Arthur Fouray

Arthur Fouray Index

The exhibitions I made as Arthur Fouray from 2014 to 2017, in Switzerland, France, Germany and Italy: installation views, labels, credits and press. The #aaafff and #000fff series return from one show to the next, beside the pillows, bed bases, ladders and tables that served as supports for painting. A work can come back in another exhibition without coming back to the same situation. Follow the dates, or follow one object as its surroundings change.

Arthur Fouray Greffes

Greffes
Group show
Villa Medici
Rome, Italy
16.11–23.11.2017

Curator
Pier Paolo Pancotto

Photographs by Christophe de Rohan Chabot & Arthur Fouray

Special thanks to Alfredo Aceto, Paolo Caravello, Arthur Godard

Two MDF wood boxes, both of the same size (92.5 × 40 × 10 cm), covered with a blue canvas (type ‘aaafff’).

One side (92.5 × 40 cm) displays an image or print on Dibond, laminated onto plexiglass (about 21 × 29.7 cm). It features the image of a lizard. Its eye spews blood.

The opposite side showcases a one-way mirror. Its dimensions should be slightly smaller than 92.5 × 40 cm. (…in progress…) These two boxes would thus be relatively identical objects. They are meant to be placed vertically on the floor. However, such a decision should be finalised during the installation. Also, there is a consideration if they should be displayed together or separately, either in the same room or in different spaces, and if there is an intent to make each more autonomous. At its core, through this repetitive effect, one object refers to the other, activating memory, signalling, and reminding of its twin. In the same way, a marker or a reference object sets the context in its entirety…

Christophe de Rohan Chabot & Arthur Fouray

Christophe de Rohan Chabot & Arthur Fouray
senza titolo / (X5m4mjB-1) (#aaafff)
2017
Dibond, canvas, acrylic, braces, dark glass
67.5 × 30 × 12 cm
courtesy of Gaudel de Stampa & Galerie Joy de Rouvre & the artists

Christophe de Rohan Chabot & Arthur Fouray
senza titolo / (X5m4mjB-1) (#aaafff)
2017
Dibond, canvas, acrylic, braces, dark glass
67.5 × 30 × 12 cm
courtesy of Gaudel de Stampa & Galerie Joy de Rouvre & the artists

PDF

Index

Arthur Fouray 3 years, smart move

3 years,
smart move
Group show
Galerie Joy de Rouvre
Geneva, Switzerland
11.11–23.12.2017

Special thanks to Guillaume Maraud, Joy de Rouvre, Pierre Belloni, Frédéric Gabioud, Baker Wardlaw

3 years, smart move was a group show at Galerie Joy de Rouvre in Geneva. It opened on Saturday 11 November 2017 and ran until 23 December. I had shown at the gallery a year earlier, in a three-person show with Frédéric Gabioud and Baker Wardlaw. At the end of 2017 the gallery began to represent my work, and did so until it closed in 2022. I showed two works. #000fff (4:3), from the #000fff series, is a wall painting in chroma-key paint, 120 × 160 cm, in the proportions of television. It was made to host a preview of Guillaume Maraud’s Sans titre, shown in Paris from 8 December 2017 to 27 January 2018. Chroma Key, Titanium (Andy) (2017) brings together four Andy (Chroma Key) and three Andy (Titanium), in acrylic and cotton duck on pillows.

#000fff (4:3) (Guillaume Maraud, Sans titre, (08.12.2017–27.01.2018, Paris, (preview)))
2017
chroma-key paint, Sans titre, (08.12.2017–27.01.2018, Paris, (preview))
120 × 160 cm
courtesy of Édouard Montassut & Galerie Joy de Rouvre & the artists

Chroma Key, Titanium (Andy)
2017
acrylic, cotton duck, pillows, 4 Andy (Chroma Key), 3 Andy (Titanium)
variable dimensions
courtesy of Galerie Joy de Rouvre & the artist

Index

Arthur Fouray Caravan

Caravan
Solo show
Aargauer Kunsthaus
Aarau, Switzerland
26.08–12.11.2017

Curators
Yasmin Afschar
Katrin Weilenmann

Special thanks to Marielle Chabal, César Chevalier, Lauren Coullard, Marine Coullard, Philippe Decrauzat, Madeleine Schuppli, Aargauer Kunsthaus Museum Team

Invitation card

Invitation card PDF
PDF

PRESS RELEASE

PDF

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), they allude 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 Afschar, Katrin Weilenmann

