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

PHOTOGRAPHY
Arthur Fouray
Christophe de Rohan Chabot

Acknowledgments
Alfredo Aceto
Paolo Caravello
Arthur Godard

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

PHOTOGRAPHY
Arthur Fouray

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

ARTIST

SCREEN
Arthur Fouray

Tombolo Presses
17 rue Aublanc 58000 Nevers, France

artist’s book
11 x 18 cm
104 pages
2017

Editor
Thierry Chancogne

SCREEN is a multimedia artist book by Arthur Fouray. Its title, embodies his artistic process which spreads here across two main formats : painting/serigraphy on cushions and a printed material. The publication sets a comprehensive entry point into a research that Arthur Fouray began in 2015 with his solo show « Spectre » at espace Quark, Geneva. Through art and decoration history, he questions the shift between painting before the industrial revolution and the cinematographic experience. He proposes to the onlooker an art experience which teases the unsaid.

Conception
Arthur Fouray

Design
Arthur Fouray

DISTRIBUTION
Printed Matter
les presses du réel
Motto Distribution

ISBN
979-10-96155-05-7

LAUNCH
Motto Berlin
Skalitzer Str. 68, 10997 Berlin, Germany
18.05.2017

The launch of the book is accompanied by a talk between Rachel Walker and Arthur Fouray. A bookshelf will display books published by Tombolo Presses in recent years.

ACKNOWLEDGMENTS
Marielle Chabal
Thierry Chancogne
César Chevalier
Lauren Coullard
Philippe Decrauzat
Elise Lammer
Élisa Langlois
Christophe Lemaitre
Motto Distribution
Julien SIrjacq
Jérôme Valton
Alexis Zavialoff

ARTIST

MMM
Arthur Fouray

WEBSITE
mmm.arthurfouray.art


M
April 21 2013 — October 21 2015
Arthur Fouray

artist’s book
15 x 21 cm
104 pages
2015

Micronaut
Rue du Verger 4, 1800 Vevey, Switzerland

Editor
Julien Gremaud

At the same time an autobiographical abyss, a subjective compilation, an irrational encyclopedia, M is a transitional support, which, by shifting precisely from the web to paper, questions our current relationship to reading.

Conception
Arthur Fouray

Design
Bureau Mondial
Pierre Girardin & Nastassia Montel

POSTFACE
Interview with Julien Gremaud

Distribution
Printed Matter
Motto Distribution

ISBN
978-28-39917-68-1

QUOTES
M (Micronaut #8) by Arthur Fouray is an editorial project initiated in 2012. It represents a singular approach to publishing and artist books. In three years of activity, the book series took several different forms, engaging in a dialogue between disciplines and blurring the boundaries between all the actors involved in the process of creating a book.”
Curatorial Research Bureau
2019

“This book is the printed version of a surprising notes system held by Arthur Fouray on http://www.mmm.af
Motto Distribution

“Purchased by MOMA Library”
Printed Matter

PHOTOGRAPHY
Bureau Mondial

ACKNOWLEDGMENTS
Corinne Belin
Bureau Mondial
Philippe Decrauzat
Julien Fischer
Alain Fouray
Frédéric Gabioud
Pierre Girardin
Hugo Haeffner
Léa Lamy
Élisa Langlois
Nastassia Montel
Vincent Normand
Chi—Long Trieu
Louis Ziéglé

ARTIST

Spectre
Arthur Fouray

Quark
6 rue Charles Humbert, 1205 Geneva, Switzerland

SOLO SHOW
12.11 – 21.12.2015

Curator
Elisa Langlois

PRESS RELEASE
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. Spectre 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.

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, Spectre 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.

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.

Elisa Langlois

PHOTOGRAPHY
Arthur Fouray

Acknowledgments
Nastassia Montel
Jean–Marie Bolay
Julien Gremaud
Stéphanie Serra
Frédéric Gabioud
Grégoire Bolay
Baker Wardlaw
Boesner France
BFP–CINDAR


Arthur Fouray
arthur@arthurfouray.art
@arthurfouray
55 Boulevard de la Villette
75010, Paris, France

Copyright © 2019 Arthur Fouray. All rights reserved.