arthurfouray.systems maps ways of experimenting with arts.
Arthur Fouray

PPP+ is a game of associations, a corpus of possibilities where prospects and projects can form storyboards, narratives, scripts, events, and exhibitions. 

Through the use of an impersonal acronym, rt4a embraces a diverse array of practices and identities, fostering a dialogue based on interconnectivity and multiplicity.

D************* *** ** ***** ************ ****** *’********* ************* *** ******** ** ***** ** *’***.

The artist book Screen emanates from the 2015 Spectre exhibition research, fusing the flipbook, painting and silkscreen formats in one cinematic object.

Exhibition Making
Making and organising exhibitions for others is essential in the lives of artists. Exhibition Making outlines a collaborative approach to conceptualising and organising solo or group shows, successively as a part of the teams at Silicon Malley, DOC!

Arthur Fouray
From the cinematic screen to abstraction and tangible objects, this normalised approach expands possible narratives on the evolution of visual storytelling, playing with situations and interfaces, blending historical art forms and nuanced layers of monochromatic paintings.

a plus o minus
The a plus o minus project explored objects in pop culture as musical or linguistic symbols, offering a critical perspective on consumerism through art, co-envisioned with Nastassia Cougoulat Montel.

From an online diary to an artist book to a series of photographs, mmm (inverse of www) blurs the line between more than two years of private musings and art, visually coded using typefaces appropriated from artists and art institutions.

An emergence as a playful critique of ‘contemporaryart’ where installations evolve like conversations, and labels become soft invitations.