PRESS

Agenda — Aarau, Aargauer Kunsthaus: Arthur Fouray, 2017 – Kunstbulletin, Exhibition listing, no. 11/2017 (November 2017), p. 126; advertisement on the inside front cover – PDF · PDF
Astrid Näff, CARAVAN 3/2017 — Arthur Fouray, 2017 – Aargauer Kunsthaus, Exhibition essay on CARAVAN 3/2017, pp. 52–53, Jahresbericht 2017 – PDF · PDF

Index

Arthur Fouray 2080

MMLXXX
Solo show
zwanzigquadratmeter
Berlin, Germany
21.05–18.06.2017

Special thanks to Éric Emery, Ascanio Cecco, Louis Ziéglé, Christophe de Rohan Chabot, Alfredo Aceto

2080 (MMLXXX) was my solo exhibition at zwanzigquadratmeter (ZQM) in Berlin, from 21 May to 18 June 2017. In the interview Eleonora Castagna published in Droste Effect on 9 June 2017, I called it ‘more a curation than a solo show’: each piece has a relationship to another artist or to specific works by other artists. The press release is the voice-over of the 1961 trailer for Last Year at Marienbad, which ends by asking the viewer to watch carefully: an object, a gesture, a decor. The wall painting #000fff (Natural Vision) (IFP), from the #000fff series, with #aaafff (existenz) re-enacts Grande Surface by IFP in chroma-key blue. #aaafff (existenz) has the size of one element of a Donald Judd stack; its unknown object, a piece of plastic washed up on a Normandy beach, lay on the floor beneath it. Opposite, nine fluorescent red Genkins hung as one piece, Genkins (Fluo) (3×3). The charcoal drawing A Brief History of Curating copies a still from Johnny Mnemonic, Robert Longo’s film. The blue wall, the green pillows and the red Genkins pinpoint three subjects: the projection, the interface and the viewer. The pillows covering the floor were silkscreened with pages of SCREEN, the catalogue of Spectre and the guide to 2080; I launched the book at Motto Berlin on 18 May. I wanted ruins on the floor. The title was meant to be read before the show: a year, a projection. Louis Ziéglé made the poster after blockbuster posters, with the works as its characters.

Louis Ziéglé
MMLXXX exhibition poster
2017

Press Release

Last Year at Marienbad
Trailer voice-over
1961
Text excerpt

A large international hotel …
… immense and baroque …
… with sumptuous but frigid decor
A stranger wanders from hall to hall … 
… down endless corridors …
… in search of a woman
He tells her they met …
‘Last year …’
Try to remember,
… that they had a passionate love affair …
… that she herself set this rendezvous …
… and that he is going to take her away.
But she claims she does not know him.
Impossible, I tell you. I have never even been to Frederiksbad. 
He insists, but she protests even more.
What room? I have never been in any bedroom with you
You will not remember …
… because you are afraid
And you do not recognise this photo either?
The young woman cedes ground.
The stranger – serious, confident – gathers more and more proof.
Who is right? Who is lying?
Is he a mere seducer? A madman?
Or has he just confused two faces?
What really happened ‘last year’?
You, the viewer, must answer these questions.
Watch carefully:
… an object …
… a gesture …
… a decor …

#000fff (Natural Vision) (IFP)
2017
chroma-key blue, wall painting, #aaafff (existenz)
A/R 1.85

#aaafff (existenz)
2017
acrylic, blackout fabric, unknown object
69 × 61 × 15 cm
Courtesy of the artist

Genkins (Fluo) (3×3)
2017
acrylic, cotton duck
220 × 185 × 15 cm
Courtesy of the artist

A Brief History of Curating
2017
charcoal, Arches paper, cardboard
15 × 21 × 3 cm
Courtesy of the artist

PRESS

Eleonora Castagna, Arthur Fouray’s ‘2080’ at ZQM in Berlin, 2017 – Droste Effect Magazine, Interview, 9 June 2017 – drosteeffectmag.com · PDF

Index

Twin Peaks

https://www.youtube.com/embed/72hIy_Ktx9M

Twin Peaks, 2017. Arthur Fouray. Single-channel video with sound · 1 min 43 sec.

A white disc turns against a blue field, and a small green point interrupts it, inside a frame that never moves.

The blue is my wall painting #000fff (Veriscope), painted in chroma-key blue, the colour a studio replaces with another picture; here I filmed it and left it in place. The green point is ç (#aaafff (B.A.A.)), a leather-and-screw object of 1 × 1 × 1 cm. The turning disc is Portmanteau Rotary Plate, as my portfolio Arthur Fouray 2015–2017 names it. Inside the video the painting and the objects change scale: the wall becomes a field of colour, the small object a point, the rotary plate a moving disc.

