Arthur Fouray

arthur@arthurfouray.art All

00 33 6 18 84 08 48 Artist
instagram/arthurfouray Curator

Gallery Representation

Galerie Joy de Rouvre

2, rue des Vieux Grenadiers
1205, Geneva, Switzerland
info@galeriejoyderouvre.ch

Mark

CuratorFondation Vincent van Gogh Arles

Pierre Joseph
DOC, Paris, France



20.10 – 12.11.2017

Solo Exhibition

Artist

Pierre Joseph

Curator

Arthur Fouray

Text

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

Acknowledgment

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

CuratorLa Nuit Juste avant les Forêts

DOC, Paris, France


20.10 – 12.11.2017

Group Exhibition

Artists

Carlotta Bailly–Borg
Benjamin Husson
Matthew Lutz–Kinoy
Flora Moscovici
Rallou Panagiotou

Curators

Corentin Canesson
Lucas Erin
Arthur Fouray
Eva Vaslamatzi

Text

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

Acknowledgment

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

CuratorBREAK (FEAST)
Lauren Coullard
Silicon IVIalley, Prilly, Switzerland


15.09 – 12.11.2017

Solo Exhibition

Artist

Lauren Coullard

Curator

Arthur Fouray

TEXT

Lauren Coullard: The Lucky Stories

Sometimes we’re lucky, sometimes small unforeseen miracles happen in the sinuous course of life. One of these was my meeting with Lauren Coullard, and almost immediately afterwards with her art, at about the exact moment it was starting to get born. Shortly then a new miracle – these were sumptuous times : Lauren Coullard started to paint. Suddenly, on the table, as airdroped from an invisible country where these sort of serene fireworks had been nicely waiting to hatch, Lauren Coullard’s first paintings. Just like that.

If the world was paying more attention to what matters, it would have done the same thing as we did: watch, admire, silently applause, and whisper our admiration, carefully making sure that she was not hearing too much, to let her do what she does best: paint, without listening to anybody’s opinion, because the truth is that no one has anything to tell her about what she should or should not to do. After all, she's an artist.

The following months and years have been and keep being a long way of recurring delights, everytime appear the modest and zigzagging epiphanies of joy, color, and personal narrative patterns rising with more or less density depending on the periods: characters in nature, human activities, vegetations, a few horses, or brillantly talented portraits that deconstruct the human face to rebuild it with only what amuses or intrigues the painter, resulting in small wonders of relevance, humor, pictorial accuracy and vital energy. Or recently, abstract signs on splendid large size canvas, made of color, peace and joy, quick like scribbles, but with the perfection of color harmonies.

Because, in fact, the supposed antinomy between abstraction and figuration, as some oppose body and soul, besides being a tremendous reduction of the reality of painting, finds one more proof with Coullard that in the end, whether you recognize people or apples or cats in it, or you only see lines and tones, it is always, more or less, stories that are told or that fly around, with some more obvious and some more subtle. Which is why sometimes everything finds itself mixed up with everything, boundaries get blurred by the brush, we see something, and what is it? Well finally it is color, it’s movement, oil paint, a brush stroke: nothing more, and nothing less.

Stories, she has plenty, and today she’s telling us one more at Silicon: in BREAK(FEAST), we are, you are, in a cereal bowl! And following a daydreaming reference to eighteenth century’s porcelain bowls having decorative patterns painted on the inside, here comes a beautiful wall frieze with dragons, as seen from inside this very bowl. And then, because a daydream bounces on one another, arise the memories of Mexican cereal boxes: photos of the Mexican boxes are printed and then pasted on the French ones, these collages are painted, and voilà: cereal boxes in the big cereal bowl, paintings in the installation, or maybe just a large painting that is also a large cereal bowl. Daydream’s pool ball bounces again on an elegance phantasy about the nineteenth century, catches sight of Dorian Gray, and here it is: Wilde’s hero’s taking his breakfast, or has taken it earlier, or maybe he is just about to take it – anyway, look right here: embroidered with his initials, he kindly left us his napkin.

The little ballet is in place, it is up to us now to dance.

Jérémie Gransenne

Acknowledgment

AQNB, Grégoire Bolay, Frédéric Gabioud, Jérémie Grandsenne, Paul Nicoué, Sooishi, Baker Wardlaw

CuratorTerrasse 2017 –

Silicon IVIalley, Prilly, Switzerland



15.09.2017 –

Group Exhibition

Artists

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...

Curators

Grégoire Bolay
Julien Fischer
Arthur Fouray
Frédéric Gabioud
Baker Wardlaw

Acknowledgment

Grégoire Bolay, Julien Fischer, Frédéric Gabioud, Paul Nicoué, The Artists, Baker Wardlaw