6 rue Charles Humbert, 1205 Geneva, Switzerland

12.11 – 21.12.2015
Elisa Langlois
Arthur Fouray
Nastassia Montel
Jean–Marie Bolay
Julien Gremaud
Stéphanie Serra
Frédéric Gabioud
Grégoire Bolay
Baker Wardlaw
Boesner France


Arthur Fouray is a story in progress. It opens with a "Once upon a time" and evolves through recurring stylistic figures that articulate contents of its statements. From historical frescoes to modern painting, Arthur Fouray explores history and stories by using Pop twists and turns, such as the cinematic screen or Walt Disney. Spectre is a first personal exhibition. It constitutes a concrete 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 materialize in standard objects. The latter decline in series and weave links to shape a message of solidarity whose outlines develop 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 allowing the association of a monochromatic canvas with an object. 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 colour #aaafff at its maximum saturation. The work no longer hides an object but suggests its projection. The ratios of Abel Gance's triptych PolyVision screen for his film, Napoleon (1927) defines the dimensions of the work. 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 a medium by the historical fresco towards cinema. #000fff PolyVision moves the genre back from the screen to paint.

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 wooden box contains a rolled-up monumental painting. It is a 16-meter-long monochrome canvas that the artist has decided to freeze in the sculpture as it stands: "fossilization of the object within a medium". Beyond its role as a container, the box is in itself an elaborate object with its narrative. The structure consists of 12 ready-made boxes usually used for painting. While it evokes the woodwork of XVIIth century princely galleries, its wall layout echoes Donald Judd's "specific objects", in particular the Untitled series (Ballantine 89-49), modular wood 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 remain 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 began in 2013 when Arthur Fouray decides to stretch the canvas on the box spring of his bed. As with the #aaafff, the canvases are all monochrome. The federating gesture is the use of bedding elements as a frame. Through the prism of domesticity and intimacy, from pillows to duvets, the object-paintings engage monochromes in an apparent relationship to the body. Their titles illuminate with their indices the referential content of the object, associating them with a colour 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. As Andy refers to the Silver Clouds of Warhol, the light and airy appearance of Pop helium balloons lie under canvas and paint. By injecting a residential structure into his canvases, Arthur Fouray returns the zero degrees of the painting.

Elisa Langlois