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FOURT
Ballroom Gallery (Brussels)  
2021

FOURT, 2021
Beheaded Disneystore plush
30 x 22 x 12 cm 

Délivrénoo Fitness, 2021
Customized home bike, customized delivery bag, jacket, helmet, loop video on iPad, pedestal 
130 x 130 x 160 cm

The Reward, 2021
Screenprint on fabric, frame
100 x 150 cm

Portrait of Marc in the E.U., 2021
Welcoming sweets 
Dimensions variables 

Predator, 2021
Inkjet print mounted on Dibond, frame
60 x 120 x 5 cm

Magic Deals, 2021
UV-print on Dibond, lightbox
60 x 60 x 20 cm

Cleaning Legend, 2021
Performance

“Conceived as a soft-chateau, the exhibition is crowded with opulent expressions of hygiene, mass manufacturing and enchantment. Duffaut’s work activates the carefree qualities of market coercion. It shapes and sculpts wasted perfections up until a point where constellations of clean bold colors emerge. For his first solo exhibition, Duffaut brings into focus the elegantly banal he is intrigued by. The works intend to produce a collective atmosphere of non-difference, of non-heterotopia. They allow us to fall implicit, to fall into a trope, into a corporate business meeting, a collective therapy session for people with trust issues. FOURT asks serious questions about the nature of ‘realness’. Its impossibility and absolute possibility. Liveliness beyond the boundaries of realness. Forms catapult through the space creating new levels of dysphoric sensation and general confusion. A sanitary extravaganza, an arena of branded monstrosities. It wonders what might have happened in the factories or in the mechanical fur or in Julia's bathroom. This show has one mission. To do it well. And then, to head to the compost or the gutter.” 
(Text by Lydia Mcglinchey)






Faire TA(S)CHE, 2022
Installation
Spring pop-up exhibition wall, plinth, column, books  
Exhibited for the group show LIQUIDATI%N T%TALE at Face B (former TASCHEN bookstore in Brussels). 

Under the guise of a ‘Basic Art’ book from mega-publisher TASCHEN, this autofiction is a curation of my art practice, starting from my childhood untill 2030. It explores the many ambivalences inherent to my work, including death drive and sex drive ; imposture and social success ; sacred and profane.