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 Pool
Rue Saint Bernard, 34
1060 — Saint Gilles


Ongoing & Upcoming


09.09—22.10.22
︎ ME IN MY GOING OUT OF MYSELF (AND YOU IN YOURS)

Émile Hermans 
Reinier Vrancken
︎ SB34 Clovis
Boulevard Clovis, 87
1000 — Bruxelles


Ongoing & Upcoming


09.09—22.10.22
︎ PARS PRO TOTO

Amélie  Bertrand
Julian Charrière
Béatrice Guilleman
Sabrina Ratté
Sarah & Charles
Lucie Lanzin
Mathias Prenen
Maarten Vanden Eynde

Artist Studios

︎︎︎ THE POOL

Martin Bonnaz

Aymeraude Du Couedic
Alix Dussart
Baptiste Conte
Maud Grommen
Laura Hecker
Nasrine Kheltent
éditions la CAB/Charles Pigneul, Alan Jeuland & Brieuc Weulersse
Julie Larrouy
Jacques Le Bourgeois
Florine Merpoel
Rokko Miyoshi
Victor Pilar
Charlotte Sadowczyk

Suffer the Joy 
Clara Villier

Thily Vossier




︎︎︎ CLOVIS

Mohammed Alani
Shira Barak
ZoolaBiim

Laurie Charles

Gert De Clercq

Indigo Deijmann
Nerina Denais
Sara Deraedt
Roshan Di Puppo
Sara Grütter

Shayan Jalali

Atelier Jespers /
La Bocca della Verità
Louizali
Raphaël Matieu
Matthieu Michaut

Margaux Meyer 

Nikko Noirhomme
Daniele Oliva
Rik Peeters
Christophe Penners
Annelein Pompe

Anaelle Renault
Julia Schicker
SolidEditions
Liselore Vandeput
Michael Van Den Abeele
Stijn Stevens
Chantal van Rijt


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.


PAST




︎ SB34 The Pool

Books in 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.

With contributions from:
les éditions la CAB (Brieuc Weulersse, Alan Jeuland and Charles Pigneul), Alix Dussart, Pauline Hatzigeorgiou, Julie Larrouy,
Jacques Le Bourgeois, Maëlle Maisonneuve & Léa Mayer, Niels Poiz, Charlotte Sadowczyk, Marion Séhier, Lucile Van Laecken.

Open on Wed. 11.05, 6pm-9pm
and within the framework of Atelier in beeld Fri. 13.5, 6pm-10pm
Sat. 14 & Sun. 15.05, 10am-6pm

© On est venus ici pour la vue by Pauline Vanden Neste and Tom Lyon, ed. la Cab, 2021.




︎ SB34 Clovis

29.04 — 04.06.2022


PARKING ME


Mona Ivy F., Fabrice Schneider & Zinaïda Tchelidze
text by Piero Bisello





︎ BOOK

Available in Brussels in the following bookstores : rile, Wiels, Peinture Fraîche, Filigranes,
and in Paris at Centre Wallonie-Bruxelles

rosa rosa rosae rosae


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.

edited by Pauline Hatzigeorgiou / SB34
graphic design by Tipode Office

With the support of Fédération Wallonie-Bruxelles (aide à l'édition) and Région Bruxelles-Capitale (Image de Bruxelles)




︎ SB34 Clovis

IV

17.03. — 03.04.22


First act of the trilogy IV - II - III
“The Youth of S.F.”


4² artists: Toon Boeckmans, Kamil Bouzoubaa-Grivel, Pieter Chanterie, Rosanne Claes & 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 Verhoeven

“My… my name is S.F., uh, but my friend Tiresias -there- calls me Swollen Foot… because of my right, for you left, limping limb” stutters the protagonist while being opposed to a polyglot bunch of same-aged fellow children. S.F. is new here, and his newness can not be left unnoticed. He wasn’t sure if anybody in the room was even understanding his Greek mother tongue, so he decided to leave the metrum behind - no verses as they were occasionally narrated by great orators.
“I like la…language”, S.F. continues while he starts tapping rhythmically with his left foot. No answer. Tiresias, his best friend who is sitting at the back of the atrium, although being close to blind, directs her wide-eyed gaze to him. Her right, for S.F. left, eye is covered with a rainbow patch. “I li…like language since the first word I ever spoke: ‘mother’. I remember my first word, bu..but not my first image, do you?” asks S.F. to every- and nobody at the same time, “Isn’t it tragic?... I think it must look like the... the colours, patterns and grids one can ‘see’ when closing eyelids. Try it! Did you know that newborns only develop a real sight after only having observed contrasts for the first four weeks of their lives. Do you remember your very first image?” No answer. Only Tiresias closed -at least- one eye. “I also like wa…walking.”
“Ok, that’s enough” says the only adult in a language that S.F. doesn’t understand, “you can go back to your place.”
“Wait, I still have a riddle for all of you: what goes on four feet in the morning…”
The adult interrupts the mystery of S.F. by leading him to the empty seat next to Tiresias.