before Arts

Arthur Fouray

09.05.1990, Paris, France
Lives and works in Marseille, France

Curriculum Vitæ

Solo Shows
  • Caravan, 2017, Aargauer Kunsthaus, Aarau, Switzerland
  • 2080, 2017, ZQM, Berlin, Germany
  • Osmosis, 2015, La Placette, Lausanne, Switzerland
  • Spectre, 2015, Espace Quark, Geneva, Switzerland
    Selected Group Shows
    • 1984 (feat.1990), deuxième partie, 2019, Galerie Joy de Rouvre, Geneva, Switzerland
    • 1984 (feat.1990), 2019, Galerie Joy de Rouvre, Geneva, Switzerland
    • Galerie Joy de Rouvre, 2018, Art Genève, Geneva, Switzerland
    • Greffes, 2017, Académie de France à Rome, Villa Medici, Rome, Italy
    • 3 years, Smart Move, 2017, Galerie Joy de Rouvre, Geneva, Switzerland
    • PRIX Novembre à Vitry, 2017, Vitry sur Seine, France
    • MONO, 2017, DOC, Paris, France
    • Ristretto, 2017, Le Marquis, Saint-Denis, France
    • Nouvelle Collection Paris, 2017, ENSBA, Paris, France
    • Jeudi x PRPArt Genève, Geneva, Switzerland
    • Frédéric Gabioud, Arthur Fouray, Baker Wardlaw, 2016, Galerie Joy de Rouvre, Geneva, Switzerland
    • Cruising, 2016, Salts, Basel, Switzerland
    • RÉ DO, 2016, Curated by Silicon Malley, La Cabine, Clermont-Ferrand, France
    • Kiefer Hablitzel Prize (nominee), 2016, Swiss Art Awards, Basel, Switzerland
    • Les lèvres nues, 2016, DOC, Paris, France
    • Tous les tableaux sont à l’envers, 2016, Circuit, Lausanne, Switzerland
    • Accrochage Vaud, 2016, MCBA, Lausanne, Switzerland
    • Private Life, 2015, Can Sep Simo, Ibiza, Spain
    • Nuit des musées, 2015, Curated by Simon Paccaud & Stéphanie Serra, Musée Jenisch, Vevey, Switzerland
    • Life is a Bed of Roses, 2015, Curated by Stéphanie Moisdon, Fondation d’Entreprise Ricard, Paris, France
    • S.Y.N.N.A.L.L.A.G.M.A SHOW, 2014, Espace Quark, Geneva, Switzerland
    • Summer Camp, 2014, Happy Baby Gallery, Crissier, Switzerland
    • The Rise of the New Creative Class, 2014, Allianz Club, Renens, Switzerland
    Selected Publications
    • Matthieu Laurette : une monographie dérivée (1993-2023), Mac Val, Vitry-sur-Seine, France
    • Matthew Lutz-Kinoy, 2023, les presses du réel, Dijon, France 
    • Art Club, 2018, Académie de France à Rome, Villa Medici, Rome, Italy
    • Caravan, 2018, Aargauer Kunsthaus, Aarau, Switzerland
    • Arthur Fouray, SCREEN, 2017, Tombolo Presses, 104 pages, Nevers, France
    • FPWM C.06 (Arter, to Art, Artarre, Kunsten), 2016, Éditions Climanen, Geneva, Switzerland
    • Arthur Fouray, M, 2015, Micronauts Publishing, 388 pages, Vevey, Switzerland
    • Agnès Varda – A day without seeing a tree is a waste of a day – Hans Ulrich Obrist Archives: Chapter 3, co-curated with Hans Ulrich Obrist, with works by Adel Abdessemed, Nairy Baghramian, Dominique Gonzalez-Foerster, Douglas Gordon, Katharina Grosse, JR, Annette Messager, Laure Prouvost, 2023, LUMA Arles, Arles, France
    • Édouard Glissant – Where all the world’s imaginations
      can meet and hear one another
      – Hans Ulrich Obrist Archives – Chapter 1, co-curated with Hans Ulrich Obrist, with works by Valerio Adami, Etel Adnan, Miquel Barceló, Tosh Basco and Wu Tsang, Daniel Boyd, Tony Cokes, Patrick Chamoiseau, Julien Creuzet, Manthia Diawara, Melvin Edwards, Édouard Glissant, Koo Jeong A, Dozie Kanu and Precious Okoyomon, Matthew Lutz-Kinoy, Julie Mehretu, Jota Mombaça, The Otolith Group, Philippe Parreno, Raqs Media Collective, Asad Raza, Anri Sala, Sylvie Séma-Glissant, 2023, LUMA Westbau, Zurich, Switzerland
    • Etel Adnan – The world needs togetherness, not separation. Love, not suspicion. A common future, not isolation – Hans Ulrich Obrist Archives: Chapter 2, co-curated with Hans Ulrich Obrist, with works by Etel Adnan, Simone Fattal, 2023, LUMA Arles, Arles, France
    • Édouard Glissant – Where all the world’s imaginations
      can meet and hear one another – Hans Ulrich Obrist Archives – Chapter 1
