by Francis Goodman. Yet his method is anything but mimetic. He approaches the photograph not as a fixed referent to be dutifully transcribed, but as a mutable substrate – a field of painterly potential in which the image is only the starting condition. If there is humor here, it lies in this refusal to treat the photograph with reverence. The image is not honored so much as gently provoked. The photograph becomes an operative device, an alibi through which Afrassiabi probes the mechanisms by which images gather, shed, and reconfigure meaning over time. In painterly terms, this means treating the source not as a stable contour map but as a pressure point: each new iteration wrestles with the tensions between line and dissolution, between the presumptive clarity of the photo and the ambiguity generated by paint’s material presence. The logic of repetition becomes crucial, not as confirmation but as attrition. Each pass slightly misfires, and it is precisely in these misfires that meaning accumulates. The process contains a dry humor of its own – the image repeatedly attempts to be itself and repeatedly fails, with increasing eloquence. By sustaining this engagement and annexation, Afrassiabi positions painting as a counterforce to the passive consumption of images while simultaneously implicating himself within the same circuit. In a visual culture saturated with instantaneous reproduction, his work reinstates the durational, resistant, and interpretive labor of the painted mark. Authorship folds back on itself; influence becomes recursive rather than directional. Repetition, far from clarifying meaning, loosens it, allowing painting to act, repeat, and slightly misfire without arriving at critique or resolution. The work maintains a condition of productive instability, a closed system animated less by reverence than by persistence – a medium turning over its own history, aware that both words and images hover perpetually on the brink of abstraction, their legibility contingent, vulnerable, and, at times, faintly absurd, not without a certain dry amusement at the fact that it cannot stop itself. Michiel Ceulers, January 2026 ︎ ABOUTSHAHIN AFRASSIABI is an Iranian-born artist (born 1963 in Tehran) whose practice moves between painting, drawing, sculpture and installation, and who lives and works between Granada and London. Across a career shaped by an agile, material-led approach—often folding everyday construction logics into the exhibition space—Afrassiabi treats images as working devices rather than fixed references. In recent painting cycles, he has pursued an extended engagement with a single studio photograph of Francis Bacon taken in 1971 by Francis Goodman (now in the National Portrait Gallery, London), using repetition and variation to push the image between recognisability and dissolution, and to test painting as an interpretive, time-based medium rather than a stable act of depiction. MAZIAR AFRASSIABI is a Rotterdam-based curator and artist, and the founder and artistic director of Rib, a contemporary art space established in 2015 and headquartered in a former butcher shop in Rotterdam-Oud Charlois, with additional branches in the neighbourhood. His work is shaped by long-term, process-based approaches to exhibition-making and collaboration, and is rooted in an attention to art as a site of transformation, displacement, and reflection. Afrassiabi has also served on the Supervisory Board of V2_ Lab for the Unstable Media and has been involved in advisory roles within Rotterdam’s cultural ecosystem. MICHIEL CEULERS is a Belgian artist living and working between Ghent and Berlin. Best known for a radical, materially charged approach to painting, he studied at KASK (Ghent) and later completed a residency at the Rijksakademie van Beeldende Kunsten (Amsterdam). Across paintings and related projects, Ceulers tests painting as both an object and a language—working through friction between reference and rupture, image and facture, tradition and its continual undoing. ︎ Opening 15.01.2026, 18:00—21:00 BILINGUAL BOOKLET (ENG/FR) Translated by Yoann Van ParysDocumented by © Fabrice SchneiderAvec le soutien de la Fédération Wallonie-Bruxelles https://sb34.org/COUNTRY-LESBIANS Mon, 01 Dec 2025 14:21:01 +0000 SB34 https://sb34.org/COUNTRY-LESBIANS <img width="1264" height="1790" width_o="1264" height_o="1790" data-src="https://freight.cargo.site/t/original/i/672e67d5e37cb7571efbfa5dd864f8381266187b2db4572e8c856884aab7081b/1760706652097.jpeg" data-mid="241265346" border="0" src="https://freight.cargo.site/w/1000/i/672e67d5e37cb7571efbfa5dd864f8381266187b2db4572e8c856884aab7081b/1760706652097.jpeg" /> <img width="3277" height="2185" width_o="3277" height_o="2185" 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data-src="https://freight.cargo.site/t/original/i/92334e85a579572472d20b6865c429db61230c4a520f4805a31399675a41ffb7/2025_10_InstallationView_CoutryLesbians_SB34_22_web.jpg" data-mid="241265386" border="0" src="https://freight.cargo.site/w/1000/i/92334e85a579572472d20b6865c429db61230c4a520f4805a31399675a41ffb7/2025_10_InstallationView_CoutryLesbians_SB34_22_web.jpg" /> <img