Greffes
Group show
Villa Medici
Roma, Italy
16.11 – 23.11.2017
Curator
Pier Paolo Pancotto
Photographs by Christophe de Rohan Chabot & Arthur Fouray
Special thanks to Alfredo Aceto, Paolo Caravello, Arthur Godard
2 MDF wood boxes, both of the same size (92.5x40x10 cm), covered with a blue canvas (type, ‘aaafff’).
One side (92.5 × 40 cm) displays an image or print on dibond, laminated onto plexiglass (about 21x29.7cm). It features the image of a lizard. Its eye spews blood.
The opposite side showcases a one-way mirror. Its dimensions should be slightly smaller than 92.5x40cm. (...in progress...) These two boxes would thus be relatively identical objects. They are meant to be placed vertically on the floor. However, such a decision should be finalised during the installation. Also, there is a consideration if they should be displayed together or separately, either in the same room or in different spaces, and if there is an intent to make each more autonomous. At its core, through this repetitive effect, one object refers to the other, activating memory, signalling, and reminding of its twin. In the same way, a marker or a reference object sets the context in its entirety...
Christophe de Rohan Chabot & Arthur Fouray
Christophe de Rohan Chabot & Arthur Fouray
senza titolo / (X5m4mjB-1) (#aaafff)
2017
dibon, canvas, acrylique, braces, dark glass
67.5cm x 30cm x 12cm
courtesy of Gaudel del Stampa & Galerie Joy de Rouvre & the artists
Christophe de Rohan Chabot & Arthur Fouray
senza titolo / (X5m4mjB-1) (#aaafff)”
2017
dibon, canvas, acrylique, braces, dark glass
67.5cm x 30cm x 12cm
courtesy of Gaudel del Stampa & Galerie Joy de Rouvre & the artists
Index
3 years,
smart move
Group Show
Galerie Joy de Rouvre
Geneva, Switzerland
12.11 – 23.12.2017
Special Thanks to Guillaume Maraud, Jor de Rouvre, Pierre Belloni, Frédéric Gabioud, Baker Wardlaw
#000fff (4:3) (Guillaume Maraud, Sans titre, (08.12.2017 — 27.01.2018, Paris, (preview)))
2017
chroma key paint, Sans titre, (08.12.2017 — 27.01.2018, Paris, (preview))
120 x 160 x 3cm
courtesy of Édouard Montassut & Galerie Joy de Rouvre & the artists
Chroma Key, Titanium (Andy)
2015
acrylic, cotton–duck, pillows, 4 Andy (Chroma Key), 3 Andy (Titanium)
variable dimensions
courtesy of Galerie Joy de Rouvre & the artist
Index
Caravan
Solo show
Aargauer Kunsthaus
Aarau, Switzerland
26.08 – 12.11.2017
Curators
Yasmin Afschaf
Katrin Weilenmann
Special thanks to Marielle Chabal, César Chevalier, Lauren Coullard, Marine Coullard, Philippe Decrauzat, Madeleine Schuppli, Aargauer Kunsthaus Museum Team
invitation card
PRESS RELEASE
Arthur Fouray (b. 1990) combines the approaches of major, opposing twentieth – century avant-garde art movements in his work: readymade, Minimal and Conceptual Art, as well as monochrome painting. He also studies current developments in-depth, and it is these wide-ranging points of reference that provide the basis for his artistic concepts.
In his CARAVAN exhibition, the Lausanne-trained artist places his works in the foyer of the Aargauer Kunsthaus, literally at the interface of interior and exterior space. The glass façade designed by Herzog & de Meuron is the starting point for his site-specific intervention in which he plays with the architectural situation of the foyer as well as its use as a place of encounter. The artist covers the museum’s front with curtains made of cotton that are painted bright red. This material was first used by the Abstract Expressionists in the U.S. and competed with linen canvas as the classic picture support.
