Co-curated with Natalija Gucheva
& Abel Hartooni
Pilar, Brussels. 2026.
Setting the Table used food and gathering as a curatorial methodology for rethinking institutional access. Taking the table — who sets it, who sits, who clears — as both subject and structure, the programme proposed the exhibition space as a site of hospitality rather than passive reception.
Charbel Alkhoury & Monica Basbous traced how a WhatsApp gaming group became a mutual aid network during Lebanon’s 2019-2020 crises; Pushing Hands and ar kiều bỉ wove together textile, mapping, and food to animate Vietnamese-Belgian community archives; Lou Cocody-Valentino assembled domestic fabrics into fragmented memory landscapes. Across the works, diasporic experience, food, and collective memory were treated not as content to display but as practices of relation.
Artists & Collectives
Pushing Hands
Tashattot
Lou Cocody-Valentino
Shift-t*
ar kiều bỉ (invited by Pushing Hands)
B32. 2024.
‘yellow brick, blue brick, perpetually’ connects the site-specific history of the planned residential area ‘De Ravelijn’ to a broader idea of enclosure: of land, but also of knowledge, of bodies, and of our relationship to nature and to one another.
Five artists, Mounir Eddib, Helena, Samuel White, Angelina Nonaj and Alaa Abu Asad (علاء أبو أسعد), present works that respond to the neighbourhood's history. The works reflect on acts of division, measurement and repetition, and on how these shape our lives in ways we often don't see.
In the coming weeks, a public programme will include performances by Angelina Nonaj and Alaa Abu Asad (dates to be announced). In it, the artists reimagine the neighbourhood's former identity as a ‘woonschool’ (residential school) as a place to unlearn, question the politics of space and restore connections that enclosure has broken.
This project is supported by the city of Maastricht & Mondriaan Fonds.
Co-curated with Natalija Gucheva
To Weave a Story set out to diversify not only who our stories are about, but how stories are formed and told. The artworks became story elements: props, characters, natural life and backdrops. In a workshop aimed at queering modes of storytelling, these elements were taken apart and recombined. The outcomes formed the basis for performances and oral storytelling sessions, so the exhibition's narrative kept changing throughout the day. Each hour, a new story wove the same elements together differently.
Artists
Aidan Abnet
Justine Grillet
Guillaume Jannes
Jochem Mestriner
Samuel White Evans
& Natalija Gucheva
Writers
Isa Vink
Jule Köepke
Jesse Kempkes
Babette Lagrange
& Sjoerd Beijers
This project is supported by Alles Kan & Stad Gent.
Curated and co-produced by MaggZ & Sjoerd Beijers
As ecological mutation entangles our realities ever further, the Western urge to divide and classify grows increasingly incompatible with what this moment demands. Over the course of one evening, Cosmovisions brought sculpture and performance together to explore alternatives to the Western division between man and nature, and the former's mastery over the latter.
A white figure stares into a mirror. Sharp fangs cling around a poem. A tail, like a horse's, wags slowly as they step through space.
Throughout the evening, the linearity of time and progress was set aside in favour of a reading in which past, present and future coexist. Reconnecting with forgotten practices and knowledges of spirituality, magic and the natural world, the artists took a position akin to that of the shaman: negotiating with the invisible and mediating with the realms of animals and nature. In doing so, they sought, if only temporarily, to reveal what the current cultural paradigm suppresses.
A passage of rite, an offering beneath treelike plastic structures. A heart-shaped pendant. Dry branches snapping. Dissonant spinal movements, mimicry.
Artists: Che Go Eun, Tristan Bründler, Kyra Nijskens, Natalija Gucheva, Benjamin Schoones, Aidan Abnet, Alexis Gerlach, Adriaan de Roover, Anca Bârjovanu, MaggZ
DJ: kn1ps
Supported by the Vlaamse Gemeenschapscommissie (VGC) & À Fonds
Home Sweet Home brought eight participants together to explore what a home is, or could be, and to look for alternative forms of kinship. Performance work and edible sculptures by the invited artists opened up the communal side of the home, and a collective reading gave space to reflect on it. Using objects brought by the participants and materials prepared by the curators, the group then built a home together.
This collectively built home later opened to the public as an exhibition. For a moment, the private became public: the home turned into a meeting ground and a place for collective reflection.
Performance: Adriana Joëlle
Contributions: Lorenço, Kyra Nijskens, Abel Hartooni, Beljita Gurung, Lizzy Jongedijk, Seppe-Hazel Laeremans, Jessica Marlieke van Egmond
+31 6 23209720
@sjoerdbeijers
Their practice asks how material things and immaterial systems shape the way we come together: which relations they reinforce, and which they allow us to renegotiate. Beijers explores this through counter-institutional infrastructures: small, self-organised structures that challenge dominant cultural logics and redistribute agency. Working collectively, they question individual authorship and the regimes of ownership that have eroded the commons.
This takes shape in decentralised formats of gathering, from dinner performances to collective readings, in which care is a method rather than a metaphor. As chair of B32 Artspace, they initiated and coordinate Anti-Class, an experimental residency and summer school grounded in Harney and Moten's notion of study, where participants shape the curriculum together through shared meals and collective activities. They also host a monthly commons café in their home, an informal space for mutual support and humanitarian fundraising.
BFA Graphic Design - ABK, Maastricht | 2019
B32 | May 2025 - present
Coordinator & Coach - YOUNG OFFICE
Bonnefanten Museum | Feb 2025 - present
Lead Diversity & Inclusion
Bonnefanten Museum | April 2025 - present
Independent curator
2023 - present
Indepent graphic designer
2019 - present
Anti-Class 26
Residency for colletive study.