width="3224" height="2150" width_o="3224" height_o="2150" data-src="https://freight.cargo.site/t/original/i/814bf2662f38adbd398a01d7677ce30a85438fbf9f8ce36a10128593612de5b5/2025_10_InstallationView_CoutryLesbians_SB34_2_web.jpg" data-mid="241265364" border="0" src="https://freight.cargo.site/w/1000/i/814bf2662f38adbd398a01d7677ce30a85438fbf9f8ce36a10128593612de5b5/2025_10_InstallationView_CoutryLesbians_SB34_2_web.jpg" /> <img width="3277" height="2185" width_o="3277" height_o="2185" data-src="https://freight.cargo.site/t/original/i/0b39f17b368188b14305614ed1891338379d3fb2d2c77482434e8f6ede8b106c/2025_10_InstallationView_CoutryLesbians_SB34_4_web.jpg" data-mid="241265367" border="0" src="https://freight.cargo.site/w/1000/i/0b39f17b368188b14305614ed1891338379d3fb2d2c77482434e8f6ede8b106c/2025_10_InstallationView_CoutryLesbians_SB34_4_web.jpg" /> ︎ SB34 concordeCOUNTRY LESBIANS: THE STORY OF THE WOMANSHARE COLLECTIVECarol Newhouse, WomanShare Collective, Marian Lens/Artemys Funds curated by Salomé Burstein, Agathe Cotte, Louise Toth &amp; Joséphine Wagnier17.10 — 29.11.2025 &gt; 6.12.2025In the summer of 1973, Billie, Carol and Dian, looking to escape the masculine and patriarchal culture of the big city, went on a road trip. Drawn by a desire to return to the land and the conviction that women must find new ways of living together, they left Montreal and headed west, crossing the United States by car until they reached southern Oregon. The independence and isolation they found in rural life allowed them to assert themselves as feminists and lesbians: “Not back to the land, but back to ourselves.”&nbsp;In 1974, they bought their parcel of land and founded WomanShare, a separatist community where they independently lived, built, grew crops and wrote. Taking its title from a book co-written in 1976 by the members of WomanShare, the exhibition Country Lesbians: The story of the Womanshare Collective retraces this herstory. Through archival images, period flyers and magazines, snapshots of intimate moments, and artistic experiments, the exhibition revisits the exploration of new, collective ways of life that animated the 1960s and 1970s, while taking us into the heart of a collective and feminist practice. First mounted in autumn 2024 at Shmorévaz –an independent exhibition space based in Paris– Country Lesbians is now travelling to SB34 concorde for its first showing in Belgium. The project is a collective effort led by Salomé Burstein – independent curator and founder of Shmorévaz, Louise Toth –researcher specialising in collective and visual practices– and Agathe Cotte –artist whose work focuses on editorial practices. The invitation, exhibition and programme at SB34 were curated in collaboration with Joséphine Wagnier, coordinator at SB34. For its Ixelles chapter, the WomanShare archives are complemented by the Marian Lens/Artemys collection, providing an insight into the international perception of lesbian communities in Oregon.︎ EXHIBITION TEXT &nbsp; &nbsp; The exhibition looks back at the legacy of communities born out of separatist lesbianism, a movement at the intersection of radical feminism and political lesbianism. Originally, the movement aimed to offer a better way of life to the women who joined it, rejecting all relationships with men in order to escape heteronormativity as a political system and to bring about an autonomous lesbian culture. From the 1970s onwards, separatist lesbianism often took the form of small, self-governing rural communities, and there were many of these on the West Coast of the United States. These communities developed within an ecosystem consisting of a wide variety of small feminist businesses –bookshops, presses, cultural centres and women’s houses– whose network spread through printed communications promoting women-only spiritual retreats, art workshops, worksites and festivals. Fully inhabiting the activist and cultural sphere of the time from their marginal positions, the members of these communities also played a central role in the production of literary and artistic journals. To ensure their circulation and foster networks, they relied on solidarity-based distribution systems supported by feminist and lesbian bookshops, festivals and gatherings. These included Old Wives Tales (founded in 1976 in San Francisco, USA) and, on the other side of the Atlantic, Brussels’ first openly lesbian bookshop, Artemys (1985–2002, Ixelles), run by Marian Lens, who is now working at archiving the memory of this space and the activist history that preceded it. The publications that reach us today are thus a testament to these spaces of exchange, exploration and self- and collective expression. Returning to this heritage is a necessary political act, as it is such a valuable resource and tool for imagining other ways of living, organising and creating collectively. Although they often diverged over their vision and ideology, the figures of separatist lesbianism and materialist feminists shared a strong conviction: it is not only possible, but vital, to imagine and build lives free from patriarchy and capitalism. Co-written by Sue Deevy, Nelly Kaufer, Billie Miracle, Carol Newhouse and Dian Wagner –founding members of WomanShare– Country Lesbians recounts such an endeavour. Far from being a simple archival document, the book acts as a guide, a literary and artistic object that in combining different registers and modes of expression, invites us to rethink our power relations, our relationship to work, property, the