Arthur Fouray’s diverse reference system is evident not just on a formal level: oftentimes the names of artists who served as inspiration for work are, in fact, mentioned explicitly. His window installation Torres (Pyrrole) was inspired by a group of works by the Cuban artist Félix Gonzalez Torres (1957–1996). In the 1980s, Torres arranged light – blue curtains in an exhibition space; called Untitled (Loverboy), they allude to the romantic relationship of two men. For Fouray, too, the fabric panels are a means of staging. Torres (Pyrrole) is preceded by a work from the #aaafff series. This combination of letters refers both to the artist’s initials and to the shade of colour featured in many of his works, which in the computer-based colour identification system used by Fouray, stands for a precisely defined light violet-blue. The painting shows on one side the titular colour hue, while its other side is covered by a mirror. When the visitor steps in front of the latter, the glass façade becomes a stage, and the viewer becomes the protagonist of this mise-en-scène.
‘INTERFACE. WELCOME TO A FELIX ROOM <3.’ With these words in the present booklet Arthur Fouray provides the motto for his installation. He invites us into a spatial structure that is both confined and porous and in which the curtain and objects function as interfaces between two systems. Felix refers not just to the aforementioned artist, but also means ‘happy’ or ‘lucky’ in Latin. The heart icon on the back stylises this positive message.
Yasmin Afschaf, Katrin Weilenmann
Index
MMLXXX
Solo Show
zwanzigquadratmeter
Berlin, Germany
21.05 – 18.06.2017
Special Thanks to Éric Emery, Ascanio Cecco, Louis Ziéglé, Christophe de Rohan Chabot, Alfredo Aceto
Louis Ziéglé
MMLXXX Exhibition poster
2017
Press Release
Last Year at Marienbad
Trailer Voice-over
1961
Text excerpt
A large international hotel …
… immense and baroque …
… with sumptuous but frigid decor
A stranger wanders from hall to hall …
… down endless corridors …
… in search of a woman
He tells her they met …
‘Last year …’
Try to remember,
… that they had a passionate love affair …
… that she herself set this rendezvous …
… and that he is going to take her away.
But she claims she does not know him.
Impossible, I tell you. I have never even been to Frederiksbad.
He insists, but she protests even more.
What room? l have never been in any bedroom with you
You will not remember …
… because you are afraid
And you do not recognise this photo either?
The young woman cedes ground.
The stranger – serious, confident – gathers more and more proof.
Who is right? Who is lying?
Is he a mere seducer? A madman?
Or has he just confused two faces?
What really happened ‘last year’?
You, the viewer, must answer these questions.
Watch carefully:
… an object …
… a gesture …
… a decor …
#000fff (Natural Vision) (IFP)
2017
Chroma key blue, wallpainting, #aaafff (existenz)
A/R 1.85
#aaafff (existenz)
2017
acrylic, blackout fabric, unknown object
69 x 61 x 15 cm
Courtesy of the artist
Genkins (Fluo) (3x3)
2017
acrylic, cotton–duck
220 x 185 x 15 cm
Courtesy of the artist
A Brief History of Curating
2017
gouache, arches paper, cardboard
15 x 21 x 3 cm
Courtesy of the artist
Index
Frédéric Gabioud, Arthur Fouray, Baker Wardlaw
Three Person Show
Joy de Rouvre
Geneva, Switzerland
12.11 – 19.11.2016
Special Thanks to Pierre Belloni, Joy de Rouvre, Baker Wardlaw, Frédéric Gabioud
#aaafff (CAR)
2013 – 2017
acrylic, blackout fabric, Shark truck
16 x 16 x 4 cm
Courtesy of the artist
#aaafff (Uber Eats)
2016
acrylic, blackout fabric, kraft paper, Uber Eats Bags, 35 x 45 x 10 cm
Courtesy of the artist
Kasimir I
2016
acrylic, cotton–duck, pillow
58 x 58 x 20 cm
Courtesy of the artist
Alys ( ))) ))) )
2016
letrAVision, acrylic, cotton–duck, bench
50 x 250cm x 40cm
courtesy of the artist
Daniel (Eve Kendall)
2016
acrylic, cotton-duck, table
118 x 88 x 72 cm
Courtesy of the artist
Index
Kiefer Hablitzel Prize
Group Show
Swiss Art Awards
Basel, Switzerland
11.06 — 17.06.2016
PHOTOGRAPHs by Julien Gremaud
Special Thanks to Alfredo Aceto, Alain Fouray, Béatrice Fouray, Léa Fluck, Julien Gremaud, Stéphanie Serra
#aaafff (autruche)
2016
acrylic, blackout fabric, duster
85 x 23 x 15 cm
Courtesy of the artist
#000fff (univision) (Kasimir I)
2016
Chroma key blue, wallpainting, Kasimir I
A/R 2
Kasimir I
2016
acrylic, cotton–duck, pillow
58 x 58 x 20 cm
Courtesy of the artist
Morel (P.A.S, C.B.S.F.T.)
