CURATOR

Fondation Vincent van Gogh Arles
Pierre Joseph

DOC
26, rue du Docteur Potain, 75019, Paris, France

SOLO SHOW
20.10—12.11.2018

CuratoR
Arthur Fouray

PRESS RELEASE
Pierre Joseph (born in Caen, 1965, lives and works in Paris) tells at DOC a simple story. The exhibition Fondation Vincent van Gogh Arles follows the lineage of rural scenes painted during the XIXth century by Vincent van Gogh and Jean-Francois Millet. After his show Hypernormandie at La Galerie Noisy–le–Sec, he virtually explores a science–fiction sequel of the impressionists’ works.

He parasitizes keywords, hashtags, bluring yet clarifying the possible leads of his solo show. Pierre Joseph plays with the codes of normative mythologies, of a technological society obsessed by an organic & natural ideal. He was triggered by the exhibition La Vie Simple – Simplement la vie / Songs of Alienation by Bice Curiger and Julia Marchand at Fondation Vincent van Gogh Arles in 2018. La Vie Simple sought to decipher the relationship of artists in keeping with a natural way of life. Displacement of a real context to a temporary exhibition, Fondation Vincent van Gogh Arles sets the tone.

Are we “Rue du Docteur Fanton” or “rue du Docteur Potain” ? This keyword slide, here a landslide brings us to a potato field. A XXIst century potatoe field. Storage, industrial potatoes display, Fondation Vincent van Gogh Arles takes us to a “Rungis” (International Market) aisle. Almost communist in the constancy of the photographs and their subjects, this presentation lays the idea of a potato, simple, naked, peeled of any qualifier. Some germs and the pinkish tone of their film punctuate the dried dirt surrounding potatoes. The tiny details are as many focal points inside this potatoes cosmos to highlight a simple truth: potatoes.

How to disconnect the subject from any political, social, ideological, historical issue, in order to convey the “potato” object in the most modest fashion ? Pierre Joseph digs the perspective of a simple potato. He looks for the direct and trivial attitude of XIXth century painters when they painted peasants, fields, meals, still lives. Today, with this accelerated information overflow, the task is, precisely not so simple. Just search for hashtags “#potatoes”, “#spuds” (and their variations, including Esperanto) on social networks or search engines to understand the abundance and diversity of the starchy crop vocabulary. The exhibition is built with and thanks to the potato. From the starch that fixes the image on film to the starchy paste that links the forty–five “endless photographs” to DOC’s wall. Pierre Joseph restricts the vocabulary in order to discern specific categories, clear intentions.

The potato, the seriality, the contextual shift. All these components blend together and genuinely generate the experience of the exhibition in an extended space–time setting. Today or in 10 years, here or somewhere else, Pierre Joseph presents us a living ecosystem that has developed since the start of the project, that is expressed during the time of the exhibition and that will be altered tomorrow.

Arthur Fouray

PHOTOGRAPHY
Aurélien Mole

AcknowledgmentS
Air de Paris
Florence Bonnefous
Jérémie Bonnefous
Julie Boukobza
Elsa Carnielli
Lauren Coullard
Bice Curiger
Philippe Decrauzat
Nicolas Degrange
Fondation Vincent van Gogh Arles
Maja Hoffmann
Julia Marchand
Édouard Merino
Ana Mendoza Aldana

Mark
ARTIST

Greffes
Alfredo Aceto — Achraf Touloub — Landon Metz — Mohamed Namou
Marco Basta — Lupo Borgonovo
Davide Bertocchi — Samon Takahashi
Gabriele De Santis — Felice Levini
Alberto Di Fabio — Lucian Indrei — Ciprian Mureşa

Arthur Fouray — Christophe de Rohan Chabot
Edgars Gluhovs — Timothy Furey
Lise Stoufflet — Romain Vicari
Nicola Pecoraro — Fabio Quaranta

Villa Medici
Viale della Trinità dei Monti, 1, 00187 Roma RM, Italy

Group Show
16.11 — 23.11.2017

Curator
Pier Paolo Pancotto

WORKS with Christophe de Rohan Chabot (b. 1986)

senza titolo / (X5m4mjB—1) (aaafff)
2017 (Paris)
dibon, canvas, acrylic, braces, dark glass
67.5cm x 30cm x 12cm
Courtesy of Gaudel del Stampa & Galerie Joy de Rouvre & Christophe de Rohan Chabot & Arthur Fouray

senza titolo / (X5m4mjB—1) (aaafff) ’’
2017 (Paris)
dibon, canvas, acrylic, braces, dark glass
67.5cm x 30cm x 12cm
Courtesy of Gaudel del Stampa & Galerie Joy de Rouvre & Christophe de Rohan Chabot & Arthur Fouray