environment and forms of collective attention. Through stories of shared worksites, erotic poetry, comics, photographs of everyday life, and transcriptions of conflicts and their resolution, Country Lesbians: The story of the Womanshare collective shows how these women made another way of life possible.Among the various lesbian lands that have existed, and those that still endure today, WomanShare stands out as a unique case, notable for its radicality and its will to rethink its purpose in a contemporary way, with the wish of enabling an intergenerational transmission. From a decolonial perspective and with the support of Carol Newhouse and Billie Miracle, the WomanShare holding has thus become Native WomanShare. The space is now run by Lycan El Lobo Coss and Bianca Fox Del Mar Baralla, who are working to make it a space of support for queer, two-spirit people of colour, honouring the legacy of their elders in the process of rematriating the land. Salomé Burstein, Agathe Cotte, Louise Toth &amp; Joséphine WagnierTranslated by Jack Cox ︎&nbsp;TEXT BY CAROL NEWHOUSE&nbsp;&nbsp; &nbsp; When I originally made these pictures, I did not have a specific goal in mind. But being a photographer, I think I had an instinctual feel for what I was drawn to, what I wanted to photograph. So I began to make pictures. Now I can see it was the feeling of joy, the amazing creativity before my eyes. And the love of the women. We felt free as we struggled and learned to build what we came to call Lesbian Culture together. As I developed the pictures in my rural darkroom I began to share them with my women/lesbian friends; and as we lived and built the experience of creating the Women’s Land Movement together, I wanted these pictures out in the world, particularly for Queer Women to see and react to. I soon realized there was much interest in my work by newly created feminist magazines, newspapers, and even books. And I wanted us to see ourselves, to believe and trust in what I saw behind the lens of my camera. I think it was at that point that I became aware of what I would call a goal or purpose. Living at Womanshare was truly an experience of stepping away. Separating from what I and other women felt was harming, to discover what we could create and literally build together: our housing, our food, our relationships, and our shared financial arrangements. I think we wanted a culture of Happiness, safety, equality, joy and well-being for ourselves.…And for all people. But particularly for queer women in our current world of the time. For me this raises the question of how such a culture could be expressed and lived today. I love that this show has been circulating in different galleries. Also in smaller galleries where people can perhaps feel a deeper sense of AVAILABILITY and connection. An intimacy with the portraits and our daily life. I find that perhaps due to the current state of affairs in our world, there is a need for hope and inspiration. A felt need to create one’s life within a supportive and uplifting environment. Things feel out of control.&nbsp; The joy of simply living our lives and enjoying each other seems somewhat missing increasingly as each day goes by. Creative welcoming alternatives are not available. Whether it be in care for the land on which we live, the homes we create for ourselves or who we choose to share our lives with. I think the pictures point in a different direction. A direction of possibility and joy. &nbsp; It has been not only exciting, but also clarifying and informative to see how my pictures are being welcomed and experienced by others. There seems to be a particular interest and appreciation among the younger generation. And for older folk these images may also serve to show the power of what can be done when we free ourselves of societal constraints and move forward with our own vision of health, happiness and equity for all.&nbsp; I suspect our original vision might remain somewhat the same. It could have some elements of what we did in our time as queer people, but it will of course have to reflect a proper image of today’s world if it were to be accomplished. I will say that some degree of controlling, or moving away from, or even separating from the toxic, corrupt, largely harming and oppressive nature of our world today would have to be part of such a vision. But this would be up to you. Originally named Womanshare, this was our project. The book Country Lesbians is our particular story. What began as a radical project to hold a safe haven for lesbian women in the woods during the 1970's has now evolved into a matriarchal space that invites the original stewards, Takelma, First Nations Women and Two-Spirit people, as they thrive and reclaim their land-based culture for community healing, land healing, art and culture. Carol Newhouse, photographer &amp; WomanShare co-founder, September 2025 Text authored in conjunction with the exhibition <img width="3218" height="2146" width_o="3218" height_o="2146" data-src="https://freight.cargo.site/t/original/i/8b2850a76e1e5b8295b5ceb65597f19e553360ab4eb8b7c0a0f6767887aa2076/2025_10_InstallationView_CoutryLesbians_SB34_33_web.jpg" data-mid="241265397" border="0" src="https://freight.cargo.site/w/1000/i/8b2850a76e1e5b8295b5ceb65597f19e553360ab4eb8b7c0a0f6767887aa2076/2025_10_InstallationView_CoutryLesbians_SB34_33_web.jpg" /> ︎ ABOUT SALOMÉ BURSTEIN is an independent curator and writer based in Paris. Her current research looks into the entwinement of eroticism, attention economy, and entertainment culture. With an academic background in theater and visual studies (ENS Lyon, EHESS Paris, and Columbia University) and further investigations around collective practices (Royal Institute of Art, Stockholm), she has collaborated with several artistic institutions (AFIELD Fellowship, Lafayette Anticipations, Hauser &amp; Wirth) and publications (Mousse, Texte zur Kunst, JRP, CURA) through exhibitions, texts, and translations. Burstein is the founder and director of Shmorévaz, an independent space for art and research located in a former shoe store in Paris, and the editor of Shmooks, its affiliated publishing platform. AGATHE COTTE is an artist-publisher. Her practice comprises publishing, installation, graphic design and curatorial work and explores the relationship between text and image. Since 2020, she has been developing research on the memories of minorities, combining writing, fantasy archives and the circulation of marginalised narratives. The published object – its history, its uses and its forms – takes centre stage in her work. LOUISE TOTH is a PHD candidate in gender studies at Université Bordeaux Montaigne (France). Their work focuses on collective and visual practices, especially within southern Oregon lesbian lands. In November 2024, they co-curated the exhibition “Country Lesbians” at Shmorévaz (Paris), along with an English republication of the eponym book published in 1975 by the WomanShare collective. They also participated in the translation and publication of the american lesbian separatist anthology The feminist movement is a lesbian plot (2025) by&nbsp;Rotolux Press.Trained as a visual artist and curator, JOSÉPHINE WAGNIER defines herself as an art worker. Her practice oscillates between accompanying artistic/cultural projects, research, writing and exhibiting. Her current research engages with counter-gaze practices and perspectives, particularly those situated in rural contexts. In 2023 she was selected by the Young Curators Programme to accompany the petticoat government project at the 60th Venice Biennale.&nbsp;She is engaged as a polyvalent coordinator and mediator at SB34.CAROL NEWHOUSE is an American photographer, writer, and educator, best known as a cofounder of the WomanShare Collective near Grants Pass, Oregon, and a key figure in the lesbian photography movement of the 1970s and 1980s. Her work, which has appeared in Amazon Quarterly, Blatant Image, WomanSpirit, and The Woman’s Carpentry Book (Doubleday, 1980), documents women’s communities and queer lives through an intersection of documentary and experimental portraiture. Drawing from feminist and ecological world-building, Newhouse’s photography explores gender expression, intimacy, and the human relationship to the natural world. She held an internship at the National Film Board of Canada (1969–1970), where she studied social justice documentary photography and video production, and has also worked for over three decades as a clinical social worker and educator. ︎ PUBLICATION <img width="3277" height="2185" width_o="3277" height_o="2185" data-src="https://freight.cargo.site/t/original/i/92eaa1a8c1578c2b93f2045cefa6617e1a10aa35259186508d11fac9f1adb01d/2025_10_InstallationView_CoutryLesbians_SB34_47_web.jpg" data-mid="241265411" border="0" src="https://freight.cargo.site/w/1000/i/92eaa1a8c1578c2b93f2045cefa6617e1a10aa35259186508d11fac9f1adb01d/2025_10_InstallationView_CoutryLesbians_SB34_47_web.jpg" /> <img width="3277" height="2185" width_o="3277" height_o="2185" data-src="https://freight.cargo.site/t/original/i/d580363f402f2d534a9e2d3d5e6abe4e7d6f5d82558caf814c12855ae8839888/2025_10_InstallationView_CoutryLesbians_SB34_38_web.jpg" data-mid="241265402" border="0" src="https://freight.cargo.site/w/1000/i/d580363f402f2d534a9e2d3d5e6abe4e7d6f5d82558caf814c12855ae8839888/2025_10_InstallationView_CoutryLesbians_SB34_38_web.jpg" /> Collectively written by the members of WomanShare, this volume recounts their experience of communal living and intentional rupture: they established themselves as a separatist lesbian, self-governing group removed from patriarchal and capitalist structures of dominance and oppression in southern Oregon. They offer an intimately and transparently written work that can be read as a guide providing relational insights: how to balance class dynamics within a community, poetry as a method of communication, transcribed group conversations, illustrations, accounts of daily routines, and even pages of recipes and DIY tampon instructions. The original publication has been reissued and co-published by Espace Ness (Ness Books) and Shmooks (Shmorévaz publishing platform) as part of the exhibition of the same name. A French edition is currently in preparation and is scheduled for release in 2026.For further information on the publication, please click here. ︎ PROGRAM <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/3ce7ca4e092ae2cd900377c3123c877473f16d62c803840e8d3a4a6f0a4d8e6c/P1010019.JPG" data-mid="241265799" border="0" src="https://freight.cargo.site/w/1000/i/3ce7ca4e092ae2cd900377c3123c877473f16d62c803840e8d3a4a6f0a4d8e6c/P1010019.JPG" /> Photograph