2016
cotton-duck, frames, P.A.S., Carré Blanc Sur Fond Toile
145 x 85 x 12.5 cm
Courtesy of the artist
Index
Accrochage Vaud
Group Show
MCBA
Lausanne, Switzerland
22.01 – 06.03.2016
Special Thanks to Anaïs Defago, Damián Navarro, Frédéric Gabioud , Jacques Duboux
MC (Baby blue)
2016
acrylic, cotton–duck, ladder
40 x 240 x 6 cm
Courtesy of the artist
FG (Océan)
2016
acrylic, cotton–duck, ladder
40 x 200 x 6 cm
Courtesy of the artist
Index
Osmosis, Lauren (Azur), Kasimir (Ciel), Morris (Saphir), #aaafff (cendrier)
Solo Show
La Placette
Lausanne, Switzerland
20.11 – 18.12.2015
Special Thanks to Camille Lichtenstern, Niels Wehrspann, Lorraine Pidoux, Julien Gremaud, Darren Roshier
Osmosis
2015
gouache, arches paper, cardboard
23.5 x 17 x 1.2 cm
Private collection
Lauren (Azur)
2013 – 2014
acrylic, cotton–duck, bedbase
120 x 200 x 14 cm
Courtesy of the artist
Kasimir (Ciel)
2014
acrylic, cotton–duck , pillow
52 x 52 x 17 cm
Private collection
Morris (Saphir)
2014
acrylic, cotton–duck, duvet
200 x 140 x 32 cm
Courtesy of the artist
#aaafff (Cendrier)
2013 – 2014
acrylic, blackout fabric, ashtray
9.2 x 12.8 x 6.4 cm
Private collection
Index
Spectre
Solo Show
Quark
Geneva, Switzerland
12.11 – 21.12.2015
Curator
Elisa Langlois
PHOTOGRAPHs by Annik Wetter and Arthur Fouray
Special Thanks to Elisa Langlois, Nastassia Montel, Jean–Marie Bolay, Julien Gremaud, Stéphanie Serra, Frédéric Gabioud, Grégoire Golay, Baker Wardlaw, Boesner France, BFP–CINDAR
Press Release
Arthur Fouray’s work is ever-evolving. It begins with the archetypal ‘Once upon a time’ and progresses through consistent stylistic motifs punctuating its narrative. Traversing from historical frescoes to contemporary art, Fouray delves into history and tales, incorporating popular culture references, including cinematic techniques and allusions to Walt Disney. Spectre marks his debut solo exhibition. It presents a tangible perspective on artistic openness, hinting at the future trajectory of this emerging artist. This exhibition establishes the groundwork for a cosmology, with its central ideas taking form in everyday objects. These objects, presented in sequences, intertwine to convey a message of unity viewed through diverse lenses.
Fouray’s meticulous selection of hues, flawless colour blocks, and distinct paint applications attest to his dedication to monochromatic painting. The monochrome, a hallmark of 20th-century art, often draws on supremacist, spiritual, and geometric themes. While traditionally seen as a foundational or elementary form of painting, in Fouray’s hands, monochromatism transcends mere reference, becoming an autographic and symbolic medium.