      , co-curated with Hans Ulrich Obrist, with works by Édouard Glissant, Sylvie Séma-Glissant, Etel Adnan, agnès b., Julien Creuzet, Dominique Gonzalez-Foerster, Manthia Diawara, Julie Mehretu, Philippe Parreno, Asad Raza, The Otolith Group, Koo Jeong A, 2023, LUMA Arles, Arles, France
    • Matthieu Laurette, Demands & Supplies, 2020, Silicon Malley, Prilly, Switzerland
    • Pierre Joseph, Fondation Vincent van Gogh Arles, 2018, DOC, Paris, France
    • On Italian museography…, 2018, Organised by EPFL Studio Master 1 and Silicon Malley, with works by Koenraad Dedobbeleer, Antonios Prokos, David Viladomiu, Lerna Bagdjian, Eric Bonhôte, Lois Bouche, Svenja Clausen, Noé Cuendet, Vincent Dorfmann, Florent Dubois, Floriane Fol, Fanny Frykberg Wallin, Alexandra Fuchs, Eva Hürlimann, Valentine Jaques, Valdrin Jashari, Daniela Lopes Peñaloza, Nina Mosca, Marion Moutal, Philippine Radat, Germán Ribera Marín, Valentine Robin, Felix Spangenberg, Constance Steinfels, Annabelle Thüring, Silicon Malley, Prilly, Switzerland
    • Christophe Lemaitre, Manners Maketh Man, 2017, DOC, Paris, France
    • La Nuit Juste avant les Forêts, 2017, Co-curated with Corentin Canesson, Lucas Erin, Eva Vaslamatzi, with works by Carlotta Bailly-Borg, Benjamin Husson, Matthew Lutz-Kinoy, Flora Moscovici, Rallou Panagiotou, DOC, Paris, France
    • Terrasse 2017, 2017, Organised by Silicon Malley, Prilly, Switzerland
    • Lauren Coullard, BREAK(FEAST), 2017, Organised by Silicon Malley, Prilly, Switzerland
    • Francesco Cagnin, So Leggere, 2017, DOC, Paris, France
    • Demelza Watts, free time, 2017, Organised by Silicon Malley, Prilly, Switzerland
    • Silicon Malley, Terrasse 2013–2017, mixed media, 300 x 300 x 125 cm, 2017, Organised by Silicon Malley, Art Genève, Geneva, Switzerland
    • Noémie Vulpian, César Chevalier, Cluster, 2016, Organised by Silicon Malley, Prilly, Switzerland
    • Francis Baudevin, Guitars, 2016, DOC, Paris, France
    • Rob a Robe, 2016, Co-curated with Lauren Coullard, with works by Pauline Bastard, Jennifer Beteille, Louise Boghossian, Corentin Canesson, Lorraine Châteaux, César Chevalier, Claude Closky, Lauren Coullard, Philippe Decrauzat, Marcel Devilliers, Ligia Dias, Kim Farkas, Antonin Fassio, Arthur Fouray, Frédéric Gabioud, Mathieu Gargam, Daiga Grantina, Dominique Gonzalez-Foerster, Michel François, Sylvie Fleury, Antoine Giraud, Tarik Kiswanson, François Lancien-Guilberteau, Damien Le Dévédec, Rafaela Lopez, Jean-Philippe Lucas, Gabriel Méo, Justin Meekel, Tricia Middleton, Nouvelle Collection (Kim Bradford, Marie Benoite Fertin, Matthieu Brion, Alexis Chrun, Ludovic de Courson, Robin Garnier-Wenisch, Tania Gheerbrant, Caroline Grout, Dounia Ismaïl, Mahalia Kohnke-Jehl, Aurore Le Duc, Laure Mathieu, Garush Melkonyan, Sarah Nefissa Belhadjali, Lulù Nuti, Julia Pitaud, Lucie Planty, Camille Raimbault, Claudia Tennant, Elsa Werth & Marie Glaize), Néféli Papadimouli, Pierre Paulin, Kristin Reiman, Juliette Roche, Louise Siffert, Zoé de Soumagnat, Anafaia Supico, Eva Taulois, Thibault Tavernier, Alexis Tolmatchev, Virginie Vallée, Manuel Vieillot x Lois Blamire, Sara de la Villejegu, Demelza Watts, Camilla Wills, Alicia Zaton, DOC, Paris, France
    • Nicolas Degrange, Suite, 2016, Organised by Silicon Malley, Prilly, Switzerland
    • Robin Lebey, 1, 2015, Organised by Silicon Malley, Prilly, Switzerland
    • Myriam Stamoulis, Guitare, Tanpura et Tabla électronique, 2015, Organised by Silicon Malley, Prilly, Switzerland
    • Thomas Baud, Giulia Essyad, Thomas Koenig, Thomas Vogel, Laura Zalewski & Guillaume de Nadaï, CCI, Organised by Silicon Malley, Prilly, Switzerland
    • DOC, 2016–2018, Curator Team, Project Space, Paris, France
    • Silicon Malley, 2015–2022, Co-Founder, Artist-Run-Space, Prilly, Switzerland
    • A + O –, 2013–2015, Online Project