I set the video to Richard Strauss’s Also sprach Zarathustra, Op. 30 – Prelude, written in 1896 after Friedrich Nietzsche’s book; since Stanley Kubrick’s 2001: A Space Odyssey (1968), its opening carries the film with it.

Sources: Arthur Fouray, Catalogue, 2017; Arthur Fouray 2015–2017, p. 7.

Further reading: Richard Strauss – orchestral works.

Watch Twin Peaks on YouTube

Index

Frédéric Gabioud Arthur Fouray Baker Wardlaw

Frédéric Gabioud, Arthur Fouray, Baker Wardlaw
Three-person show
Galerie Joy de Rouvre
Geneva, Switzerland
12.11–19.11.2016

Special thanks to Pierre Belloni, Joy de Rouvre, Baker Wardlaw, Frédéric Gabioud

Frédéric Gabioud, Arthur Fouray and Baker Wardlaw showed together at Galerie Joy de Rouvre in Geneva from 12 to 19 November 2016. Frédéric and I had founded Silicon Malley, an artist-run space in Prilly, in 2015, with Grégoire Bolay, Julien Fischer and Paul Limoujoux; Baker joined us later. I showed five works. Two come from the #aaafff series: #aaafff (CAR), acrylic and blackout fabric with a Shark truck, and #aaafff (Uber Eats), with kraft paper and Uber Eats bags. The other three are acrylic on cotton duck over an object: Kasimir I on a pillow, C/O ( ))) ))) ) on a bench, with letrAVision, and C/O (Eve Kendall) on a table.

#aaafff (CAR)
2013–2017
acrylic, blackout fabric, Shark truck
16 × 16 × 4 cm
Courtesy of the artist

#aaafff (Uber Eats)
2016
acrylic, blackout fabric, kraft paper, Uber Eats bags
35 × 45 × 10 cm
Courtesy of the artist

Kasimir I
2016
acrylic, cotton duck, pillow
58 × 58 × 20 cm
Courtesy of the artist

C/O ( ))) ))) )
2016
letrAVision, acrylic, cotton duck, bench
50 × 250 × 40 cm
Courtesy of the artist

C/O (Eve Kendall)
2016 
acrylic, cotton duck, table
118 × 88 × 72 cm
Courtesy of the artist

Index

Arthur Fouray Kiefer Hablitzel Prize

Kiefer Hablitzel Prize
Group show
Swiss Art Awards
Basel, Switzerland
14.06–19.06.2016
Opening 13.06.2016

Photographs by Julien Gremaud

Special thanks to Alfredo Aceto, Alain Fouray, Béatrice Fouray, Léa Fluck, Julien Gremaud, Stéphanie Serra

In 2016 I was nominated for the Kiefer Hablitzel Prize and showed four works at the Swiss Art Awards in Basel. #aaafff (autruche) is an ostrich-feather duster inside a canvas of acrylic and blackout fabric. Kasimir I is acrylic and cotton duck on a pillow; it was shown with #000fff (univision) (Kasimir I), a wall painting from the #000fff series, in which I use the hexadecimal colour #000fff, a pure screen blue. Morel (P.A.S., C.B.S.F.T.) is one of the Morel boxes, made of painting stretchers, where I keep the tests and attempts in my work; the name comes from Bioy Casares’s The Invention of Morel.

#aaafff (autruche)
2016
acrylic, blackout fabric, duster
85 × 23 × 15 cm
Courtesy of the artist

#000fff (univision) (Kasimir I)
2016
chroma-key blue, wall painting, Kasimir I
A/R 2

Kasimir I
2016
acrylic, cotton duck, pillow
58 × 58 × 20 cm
Courtesy of the artist

Morel (P.A.S., C.B.S.F.T.)
2016
cotton duck, frames, P.A.S., Carré Blanc Sur Fond Toile
145 × 85 × 12.5 cm
Courtesy of the artist

Index

Arthur Fouray Les Lèvres nues

Les Lèvres nues
Group show
DOC!
Paris, France
16.04–30.04.2016
Opening 15.04.2016, 6 p.m.