B32, Maastricht, NL
commons café
Monthly fundraising dinner series.
Home, Maastricht, NL.
Shaggy Dough
Performance and temporary cooking station.
Kunsthal, Gent, BE.
2025
nuage, bulut, nuvola, chmura, سَحَابة ,ڪڪر, wolk
Interactive hotpot performance.
Art Au Centre, Liege, BE.
Setting the Table
Exhibition & public programme.
Pilar, Brussels, BE.
picnic
Performative walk & publication launch.
B32, Maastricht, NL.
Des Bons Enfants
Exhibition with YOUNG OFFICE. Bonnefantenmuseum, Maastricht.
Sage in the Fall, Grape Leaves in the Spring
Collective Reading & Dinner.
B32, Maastricht, NL.
Anti-Class open studios
Open studios, collective cooking &community dinner.
B32 & Parking lot, Maastricht, NL.
2024
Yellow Brick, Blue Brick, Perpetually
Exhibition & public programme.
B32, Maastricht, NL.
To Frame, To Fail, To Surface, workshop on queer intelligibility at Het Paviljoen, Ghent
Jumping Fences
Group exhibition.
Vleeshal, Middelburg, NL.
Jumping Fences, artist residency at Het Paviljoen, Ghent
2023
To Weave a Story, exhibition and workshop at De
Home Sweet Home, workshop at SECONDroom, Antwerp
Meeting Grounds, coordination of KASK project week under guidance of Paul Bailey, at Kunsthal, Ghent
Salad Days, groupshow at Design Museum, Ghent
Cosmovisions, exhibition and public programme
Self-published essay, printed at Jan van Eyck Academy
2025.
Porous walls
Letter essay, published by Seppe-Hazel.
2024.
Where the Earth Meets the Sky:
In search for an alternate perception of the horizon, as tool to navigate away from aesthetic and epistemic injustice of Euclidean space in digital 3D
MA Thesis. 2024.
Nomination, 2023.
On KUBAparis
2024.
Porous walls
Letter essay, published by Seppe-Hazel. As part of
2024.
Cosmovisions
On KUBAparis,
RUNDGANG,
Tzvetnik,
2023.
Last Updated 29.09.2026
Maastricht, 03.102026.
After six weeks of collective study, informal exchanges, and doing dishes together, Anti-Class 26 is nearing its end. Come by on October 3rd to meet the participants, get a look at some of the research, catch the performances, or just grab a drink and a bite with us.
03.10.2026, 15h-19h
B32, Mariabastion 50, Maastricht
Free entry, everyone welcome!
Participants
Tes, rupsa nag, Valeria Prorizna, Rising Lai, James Notin .ೀ
Maastricht, 2026.
Anti-Class participants hosted their own public sessions, extending the residency’s research outwards.
Together we built a sonic library, tracing the different dimensions of sound. We heard a talk on the representation of war in moving image, and how that representation has shifted. A dialogue brought together racially-isolated diaspora, sharing what it’s like growing up, or working, caught between worlds. A forum theatre session pulled the audience into the scene, testing what political action could look like. And we closed with storytime around a shared hotpot.
Maastricht, 2026.
At the core of Anti-Class lies the détournement of institutional space. Once a site of linguistic order, the former House of Languages becomes a space celebrating opacity, mis- translation and understanding.
The once-sterile office fills with mist and steam as visitors gather to cook around the collective hotpot, steep tea, and share warmth. Every ingredient dropped into the simmering pot thickens the air. Our vision blurs, translation goes astray as we meet each other, read together, and the misty windows turn into temporary archives of fugitive knowledge.
Maastricht, 2026.
Like land, everyone has the right to food, beyond enclosures and restrictions of arti- ficially drawn borders. The dinners are a small gesture of care, creating a temporary commons shaped by those present, and offering a moment to stay attuned to wider struggles. Each evening features a different menu and a different cause.
Commons Café works on a pay what you can basis, with proceeds supporting community-based and grassroots networks providing humanitarian aid. Sharing food is inherently political. These dinners are shaped by an awareness of the privilege of gathering like this, and a desire to connect small acts of care to wider networks of solidarity.
Liege. 2025.
At the core of Anti-Class lies the détournement of institutional space. Once a site of linguistic order, the former House of Languages becomes a space celebrating opacity, mis- translation and understanding.
The once-sterile office fills with mist and steam as visitors gather to cook around the collective hotpot, steep tea, and share warmth. Every ingredient dropped into the simmering pot thickens the air. Our vision blurs, translation goes astray as we meet each other, read together, and the misty windows turn into temporary archives of fugitive knowledge.
Maastricht, 2026.
At the core of Anti-Class lies the détournement of institutional space. Once a site of linguistic order, the former House of Languages becomes a space celebrating opacity, mis- translation and understanding.
The once-sterile office fills with mist and steam as visitors gather to cook around the collective hotpot, steep tea, and share warmth. Every ingredient dropped into the simmering pot thickens the air. Our vision blurs, translation goes astray as we meet each other, read together, and the misty windows turn into temporary archives of fugitive knowledge.
Anti-Class: neighbourhood lunch
During Anti-Class’s open studios, we decided to organise a neighbourhood lunch, bringing together neighbours, local vegetable gardens, foraged ingredients, and food surplus from organic farmers.
The afternoon paused on what usually goes unnoticed: the distance between production and plate, and the labour and ecologies that fill it. After cooking and eating together, leftover vegetables were fermented and shared at subsequent public events, extending the lunch beyond itself into an ongoing exchange.
Laborum Ullamco — LAB 62
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