    • LUMA Arles, 2019–2024, Archivist & Curator, Arles, France
    • Matthew Lutz-Kinoy, 2017–2019, Studio Manage, Paris, France
    • Philippe Decrauzat, 2017, Assistant, Paris, France
    • Pierre Huyghe, 2013, Assistant, Pierre Huyghe Studio, Centre Pompidou, Paris, France
    • ECAL, 2013–2015, Master HES-SO in Fine Arts, Renens, Switzerland
    • ECAL, 2011–2013, Bachelor HES-SO in Fine Arts, Renens, Switzerland
    • ESAG Penninghen, 2008–2010, Art Director Bachelor, Paris, France
    • École Alsacienne, 1998–2008, Baccalaureat, Paris, France


    PPP+ is a game of associations, a corpus of possibilities where prospects and projects can form storyboards, narratives, scripts, events, and exhibitions. In two words: Oblique Strategies. It is a toolbox, a database stemming from a theoretical strategy: to sketch 100 projects on a weekly basis.

    PPP+ serves as an acronym for Projects Prospects Possibilities +, as a designation similar to units of measurement such as miles per hour (mph) or protocols such as peer-to-peer (P2P) and the World Wide Web (www). It can be viewed as a fictional and subjective method for quantifying or qualifying the emergence of ideas and conceptions as blueprints.

    PPP+ is composed of collections containing both text and images. The image’s content defines the title of the collection itself, ranging from photography to drawing to objects. The compendium first spreads digitally through social media platforms, then generates collections of cards on the website rt4a.systems, which serve as a template for real physical playing cards. The use of these different mediums aims to contextualize PPP+ in collective and open-source contexts. The core of PPP+ is suspense, the tension between an stimuli and its concrete activation.

    A project can be done, poorly done, not done. It can be self-censored, too large or too small to be done, too idealistic or unrealistic to be done.

    A prospect can evolve into a work, a series of works, a presentation, a representation, a utopia, or a dystopia.

    A possibility can be linked to another possibility, become one with multiple possibilities, or evolve into a universe, ever-transforming and ever-realizing.

    Signs Bold Signs
    Classic Script MN     Scripts
    Tokyo Palace In Memoriam Instructions
    Apple Garamond Light Objects
    Architype Catalogue Soft Solid Works
    Franklin Gothic extra Condensed Shows
    Basel Grotesk Spaces
    Stencil LT Contexts
    NCM Std Medium Dreams