Curators
Noémie Vulpian
Jarry (César Chevalier)

Artists
Katinka Bock
César Chevalier
Isabelle Cornaro
Fabien Danesi
Antonin Fassio
Arthur Fouray
Gaillard & Claude
Daiga Grantina
Marcel Mariën
Xavier Mary
Loup Sarion

Quotations selected by Fabien Danesi from the journal Les Lèvres nues, 12 issues, 1954–1958

Special thanks to César Chevalier, Noémie Vulpian, Antonin Fassio, Jeremy Guinoiseau

Press release
PDF

Les Lèvres nues was a group exhibition at DOC! in Paris, from 16 to 30 April 2016, on a proposal by Noémie Vulpian and Jarry (César Chevalier). It shares its title with the journal Les Lèvres nues (twelve issues, 1954–1958), from which Fabien Danesi selected quotations; the artists included Katinka Bock, Isabelle Cornaro and Marcel Mariën. I showed two works. Lauren (#aaafff), acrylic and cotton duck on a bed base, was placed between César Chevalier’s Exotica (1984) and Isabelle Cornaro’s Reproductions (variantes); Rrose (DOC) is acrylic and jute fabric on a pillow. That year I joined DOC! as one of its curators.

Lauren (#aaafff)
2016
acrylic, cotton duck, bed base
135 × 190 × 20 cm
Courtesy of the artist

Rrose (DOC)
2016
acrylic, jute fabric, pillow
60 × 45 × 20 cm
Private collection

Index

Arthur Fouray Accrochage Vaud

Accrochage Vaud
Group show
MCBA
Lausanne, Switzerland
22.01–06.03.2016

Special thanks to Anaïs Defago, Damián Navarro, Frédéric Gabioud, Jacques Duboux

Accrochage Vaud was a group exhibition at the MCBA in Lausanne, from 22 January to 6 March 2016. I showed two paintings from that year side by side, MC (Baby blue) and FG (Océan), both in acrylic and cotton duck on a ladder, 40 cm wide and 240 or 200 cm high. I had already used a ladder in MC (Taupe), a piece from 2014 shown at BOOM in 2015.

MC (Baby blue)
2016
acrylic, cotton duck, ladder
40 × 240 × 6 cm
Courtesy of the artist

FG (Océan)
2016
acrylic, cotton duck, ladder
40 × 200 × 6 cm
Courtesy of the artist

Index

Arthur Fouray Osmosis, Lauren (Azur), Kasimir (Ciel), Morris (Saphir), #aaafff (cendrier)

Osmosis, Lauren (Azur), Kasimir (Ciel), Morris (Saphir), #aaafff (cendrier)
Solo show
La Placette
Lausanne, Switzerland
20.11–18.12.2015

Special thanks to Camille Lichtenstern, Niels Wehrspann, Lorraine Pidoux, Julien Gremaud, Darren Roshier

Osmosis was my solo exhibition at La Placette, Lausanne, from 20 November to 18 December 2015. It opened a week after my first solo show, Spectre, in Geneva, and the two ran at the same time. The title is shared with a small gouache on Arches paper and cardboard. Lauren (Azur), Kasimir (Ciel) and Morris (Saphir) are acrylic and cotton duck on a bed base, a pillow and a duvet. Each title names the piece’s starting point, a first name, and its colour in brackets. #aaafff (Cendrier), from the #aaafff series, is made with an ashtray and blackout fabric.

Osmosis
2015
gouache, Arches paper, cardboard
23.5 × 17 × 1.2 cm
Private collection

Lauren (Azur)
2013–2014
acrylic, cotton duck, bed base 
124 × 204 × 14 cm
Courtesy of the artist

Kasimir (Ciel)
2014
acrylic, cotton duck, pillow
52 × 52 × 17 cm
Private collection

Morris (Saphir)
2014
acrylic, cotton duck, duvet
200 × 140 × 32 cm
Courtesy of the artist

#aaafff (Cendrier)
2013–2014
acrylic, blackout fabric, ashtray
9.2 × 12.8 × 6.4 cm
Private collection

Index

Arthur Fouray Spectre

Spectre
Solo show
Espace Quark
Geneva, Switzerland
13.11–21.12.2015
Opening 12.11.2015

Curator
Elisa Langlois

Photographs by Annik Wetter and Arthur Fouray

Special thanks to Elisa Langlois, Nastassia Montel, Jean-Marie Bolay, Julien Gremaud, Stéphanie Serra, Frédéric Gabioud, Grégoire Bolay, Baker Wardlaw, Boesner France, BFP-CINDAR

Press Release

Arthur Fouray is a story in the making. It begins with a ‘Once upon a time’ and unfolds through recurring figures of speech that shape the content of what he says. From historical fresco to modern painting, Arthur Fouray questions history and stories by taking Pop detours such as the cinema screen or Walt Disney. Spectre is a first solo exhibition. It is a genuine opening proposal. A kind of teaser for what awaits us in the further adventures of this young artist. It lays the foundations of a cosmogony whose dynamic stakes take material form in type-objects. These come in series and weave links with one another to form a cohesive statement whose profiles are shaped through the prism of different spectres.

