Gabriele De Santis
Alberto Di Fabio
Christophe de Rohan Chabot
Viale della Trinità dei Monti, 1, 00187 Roma RM, Italy
16.11 — 23.11.2017
Pier Paolo Pancotto
Christophe de Rohan Chabot
Aargauerplatz, 5001 Aarau, Switzerland
Aargauer Kunsthaus Museum Team
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 <3: 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
6 rue Charles Humbert, 1205 Geneva, Switzerland
12.11 – 21.12.2015
Arthur Fouray is a story in progress. It opens with an "Once upon a time" and evolves through recurring stylistic figures that articulate the content of its statements. From historical frescoes to modern painting, Arthur Fouray explores history and stories by using Pop or popular twists and turns, such as the cinematic screen or Walt Disney.
is a first personal exhibition. It constitutes a real proposal regarding openness. A kind of teaser of what awaits us with the continuation of the adventures of this young artist. It lays the foundations for a cosmogony whose dynamic challenges are materialized in standard objects. The latter decline in series, and weave links with each other to shape a message of solidarity whose profiles are shaped under the prism of various spectra. Spectre
Finely chosen colours, perfect flat tints, clearly defined painted surfaces, Arthur Fouray practices monochromatic painting with care and precision. If the monochrome is a historical pictorial form in the 21st century with its supremacist, spiritual and geometric figures - if the monochrome is a zero degree of painting, a simple, radical or essential gesture, it takes on an autographic and signage dimension in Arthur Fouray beyond the referential one.
The #aaafff series of paintings operates according to a clearly defined formula. These monochromatic shades, halfway between sky blue and purple, hide an object within their frames, most often taken from the domestic environment. The colour announces the secret of the piece, a work of intertwining that allows the association of a monochrome canvas with an object. Here the artist reconciles abstraction and ready-made, two "a priori" antagonistic pillars of the avant-garde history. Through the game of the series, the #aaafff propose themselves as the stamp of this approach. A code that informs us of a specific gesture, painting and sculpture hybrid.
In the case of #000fff polyvision,
offers a variant to the rule. #000fff polyvision is a wall painting with the color #aaafff at its maximum saturation. The work no longer hides an object but suggests its projection. The dimensions of the work are based on the ratios of Abel Gance's triptych polyvision screen for his film Napoleon (1927). It is a utopian and gigantic cinematographic form, a triple coloured projection on three assembled screens. Gance deliberately borrowed the term triptych from painting to signify the displacement of medium by the historical fresco towards cinema. #000fff polyvision moves the genre back from screen to painting. Spectre
A combination of architectural and experimental, Morel #aaafff polyvision is the result of a series parallel to the #aaafff series. In the case of Morel #aaafff polyvision, a painting is contained rolled up in a box. It is a 16-meter-long monochrome canvas that the artist has decided to freeze in the sculpture as it stands: "a fossilization of the object within a medium". Beyond its role as a container, the box is in itself a complex object with its own narrative. The structure consists of 12 ready-made boxes that are used for painting. While it evokes the woodwork of 17th century princely galleries, its wall layout echoes Donald Judd's "specific objects", in particular the Untitled series (Ballantine 89-49), modular wooden boxes placed horizontally on the wall.
From the "Great Century" to minimal art, from historical painting to the screen, the anachronistic and conceptual gaps they perform are marked by Marcel Broodthaers' spectrum. Broodthaers is a recurring figure in Arthur Fouray's lexicon of reference, because it perfectly illustrates a search for balance and meaning in the constrained meetings of the official Art - Critical Art couple.
Andy and Kasimir are the protagonists of the series of "object paintings". The series begins in 2013 when Arthur Fouray decides to stretch a canvas on the box spring of his bed. As with the #aaafff, the canvases are all monochrome. Here, the federating gesture is the use of bedding elements as a frame. Through the prism of domesticity and intimacy, from the pillow to the duvet, the object paintings engage the monochrome in an obvious relationship to the body. Their titles illuminate with their indices the referential content of the object, associating them with a color or a number. In a gesture almost more Pop than Minimal this series highlights a porosity of genres. If Kasimir pulls the Malevitch rubber band, the object it presents absolves the monochrome of his supremacist myth, from a pure and self-sufficient abstract painting. Just as Andy clearly refers to the Silver Clouds of Warhol, the light and airy appearance of Pop helium balloons lies under canvas and paint. By injecting a domestic structure into his canvases, Arthur Fouray returns the zero degree of the painting.
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