    1. A two-kilometer wide concrete cube sitting in a low ocean.
    2. An encyclopedia created
      from impassioned
      discussions with plants.
    3. A zoo imagined
      for bubbles,
      with cages
      for bubbles of different sizes and organised
      by colours, liquids
      and shapes.
    4. Opening museums during the day
      for the general public and at night exclusively for artists.
    5. A giant glass ball rolling freely with the wind
      in a field of flowers.
    6. A sign at the entrance
      of an exhibition, warning
      of the presence of an artist
      or multiple artists
      in the space:
      Beware of artist(s).
    7. Drones lit with cobalt lights, arranged 
      in square formations reflected on the sea under the moonlight.
    8. Wearing glasses that make everyone around you
      appear to be wearing pink suits with furry hats.
    9. Generate, as an artist,
      a scenario in which 
      an intelligence agency collaborates with a gallerist
      to organise an opening for wealthy collectors aiming to gather intel from them. Profits are split with
      the gallerist.
    10. Reproducing the packaging
      of the game ‘Sorry’
      as an oversized sculpture.
    11. Inventing job titles using terms from dead languages 
      to address the employment void 
      of the 21st century.
    12. Never produce 
      a finished object 
      or work; only write and imagine drafts of ideas, mixing them together.
    13. Instead of opening
      art contexts during the day, open them only at night and
      add couches, chairs, and stools inside
      the gallery spaces.
    14. Install thousands 
      of lit lamps of various sizes in a room, creating an environment 
      so intensely bright 
      that it is impossible 
      to photograph.
    15. A 100m³ windowless room bathed in dark turquoise blue light, 
      a pedestal at the center showcases 
      a 1997 Bondi Blue iMac G3 with 
      a red screen, broadcasting 
      local radio news.
    16. A blanket, embroidered
      with the text: 'How to revert power from context
      to content?'
    17. A blank blackboard 
      with a dark green 
      glaze, borderless 
      and installed on a concrete floor 
      of a space, ready 
      to be walked on.
    18. Write a travel guide about an exhibition space, detailing a tour that describes the lighting, power outlets, windows, and scratches on 
      the walls as if they were monuments.
    19. Filling a skyscraper's glass corridor with household dust. The interior of the corridor remains locked, visible only from outside. Synthetic household dust is gradually mixed with real household
      dust over time.
    20. A society where daily
      rituals and ceremonies revolve around art, E.G.: Mondays for book reading • Tuesdays for movie-going • Wednesdays for music listening
      • Thursdays for exhibition
      visits • Fridays for attending a spectacle.
    21. A space where 
      the floor tiles are 
      keys which, when stepped upon, activate or affect 
      the environment 
      in diverse manners.
    22. An exhibition of works floating in the clouds.
    23. As an experiment, empty
      all the art institutions
      of a city (E.G. New York),
      and see how the citizens appropriate these spaces.
    24. Reversing the timeline
      of events for an exhibition: starting with the closing, progressing to being open 
      to the public, then to the opening, followed by installation, production, 
      and finally research.
    25. Designing a card game
      similar to Pokemon cards, where collecting and exchanging are as crucial,
      if not more so, than
      the actual game. Instead
      of creatures, these cards would feature artist names.
    26. A darkened room, with a 2m wide disco ball at its center, stroboscopic lights, and jazz music filling the space. Some works hung on the ceiling
      can only be perceived
      by looking at the disco ball
      when the flashes occur.
    27. A world where all construction materials, instead of having natural dyes like grey, brown,
      and beige, would be in neon colors.
    28. An illustration of Pablo Picasso with, around 
      his head, instead of 
      an aureola, the bright side of the Death Star from Star Wars (1977).
    29. An exhibition titled: ‘Ideological Software’
    30. An exhibition where visitors become the spectacle, as they would be required to wear light costumes, such as capes, to enter the space.
    31. A contemporary art museum as a refurbished cruise ship. If it moves from city to city, this could embody carbon footprint in arts. If it stays still, this could be an illustration of decay.
    32. A museum 
      conceived by exchanging
      with cows.
    33. In an exhibition space
      styled like a school
      or open workspace, visitors 
      are prompted to sit at tables 
      and work for a set duration (30 minutes, 1 hour).
      They could also be assigned specific 'office' tasks.
    34. Entering an exhibition, 
      spectators are asked
      to close their eyes while
      inside the space. The room 
      itself could be blacked out,
      or visitors could be provided with blackout glasses
      to wear.
    35. A train, arranged as a white cube, would be an ideal exhibition space.
    36. In a vast space illuminated 
      by intense white 
      lights, reminiscent
      of studio flashes
      or construction site lighting, a pair of
      high heels is the sole focus, positioned
      at the center.
    37. An art center designed to welcome any communities, 
      aiming to hospitable
      for anyone,
      by adapting 
      rather than imposing.
    38. Inventorying errors occurring when producing a task. These errors 
      or missteps might 
      not only inform 
      but could be 
      the task itself.
    39. Assemble a team
      of screenwriters
      to conceive a show
      with multiple episodes
      over one year.
    40. The robot from 'Le Roi et l’oiseau' releases the last bird from a cage amidst
      the ruins of glass skyscrapers reflecting
      a desert landscape like mirrors.
    41. Commission artists from a city to use all available public platforms: screens, billboards, music in shops, stores and markets, and on the streets when possible, contextual web and social media advertising, etc.
    42. A plane as a 
      museum offering
      the experience of 
      a casual opening.
      would be 
      and flight duration, too.
    43. Take a picture every day of the same element, from a different angle, in various lightings, 
      or within specific contexts. What emerges: the focus itself, the ritual, both, or something else?
    44. Conceive an object based on the following interrogation:
      If we assume that [books, poetry, philosophy, music, radio, cinema, series, video games, etc.] can all be 
      enjoyed wherever and whenever a 'user' desires, 
      how might contemporary art offer the same accessibility?
    45. An exhibition space with only curved 
    46. A room with walls covered in sandpaper.
    47. Walls painted 
      in pale pink mixed 
      with glitter.
    48. An exhibition that can only
      be visited by one visitor
      or a group of visitors
      at a time. If the exhibition
      is empty, the person managing
      the exhibition space must
      go out and canvass the streets until they find interested onlookers.
    49. An exhibition consisting
      of a residency and a complete takeover by an artist for
      the duration of the exhibition 
      and the withdrawal of the 
      people managing the exhibition context. The artist would
      take over all tasks related
      to the venue for the duration 
      of the exhibition…
    50. An island, replicating
      the epiphany from 'The Invention of Morel' (1940)
      by Adolfo Bioy Casares, could present a complex museum dystopia.
    51. Create an installation based 
      on the following statement: 
      We have generated billions
      of representations of humans 
      in space, fully aware that
      most of us will likely never experience it in our lifetimes. Are we driven by fear, or 
      merely limited by our pace?
    52. Like party
      or dining buses, refurbished electric buses could serve
      as mobile white cubes, offering 
      new possibilities for exhibition making.
    53. Building shields made 
      of the most precious materials, with each 
      one inscribed with different words reflecting current political struggles 
      and activisms such as: feminism, decolonialism, ecology, queer, trans.
    54. Install gigantic billboards connecting
      the Haussmannian buildings’ roofs, displaying posters made by artists.
    55. Write a script about: Could 
      an asteroid be considered an exhibition space or an artwork in the near future? Could a planet be? Will Earth become the Venice of the 31st century (if not destroyed – most certainly)?
    56. An exhibition space acting as a gigantic board, where visitors can write on the 
      glossy walls if they 
      call the artist first to discuss the purpose 
      of their writing.
    57. Conceive a show with only
      one visible work in a room, changing the work every day 
      for 90 days (thus, requiring
      90 different works).
    58. An installation visible through the windows 
      of a vehicle designed 
      in the shape of a flying saucer, featuring 
      a double-axis system that allows you to move within the vehicle while maintaining a consistent directional orientation.
    59. A public artwork consisting of a large metal sign along
      a desert road, 
      displaying the words 'Brutal Bourgeoisie' painted in white on a 
      red background.
    60. Every day, write 
      a project on the 
      city walls, one 
      that is feasible within the specific context of the written project.





