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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 

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'Hard Counter Club', Group Show at Zape, Alboraya

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'Never Early but Always On Time', Group Show at Apartment 13, Providence

'Daybreak' by Elisa Barrera at Lucas Hirsch, Dusseldorf

'Hat Box' by Julie Malen at Catbox Contemporary, New York

'19742 Ceremony' by Dishon Yuldash at Daipyat, Voronezh

'STILL MAGIC', Group Show at Redkie Iskusstva, Saint-Petersburg

'Methods for Regional Stewardship' by Will Bruno at Smart Objects, Los Angeles

'In Flames' by Inside Job at Lily Robert, Paris

'Spas Setun Dystopian Party Collection', Group Show at Spas Setun, Moscow

Money Gallery at BIENVENUE ART FAIR, Hotel La Lousiane, Paris

'Ok boomer', Group Show at Plague Space, Krasnodar

Greg Meza at ANDNOW/​WAREHOUSE, Dallas

'Von der schenkenden Tugend', Group Show at Zarinbal Khoshbakht, Cologne

Matthew Peers, Max Ruf at Lady Helen, Berlin

'Green changed to white, emerald to opal, nothing was changed' by Vadim Murin at

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