#aaafff (CAR)
2013–2016
acrylic, blackout fabric, Shark Truck
16x16x4 cm
Courtesy of the artist
The #aaafff series of paintings adhere to a distinct methodology. These shades, a midpoint between sky blue and purple, conceal objects – most frequently from domestic settings – within their frames. The colour subtly reveals the artwork’s essence: a fusion of a monochromatic canvas with a distinct object. Fouray skilfully merges abstraction and ready-made art, seemingly opposing cornerstones of avant-garde tradition. Through the repetitive nature of the series, the #aaafff works act as signatures of his unique approach, signifying a blend of painting and sculptural elements.
#000fff (polyvision) (Spectre)
2015
Chroma key blue, wallpainting, Spectre
A/R 4 (1.33 x3)
With #000fff PolyVision, Spectre introduces an exception. This piece, a mural bearing the intense hue of #aaafff, does not conceal but rather implies an object’s projection. Abel Gance’s triptych ‘PolyVision’ screen dimensions for his 1927 film, Napoleon, inspire the artwork’s proportions. This represents a utopian, gigantic cinematographic form, a triple projection across three conjoined screens. By adopting the term ‘triptych’ from the world of painting, Gance indicated a shift from the historical fresco medium to the cinema. Conversely, #000fff PolyVision reverts this transition from the screen back to the canvas.
Morel (#aaafff polyvision)
2015
frame, key frames, #aaafff polyvision
172 x 36 x 32 cm
Courtesy of the artist
Blending architectural and experimental elements, Morel #aaafff PolyVision runs parallel to the #aaafff series. In this installation, a wooden crate encloses a massive rolled-up painting – a 16-meter monochromatic canvas, which Fouray has chosen to ‘fossilise’ within a sculptural context. Beyond mere containment, the box narrates its own story. Composed of 12 standardised containers typically used for art, the arrangement evokes the woodworking of 17th-century royal galleries. Simultaneously, its display recalls Donald Judd’s ‘specific objects’, notably the Untitled series (Ballantine 89-49), where modular wooden boxes are arranged horizontally.
Spanning from the grandeur of past centuries to minimalism, from historical paintings to digital screens, Fouray’s eclectic influences are underpinned by the spectrum of Marcel Broodthaers. Broodthaers’ legacy remains a consistent reference for Fouray, encapsulating the quest for harmony and purpose in the juxtaposition of mainstream and critical art.
Andy III
2015
acrylic, cotton–duck, pillow
60 x 42 x 12 cm
Private collection
Kasimir (Signal Blue)
2015
acrylic, cotton–duck, pillow
58x58x9 cm
Courtesy of the artist
Andy IV
2014
acrylic, cotton–duck, pillow
60 x 100 x 25 cm
Courtesy of the artist
Kasimir (Blush)
2015
acrylic, cotton–duck, pillow
27 x 27 x 8 cm
Courtesy of the artist
Andy (Caramel)
2014
acrylic, cotton–duck, pillow
72 x 36 x 24 cm
Courtesy of the artist
The ‘object-paintings’ series features Andy and Kasimir as its focal points. Initiated in 2013, it commenced when Fouray stretched canvas over his bed’s box spring. Like the #aaafff series, these artworks are monochromatic, unified by incorporating bedding elements as frames. Through a domestic and intimate lens, from pillows to comforters, these object-paintings embed monochromes within the context of the human body. Their titles hint at the subjects’ narrative, associating them with specific colours or numbers. Embodying Pop and Minimalist elements, this series underscores a fluidity of styles. While Kasimir evokes Malevich’s aesthetics, its presentation challenges monochromatic conventions of self-contained abstraction. Conversely, Andy alludes to Warhol’s Silver Clouds, with the buoyancy of Pop-inspired helium balloons encapsulated beneath canvas and pigment. By infusing domestic elements into his work, Fouray reinterprets the fundamental essence of painting.
Elisa Langlois
L’époque et son style
2015 – 2017
gouache, arches paper, cardboard
26.5 x 26 x 4 cm
Courtesy of the artist
Index