    Through the use of an impersonal acronym, rt4a embraces a diverse array of practices and identities, fostering a dialogue based on interconnectivity and multiplicity. By chance, when ‘Arty Fouray,’ a potential nickname for Arthur Fouray was transcribed vocally on a phone, in 2014, it resulted in an acronym: RT4A.

    Matching the character count of Warhol’s name (4 for the first name, 6 for the last name – with each syllable having a double meaning), it is an experiment with a hasardous, unpredictable, yet arbitrary source material: a given name, consciously deconstructed beyond traditional, ego-driven notions of artistic identity.

    By shedding an identity and adopting an impersonal code, a set of letters and numbers, RT4A performs a kind of symbolic violence against the artist’s ego and the cultural capital typically associated with a known, individual artist’s name.

    It even becomes a simulacrum – a copy without an original, an entity that undermines the difference between the ‘real’ and the ‘imaginary’. The RT4A project can be seen as an avatar, a fake, complicating the distinctions between artists and ‘constructed’ identities.

    As a signature, it embodies a paradox: simultaneously the mark of an artistic act and an impersonal symbol obscuring individual identity. It not only facilitates the incorporation of other artists’ practices into RT4A but also ensures that its creations are not confined to the temporal boundaries of a single artist’s lifespan.


    Exhibition Making
    Arthur Fouray
    a plus o minus

    before Arts

    A utopia researching
    times as clouds of 
    rumors, for works
    are complex words, 
    and arts shifting 



    Curriculum vitæ

    Many thanks for reading.

    Special thanks to Béatrice & Alain Fouray.

    Copyright © 2024 Arthur Fouray.
    All rights reserved.