image text special shop

Alexandre Lavet and Nicolas Moreau at Deborah Bowmann, Brussels

article image; primary-color: #938B80;
Window view
article image; primary-color: #C2C1C7;
Alexandre Lavet, Peanuts
article image; primary-color: #6E6761;
Exhibition view
article image; primary-color: #7C7269;
Exhibition view
article image; primary-color: #4C4441;
Alexandre Lavet, Colle blancheAlexandre Lavet, Colle blanche
article image; primary-color: #78675D;
Alexandre Lavet, Excerpts from summer
article image; primary-color: #8C786D;
Alexandre Lavet, All the good times we spent together
article image; primary-color: #7D726E;
Alexandre Lavet, I sit a lot
article image; primary-color: #675B4F;
Nicolas Moreau, Fugue
article image; primary-color: #8B827B;
Exhibition view
article image; primary-color: #544B42;
Alexandre Lavet, All the good times we spent together
article image; primary-color: #32312D;
Nicolas Moreau, Fugue
article image; primary-color: #3D3A35;
Nicolas Moreau, Fugue
article image; primary-color: #4A4541;
Alexandre Lave, Learn from yesterday
article image; primary-color: #67645F;
Alexandre Lavet, L’introduction frontale
article image; primary-color: #6D6A65;
Nicolas Moreau, Je n’ai pas fermé l’oeil de la nuit
article image; primary-color: #736C66;
Nicolas Moreau, Je n’ai pas fermé l’oeil de la nuit
article image; primary-color: #47443F;
Alexandre Lavet, All the good times we spent together
article image; primary-color: #635A51;
Exhibition view
article image; primary-color: #574E47;
Exhibition view
article image; primary-color: #453C35;
Alexandre Lavet, Dürst Britt & Mayhew
article image; primary-color: #696059;
Exhibition view
article image; primary-color: #978B7F;
Alexandre Lavet, Les oubliés
article image; primary-color: #665B55;
Alexandre Lavet, All the good times we spent together
article image; primary-color: #38363B;
Alexandre Lavet, NECA 0304
article image; primary-color: #68635D;
Exhibition view
article image; primary-color: #787570;
Nicolas Moreau, Je n’ai pas fermé l’oeil de la nuit
article image; primary-color: #7C6553;
Exhibition view
article image; primary-color: #847369;
Alexandre Lavet, Les oubliés
article image; primary-color: #796C63;
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 

'THEIR VOLUMES, WORKS FROM THE CRISTELLA COLLECTION', Curated by Treti Galaxie at

'Soft Armor' by Garance Früh at In extenso, Clermont-Ferrand

'Of new monsters, Earth created more' by Olga Paramonova and Nika Peshekhonova at

'1000 Regrets' by Nicola Genovese at Lokal-int, Biel

'Fragrant Tissues', Group Show at beacon, Munich

'Like a Moth to a Flame' by Luca Florian at Atelier 35, Bucharest

'Social Agony Conscious Healing' by Jack Kennedy at Forth, Nottingham

'CELESTIAL POETICS', Group Show Curated by Liam Denny at Greenhouse Off-site, Mel

'GRAFT' by Amitai Romm at VEDA, Florence

'Terrapozzoli' by Martina Kügler at Mountains, Berlin

'Un perfume sin soporte, un gasto puro' by Marina Glez. Guerreiro and Raúl Lorenz

'Misty’s Tears', Off-Site Show by Gitte Maria Möller in Unitarian Church, Cape To

'Meditations on Entropy' by X Breidenbach at NIGHTTIMESTORY, Los Angeles

'Plague Expo Show', Group Project at Plague Office and Sasha Shardak's studio, Ka

'Re: Recover; Don't make angels dream of' by Yamamoto Shohei at Ritsuki Fujisaki

'Peel' by Stian Ådlandsvik at Van Etten Gallery, Oslo

'Figures of Speech', Group Show Curated by Dobroslawa Nowak and Nicola Nitido at

'Wet Wishes' by Laura Ní Fhlaibhín at Britta Rettberg, Munich

Next Page