1. A two-kilometer wide concrete cube sitting in a low ocean.
  2. A giant glass ball rolling freely with the wind in a field of flowers.
  3. Cobalt drone lights arranged in a square reflecting on the sea under the moon light.
  4. A zoo imagined for bubbles, with cages for bubbles of different sizes and organised by colours, liquids and shapes.
  5. A large metal sign along a countryside road, displaying the words: ‘Brutal Bourgeoisie’ painted in white on a red background.
  6. The robot from 'Le Roi et l’oiseau' releases the last bird from a cage amidst the ruins of glass skyscrapers in a desert landscape reminiscent of cities like Dubai.
  7. Inventing job titles (e.g., 'curator') using terms from dead languages to address the employment void of the 21st century.
  8. Creating an encyclopedia derived from impassioned discussions with plants.
  9. A senile voice repeating over and over: 'I can make everything a reality and still do not know what I am making it for.'
  10. A sign at the entrance of an exhibition warning of the presence of a curator or multiple curators in the space: Beware of Curator
  11. A wall painting, using the 'Impact' typeface (commonly used for memes in the 2000s and 2010s), that reads: CONTRACTS = JAILS.
  12. An illustration of Pablo Picasso with around his head, instead of an aureola, the shadow of the Death Star from Star Wars (1977).
  13. Reproducing the packaging of the game ‘Sorry’ as an oversized sculpture.
  14. Write ‘Think Rich’ with fur, left for three years, dusty on the floor, then exhibited as is (quote from Warhol, related to a fur party).
  15. Opening museums during the day for the general public and at night exclusively for artists.
  16. Commissioning artists from a city to use all available public platforms in the city: billboards, screens, music in shops and supermarkets (and on the streets when possible), contextualized web and social media advertising, etc.
  17. A sign at the entrance of an exhibition, warning of the presence of an artist or multiple artists in the space: Beware of artist(s).
  18. A song in the style of RuPaul, with the chorus of the song repeating ‘Traschic.’
  19. A t-shirt displaying the text:
    ‘Never trust an institution’s staff.’
  20. Never produce a finished object or work, only write and imagine drafts of ideas. Try then to mix these ideas to get new perspectives.
  21. Generate, as an artist, a scenario in which an intelli-gence agency collaborates with a gallerist to organise an opening for wealthy collectors, aiming to gather intel from them. Profits are split between the artist and the gallerist.
  22. An emotional drawing with the text ‘My heart has gone dim.’
  23. An exhibition titled: ‘Logiciel idéologique’ trying to map how artists change their scope during the span of their ‘careers.’
  24. An exhibition where visitors become the spectacle, as they would be required to wear light costumes, such as capes, to enter the space. This would ensure the experience remains enjoyable without the burden of a cumbersome outfit.
  25. A space where the floor tiles are keys which, when stepped upon, activate or affect the environment in diverse manners.
  26. A contemporary art museum that would be a gigantic refurbished cruise ship. If it moves from city to city, this could embody the impact of carbon footprint in arts. If it stays still, this could be an illustration of decay.
  27. A plane as a museum offering the experience of a casual exhibition opening. Instead of seats, there would be champagne. Artworks might cover the portholes, walls built for displays. Destinations would be essential. 
  28. Art pieces floating amidst a backdrop of clouds.
  29. A train, arranged as a white cube, would be ideal within current standards. 
  30. Like party or dining buses, refurbished electric buses could serve as mobile white cubes, offering new possibilities for exhibition making.
  31. An island, replicating the epiphany from 'The Invention of Morel' (1940) by Adolfo Bioy Casares, could present a complex museum dystopia.
  32. Could an asteroid be considered an exhibition space or an artwork in the near future? Could a planet be? Will Earth become the Venice of the 31st century (if not destroyed – most certainly)?
  33. How would a museum be conceived by another species or by extraterrestrials?
  34. As an experiment, empty all the art institutions of a city (i.e. New York), and see how the citizens appropriate these spaces.
  35. Reversing the timeline of events for an exhibition: starting with the closing, progressing to being open to the public, then to the opening, followed by installation, production, and finally research.
  36. Do something with the sentence: ‘It's easy to love, but it's not easy to open oneself to another.’
  37. How do you connect with the external world and your inner self? Are representations an existential means to project your inner self to the world? And if so, is this significant?
  38. In an exhibition space styled like a school or open workspace, visitors are prompted to sit at tables and work for a set duration (30 minutes, 1 hour). They could also be assigned specific 'office' tasks.
