Fondation Vincent van Gogh Arles

Pierre Joseph

20.10 – 12.11.2018


Pierre Joseph


Arthur Fouray


26, rue du Docteur Potain
75019, Paris, France


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


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



Art Genève 2018

Galerie Joy de Rouvre

01.02 – 04.02.2018


John Armleder
Christian Floquet
Arthur Fouray
Frédéric Gabioud
Hugo Pernet
Hugo Schüwer–Boss
Dominik Stauch


Art Genève
1218 Le Grand-Saconnex, Switzerland


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

Kamon (C41)
2017 – 2018 (Paris)
acrylic, cotton duck, wooden stick, screw cover, metal pendant
67.5cm x 250cm x 5cm
Edition /20
Courtesy of Galerie Joy de Rouvre & Arthur Fouray

Genkins (Fluo)
2017 (Paris – Berlin)
acrylic, cotton duck, wooden frame
70cm x 60cm x 12cm
Courtesy of Galerie Joy de Rouvre & Arthur Fouray


Pierre Belloni
Marine Coullard
Tindaro Gagliano
Joy de Rouvre
Baker Wardlaw


Villa Médicis, Rome, Italy

16.11 – 23.11.2017

Group Exhibition


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


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


Alfredo Aceto, Paolo Caravello, Arthur Godard

3 years, smart moveArtist

Galerie Joy de Rouvre, Geneva, Switzerland,

12.11 – 23.12.2017

Group Exhibition


Sylvain Croci–Torti, Camila Oliveira Fairclough, Sylvie Fanchon, Christian Floquet, Arthur Fouray, Frédéric Gabioud, Jérôme Hentsch, Hugo Pernet, Christian Robert–Tissot, Dominik Stauch, Baker Wardlaw


000fff (4:3) (Guillaume Maraud, Sans titre, (08.12.2017 — 27.01.2018, Paris, (preview)))
2017 (Paris)
chroma key paint, Sans titre, (08.12.2017 — 27.01.2018, Paris, (preview))
120cm x 160cm x 3cm
Courtesy of Édouard Montassut & Galerie Joy de Rouvre & Guillaume Maraud & Arthur Fouray

Chroma Key Titanium (Andy)
2015  (Paris)
Andy (Chroma Key) /10, Andy (Titanium) /10
variable dimensions
Courtesy & Galerie Joy de Rouvre & Arthur Fouray


Pierre Belloni, Frédéric Gabioud, Guillaume Maraud, Joy de Rouvre, Baker Wardlaw