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Alex Cecchetti, Erotic Cabinet, 2017, sixty-nine mixed-media drawings, oak, glass, 49 1/4 x 59 x 27 1/2".

Alex Cecchetti

Centre d’Art Contemporain de la Ferme du Buisson

Alex Cecchetti, Erotic Cabinet, 2017, sixty-nine mixed-media drawings, oak, glass, 49 1/4 x 59 x 27 1/2".

An ending is a boundary, a limit. But do all stories end? Alex Cecchetti’s exhibition “Tamam Shud,” part of a larger project including a novel and performances, takes its name from the story of a man found dead on a beach in southern Australia seventy years ago. The body was never identified, and his pocket contained only a scrap of paper that read, “Tamám shud,” an Old Persian phrase meaning, “It is the end.” It may have been torn from the last page of the Rubáiyát of the twelfth-century poet Omar Khayyám. That’s the story Cecchetti tells. He also tells the tale that he himself has died.

The artist organized this exhibition as a series of discrete spaces, each dedicated to a different activity. In Reading Room, 2017, he provided seating inspired by the modernist designs of Enzo Mari. Amid the jumble of books on the blue-carpeted floor, the artist was seen to read from a volume by

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