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PPP+ I

DRAWINGS


  1. A two-kilometer wide concrete cube sitting in a low ocean.
  2. An encyclopedia created
    from impassioned
    discussions with plants.
  3. A zoo imagined
    for bubbles,
    with cages
    for bubbles of different sizes and organised
    by colours, liquids
    and shapes.
  4. Opening museums during the day
    for the general public and at night exclusively for artists.
  5. A giant glass ball rolling freely with the wind
    in a field of flowers.
  6. 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).
  7. Drones lit with cobalt lights, arranged 
    in square formations reflected on the sea under the moonlight.
  8. Wearing glasses that make everyone around you
    appear to be wearing pink suits with furry hats.
  9. Generate, as an artist,
    a scenario in which 
    an intelligence agency collaborates with a gallerist
    to organise an opening for wealthy collectors aiming to gather intel from them. Profits are split with
    the gallerist.
  10. Reproducing the packaging
    of the game ‘Sorry’
    as an oversized sculpture.
  11. Inventing job titles using terms from dead languages 
    to address the employment void 
    of the 21st century.
  12. Never produce 
    a finished object 
    or work; only write and imagine drafts of ideas, mixing them together.
  13. Instead of opening
    art contexts during the day, open them only at night and
    add couches, chairs, and stools inside
    the gallery spaces.
  14. Install thousands 
    of lit lamps of various sizes in a room, creating an environment 
    so intensely bright 
    that it is impossible 
    to photograph.
  15. A 100m³ windowless room bathed in dark turquoise blue light, 
    a pedestal at the center showcases 
    a 1997 Bondi Blue iMac G3 with 
    a red screen, broadcasting 
    local radio news.
  16. A blanket, embroidered
    with the text: 'How to revert power from context
    to content?'
  17. A blank blackboard 
    with a dark green 
    glaze, borderless 
    and installed on a concrete floor 
    of a space, ready 
    to be walked on.
  18. Write a travel guide about an exhibition space, detailing a tour that describes the lighting, power outlets, windows, and scratches on 
    the walls as if they were monuments.
  19. Filling a skyscraper's glass corridor with household dust. The interior of the corridor remains locked, visible only from outside. Synthetic household dust is gradually mixed with real household
    dust over time.
  20. A society where daily
    rituals and ceremonies revolve around art, E.G.: Mondays for book reading • Tuesdays for movie-going • Wednesdays for music listening
    • Thursdays for exhibition
    visits • Fridays for attending a spectacle.
  21. A space where 
    the floor tiles are 
    keys which, when stepped upon, activate or affect 
    the environment 
    in diverse manners.
  22. An exhibition of works floating in the clouds.
  23. As an experiment, empty
    all the art institutions
    of a city (E.G. New York),
    and see how the citizens appropriate these spaces.
  24. 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.
  25. 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.
  26. 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.
  27. A world where all construction materials, instead of having natural dyes like grey, brown,
    and beige, would be in neon colors.
  28. An illustration of Pablo Picasso with, around 
    his head, instead of 
    an aureola, the bright side of the Death Star from Star Wars (1977).
  29. An exhibition titled: ‘Ideological Software’
  30. An exhibition where visitors become the spectacle, as they would be required to wear light costumes, such as capes, to enter the space.
  31. A contemporary art museum as a refurbished cruise ship. If it moves from city to city, this could embody carbon footprint in arts. If it stays still, this could be an illustration of decay.
  32. A museum 
    conceived by exchanging
    with cows.
  33. 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.
  34. Entering 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.
  35. A train, arranged as a white cube, would be an ideal exhibition space.
  36. In a vast space illuminated 
    by intense white 
    lights, reminiscent
    of studio flashes
    or construction site lighting, a pair of
    high heels is the sole focus, positioned
    at the center.
  37. An art center designed to welcome any communities, 
    aiming to hospitable
    for anyone,
    by adapting 
    rather than imposing.
  38. Inventorying errors occurring when producing a task. These errors 
    or missteps might 
    not only inform 
    but could be 
    the task itself.
  39. Assemble a team
    of screenwriters
    to conceive a show
    with multiple episodes
    over one year.
  40. The robot from 'Le Roi et l’oiseau' releases the last bird from a cage amidst
    the ruins of glass skyscrapers reflecting
    a desert landscape like mirrors.
  41. Commission artists from a city to use all available public platforms: screens, billboards, music in shops, stores and markets, and on the streets when possible, contextual web and social media advertising, etc.
  42. A plane as a 
    museum offering
    the experience of 
    a casual opening.
    Destinations 
    would be 
    essential,
    and flight duration, too.
  43. Take a picture every day of the same element, from a different angle, in various lightings, 
    or within specific contexts. What emerges: the focus itself, the ritual, both, or something else?
  44. Conceive an object based on the following interrogation:
    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. An exhibition space with only curved 
    walls.
  46. A room with walls covered in sandpaper.
  47. Walls painted 
    in pale pink mixed 
    with glitter.
  48. An exhibition that can only
    be visited by one visitor
    or a group of visitors
    at a time. If the exhibition
    is empty, the person managing
    the exhibition space must
    go out and canvass the streets until they find interested onlookers.
  49. An exhibition consisting
    of a residency and a complete takeover by an artist for
    the duration of the exhibition 
    and the withdrawal of the 
    people managing the exhibition context. The artist would
    take over all tasks related
    to the venue for the duration 
    of the exhibition…
  50. An island, replicating
    the epiphany from 'The Invention of Morel' (1940)
    by Adolfo Bioy Casares, could present a complex museum dystopia.
  51. Create an installation based 
    on the following statement: 
    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?
  52. Like party
    or dining buses, refurbished electric buses could serve
    as mobile white cubes, offering 
    new possibilities for exhibition making.
  53. Building shields made 
    of the most precious materials, with each 
    one inscribed with different words reflecting current political struggles 
    and activisms such as: feminism, decolonialism, ecology, queer, trans.
  54. Install gigantic billboards connecting
    the Haussmannian buildings’ roofs, displaying posters made by artists.
  55. Write a script about: 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)?
  56. 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.
  57. Conceive a show with only
    one visible work in a room, changing the work every day 
    for 90 days (thus, requiring
    90 different works).
  58. An installation visible through the windows 
    of 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. A public artwork consisting of a large metal sign along
    a desert road, 
    displaying the words 'Brutal Bourgeoisie' painted in white on a 
    red background.
  60. Every day, write 
    a project on the 
    city walls, one 
    that is feasible within the specific context of the written project.



PPP+I





RT4A Systems



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rt4a
Screen
Exhibition Making
Arthur Fouray
a plus o minus
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PRE–Natal
before Arts



A utopia researching
times as clouds of 
rumors, for works
are complex words, 
and arts shifting 
languages.


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Arthur Fouray
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Many thanks for reading.

Special thanks to Béatrice & Alain Fouray.

Copyright © 2024 Arthur Fouray.
All rights reserved.