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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 

'The Chase' by Jürgen Baumann at Material, Zurich

'The Host' by Pakui Hardware at eastcontemporary, Milan

'Chlamydomonas Nivalis' by Alberto Tadiello at Umberto Di Marino Gallery, Napoli

'The Centre' by Patrick Cole and Dominic Watson at Kupfer, London

'Ghost Member: Prosthesis/ Symbiosis as a shelter' by Naomi Maury at L'Assaut de

'I show you the signs of life' by Alina Izmaylova at Kerka gallery, Saint-Petersb

'I Don't Want No Trouble' by Lucas Erin at All Stars, Lausanne

'The Grime and the Schmutz' by Béla Feldberg at Jo-Anne, Frankfurt am Main

'Night of Hinnā' by Monia Ben Hamouda at Bungalow, ChertLüdde, Berlin

'Getting Down to Business' by Rebecca Rothenborg at Galerie Roland Puschitz, Vien

'Why Me?' by Pietro Agostoni at Associazione Barriera, Turin

'Holloway - ‘Das Gift’ is a Gift' by Céline Struger at Loggia, Vienna

'Under the Moon' Group Show at Camp Eternal Hell Chamber, New York

'SUPER-NATURAL', Group Show at OLHÃO, São Paulo

'Body Electric' by Zuza Golinska at Galerie Anton Janizewski, Berlin

'Almost Collapsing Balance' by Liao Wen at Capsule Shanghai

Curated by: 'HARDCORE FREEDOM' by Esben Weile Kjær at Zeller van Almsick, Vienna

anonymous, naïve ca. 1970– at Money Gallery, Saint Petersburg

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