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Alexandre Lavet and Nicolas Moreau at Deborah Bowmann, Brussels

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Window view
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Alexandre Lavet, Peanuts
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Exhibition view
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Exhibition view
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Alexandre Lavet, Colle blancheAlexandre Lavet, Colle blanche
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Alexandre Lavet, Excerpts from summer
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Alexandre Lavet, All the good times we spent together
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Alexandre Lavet, I sit a lot
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Nicolas Moreau, Fugue
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Exhibition view
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Alexandre Lavet, All the good times we spent together
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Nicolas Moreau, Fugue
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Nicolas Moreau, Fugue
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Alexandre Lave, Learn from yesterday
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Alexandre Lavet, L’introduction frontale
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Nicolas Moreau, Je n’ai pas fermé l’oeil de la nuit
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Nicolas Moreau, Je n’ai pas fermé l’oeil de la nuit
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Alexandre Lavet, All the good times we spent together
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Exhibition view
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Exhibition view
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Alexandre Lavet, Dürst Britt & Mayhew
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Exhibition view
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Alexandre Lavet, Les oubliés
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Alexandre Lavet, All the good times we spent together
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Alexandre Lavet, NECA 0304
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Exhibition view
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Nicolas Moreau, Je n’ai pas fermé l’oeil de la nuit
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Exhibition view
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Alexandre Lavet, Les oubliés
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Alexandre Lavet in collaboration with Marine Peyraud, A dedication to my mother

[…] If man were to invest in whistling everything he normally entrusts to words, and if the blackbirdwere to modulate into his whistling all the unspoken truth of his natural condition, then the first step would be taken toward bridging the gap  between ... between what and what? Nature and culture? Silence and speech? Mr. Palomar always hopes that silence contains something more than language can say. But what if language were really the goal toward which everything in existence tends? Or what if everything that exists were language, and has been since the beginning of time? He is again Mr. Palomar gripped by anguish.

After having listen carrefully to the whistle of the blackbird, he tries to repeat it, as faithfully as he can. A puzzled silence follows, as if his message required careful examination; then an identical whistle re-echoes. Mr. Palomar does not know if this is a reply to his or the proof that his whistle is so different that the blackbirds are not the least disturbed by it and resume their dialogue as his nothing had happened.

They go on whistling, questioning in their puzzlement, he and the blackbirds.

The blackbird’s whistle, p.26-27, Palomar, Italo Calvino, A Harvest Book (1985)

24.3.18 — 19.5.18

Photo by Ludovic Beillard and Alexandre Lavet

Deborah Bowmann 

'ABSINTHE', Group Show Curated by PLAGUE at Smena, Kazan

'Pupila' by Elizabeth Burmann Littin at Two seven two gallery, Toronto

'Auxiliary Lights' by Kai Philip Trausenegger at Bildraum 07, Vienna

'Inferno' by Matthew Tully Dugan at Lomex, New York

'Зamok', Off-Site Group Project at dentistry Dr. Blumkin, Moscow

'Dog, No Leash', Group Show at Spazio Orr, Brescia

'Syllables in Heart' by Thomas Bremerstent at Salgshallen, Oslo

'Out-of-place artifact', Off-Site Project by Artem Briukhov in Birsk Fortress, Bi

'Gardening' by Daniel Drabek at Toni Areal, Zurich

'HALF TRUTHS', Group Show at Hackney Road, E2 8ET, London

'Unknown Unknowns' by Christian Roncea at West End, The Hague

'Thinking About Things That Are Thinking' by Nicolás Lamas at Meessen De Clercq,

‘Funny / Sad’, Group Show by Ian Bruner, Don Elektro & Halo, curated by Rhizome P

'Don’t Die', Group Show at No Gallery, New York

'Almost Begin' by Bronson Smillie at Afternoon Projects, Vancouver

'I'll Carry Your Heart's Gray Wing with a Trembling Hand to My Old Age', Group Sh

'hapy like a fly' by Clément Courgeon at Colette Mariana, Barcelona

'Fear of the Dark' by Jack Evans at Soup, London

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