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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.
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Aline Bouvy + Simon Davenport, New Pabulum (2015). Exhibition view. Courtesy Kunstraum, London.

New Pabulum (2015) exhibition photos

, 27 October 2015
New Pabulum, means (new) nourishment in terms of both intellectual material and food. It’s also the title of the recent show at London’s Kunstraum, which ran from September 6 to October 10, held between two artists, the Folkestone-based Simon Davenport and London-based Aline Bouvy (whose image-heavy websites are remarkably similar) and curated by Juste Kostikovaite. The press release, which is in part an abstract ‘to do list’ explains intentions such as “See a child die”, “Detest old clothes” and ‘Establish “Wet Nurse Cafe”‘. A Wet Nurse Cafe, as the text continues is something that combines the traditional and natural ‘production’ and site of food with something industrial. Breast feeding as reinterpreted, re-shuffled. “As Bruno Latour proposed”, the press release continues, “we regroup the contemporary elements along a spiral rather than a line.”
Aline Bouvy + Simon Davenport, 'New Pabulub' (2015) Exhibition view.
Aline Bouvy + Simon Davenport, New Pabulum (2015).

For New Palubub, Davenport made a small series of concrete slabs that have different shaped and sized swirly mosquito coils on their fronts. They (‘Tablets i – iii’) lie, unattached on black painted straw bales. An image of two black corn on the cobs also accompany a birds-eye-view photograph of a tractor, the scale of which is undeterminable, that is harvesting a surface – also undeterminable. It looks like the tractor is harvesting stones. On top of the photograph is painted two small black oil paint blobs or eyes, which makes the image smile. It fits that the tractor is the mouth.

Belgium-based, Aline Bouvy made two new friezes or reliefs made from industrially produced linoleum cut up by the artist called ‘The Description Doesn’t Fit’ (2015). The reliefs are large and with people in them. Curiously they are descriptive in that you see something so illustrative (or figurative) as a person crawling with a swirly pipe leading all the way from their anus to their mouth over what could be grains, like the harvest Davenport’s tractor couldn’t harvest, although it is also just the raw material of the image’s surface. The other frieze by Bouvy sits close by and features a central figure, black with thick linoleum at a table – ribs protruding – and surrounded by ghost-versions of him/her self, whose bodies have been replaced by the same fainter material applied underneath the crawling figure. **

Exhibition photos, top right.

New Pabulum was on at London’s Kunstraum from September 6 to October 10.

Header image: Aline Bouvy + Simon Davenport, New Pabulum (2015) Exhibition view.

Sex, authorship + institutions in the digital age for Young Boy Dancing Group’s Euro Tour starting in London, Sep 16 + 17

15 September 2017
New Pabulum, means (new) nourishment in terms of both intellectual material and food. It’s also the title of the recent show at London’s Kunstraum, which ran from September 6 to October 10, held between two artists, the Folkestone-based Simon Davenport and London-based Aline Bouvy (whose image-heavy websites are remarkably similar) and curated by Juste Kostikovaite. The press release, which is in part an abstract ‘to do list’ explains intentions such as “See a child die”, “Detest old clothes” and ‘Establish “Wet Nurse Cafe”‘. A Wet Nurse Cafe, as the text continues is something that combines the traditional and natural ‘production’ and site of food with something industrial. Breast feeding as reinterpreted, re-shuffled. “As Bruno Latour proposed”, the press release continues, “we regroup the contemporary elements along a spiral rather than a line.”
Aline Bouvy + Simon Davenport, 'New Pabulub' (2015) Exhibition view.
Aline Bouvy + Simon Davenport, New Pabulum (2015).

For New Palubub, Davenport made a small series of concrete slabs that have different shaped and sized swirly mosquito coils on their fronts. They (‘Tablets i – iii’) lie, unattached on black painted straw bales. An image of two black corn on the cobs also accompany a birds-eye-view photograph of a tractor, the scale of which is undeterminable, that is harvesting a surface – also undeterminable. It looks like the tractor is harvesting stones. On top of the photograph is painted two small black oil paint blobs or eyes, which makes the image smile. It fits that the tractor is the mouth.

Belgium-based, Aline Bouvy made two new friezes or reliefs made from industrially produced linoleum cut up by the artist called ‘The Description Doesn’t Fit’ (2015). The reliefs are large and with people in them. Curiously they are descriptive in that you see something so illustrative (or figurative) as a person crawling with a swirly pipe leading all the way from their anus to their mouth over what could be grains, like the harvest Davenport’s tractor couldn’t harvest, although it is also just the raw material of the image’s surface. The other frieze by Bouvy sits close by and features a central figure, black with thick linoleum at a table – ribs protruding – and surrounded by ghost-versions of him/her self, whose bodies have been replaced by the same fainter material applied underneath the crawling figure. **

Exhibition photos, top right.

New Pabulum was on at London’s Kunstraum from September 6 to October 10.

Header image: Aline Bouvy + Simon Davenport, New Pabulum (2015) Exhibition view.

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Resist and let go: Jennifer Tee presents Structures of recollection and perseverance at Kunstraum Jul 1 – Aug 26

27 June 2017
New Pabulum, means (new) nourishment in terms of both intellectual material and food. It’s also the title of the recent show at London’s Kunstraum, which ran from September 6 to October 10, held between two artists, the Folkestone-based Simon Davenport and London-based Aline Bouvy (whose image-heavy websites are remarkably similar) and curated by Juste Kostikovaite. The press release, which is in part an abstract ‘to do list’ explains intentions such as “See a child die”, “Detest old clothes” and ‘Establish “Wet Nurse Cafe”‘. A Wet Nurse Cafe, as the text continues is something that combines the traditional and natural ‘production’ and site of food with something industrial. Breast feeding as reinterpreted, re-shuffled. “As Bruno Latour proposed”, the press release continues, “we regroup the contemporary elements along a spiral rather than a line.”
Aline Bouvy + Simon Davenport, 'New Pabulub' (2015) Exhibition view.
Aline Bouvy + Simon Davenport, New Pabulum (2015).

For New Palubub, Davenport made a small series of concrete slabs that have different shaped and sized swirly mosquito coils on their fronts. They (‘Tablets i – iii’) lie, unattached on black painted straw bales. An image of two black corn on the cobs also accompany a birds-eye-view photograph of a tractor, the scale of which is undeterminable, that is harvesting a surface – also undeterminable. It looks like the tractor is harvesting stones. On top of the photograph is painted two small black oil paint blobs or eyes, which makes the image smile. It fits that the tractor is the mouth.

Belgium-based, Aline Bouvy made two new friezes or reliefs made from industrially produced linoleum cut up by the artist called ‘The Description Doesn’t Fit’ (2015). The reliefs are large and with people in them. Curiously they are descriptive in that you see something so illustrative (or figurative) as a person crawling with a swirly pipe leading all the way from their anus to their mouth over what could be grains, like the harvest Davenport’s tractor couldn’t harvest, although it is also just the raw material of the image’s surface. The other frieze by Bouvy sits close by and features a central figure, black with thick linoleum at a table – ribs protruding – and surrounded by ghost-versions of him/her self, whose bodies have been replaced by the same fainter material applied underneath the crawling figure. **

Exhibition photos, top right.

New Pabulum was on at London’s Kunstraum from September 6 to October 10.

Header image: Aline Bouvy + Simon Davenport, New Pabulum (2015) Exhibition view.

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