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'The body is a butter brain' by Laura McCoy & Lucas Regazzi at Calaboose, Montreal

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Lucas Regazzi, Open open excellent access, 2019 / I am capable of expansiveness, 2018
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Laura McCoy, Custard and Shame, 2018
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Laura McCoy, Custard and Shame (detail), 2018
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Laura McCoy, Sorry Again, 2018
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Laura McCoy, Sorry Again (detail), 2018
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Laura McCoy, Sorry Again (detail), 2018
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Laura McCoy, Sorry Again and Again, 2018
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Laura McCoy, Sorry Again and Again (detail), 2018
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Laura McCoy, Power Down Below, 2018
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Lucas Regazzi, A rosery, 2019
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Lucas Regazzi, A rosery (detail), 2019
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Laura McCoy, Fear with Cream, 2019
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Laura McCoy, Fear with Cream (detail), 2019
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Laura McCoy, Fear with Cream (detail), 2019
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Lucas Regazzi, ____________, 2019
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Lucas Regazzi, ____________ (detail), 2019
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Lucas Regazzi, Sun Scratch, 2018

If you feel good when you first wake up it’s because it’s an opportunity to exercise discernment. The inner critic and inner amnesiac squabbling in the sun. 

Thriving is persisting with doubt.

Look, your eyes can be raw and useful, or comforting little spoons. Blinking is medicine and fertilizer for whatever range of motion is for you. Making some art is rehearsing for being. Sometimes you rehearse in the window or on your phone, for whoever happens to be out there. Squatting and reaching. It’s important to rest before you sleep. 

Wound up, as when I am like a toy with a key, or whatever fear or food or height gets the heart rate up, I can be wound down. Laid in a box like a paper doll or fork. My heart announcing its faltering range of motion. 

Vital can still be fearful, can still be shy.

Or, just like a duck swimming. Ducklings rehearse being a lot. Young things do. Perhaps new objects do. Hair and nails are dead, insensitive; they collect the day’s material, and grow. 

All postures for reading heavy objects in bed challenge you. Ditto laptops. Keep it moving! Make your ass switch tabs. Record and dictate. Or just sense yourself as a heap. 

This pillow is welcoming and cold. I make you feel welcome by leaving out raw fruit. I sleep energetically beside dishes of sugar water that empty mysteriously in the night.

I mishear that spring comes etymologically from ants springing out of the earth. It was actually plants.

There’s so much to be retrieved from the garden, under the bed, in the recesses of our tender bodies. More and more and more than we know, even with the old pains of digging. 

Pain is a hovering gesture. Love is, differently, too.

— Lena Suksi

6.4.19 — 27.4.19

Calaboose

'Field of Flowers' by Anna Taganzeva-Kobzeva at Fabula Gallery, Moscow

'WEBWAY' by Jennifer Mathews and Mia Middleton at Haydens Gallery, Melbourne

'Body Without Organs
' by Matt Smoak at BAD WATER, Knoxville

'Aladdin Kebab', Group Show Curated by TZVETNIK at llil.space, Rostov-on-Don

'Squeaky Beach' by Collective Disgrace (Ilana Winderickx, Sophie Conus, Pablo Rez

'Session N1 Distant touch' by Sasha Gosmant and Olesia Lavrinenko at Daipyat, Vor

'...schläft sich durch' by Elif Saydam at Kunstverein Harburger Bahnhof, Hamburg

'Flesh of Earth' by Suzanna Zak at Prairie, Chicago

Proudfoot & Piasecka (ft. Nima Séne, Ailie Ormston and William Darrell), ENSEMBLE

'Šedý girlandy' by Anka Helfert at Studio PRÁM, Prague

'Castles III' by Jesse Sullivan at apartment 13

'You Likey?' by Joe W. Speier at King’s Leap, New York

'À fleur de boue' by Cecilia Granara & Pierre Unal-Brunet at Double Séjour, Clich

'Fog Palace' by Philip Hinge & Club Superette (presented by Catbox Contemporary)

'Truth' by Alexey Zhuravlev at Gallery Victoria, Samara

'Siren Fort', Off-Site Group Show at Rozel Point Oil Field, Utah

'Glück für Sorgenkinder' by Isadora Vogt at Sentiment, Zurich

'Tales of Nursing' by Loren Kagny at eeeeh!, Nyon

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