KOMPLOT icw SB34
Curated by Koi Persyn
Graphic Design by Victor Verhelst

Exhibition from 17.03 — 03.04.2021
Exhibition open on Tue. to Sun., 1-6pm

IV is made possible with the support of VGC and Anderlecht.



︎ SB34 The Pool

ANUBIS DESPAIR

March 11th 2022


A puppet show by Jules Lagrange


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.

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.

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



︎ SB34 Clovis

FRUIT ANXIETY, DESIRE AND METHOD

November 11th 2021 to January 13th 2022


Exhibition and performances

Office for Joint Administrative Intelligence (Chris Dreier and Gary Farrelly) invites Julia Zinnbauer, Robin Faymonville and Marjolein Guldentops
Exhibition design by: Steven Jouwersma

Curated by Pauline Hatzigeorgiou.


SB34 is happy to announce the opening of its second space of artist studios an project space at 87 Boulevard Clovis. For this first exhibition, SB34 invites Office for Joint Administrative Intelligence (Gary Farrelly & 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.
    In this setting, which evokes the lobby of an anonymous company, the exhibition is conceived as an installation-display offering a glimpse into the universe of O.J.A.I., with a scenography by Steven Jouwersma, and within which the artists Julia Zinnbauer, Robin Faymonville and Marjolein Guldentops are also invited to perform.

Fruit Anxiety, Desire and Method brings together a range of new works by the duo and provides a retrospective look at their publishing work. O.J.A.I.'s methodical practice draws of the aesthetics, vocabulary and codes of a bureaucracy that seems to come from the dystopian projections of a past both near and far. Playing with the positions of artist-bureaucrats and agents of a self-organization, their practice examines the power of the institution, its functioning, its languages and its performative aspect, challenging them by incarnating them.
    O.J.A.I.'s conceptual and narrative universe never ceases to expand its boundaries and to nourish semi-fictional connections that lift a sometimes scathing, sometimes oblique and often ironic veil over technological and symbolic dominations. Drawing from both official narratives and conspiracy literature, their work raises the limits of contemporary realism by associating fantasized origins with the factual effects of biopolitics. It navigates us through spaces that evoke the arcana of power and the perversions of the service economy, targeting phallocratic symbols found in urban space, utilitarian architecture and airport spaces. Questioning the impact of the ingenuity of the present on this now generalized state of anxiety, the exhibition focuses on the dialectic of the disciplined body, its submission to the languages of power and its desires subverted by the capitalism of surveillance.


11.11.2021, 17.00 — 20.00
Opening and performances Headquarters Lecture by Julia Zinnbauer, Assembly Call by Marjolein Guldentops and Inaugural Sounds by O.J.A.I.
13.01.2022, 17.00 — 20.00
Finissage and performances Notes of the Dead-End by Robin Faymonville, Final Call by Marjolein Guldentops and Office Party Bingo Quiz by O.J.A.I.

Full documentation here http://urlr.me/z6LsG

With the support of Fédération Wallonie-Bruxelles and Irish Council




︎ SB34 The Pool

ACME VISION

October 31th to November 28th 2021


Group exhibition with Stephan Balleux, Léa Belooussovitch, Solanne Bernard, Hadassah Emmerich, Luke James, Florian Kiniques, Jules Lagrange, Jacques Le Bourgeois, Margot Pietri, Maxime Testu