documenting the translation workshop WORKSHOPS︎ Saturday, 8.11.2025, 10:30-13:30 - Workshop (FR/ENG) : Reading and Translating Country Lesbians︎ Saturday, 22.11.2025, 10:30-12:30 - Workshop (FR/ENG) : Seeing Ourselves in the Archive / Lesbian Image Readingat SB34 concorde / on RSVP at info@sb34.org <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/98a0494b5a92354da7fcb9e3ef4c93dab03ed4036405c5b53853b14630881cfa/Al-Johnstone---Beyond-Eden.jpg" data-mid="241449880" border="0" src="https://freight.cargo.site/w/1000/i/98a0494b5a92354da7fcb9e3ef4c93dab03ed4036405c5b53853b14630881cfa/Al-Johnstone---Beyond-Eden.jpg" /> Excerpt from Beyond Eden, a work by Al Johnstone, projected during the conference at Arba-EsaEVENTS︎ Thursday, 20.11.2025, 18:00-20:30 - Talk and Film Screening (FR/ENG) : Legacy of the lesbian lands - Conversation with Louise Toth, Marian Lens &amp; Joséphine Wagnier, screening of Beyond Eden (2025) with Al Johnstone presentHorta Auditorium / ArBa-EsA - Rue du Midi 144, 1000 Bruxelles︎ Thursday, 27.11.2025, 18:00-20:00 - Talk and Share a drink (FR/ENG) : with Louise Toth &amp; Joséphine Wagnier about the exhibition project, its process and their researchesCrazy Circle - Rue du Prince Royal 11, 1050 Ixelles︎ Saturday, 29.11.2025, from 12:30 - Talk and Reading (FR) : With Salomé Burstein, Agathe Cotte &amp; Louise Toth, during BRUSSELS ASS BOOK FAIRK1 / Kanal Centre-Pompidou - Av. du Port 1, 1000 Bruxelles BILINGUAL BOOKLET (ENG/FR) Documented by © Fabrice Schneider Avec le soutien de la Commission des Arts Plastiques de la Fédération Wallonie-Bruxelles, de la Commune d'Ixelles - Monsieur Romain De Reusme, Bourgmestre, Monsieur Gautier Calomne, 1er Échevin et Échevin de la Culture, Madame Nevruz Unal, Échevine de la Prévention, et des membres du Conseil communal-, de la Loterie Nationale, de la Cocof et de la Région Bruxelles Capitale en Image de Bruxelles. https://sb34.org/HOLE-8-30 Thu, 23 Oct 2025 12:49:58 +0000 SB34 https://sb34.org/HOLE-8-30 <img width="1280" height="1810" width_o="1280" height_o="1810" data-src="https://freight.cargo.site/t/original/i/cde5e4371c9a077f32ba734cc9afa987cbd43ecbc564411b8f3630508897d71f/1756732226844.jpeg" data-mid="239783214" border="0" src="https://freight.cargo.site/w/1000/i/cde5e4371c9a077f32ba734cc9afa987cbd43ecbc564411b8f3630508897d71f/1756732226844.jpeg" /><img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/27655a9a614c3292d9f67df8c6e4f03d39a262cf3112a4e2f1451145d51ac8fa/hole_8_30_RSC0579_ed.jpg" data-mid="239783603" border="0" src="https://freight.cargo.site/w/1000/i/27655a9a614c3292d9f67df8c6e4f03d39a262cf3112a4e2f1451145d51ac8fa/hole_8_30_RSC0579_ed.jpg" /> <img width="2803" height="3737" width_o="2803" height_o="3737" data-src="https://freight.cargo.site/t/original/i/5a80e0fa61f4fe436a3374d79101cf58f41b40235114d87c9937f686380f45c9/hole_8_30_IMG_0799_ed.jpg" data-mid="239783430" border="0" src="https://freight.cargo.site/w/1000/i/5a80e0fa61f4fe436a3374d79101cf58f41b40235114d87c9937f686380f45c9/hole_8_30_IMG_0799_ed.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/f4b97fa971469e81aa1924e6b8b6aa3c3a6e62e84302fdddf3814e00500b6730/hole_8_30_IMG_0791_ed.jpg" data-mid="239783564" border="0" src="https://freight.cargo.site/w/1000/i/f4b97fa971469e81aa1924e6b8b6aa3c3a6e62e84302fdddf3814e00500b6730/hole_8_30_IMG_0791_ed.jpg" /> <img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/5aee0c11d053118100ba3c5effb8cf39f8b1bbd78a5c00f43220c65fe95c08cc/hole_8_30_RSC0610_ed.jpg" data-mid="239783597" border="0" src="https://freight.cargo.site/w/1000/i/5aee0c11d053118100ba3c5effb8cf39f8b1bbd78a5c00f43220c65fe95c08cc/hole_8_30_RSC0610_ed.jpg" /> ︎ SB34 concordeHOLE, 8'30"Steve Van den Bosch &amp; Marc Behrens13.9 - 11.10.2025Hole, 8'30" features a collaborative work that consists of a sonic reinterpretation by Marc Behrens of a previous work by Steve Van den Bosch, engraved on an aluminum lacquer disc. Exhibited at SB34 concorde for the first time, the piece activates the acoustic properties of the exhibition space, while its repeated playing will eventually erase the recording from its carrier. By linking the echoes and frequencies of language to the structure of the exhibition space, the installation questions the conditions of disappearance, testimony, and trace.&nbsp;︎ CONTEXT Hole 2006 Recording on MiniDV cassette, wall Dimensions variable A hole is made in the wall that divides one room from another. The making of the hole is recorded on MiniDV until the opening is big enough to see the adjacent space and to fit the MiniDV cassette. At this point the cassette is taken out of the camera without re-winding it and put into the hole after which the wall is carefully restored into its original state. 