SB34 is a Brussels based non-profit organization providing qualitative and affordable artistic production studios, workshops and equipment. We also manage 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.


ABOUT SB34
CONTACT
ONGOING AND UPCOMING PROJECTS
PAST PROJECTS

︎ SB34 Manchester 
Rue de Manchester, 5-7
1080 — Molenbeek Saint-Jean



︎ SB34 The Pool
Rue Saint Bernard, 34
1060 — Saint Gilles


Ongoing & Upcoming

16.11 — 9.12.23
︎ LEMURES
Erik Thys

13-16.12.23 - 19:00-22:00
︎ A NOTE ON DIALECT (PRELUDE)
project 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 & Henry Andersen

16.12.23 - 14:00-18:00
︎ OPEN STUDIOS


︎ SB34 Clovis
Boulevard Clovis, 83-87
1000 — Bruxelles


Ongoing & Upcoming

9.12.23 - 14:00-18:00
︎ OPEN STUDIOS








Artist Studios

︎︎︎ THE POOL

Bravas Graphix
Pol Bourdellon

Alix Dussart
Baptiste Conte
Luke Calzonetti
Emilie Franco
Laura Hecker
éditions la CAB/Charles Pigneul, Alan Jeuland & Brieuc Weulersse
Julie Larrouy
Jacques Le Bourgeois
Sophie Martin
Yvan Megal
Rokko Miyoshi
Justin Sanchez
Marion Séhier

Lucile Van Laecken
Clara Villier

Thily Vossier


︎︎︎ MANCHESTER

OPENING SOON




︎︎︎ CLOVIS

Mohammed Alani
ZoolaBiim

Laurie Charles

Laura Dauchet 

Gert De Clercq

Felix De Clercq

Indigo Deijmann
Roshan Di Puppo

Lionel Dury
Yvon Goossens

Shayan Jalali 
Kitty Kamp
Nasrine Kheltent
Yona Laci
Louizali
Raphaël Matieu
Matthieu Michaut

Nikko Noirhomme
Daniele Oliva
Rik Peeters
Christophe Penners
Julie Percillier
Annelein Pompe

SolidÉditions
Liselore Vandeput
Stijn Stevens
Prose Studio
Chantal van Rijt

Juliette Vanwaterloo
Hadrien Verlinden
Haslet Vuran

info@sb34.org

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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.


Ongoing and Upcoming





︎ 𝐎𝐏𝐄𝐍 𝐒𝐓𝐔𝐃𝐈𝐎𝐒: 𝐂𝐋𝐎𝐕𝐈𝐒 + 𝐓𝐇𝐄 𝐏𝐎𝐎𝐋

SB34 would like to invite you to its Open Studios on December 9 and 16, 2023 in its two spaces:
Clovis - Boulevard Clovis 87 in Brussels 1000 (Saturday 9/12)
and The Pool - Rue Saint-Bernard 34, Saint-Gilles 1060 (Saturday 16/12).

Opening hours are 14:00 to 18:00 for both venues.

Our resident artists will be delighted to open their doors to you.


Avec le soutien de la Fédération Wallonie-Bruxelles et COCOF.





︎ A NOTE ON DIALECT (PRELUDE)

by 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 & Henry Andersen

An invitation by Simon Asencio

Dec 13, 14, 15, 16, 2023
Open 7 - 10pm
+ 16.12 SVDU music set from 10pm

Bar of SB34 - The Pool
Rue Saint Bernard 34 1060 Saint-Gilles

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.

To be invisible in a text, or to be invisible through text, is to be unreadable, opaque, unintelligible, indescribable. Invisibility often manifests through a process of othering: it is either a ruse for safety or a stigmate forced upon to undermine the ‘inadequate’.

In the book Through The Valley of The Nest of Spiders, Shit, one of the characters, explains to his lover Eric what "a culturally invested language" is: a deviation away from the official language to reveal or conceal forms of life and practices according to the context of enunciation. Subversive resignification, vernaculars, slang… these are both a means for recognition and protection. Shit adds: "Culturally invested language is for includin' people not for excludin' them." The project conveys a corpus of textual experiments –other possible culturally inverted languages– remote in time, in space and intentions, in order to approach the ethical and poetical implications of such a term.


PROGRAM ⤵

Wednesday - 13.12.23 from 7pm
- Jack Cox
- Diana Duta
- Stefa Govaart
- Imis Kill
- Maxime Jean-Baptiste

Thursday - 14.12.23 from 7pm
- Simon Asencio
- Jack Cox
- Diana Duta
- Jen Brodie

Friday - 15.12.23 from 7pm
- Jack Cox
- Diana Duta
- gladys
- Anouchka Oler Nussbaum
- Sabrina Seifried & Henry Andersen

Saturday - 16.12.23 from 7pm
- Chloe Chignell
- Jack Cox
- Diana Duta
- Loucka Fiagan
- Mahmoud Hamzeh Beshtawi & Liam Monzer Alzafari
- Goda Palekaitė & Adrijana Gvozdenovic
+ DJ Set SVDU from 10pm


Supported by Fédération Wallonie-Bruxelles and COCOF.




︎ LEMURES - finissage

by Erik Thys
in collaboration with Harald Thys

16.11 - 9.12.23

Exhibition open on Saturday 14:00-18:00
Finissage 9.12.23 - 19:00-21:00
+ performance by Erik Thys from 7:30pm

SB34 - The Pool
Rue Saint Bernard 34 1060 Saint-Gilles

Text by Joséphine Wagnier

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.

This irrational translation makes us question the conceptual methods of the automobile. Once adapted to the beast that would pull it along, with the invention of the motor the carriage became autonomous and as such, a mirror for demagogic humanity. It was an organ that brought about a system of life based in the machine—from transmissions to steering systems, humanity only had to follow the route that had been traced out for it. Although it was inspired by nature, the automobile industry reveals and guarantees a resolution to every human obstacle, embodying a sort of alter ego for any driver dreaming of independence and freedom. And yet, for each period in History, the grimmest victors have all put in their own automobile appearances. As he draws, Erik Thys is caught up and carried along by the conditions of his standardised models, his goofy exteriors and bodyworks. There is a humanising pareidolia at play here, one simply related to the visual, mimetic stimuli that forms produce.

Interiority is lacking in these motorised machines that often switch on only to follow the same old routes. Introspectively following his own automatic associations, Erik Thys attempts to embody them in physical existences, filling the void with a garish sort of ectoplasm that speaks of human realities. His practice involves transmitting sympathy for these realities, almost like a serpentine belt connecting primary machinery to the machinery of feeling. The damp underground location of The Pool (once a garage) contributes to the porosity of these portraits: in their shimmering reflections, we can discern characteristics that can be read in parallel with our own relation to the world, bringing into play constructions that are the result of disparate temporalities as well as contemporary issues. This horizontal relationship makes for an empathetic reading, where the creator and the machine can no longer be told apart.


(c) Silvia Cappellari




︎ Publication

(RE):VISITING THE STUDIO - WHO IS IN?

A subjective note taking session of three conversations about (studio) space and artistic practice

Subjective note taking Katinka de Jonge with Amber Vanluffelen.
Illustrations Aya Akbib. 
Graphic design and pad wrangling Eric Schrijver.
Co-production by Level Five and SB34 for “Working the Ground: Growing Sustainable Artistic Practices”.

This bi-communal project is supported by CultuurCulture, Fédération Wallonie-Bruxelles and Vlaamse Overheid.


︎ PAST ︎︎︎