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Mariana Telleria, Before Our Birth, 2016, car wreckage and mixed media. Installation view. From “Répétition.” Photo: Asad Raza.

“Répétition”

Boghossian Foundation - Villa Empain

Mariana Telleria, Before Our Birth, 2016, car wreckage and mixed media. Installation view. From “Répétition.” Photo: Asad Raza.

Some exhibitions of contemporary art aspire to abstraction in their location, such that what is presented in New York might be seen without sensible alteration in Paris or Mexico City. Other shows speak more immediately of their times and to their places, and this category includes Nicola Lees and Asad Raza’s “Répétition.” It could hardly be otherwise, given that it was hosted by an institution—the Fondation Boghossian–Villa Empain—dedicated to fostering a dialogue between the Middle East and the West through art, and that the show opened in Brussels a mere two months after the attacks on the city.

To the ear of its Francophone audience the show’s title meant two things: repetition, in the general sense shared with English, as well as rehearsal. But what was being repeated and rehearsed? At least to begin with, accidents. Repetition, for many artists in the show, is a

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