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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 

Arrows of Desire: Harry Gould Harvey IV and Faith Wilding, David Winton Bell Gall

'In hopes but often in a contradiction. Allegro Agitato' by Daria Makarova
 at IS

'Homesick', Group Show by Shivers Only Hosted by Radical PR, Paris

'Case Study: The Corporate Stoner', Group Show Curated by Christian Roncea at Qua

'A Mirror to Forget' by Jessica Butler and Isabella Kressin at Gern en Regalia, N

'Where My Cards Lay' by Ieva Kraule-Kūna at Kim?, Riga

'Ante mare et terras' by TARWUK at Collezione Maramotti, Reggio Emilia

'Dorm Room' by David Gruber at Trust, Vienna

'Wings in motion' by Šimon Chovan at Nitrianska Galéria, Nitra

'Concert in "The seeds" club' by Katerina Lukina at Alisa gallery, Moscow

'Jakub Jansa: SHAME TO PRIDE (Club of Opportunities, ep. 7)' by Jakub Jansa at Mo

'When the Dust Settles' by Adam Cruces at Rindermarkt 23, Zürich

'My purble place' by Alice Pilusi at L’ascensore, Palermo

'YOU WILL NEVER WALK ALONE' by Cécile di Giovanni at Goswell Road, Paris

'Into the Unknown' by Lukas Hofmann at Moderna Museet, Malmö

'Урочище Selbst' by Dasha Kuznetsova at ISSMAG, Moscow

'The Notebook Simulations' by Agnes Scherer at Kunstverein für die Rheinlande und

'Two Suns Upon Shatt al Jarid' by Monia Ben Hamouda at Pols, Valencia

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