On Italian museography..
group show by EPFL Studio master 1, Silicon Malley, Prilly, Switzerland

online media,

Art Club
group publication, Académie de France à Rome, Villa Medici, Rome, Italy
group show, l’Annexe, Paris, France
Fondation Vincent van Gogh Arles
Pierre Joseph, solo show, DOC, Paris, France
group publication, Aargauer Kunsthaus, Aarau, Switzerland
Ending Explained
ECAL Master Arts Visuels by Will Benedict, DOC, Paris, France
Work Sucks
Gabrielle Garavaglia, solo show, Silicon Malley, Prilly, Switzerland

Galerie Joy de Rouvre
stand Art Genève, Geneva, Switzerland

Grichka Commaret, Kim Farkas, group show, DOC, Paris, France

Manners Maketh Man
Christophe Lemaitre, solo show,  DOC, Paris, France

group show, Académie de France à Rome, Villa Medici, Rome, Italy
3 years, Smart Move
group show, Galerie Joy de Rouvre, Geneva, Switzerland

La Nuit Juste avant les Forêts
group show curated with Corentin Canesson, Lucas Erin, Eva Vaslamatzi, DOC, Paris, France

Motto DOC
temporary Motto Books bookshop, DOC, Paris, France
PRIX Novembre à Vitry
group show, Vitry sur Seine, France
Terrasse 2017 —
group show, Silicon Malley, Prilly, Switzerland

BREAK (FEAST), Lauren Coullard, solo show, Silicon Malley, Prilly, Switzerland
solo show, Aargauer Kunsthaus, Aarau, Switzerland

Le PhalEnsthère
residency with César Chevalier & Lauren Coullard, Chateau de Maugué, la Chapelle-Encherie, France

group show, DOC, Paris, France
le Marquis, Saint-Denis, France
Damián Navarro, solo show, Silicon Malley, Prilly, Switzerland

solo show, ZQM, Berlin, Germany

artist book, Tombolo Presses, 107 pages

So Leggere
Francesco Cagnin, solo show,  DOC, Paris, France

free time
Demelza Watts, solo show, Silicon Malley, Prilly, Switzerland

Nouvelle Collection Paris AW 2017
group show, ENSBA, Paris, France
Jeudi x PRP
group show, Art Genève, Geneva, Switzerland
TERRASSE 2013—2017, MIXED MEDIA, 300 × 300 × 125 CM, 2017
Silicon IVIalley, solo show, Art Genève, Geneva, Switzerland

Francis Baudevin, solo show,  DOC, Paris, France
Noémie Vulpian, César Chevalier, group show, Silicon Malley, Prilly, Switzerland
Frédéric Gabioud, Arthur Fouray, Baker Wardlaw
group show, Joy de Rouvre, Geneva, Switzerland
Rob a Robe
group show curated with Lauren Coullard,  DOC, Paris, France

Henry Codax, solo show, Silicon Malley, Prilly, Switzerland

group show, Salts, Basel, Switzerland

Arter, to Art, Artarre, Kunsten
insert, FPWM C.06, Éditions Climanen, Geneva, Switzerland
group show by Silicon Malley, La Cabine, Clermont-Ferrand, France
Kiefer Hablitzel
group show, Swiss Art Awards, Basel, Switzerland

Nicolas Degrange, solo show, Silicon Malley, Prilly, Switzerland
Les lèvres nues
group show, DOC, Paris, France

Antonin Fassio, solo show, Silicon Malley, Prilly, Switzerland
Tous les tableaux sont à l’envers
group show, Circuit, Lausanne, Switzerland

Accrochage Vaud
group show, MCBA, Lausanne, Switzerland

solo show, La Placette, Lausanne, Switzerland
artist book, Micronauts Publishing, 384 pages
solo show, Quark, Geneva, Switzerland
Private Life
group show, Can Sep Simo, Ibiza, Spain
Master HES-SO in Fine Arts, Renens, Switzerland

Robin Lebey, solo show, Silicon Malley, Prilly, Switzerland

Guitare, Tanpura et Tabla électronique.
Myriam Stamoulis, concert, Silicon Malley, Prilly, Switzerland

Carte Blanche à Simon Paccaud
group show, Musée Jenisch, Vevey, Switzerland
Life is a Bed of Roses
group show, Fondation Ricard, Paris, France

Silicon Malley
artist-run-space, Prilly, Switzerland

group show, Quark, Geneva, Switzerland

Summer Camp
group show, Happy Baby Gallery, Crissier, Switzerland

The Rise of the New Creative Class
group show, Allianz Club, Renens, Suisse

Entourage II
a + o -, le Romandie, Lausanne, Switzerland

A + O -
artists objects, online
Bachelor HES-SO in Fine Arts, Renens, Switzerland

Dear Peggy
group show, Treize, Paris, France

C. R. O. M.
group show, Tour St-Georges, Saint-Emilion, France

Ateliers de Sèvres
Intermedia, Paris, France

ESAG Penninghen
Art Director Bachelor, Paris, France



Online MEDIA

DOCUMENTATIONS is a participatory media fighting against the conservative and hegemonic discourse that governs art today.

To expect the traditional frameworks of Western art will lead to the invention of tomorrow's forms and formats seems unlikely to us. To anticipate the next step, we offer a space for debate and sharing that goes beyond the boundaries imposed by the structures of contemporary art by joining the anti-racist, anti-sexist and anti-capitalist movements.

When a large proportion of the agents of a system are loyal to the dominant order without even being ordered to do so, they contribute to reject any form of questioning the status quo. It is then urgent to experiment with spaces that will stand for a recomposition process of the art field.

DOCUMENTATIONS allows situations of enunciation. The highlighting of structural violence in the art field alongside the showcasing of revolt hotspots and the struggles that are being organized are our ways to address the inequalities and paradoxes inherent in this cultural milieu. We are thus seeking to trigger debates, which may potentially turn into actions, where propriety, hierarchies and power games weaken any radical thinking.

DOCUMENTATIONS is a home to multiple and diverse voices in terms of professions, formations, genders, sexualities, races, social or geographical backgrounds. It welcomes occasional speakers by giving them the possibility of writing under anonymity, pseudonymity, or in their own name.

In an area where self-censorship and abuse of power are real, persistent and very often blinded by their own mechanisms, DOCUMENTATIONS is a public platform intended to facilitate the liberation of speech and new debates of ideas.


Fondation Vincent van Gogh Arles
Pierre Joseph

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

Solo show

Arthur Fouray

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

Jean–François Millet : Pop down up
Julia Marchand
Potatoes Love treaty
Norbert Nicolet, Jill Cousin

Aurélien Mole

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


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

Pier Paolo Pancotto

Arthur Fouray
Christophe de Rohan Chabot

Alfredo Aceto
Paolo Caravello
Arthur Godard


Arthur Fouray

Aargauer Kunsthaus
Aargauerplatz, 5001 Aarau, Switzerland


Yasmin Afschaf
Katrin Weilenmann

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

Arthur Fouray

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

Arthur  Fouray
55 Boulevard de la Villette
75010, Paris, France

Copyright © 2019 Arthur Fouray. All rights reserved.