• Selected exhibitions
  • Selected works
  • Informations
  • Texts
  • Selected texts

    Antoinette Jattiot, November 2016

    Text written for the exhibition La cigarette n'a pas le même goût au soleil at Dürst Britt & Mayhew, The Hague, The Netherlands

    Alexandre Lavet invites audiences to reflect on the exhibition space’s hidden structures, which can be understood by strolling and slow observation. For the viewer this implies a change of perception, taking responsibility of one’s own gaze and the impossibility of a brisk pace. The ‘residues’, ‘gestures’ and ‘acts’ that Lavet proposes are eloquent remnants of a mode of living. Gentle and ineffable, the artist’s whispered rumours divert attention from the objects usually presented in an exhibition space. Thus a (re-)sensitised relationship with the ‘White Cube’ and similar modes of presentation is being established. Singular and indescribable as a cigarette smoked in the sun, the enjoyment of the moment offered is an articulate and sentimental experience of emptiness, a discreet celebration of bare necessities and the subtle art of doing next to nothing.

    Frédéric Bouglé, December 2013

    Text written for the exhibition book Les enfants du sabbat 15
    Published by CAC Creux de l'enfer in March 2014

    Does Alexandre Lavet fear the torments of the blank page ? Not really since for him The blank page doesn’t exist. The artist keeps it for the exhibition space, nail to earth and not nail to nail, an insignificant detail worth noting. And the latter, this almost nothing, will be the only object of interest. This approach that focuses on the fullness of the void will be developed through several mediums of creation: photography, video, sculpture, installation, even graphic arts ... all mediums subject to the audacity of the operation.
    What excited Marcel Proust in Flaubert’s work was neither the language nor the style, but the «white», an invisible meaning left between the words. The work, in its visual eurythmy, in its austere formulation, strengthens the pillars of a sleek practical thinking. This is probably less the result of a «negative reduction» - as would have expressed the philosopher Jacques Derrida - but a positive reduction in the contemplation of a space or a small object, as found in the white of a watchful eye.

    François Aubart, February 2014

    Text written for the exhibition Les enfants du sabbat 15 in March 2014 at the Contemporary Art Center Le creux de l'enfer, Thiers, France

    Despite their inclination to disappear and to be as invisible as possible, exhibition spaces are marked by certain characteristics. Under their apparent neutrality lies an equipment for standardization and configuration. This is what Alexandre Lavet talks about in his project Demain, peut-être. This work is a set of sculptures made of elements that support or surround the works in an exhibition. Stands, gates and frames appear as such, for what they are. Under our eyes thus deploys itself an exhibition by the void, the highlighting and contemplation of all the elements that shape our relationship to art.
    By showing these elements for what they are, independently, Alexandre Lavet releases them from their expected function. Moreover he reveals their sculptural qualities. This demonstration of a neutral object, or at least an object charged with an artistic coefficient, as an art work was also exploited by Alexandre Lavet in his project La page blanche n'existe pas. He built a number of elements such as white pedestals, frames or newspapers that appear as different spaces waiting for an artistic intervention taking their autonomy. In this project he constructs an exhibition space, a white cube with neon lights and pedestals, shown as a sculpture. The following projects of Alexander Lavet consist of barely visible interventions in the fictional space which is that of the exhibition. A pair of forgotten nails, a staple or graphite. traces of construction that we often try to hide are here called upon and shown as artistic propositions. Proposals that hold a low visibility coefficient. It is indeed possible to miss these interventions, but it can also be understood in a narrative way. Indeed these traces of construction appear as bait for future stories, stories that took place before the opening of an exhibition. these items also have a narrative narrative since viewers often interact with them. walking on them, they mark the ground, sometimes they displace the sculptures unknowingly. Thus, with discretion Alexandre Lavet reveals the exhibition in which he operates. This is because by exploiting some of its characteristics, it transforms the exhibition in a fiction that can only take place there. By exploiting these features with little means a sunset appears in a showroom. His video Sunset exploits indeed the reflective possibilities of the exhibition space’s ground to transform a trite video of changing colors to black into a grand spectacle. Again the sublimative potential of the exhibition space is operated at full capacity.

    Martial Deflacieux, Le jour où la nuit se lève (The day where Night stand), 2013

    Text written for Première, a collective exhibition and an exhibition book
    Coproduced by the Contemporary Art Center of Meymac and the BBB Art Center in January 2014

    Understanding the process of Alexander Lavet is first accepting the idea of this hypothetical look that could, from both sides of one point of view, see at the same time, sunset and sunrise. Few roads lead to this paradoxical point of view. Some images are able, those that Alexandre Lavet produces withhold this quality.

    They radiate from this idea that sees the emergence of a form through its disappearance. This is precisely what is happening before our eyes when watching Sunset (1). This video projects the scrolling of a screenshot in which unfolds from a half round yellow surface, the colors of a prism up to almost black dark indigo. This film shows night appearing during the day. The poetic power of the image is matched only by the significant disembodiment of the manufacturing process that saw its birth. Indeed, the colors were generated by a computer program and their evolution created by the banal use of scrolling. the night that we went through by watching Sunset is the one of the reality of image.

    It would not take much to misunderstand the work of Alexander Lavet and lend to its sensitivity intentions of a philosophy that claims to see the dissolution of reality in its representation. Night, just like void and absence are elements of which Alexander Lavet contests the poverty in particular by the singular use of latent forms taking the appearance of strange sculptures. La page blanche blanche n’existe pas (2) and Demain, peut-être. (3) are in this sense programmatic titles. La fin du monde (4) isn’t a prophecy of the Apocalypse but different views of google street view. The end of the world leads us to the border of possible virtual geographic navigation, where the Internet can not offer them anymore and where explorers’ journey can begin. The place where Alexandre Lavet invites us is not the end of the image but that of its possible discovery.

    Sans titre.sub (5) itself could summarize what has been said. This silent color film, as described, is black except for yellow subtitling, a story for the viewer that seems to give a voice to the film. Its qualification confronted with the impression it gives isn’t it’s last paradox. Its light source is, for example, the projection of a black background. Subtitling does not interpret any language except the one that we start to imagining because of it. This installation is very beautiful, it offers despite its apparent simplicity many aesthetic possibilities, ie numerous ways to see it, to consider it, to think. Night, that seems to haunt Alexander Lavet’s work is not that of mourning but the threshold where we are able to lift the eyes on both sides of the different realities that compose any image.

    1 Sunset, 2012, screencast, 9 mn, loop
    2 La page blanche n’existe pas, 2011, various items
    3 Demain, peut-être ., 2011, various items
    4 La fin du monde, 2012, set of 9 screenshots, inkjet print on Epson Premium Semigloss Paper, 45 x 70 cm each
    5 Sans titre.sub, 2013, silent color movie, 11 mn