2018 One-sided 12 inch aluminium lacquer disc8 min 30 sec Composition &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Marc Behrens Voice &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Kate Mayne Concept &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Steve Van den Bosch and Marc Behrens Hole 2006 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Steve Van den Bosch Cut &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Schallplatten Schneid Technik GmbH Archival package &nbsp; &nbsp; &nbsp;&nbsp; Lindauer GmbH &amp; Co. KG Silkscreen &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; Afreux Ed. / 10 + 2 AE︎ TEXT BY PAULINE HATZIGEORGIOU &nbsp; &nbsp; De quoi parle-t-on lorsqu’on parle d’extractivisme ? De ce que l’on prélève pour le déplacer ailleurs, où il prendra de la valeur. Mais si on l’extrait, c’est parce qu’il porte déjà en lui cette valeur. Cette boucle trouve son écho dans le discours sur l’art : ce qui est montré dans l’exposition ferait presque figure d’alibi, tant une part de l’œuvre – sa condition de possibilité – se joue ailleurs, dans un champ d’anticipation et de projection. Et dans ce jugement porté sur elle, c’est toujours un peu de soi qui s’inscrit. On pourrait voir, dans le déplacement de l’aiguille effleurant les sillons du disque – qui tire, rabat la périphérie vers le centre, ramène la marge au milieu – un mouvement de rembobinage de la circulation de la valeur. Toute dualité contient d’ailleurs déjà son contraire : la gauche est comprise dans la droite, la droite englobe la gauche. David Graeber éclaire cette asymétrie : la valeur n’est jamais close sur elle-même, elle est façonnée depuis l’extérieur1. Ainsi, lorsqu’une institution – en l’occurrence, un programme de résidence – demande à Steve Van den Bosch de lui céder une œuvre en contrepartie implicite de sa participation, elle révèle que son désir précède l’échange. Van den Bosch répond par la pièce Hole (2006): percement du mur, enregistrement de l’action dans une vidéo, emmurement de la bande, rebouchage du trou, production d’une attestation. Soit une procédure inframince, « la trace (consignée) d’une disparition ». Une dizaine d’années plus tard, dans le cadre d’une exposition solo à Garage Mechelen, il commissionne à Marc Behrens une pièce sonore, une List of works (2016), qui remplaçait le texte imprimé par une version audio à 4 canaux devenant peu à peu psychotique à mesure qu’elle se désintégrait. Cette économie d’estime se prolongera à nouveau quelques années plus tard, dans une collaboration entre les deux artistes. En résulte cette composition sonore, Hole (2018): une interprétation acoustique de l’œuvre précédente, basée sur l’enregistrement de sa légende parlée, qui ne figurait pas dans List of works. On glisse alors de « la trace (consignée) d’une disparition » vers la «&nbsp;fabrication d’une mémoire factice ». La piste est gravée sur un disque (en dix tirages) en aluminium laqué, support promis à l’usure par le passage, répété, de l’aiguille. La pièce, exposée ici pour la première fois, creuse un manque, l’effet de paranoïa servant de paramètre de production au sein d’une réverbération spatiale. En pensant à ce disque, m’est venue l’image de l’artiste en monnayeur : mythe créatif de l’œuvre produite ex nihilo, fantasme persistant d’un atelier où se « frappe » la valeur qui circulera par la suite. Or, chez Graeber, la monnaie et l’objet de valeur ne relèvent pas du même régime : la première efface ses conditions d’émission pour se présenter comme équivalence universelle, tournée vers l’avenir, vers ce qu’on pourrait en faire ; le second conserve en lui la mémoire des attachements passés. A l’évidence, l’œuvre d’art complexifie largement cette distinction. Ce disque, témoignerait-il d’une forme de compression ? Il se fait que les récits autour des désirs de désaliénation de l’art intègrent souvent une part d’inutilité ou le refus d’adhérer aux logiques marchandes. Mais ce refus reste paradoxalement lié à ces mêmes logiques (les pièces qui se prétendent « hors circuit » paraissent d’ailleurs souvent plus facilement bancables). Ce disque relaie ses antécédents, tant dans ses étapes de production par délégation que dans ses légitimations, devenant autant de matérialisations d’une dette. Pensons d’ailleurs au terme « usure », à double face. Longtemps, son sens premier renvoyait au profit tiré du crédit et des intérêts tandis que l’idée d’une matière qui s’abîme par le temps et l’usage n’était qu’un dérivé. Aujourd’hui, dans un régime financiarisé où la moralité de l’intérêt est rarement interrogée, ce premier sens s’est effacé au profit du second. Mais on s’égare. Hole, 8’30’’ se déploie donc dans un champ de contamination. Elle pointe vers cette utilité marchande tout en se prémunissant de son propre risque d’inutilité. En remontant sa généalogie, ses réseaux institutionnels, son tissu d’attaches, etc., en bref, en déployant sa perspective contextuelle, l’œuvre assume sa part d’impropre. L’institution, par son invitation et son anticipation, a toujours un coup d’avance : ce qui est présenté existe déjà ailleurs. L’exposition ne fait que rembobiner cette procédure, matérialisant un mouvement rotatif où la valeur circule, s’extrait et se redépose. Pauline Hatzigeorgiou 1 :&nbsp;David Graeber, La fausse monnaie de nos rêves. Vers une théorie anthropologique de la valeur&nbsp;Paris, Éd. Les Liens qui libèrent, 2022 ︎ TEXT BY ALICJA MELZACKA [This text was performed by Francesca Hawker on 11.10.2025 at SB34 concorde] &nbsp; &nbsp; A-ha! What of the work that is made visible slash constitutes itself exclusively through the exhibition’s textual infrastructure? The slash here marks two distinct ontologies, one where the work is ‘made visible’ by infrastructural means—and, in what follows, must have already existed as a separate entity, and the other, where the work is ‘constituted through’ and indivisible from that infrastructure. Say, ‘a hole is made in the wall that divides one room from another. The making of the hole is recorded on MiniDV until the opening is big enough to see the adjacent space and to fit the MiniDV cassette. At this point the cassette is taken out of the camera without re-winding it and put into the hole after which the wall is carefully restored into its original state.’ What remains? What remains is this caption. A ‘caption’—from Latin ‘captionem’, ‘to catch or to seize.’ Is a patched up hole still a hole? Is a patched up hole accompanied by the caption more of a hole? What happens if the caption is removed from the site of the original intervention? Does it point to THE hole or A hole? Does the caption document the disappeared hole, or does the hole continue staging its own disappearance through the caption? Or—what of the work that is made visible slash constitutes itself through the REMOVAL of the exhibition’s infrastructure? Take Michael Asher’s intervention at Claire Copley Gallery in 1974, where the artist famously removed the key element of physical infrastructure—the wall that separated the exhibition space from the office. It was, in fact, a double removal, as the show involved no accompanying caption or other textual material. Even the artist’s original proposal had been delivered orally, as if to avoid leaving a trace. And yet, the intervention was eventually ‘captured’&nbsp; by the critical discourse that followed. Infrastructure always finds a way to creep back in. In most traditional cases, the caption points to the object and the object redirects to the caption—the work is held together by this internal self-referential dynamic. At the same time, this dynamic must be activated by the viewer. Art making us aware of our position as viewers represents a different kind of self-referentiality—an external one. And what better way to make the viewer aware of these ingrained dynamics than through removal? The kind where an object—say, a hole—is no longer present, yet the caption still gestures toward it. Or, conversely, when an object is there but lacks any textual infrastructure, and we tend to habitually look for one. Self-referentiality relies on this ‘A-ha’ moment of breaking the illusion of unity, disrupting immersion. I can appreciate self-referential works, the way I can appreciate self-reflective people. The issue I’ve started to take with some works of that kind lately, though, is their hermetic dynamic: the work makes the viewer aware of the mechanisms of its production or display, of the viewer’s position, of the institutional framework in which in which this resides (or, it resides in us—in the end, ‘the the institution is inside of us’). But that’s where the circuit often closes. After I have communed with the feeling that I know what a self-referential work wants me to know, that I have been MADE AWARE OF how it inscribes itself in the discourse of institutional critique, etc.; I like to ask then—what is left if self-referentiality is set aside? What escapes the capture of the mutually-legitimising bond between object and infrastructure, between work and viewer? What goes beyond the ‘becoming-aware’ kind of viewership? I’ve been trying to think about examples of artistic strategies that don’t deflect self-referentiality but supercharge it—expanding its yield and potentially breaking open the hermetic circuit between the individual viewer and individual work. For instance, using the caption (from Hole, 2006) as a basis material for developing something else, say, a sound installation (also titled Hole, 2018). The caption functions both as a form of documentation, evidence, and as a score. Instead of closing the circuit, the work diverges to form an extension. Recursive self-referentiality as a generative strategy and a form of post-production. &nbsp; Another work that comes to mind—though it operates on an entirely different basis—is Florence Jung’s Jung105 (2025), presented in a recent group show at Portikus in Frankfurt. It consisted of a caption, printed in the exhibition handout: ‘A rat was reportedly seen in the garden.’ One could argue there was a site-specific element to the work—it was marked on the floor plan next to a large window overlooking the backyard. You could stand there, scanning the greenery. But that’s not what interests me. I’m intrigued by the word ‘reportedly’ in the caption, doing some heavy lifting. The artist herself is not omniscient—she’s not DOCUMENTING an event, but rather, RECIRCULATING second-hand information, hearsay. This has less to do with dematerialisation and more with thinking about exhibitions in terms of time and labour rather than space and property. Jung not only offers a commentary on the institutional authority, she also effectively undermines its hold. The work’s strength lies in its distribution model, which allows it to slip free of textual infrastructure and enter oral circulation and social exchange. Simply put: the work IS hearsay. And it continues circulating as hearsay, as my friends and I discuss it on our way back from the gallery. And now, you’ve also heard about the rat reportedly seen in the garden behind Portikus, sometime in 2025. Now, go tell someone. If you want. I mean, you don’t have to. Alicja MelzackaInterpreted and/or performed by Francesca Hawker In conjunction with Hole, 8’30’’, an exhibition