nighttime floof who never lets me pet him



April 5 – June 22, 2019


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“It’s me. Are you still there, honey?” He called.
After a time the lock released and Arlene stepped outside and shut the door. “Was I gone so long?” She said.
“Well, you were,” he said.
“Was I?” She said. “ I guess I must have been playing with Kitty.”
He studied her, and she looked away, her hand still resting on the doorknob.
“It’s funny,” she said. “You know – to go in someone’s place like that.”
He nodded, took her hand from the knob, and guided her toward their own door. He let them into their apartment.
“It is funny,” he said.
He noticed white lint clinging to the back of her sweater, and the color was high in her cheeks. He began kissing her on the neck and hair and she turned and kissed him back.
“Oh, damm,” she said. “Damn, damn,” she sang, girlishly clapping her hands. “I just remembered. I really and truly forgot to do what I went over there to do. I didn’t feed Kitty or do any watering.” She looked at him. “Isn’t that stupid?”.

– Raymond Carver, Neighbors (from Short Cuts, 1993)


Courtesy of the artist and La Plage, Paris
Photo by Aurélien Mole

Here, in the building where Georges Bizet wrote his masterpiece Carmen in 1875, Matt Copson premieres a bildungsroman opera in three laser-projected parts: Age of Coming, Coming of Age and Of Coming Age. His opera tells the story of a baby at odds with a vengeful god, who tries to convince him that life is miserable and cruel, and nothing more. On view High Art, Paris
Sørlandets Kunstmuseum, Kristiansand
Der Tank of the Art Institute, Basel
Lafayette Anticipations, Paris
Kunsthalle Lissabon, Lisbon
JTT, New York
Édouard Montassut, Paris
Avant-Garde Institute, Warsaw