Curated by Lucien Roux


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.
    The reference to cartoons in the reading of a gesture, can also be seen as an attempt to emphasize the movement made by the artist in the production of a piece, the action itself and the strategy it expresses, like the traps that the characters set for each other.
    These traps have above all as a finality the entertainment of the spectator by an expression without limit of the impulses attributed to each character. Moreover, these narrative mechanisms often come as a way to twist the reflexes of our intern logic by avoiding the final situation that we would expect from what we already know of reality.
    This exhibition is partly inspired by a Muhka show, El Hotel Electrico, which reconsidered animation practices in its most original form by a choice of works that distinguished them from the moment when it was «constrained by the conventions and the industrial approach as a mass medium.»   
    Acme Vision is an attempt to counterbalance or create an impertinent follow-up to this proposal.

text by Lucien Roux
Full documentation here www.dropbox.com/ACME_VISION

With the support of the Fédération Wallonie-Bruxelles


Font by Maria Calzolari



︎ SB34 The Pool

TRANSFER

September 18 to October 23, 2021


Exhibition by Henry Andersen
With an accompanying text by Pádraic E. Moore


"Extracts from a Glossary

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. The other component of this exhibition is the series of rods that ‘connect’ various horizontal surfaces of the exhibition space. Evoking the sticks of Andre Cadere, they are made from epoxy resin; a petroleum derived substance here tinted blue. Andersen has titled these rods Hyperlinks; a term that refers to the ubiquitous components of computing that could be described as the arteries of the internet.The definitions below have been written in response toTransfers.They form part of a glossary that expands on the physical and thematic qualities of this exhibition and relate mainly to the commodification of fluids(such as milk and oil) or related rituals. The glossary also includes references to pathologies that are emerging in or relevant to the 21st century. In several instances, these definitions differ from and contradict those published elsewhere.These entries form part of a more extensive glossary due for completion in 2022.(...)"
Pádraic E. Moore

With the support of the Fédération Wallonie-Bruxelles




︎ SB34 The Pool

rosa rosa rosae rosae

September 10 to October 23, 2021


Exhibition, performances, workshops, and artists' book with Alicia Jeannin, Alicja Melzacka, Angela Detanico & 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

Curated by Pauline Hatzigeorgiou from SB34


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.

PROGRAM
Guided tours [FR/EN]: Saturdays 15.00-16.00
    ︎ 11.09 – 16.10.2021 [FR/EN] — 15.00-16.00 Guided tours by the curator
    ︎ 02.10.2021 — 18.00-20.30 Sabir La Nuit lectures performées [FR]
    ︎ 09.10.2021 — 11.00-12.30 Workshop by Sofia Caesar coffee drawings [FR/EN]
    ︎ 14.10.2021 — 18.00-20.30 Evening of performances: Eleanor Ivory Weber supply and supply EN]
Charlie Usher mixed feelings [EN]

    ︎ 23.10.2021, 14.00-15.30 Workshop by Alicia Jeannin

Full documentation here www.dropbox.com/rosa_rosa_rosae_rosae

@La Maison Pelgrims , 69 rue de Parme 1060 Bruxelles


With the support of Service de la Culture / Commune de Saint-Gilles, Région Bruxelles-Capitale / Image de Bruxelles, COCOF, Fédération Wallonie Bruxelles et Loterie Nationale




︎ SB34 Clovis

NOMADIC CONVERSATION

October 10th 2021, MOTA 008 - Concrete Metaphors


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.
The guest artist for this MOTA is Miguel Escobar.

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.


All welcome, we will aim to accommodate different languages in the conversation and there will be some drinks and finger food too. If it is daunting for you to come alone, or you have any questions please feel free to reach out to us in advance by emailing: liselore.vandeput@gmail.com




︎ SB34 The Pool

SUBMERGE

June 3rd to August 29th, 2021

Exhibition with Julie Larrouy and Marion Séhier
curated by Maud Salembier(LaSpore)


« Child of the earth above the stratospheres
Where is the secret of the lost Tehra
Deep in Arkadia
Go follow Spartakus »
Spartakus, animated serie, 1985

It is said that the world was flooded by gods and goddesses “to decimate the human species, thanks to the winds and the waves. «And then» there was no longer any difference between sea and land.». That « all the fountains of the great deep came bursting through, and the windows of heaven were open » and « rain came down on the earth for forty days and forty nights.». And that the bells of a lost kingdom, submerged for having housed ancestral pagan rites, can be heard, ringing under the waves of a beach, under ley sands, on the edge of the Arthurian worlds.

