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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 

'Flaschen & Geister' by Eric Meier at Mountains, Berlin

'Boreal Throne', Off-Site Group Project at Smena, Kazan

'BUZZ' by Karina Mendreczky, Katalin Kortmann Járay at FKSE Studio of Young Artis

'Dieu' by Mélanie Matranga at High Art, Paris

'Fantasy Lands' by Maggie Dunlap & Allan Gardner at Collective Ending, London

'Dead Season' by Vitaly Bezpalov & Karina Azizova at Spas Setun, Moscow

'Duru Duru' by Stefano Serusi at Galleria Arrivada, Milan

'Ø' by Andrea Nacciarriti at DISPLAY, Parma

'Vore' by Jenkin van Zyl at Rose Easton, London

'Bigag & The Bando' by Theodor Nymark at aaaa Nordhavn, Copenhagen

'Mitla' by Andy Medina at Estrella Gallery, New York

'INSIDE OUT' by Poupak Sarah Shoughi at Herrretics, Derbyshire

'LIBERTY' by Débora Delmar at GALLLERIA PÌU, Bologna

'HEARTH' by Liam Denny at Greenhouse Off-Site, Melbourne

'CANDALÙ' by Rachele Maistrello at Almanac, Turin

'Thought-Forms' by Andy Ralph Presented by Final Hot Desert, Nephi, Utah

'The Laws Of Hospitality' by Travis John Ficarra at Lindberg Galleries, Melbourne

'Firmament' by Aaron Christopher Rees at NAP Contemporary, Mildura

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