  39. Take a picture every day of the same specific object or element, perhaps from a different angle, in different lighting, or within a different context. What emerges from this ritual? Is it the focus itself, or the ritual associated with it?
  40. At the entrance of an exhibition, spectators are asked to close their eyes while inside the space. The room itself could be blacked out, or visitors could be provided with blackout glasses to wear.
  41. In a vast space illuminated by intense white lights, reminiscent of studio flashes or construction site lighting, the sole object of focus is a stone tablet at its center.
  42. Technology appears to merely pacify, supplanting the modernist notion of progress with debated virtual advancements, upholding prevailing authority systems.
  43. We have generated billions of representations of humans in space, fully aware that most of us will likely never experience it in our lifetimes. Are we driven by fear, or merely limited by our pace?
  44. If we assume that [books, poetry, philosophy, music, radio, cinema, series, video games, etc.] can all be enjoyed wherever and whenever a 'user' desires, how might contemporary art offer the same accessibility?
  45. If contemporary art becomes a subsidy for a 'cultured' jet set, how can culture thrive within it? How can culture exist today without relying solely on power structures and instead engage directly with people?
  46. Designing a card game similar to Pokemon cards, where collecting and exchanging are as crucial, if not more so, than the actual game. Instead of creatures, these cards would feature artist names.
  47. Building shields made of gold, with each one inscribed with different words reflecting political struggles such as feminism, decolonialism, queer, trans, etc.
  48. An exhibition designed to welcome communities, aiming to be the most hospitable place for anyone, while trying not to adhere to specific styles or predispositions.
  49. A darkened room, with a 2m wide disco ball at its center, stroboscopic lights, and jazz music filling the space. Some works hung on the ceiling can only be perceived by looking at the disco ball when the flashes occur.
  50. Gigantic billboards connecting the roofs of Haussmannian buildings, displaying art-inspired fashion advertising.
  51. A world where all construction materials, instead of having natural dyes like grey, brown, and beige, would be in neon colors.
  52. Which is the most urgent: the idea, the potentiality or its realisation ?
  53. Inventorying errors occurring when producing a task—errors that lead you to something you consider finished. These errors or missteps might not only inform but could be the core: chance.
  54. An exhibition space acting as a gigantic board, where visitors can write on the glossy walls if they call the artist first to discuss the purpose of their writing.
  55. Assemble a team of screenwriters to conceive a show with multiple episodes over one year.
  56. Conceive a show with only one visible work in a room, changing the work every day for 90 days (thus, requiring 90 different works).
  57. Reframe connecticity.
    Systems of connections.
  58. A vehicle designed in the shape of a flying saucer, featuring a double-axis system that allows you to move within the vehicle while maintaining a consistent directional orientation.
  59. Using a boombox in the street to spread the sound: "What does it mean to be present in the world in the 21st century?"
  60. Each day, write an injunction on the city walls, one that is doable in the specific context. The reactions could spark new possibilities.

Projects per hour
is a database inspired by a theoretical strategy: to envision sketching 100 projects on a weekly basis. With 168 hours a week and the average individual requiring 8 hours of sleep daily, this distils down to 112 waking hours. Metaphorically, the task is not merely to conceptualise a project but to do so every single hour. 

It could be viewed as an obsession with speed, using a unit of measurement (p/h), akin to miles per hour (mph) or kilometers per hour (km/h) – a fictional quantification of the ‘apparition’ of ideas, conceptions, possible realities as projects or blueprints.

Robert Filliou’s statement, ‘Well done, badly done, not done,’ instructions by Yoko Ono, Brian Eno’s Oblique strategies, Jenny Holzer’s works, or the answers of artists to Hans-Ulrich Obrist’s unrealised projects question succinctly encapsulate the spirit of this endeavour. Every hour might not yield a masterpiece. Some ideas may be half-baked, others might seem outlandish, some unfeasible, and some even inconceivable within our current societal norms. Intrinsic worth only lies in broadening possibilities.

RT4A Systems


Projects per hour
Exhibition Making
Arthur Fouray
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before Arts

Many thanks for reading.

Special thanks to Béatrice & Alain Fouray.

Copyright © 2023 Arthur Fouray.
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