There are lunar landscapes, bark, stumps and gray or greenish, fragmented dunes, that live in dreams of romantic ruins emerging from caves or post-apocalyptic visions. Healing of memory loopholes in a crystallized image, branches of trees bled to blue, lapidary, torn, latent, in the process of becoming, wash up indefinitely in the interstices of abandoned houses. Images and materials crackle, crossed by a seismic temporality and excavated from the depths of human history.

In the dialogant meanders of a fossilized and brocéliendic forest in the garb of forgotten, faded melancholy myth, lurks an oceanic peat, meteorite tectonics of teeming crustaceans and brutalist lychens.

Text by Maud Salembier


With the support of the Fédération Wallonie-Bruxelles



︎ SB34 The Pool

LE FOU SAUVAGE

May 14 to 29, 2021

Exhibition with Angelique Aubrit, Antonia Phoebe Brown, Mirko, Canesi, Tom Hallet, Kamilė Krasauskaitė, Giulia Messina, touche-touche, Self Luminous Society and Manon Wertenbroek.
Curated by Jacopo Pagin


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.


With the support of the Fédération Wallonie-Bruxelles




︎ SB34 The Pool

ARCHITECTURE OF HEAVEN

09.10 to 17.10.2020  

Exhibition by Goda Palekaité
Curated by Pauline Hatzigeorgiou


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.

For her exhibition at la Tour à Plomb, Goda Palekaitė takes over the “Foyer” with a series of artworks that interact with the singular architecture of this vaulted room that resembles a crypt. Under the title Architecture of Heaven, it gathers figures from different eras whose lives are marked by mystical revelations and visions of ecstasy that have led them to a second life, set back from the secular world. The exhibition brings together sculpture and video installations, as well as a performance to be held on October 10. The opening of the exhibition, on October 8, will also be dedicated to the launch of her book, Schismatics.


PROGRAM︎ October 8 opening from 6pm to 9pm and Schismatics book launch and reading from 7.30pm to 8pm
︎ October 10 from 7pm to 9pm performance-dinner in collaboration with Jonas Palekas - Digestive System of Humanity : The Mouth free entrance but limited seats – register at info@sb34.org


@Centre Tour à Plomb


The exhibition Architecture of Heaven and the performance Digestive System of Humanity: The Mouth are organized by Schizma organization in collaboration with the non-profit SB34, with the support of the Tour à Plomb/City of Brussels, the Ministry of Culture of the Republic of Lithuania and the Lithuanian Council for Culture.




︎ SB34 The Pool

THIS WORLD NEEDS EVERYTHING, EXCEPT ADDITIONAL INFORMATION

26.09 to 04.10.2020

Baptiste Conte & Alix Dussart

& SB34 OPEN ARTIST STUDIOS


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 ?


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



︎ SB34 The Pool

LONG DISTANCE

25.07 to 06.09.2020

Annaïk Lou Pitteloud
An exhibition curated by Pauline Hatzigeorgiou


Annaïk Lou Pitteloud (*1980) is a Swiss artist who lives and works between Brussels and Bern. Her practice is characterized by sober interventions through which she questions and thwarts the systems of representation and the norms that determine the social uses of spaces. While paying particular attention to institutional frameworks, her work often probes the gaps between language and object, between the perceptual phenomenon and mental projection. Elements drawn from established systems of measurement, relationships of proportions and other formats are subjected to transpositional procedures that give rise to meaning-making inadequacies and narrative reverberations.
    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 reflects 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. Initially scheduled for the end of April to mid-May to coincide with the Art Brussels fair, the exhibition was postponed during the summer, in accordance with health measures. Without modifying the contents, this project has in the meantime seen its meaning influenced by the context we are living in and which reaffirms its purpose. With a large part of social life being put under the bell, communication tools become the relay for human relations that are subjugated to isolation and distance, whereas in art, they provide platforms for relocation, reducing it to issues of visibility and distribution, leaving more than ever the power relations linked to artistic work and production in the shadow. [...]


Image — Ad Reinhardt, Art as Art: The Selected Writings of Ad Reinhardt (ed. Barbara Rose), University of California Press, Berkeley and Los Angeles 1991.




︎ SB34 The Pool

ROTATOR

25.06 to 19.08.2020

Boris Steiner & Ricardo Van Eyk  
An exhibition curated by Jacopo Pagin 


︎ ONGOING AND UPCOMING ︎︎︎