Forms of Public Privacy

“Sometimes I find myself explaining to someone at 2 a.m. what a subsidy is. Or how train tickets become cheaper if you have the increased allowance – and what that is exactly. Or in which months you should email a cultural centre if you want to sell a performance. Then those people often say: “Huh, why didn’t I know this?” And: ‘Why isn’t all this just explained somewhere in simple words?’

So I started writing it myself. Because I had to figure these things out myself as a new creator, I can speak from experience. I know better than Kunstenpunt or Cultuurloket what a starting creator struggles with, because I’ve only been doing this for a few years myself. I can explain it better because some things in practice are quite different from the theory.”

Egon Schoelynck (he/him, 1996) is a Sunday child and theatre maker. His work is political-ish and can be found in black boxes, on paving stones and in collective collaborations. His artistic practice was supported by detheatermaker (’22-’25), where he explored, among other things, how to run a soap opera in a café without actors. Together with Runa Robbroeckx and Lennert De Vroey, he created KAK, an ecological shitshow (2025). He also solves global problems with punk songs and children’s instruments, under the name Middle Class Babypunk.

Partie sur les sites de la dernière briqueterie artisanale de Riemst et de la recyclerie de briques d'Alexander van Mosselaer, Juliet Mérie en ramène un récit poétique qui explore notre rapport à la matière vivante et questonne le cours de la vie. 

Loin d'être un documentaire, ses photographies créent un rapport ambigu entre la perception des espaces visités et l'allégorie qui s'installe. La possière se soulève pour dévoiler les lieux de vie et de mort des briques qui dessinent le paysage belge. 

For a long time, Israel and the West, led by Europe and the United States, have used hasbara and neoliberal discourses to hide their colonial plunder of Palestine, while today China and Russia are also whitewashing their own imperialist practices by aligning themselves with authoritarin government and projecting an image of leading resistence to western hegemony. 

This publication analyzes the structural similarities and differences between forced labor and capital exploitation of Palestinians and Uyghurs from left-wing perspective. The author hopes to dispel the myth of campism and call for inter-racial/-ethnic/-national proletarian solidarity against oppression of colonization, capital and totalitarianism. 

Real Estate Portfolio by Claire Barrow
7 panel concertina + covers / total of 16 pages 
9.6 × 14 cm folded / 98 cm extended
Riso 250gsm recycled offset exterior, litho 135gsm recycled offset interior 
Glassine sleeve, digitally printed on the front & back

Self-published edition of 300, signed by the artist
Constructed in the UK (£0.016 per cm²)

The zine was drawn in one session using the right wrong hand.

Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde—artist, poet, critic, essayist, curator, editor, filmmaker, and a promoter of experimental ideas and artistic expressions. 
Reflecting questions of hierarchy, authorship, and the complexity of framing or dividing within the multiple and complementary practices of Ernesto de Sousa—whose motto “Your Body is My Body, My Body is Your Body” serves as a poetic manifesto—this publication explores the various aspects of his oeuvre (visual, poetical, and theoretical) and his outstanding inventiveness of concepts.

The volume brings together a selection of works, unpublished archives and their translations, and theoretical texts by Ernesto de Sousa, including the first complete translation in English of «Orality, the future of art?» (1968). Richly illustrated, the book reunites an introductory text by Lilou Vidal, two new essays by Paula Parente Pinto and by José Miranda Justo along with a text by Hugo Canoilas.

"There was a time when bread was sacred; and in a general sense, all fabricated objects deserved the respect that resulted from (for the conscience of those who used them) concretely diving into their own motivations. Human gestures, like aesthetic objects, were inseparable from their relevant functions. Naturalism prompted us to look at natural and fabricated objects with a vision that was cosmic and indifferent at the same time. The objects, today, object. In the future, objects and gestures will perhaps clothe themselves once again in their lost dignity. The word love, a bit of bread, the letter A will stop being mortal accidents of daily life. Desacralized, they will once again be as decisive as the tiniest brushstroke the painter made on his canvas. And each of these brushstrokes will reveal the structure of the world. Life can then be compared to a vast work of art. Everything will be absolutely aesthetic.."
— Ernesto de Sousa

Contributors: Hugo Canoilas, Ernesto de Sousa, Tobi Maier, José Miranda Justo, Paula Parente Pinto, Lilou Vidal

It's a Fire is a collection of poems that weaves together dreamt and experienced situations, written in movement, with the intensity of senses, weather conditions, and the impossibility of fulfilment and ownership—which also makes it a reflection on desire as a force that disorganizes capitalist productivity, disciplined subjectivity, and neoliberal self-improvement. Along the way, it burns, contaminates, multiplies, and keeps on desiring.

Typeface by Bea Schlingelhoff, from the Project "Women against Hitler"

Eric Bell & Kristoffer Frick: Rainbow Rope, 2017 1, Crystal Table (II), 2017 2, 63, Platonic Solid, 2018 64, Kolumne 3, Sara MacKillop: WC2N 4, 10, 15, 24, California Cannabis Legalization 9, Letzte Ausgabe der Spartakusbriefe, Oktober 1918 11, Delia Gonzales 16-21, Cordula Daus 22, Christina Irrgang 25, Eric Ellingsen 26, Hugo Canoilas: L’ô 29, 30, 35-38, Sadie Plant 31, Markus Krottendorfer: aus der Serie TERMINAL, 2017 32, Kate Rich: Feral Trade 39, Julia Knass 44, Walter Hetzer: World Trade Center 1972 46, Lidl, Wiedner Hauptstraße 15, Wien (ehemals Generali Foundation, gebaut 1993-95, Architektur Jabornegg & Pálffy) 50, One Hour and a Half in the Life of Ztscrpt 62-52

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. 

edited by SB34
graphic design by Raphaëlle Serres / Solid Éditons

Contributions by Signe Frederiksen, Pauline Hatzigeorgiou, Margaux Schwarz, Hagar Tenenbaum, Sylvia Plath & Eleanor Ivory Weber

Drawing has long been foundational to American painter Carroll Dunham's (born 1949) practice. In this collection of recent, never-before-shown works, we witness Dunham thinking about sculpture through a series of drawings produced over the course of a year. A sampling of his drawings across time offers a chart of his artistic evolution; the 80 drawings presented here are distinctive to a new page within that history. Spurred by a desire to explore the saggy, open-frame cubic boxes that he found himself doodling along the edges of a new series of paintings, Dunham began drawing fantasies of sculpture as a respite whenever he needed a break from working on the paintings. This turned into an ongoing practice that lasted until it unexpectedly segued into a material investigation with the making of sculpture in real space. Offering intimate access to Dunham's process, this book is the first to document his thinking about spatial relationships, presentation and materials for sculptures that don't exist.

Carroll Dunham has developed an extensive oeuvre since the late 1970s in painting, drawing, and printmaking. His work has been the subject of numerous solo exhibitions, most recently a drawing retrospective at the Art Institute of Chicago (2026), and presented in group exhibitions at institutions in the United States and abroad. He lives and works in Connecticut.