Acknowledgments
Alfredo Aceto
Paolo Caravello
Arthur Godard

Curator

La Nuit Juste avant les Forêts
Carlotta Bailly–Borg
Benjamin Husson
Matthew Lutz–Kinoy
Flora Moscovici
Rallou Panagiotou

DOC
Paris, France

Group Show
20.10—12.11.2017

Curators
Corentin Canesson
Lucas Erin
Arthur Fouray
Eva Vaslamatzi

Press Release
When the night has come the city looks like a forest
a man is getting prepared
he puts on the Soir de Paris fragrance
to go out on the woods again
“Another hard day in the jungle
Another hard day in the zoo”

He is a dealer, a murderer, a brother, a sinner
he is totally a Koltès character
Across the city that he leaves in his wake
he is waiting for someone
his possible victim

The one that will show him immediately his true face,
that will reveal secrets, never told even to his closest friends
Someone that although had planned to go from point A to point B
changed his mind
and stopped in the middle to meet him

The world outside is cruel
just as the inside
and the forest–jungle–zoo looking city
seems now at the time of night/evening/dusk
just like the right place to be.

Eva Vaslamatzi

Photography
Paul Nicoué

Acknowledgments
Théo Carrere
Nicolas Fulconis
Jean Philip Lucas
Thibault Tavernier
Alexis Tolmatchev

Curator

Terrasse 2017—
Alfredo Aceto
Virginia Ariu
Diego de Atucha
Josse Bailly
Rose Ballmer
Jacques Bonnard
Paul Bonnet
Fabian Boschung
Noémie Boulon
Francesco Cagnin
Corentin Canesson & Damien Le Dévédec
Loucia Carlier
Christophe de Rohan Chabot
Lorraine Châteaux
Adrien Chevalley
Aisha Christison
Philippe Decrauzat
Nicolas Degrange
Basile Dinbergs
Natacha Donzé
Guillaume Ehinger
Lucas Erin
Agnès Ferla
Pierre Girardin
Gitte Hendrikx
Simone Holliger
Thomas Jeppe
Thomas Koenig
Stéphane Kropf
Elise Lammer
Tristan Lavoyer
Renaud Loda
Francois Mark
Guy Meldem
Guillaume Pilet
Sabrina Röthlisberger
Jessica Russ
Matthias Sohr
Sylvain Croci–Torti
Sébastien Verdon
Paulo Wirz
Alicia Zaton
...


Silicon IVIalley
Av. du Chablais 18, 1008 Prilly, Switzerland

Group Show
15.09.2017—

Curators
Grégoire Bolay
Julien Fischer
Arthur Fouray
Frédéric Gabioud
Baker Wardlaw

Photography
Frédéric Gabioud

Acknowledgments
All Artists
Grégoire Bolay
Julien Fischer
Frédéric Gabioud
Paul Nicoué
Baker Wardlaw

ARTIST

Arthur Fouray

Aargauer Kunsthaus
Aargauerplatz, 5001 Aarau, Switzerland

SOLO SHOW
26.08—12.11.2017

Curators
Yasmin Afschaf
Katrin Weilenmann

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 a 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), theyallude 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 ♥: 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

Works

aaafff 2.0 (U)
2017 (Paris)
mirror, acrylic, cotton duck, plywood
81cm x 183cm x 20.5cm
Courtesy of Aargauer Kunsthaus & Galerie Joy de Rouvre & Arthur Fouray

Torres (Pyrrole)
2017 (Paris)
acrylic, cotton duck, props
165cm x 455cm x 7cm
Edition /6
Courtesy of Aargauer Kunsthaus & Galerie Joy de Rouvre & Arthur Fouray

Andy (Pyrrole)
2017  (Paris)
acrylic, cotton duck, pillow
30cm x 40cm x 8cm
Edition /50
Courtesy of Aargauer Kunsthaus & Galerie Joy de Rouvre & Arthur Fouray

PHOTOGRAPHY
Arthur Fouray

Acknowledgments
Marielle Chabal
César Chevalier
Lauren Coullard
Marine Coullard
Philippe Decrauzat
Madeleine Schuppli
Aargauer Kunsthaus Museum Team



Arthur Fouray

arthur@arthurfouray.art

55 Boulevard de la Villette
75010, Paris, France



Copyright © 2019 Arthur Fouray. All rights reserved.