by Steve Van den Bosch and Marc Behrens at SB34 concorde, Brussels.With unauthorised guest appearance of Florence Jung’s work produced for the show What Are You Thinking at Portikus, curated by Liberty Adrien &amp; Carina Bukuts. <img width="3963" height="2972" width_o="3963" height_o="2972" data-src="https://freight.cargo.site/t/original/i/55db1405d6aa8434e26cd05b3bb404892726a111907bc1c45f36a7a49735dbe1/IMG_1024.jpeg" data-mid="239862381" border="0" src="https://freight.cargo.site/w/1000/i/55db1405d6aa8434e26cd05b3bb404892726a111907bc1c45f36a7a49735dbe1/IMG_1024.jpeg" /> <img width="2955" height="3940" width_o="2955" height_o="3940" data-src="https://freight.cargo.site/t/original/i/890852add901acdc8e4c2750c5d890c3e87735c8f9d8fa64fdfd27589e3b51ac/IMG_1030.jpeg" data-mid="239862408" border="0" src="https://freight.cargo.site/w/1000/i/890852add901acdc8e4c2750c5d890c3e87735c8f9d8fa64fdfd27589e3b51ac/IMG_1030.jpeg" />︎ ABOUT STEVE VAN DEN BOSCH ( °1975, BE) lives and works in Brussels Attracted to the seemingly inexpressive, the unintentional and the mute, he creates work that constantly oscillates between invisibility and materiality. Unbound by any specific medium, he questions the very conditions of the artwork by subverting its parameters, thereby disrupting established logics. His work has been exhibited internationally, including at Kunsthalle Bern, Witte de With (Rotterdam), the Shanghai and Sydney Biennials, and the Contemporary Art Museum in St. Louis.MARC BEHRENS ( °1970, DE) lives and works in Offenbach am Main His work spans electronic and concrete music, installations, photography, and video. Active since 1989, he has released over 40 albums and presented projects worldwide. Behrens often explores sound in remote locations, social structures, more recently he composed and produced Eure Welt – Ein Audiodrive with Hannes Seidl, a performance piece with cars and healing frequencies. He has performed across Europe, Asia, the Americas, Africa, and the Middle East. ︎ Finissage on Saturday 11.10.2025, 18:00-20:00With a reading of a text by Alcija Melzacka, performed by Francesca Hawker Documented by © Marc Behrens Avec le soutien de la Fédération Wallonie-Bruxelles et de la COCOF. https://sb34.org/JOURNAL-OF-A-SPUB Thu, 23 Oct 2025 12:12:22 +0000 SB34 https://sb34.org/JOURNAL-OF-A-SPUB <img width="1280" height="1810" width_o="1280" height_o="1810" data-src="https://freight.cargo.site/t/original/i/8f93c5d3053e0b91d8b3b14c4a226eb673ac5bd18570b28f7d9e32855cc6cf18/1756732226867.jpeg" data-mid="239782515" border="0" src="https://freight.cargo.site/w/1000/i/8f93c5d3053e0b91d8b3b14c4a226eb673ac5bd18570b28f7d9e32855cc6cf18/1756732226867.jpeg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c8fad2179537221e030cacaaad3c61b95cec8e81c2adc5f2cd9852c7e84ddf82/LDS_SB34_48.JPG" data-mid="239782333" border="0" 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data-src="https://freight.cargo.site/t/original/i/5719a59f617fe029688e40bee963da473b72036d67ae6e4f34d13a56cc0a6633/LDS_SB34_6.JPG" data-mid="239782329" border="0" src="https://freight.cargo.site/w/1000/i/5719a59f617fe029688e40bee963da473b72036d67ae6e4f34d13a56cc0a6633/LDS_SB34_6.JPG" /> ︎ SB34 concordeSUMMER RESIDENCY - JOURNAL OF A SPUBLore D Selyss1.8 - 7.9.2025 During their residency at SB34, Lore D Selyss will pursue the ongoing research with, on and from the SPUB, a term that was coined contracting the notions of subjects and spaces into a character and method. The research unfolds through conversations with bodies and tongues from diverse fields of praxis and the act of translation. Throughout the residency concorde will turn into an open-studio for spubbing-related activities. ︎ ABOUT Born in Meyrin, Lore D Selyss holds artistic and learning spaces in Brussels and beyond. They work collaboratively with words, lenses, sound-waves, multi-definitions of space, their users and inhabitants.︎ LIST OF WORKS Cobra,&nbsp;2025 Double photographic print on open glass pane Variable dimensions &nbsp; Adaptation 1,&nbsp;2025 Ritalin box, 10 mg Novartis, female electrical socket type CFEG Frieze/Frise (spub) Modular installation on wall, floor, and windows Sheet of smooth and oceanic glass, inkjet print, protective floor paper from the venue, bubble wrap, Optic-Ball, papier-mâché, plant elements and surrounding dust, Gispen file holder, Drippinkjet, water, double doorstop, print, wrought-iron hoop, tire, various borrowed and donated materials from the team (SB34, Rokko Miyoshi) Variable dimensions &nbsp; Adaptation 2, 2025 Hose, double female electrical socket type CFEG 2025 Cocoon Mummyline X2 Two Mummyline silk sleeping bags, USB-C cable, Drippinkjet photograph Variable dimensions &nbsp; Adaptation 3,&nbsp;2025 Double female electrical socket type CFEG, two imitation AirPods 2025, The traveller / Le voyageur Rolling suitcase, glass plates Variable dimensions &nbsp; Adaptation 4, 2025 5m extension cord, selected newspaper, glass plate ︎ Exhibition open on Fri. 5 - Sat. 6 &amp; Sun. 7.09.2025 14:00-18:00 and by appointment at info@sb34.org ︎ Performances : Fri. 5 &amp; Sat. 6.09.2025 17:30 during RendezVous - Brussels Art Week Documented by ©&nbsp;Anna LugmeierAvec le soutien de la Fédération Wallonie-Bruxelles et de la COCOF. Restitution de la résidence dans le cadre du programme de RendezVous - Art Brussels Week.