Finely chosen colours, perfect flat areas, well-defined painted surfaces: Arthur Fouray practises the monochrome with care and precision. If the monochrome is a historical pictorial form in the twenty-first century, with its Suprematist, spiritual and geometric figures – if the monochrome is a degree zero of painting, a simple, radical or essential gesture, with Arthur Fouray it takes on, beyond its referential dimension, an autographic and signalling dimension.

#aaafff (CAR)
2013–2017
acrylic, blackout fabric, Shark truck
16 × 16 × 4 cm
Courtesy of the artist

The #aaafff series of paintings works according to a clearly defined formula. These monochromes, in a shade halfway between sky blue and mauve, hide an object within their stretchers, most often one taken from the domestic environment. The colour indicates the nature of the piece, a nested work that joins a monochrome canvas to an object. Here the artist reconciles abstraction and the ready-made, two pillars of the history of the avant-garde that are, on the face of it, antagonistic. Through the play of the series, the #aaafff works present themselves as the stamp of this approach. A code that signals a specific gesture, a hybrid of painting and sculpture.

#000fff (polyvision) (Spectre)
2015 
chroma-key blue, wall painting, Spectre
A/R 4 (1.33 × 3)

In the case of #000fff polyvision, Spectre proposes a variant of the rule. #000fff polyvision is a mural painting at the maximum saturation of the colour #aaafff. The work no longer hides an object but suggests its projection. The dimensions of the piece take up the ratios of the triptych polyvision screen used by Abel Gance for his film Napoléon, 1927. It is a utopian and gigantic cinematic form, a triple colour projection on three joined screens. Gance deliberately borrowed the term triptych from painting to signify the shift of medium carried out by the historical fresco towards cinema. #000fff polyvision shifts the genre once again, from the screen to painting.

Morel (#aaafff polyvision)
2015
frame, key frames, #aaafff polyvision
172 × 36 × 32 cm
Courtesy of the artist

Combining the architectural and the experimental, Morel #aaafff polyvision comes from a series parallel to the #aaafff. In Morel #aaafff polyvision, a painting is held rolled up in a case. It is a monochrome canvas 16 metres long that the artist decided to fix as it is within the sculpture: ‘a fossilisation of the object within a medium’. Beyond its role as a container, the case is in itself a complex object with its own narrative. The structure is made of 12 ready-made boxes originally intended for painting. While it recalls the wood panelling of the princely galleries of the seventeenth century, its arrangement on the wall echoes the ‘specific objects’ of Donald Judd, notably the series Untitled (Ballantine 89–49), modular wooden boxes placed horizontally on the wall.

In these two works, from the ‘Grand Siècle’ to Minimal art, from history painting to the screen, the anachronistic and conceptual gaps they perform are marked by the spectre of Marcel Broodthaers. Broodthaers is a recurring figure in Arthur Fouray’s lexicon of references, because he perfectly illustrates a search for balance and meaning in the forced unions of the pair Official Art – Critical Art.

Andy III
2015
acrylic, cotton duck, pillow
60 × 42 × 12 cm
Private collection

Kasimir (Signal Blue)
2015
acrylic, cotton duck, pillow
58 × 58 × 9 cm
Courtesy of the artist

Andy IV
2014
acrylic, cotton duck, pillow
60 × 100 × 25 cm
Courtesy of the artist

Kasimir (Blush)
2015
acrylic, cotton duck, pillow
27 × 27 × 8 cm
Courtesy of the artist

Andy (Caramel)
2014
acrylic, cotton duck, pillow
72 × 36 × 24 cm
Courtesy of the artist

Andy and Kasimir are the protagonists of the ‘canvas-objects’ series. The series began in 2013, when Arthur Fouray decided to stretch a canvas over the base of his bed. Like the #aaafff, the canvas-objects are all monochrome. Here the unifying gesture is the use of bedding as stretchers. Through the prism of the domestic and the intimate, from pillow to duvet, the canvas-objects engage the monochrome in an evident relation to the body. Their titles shed light, through their clues, on the referential content of the object, linking it to a colour or a number. In a gesture almost more Pop than Minimal, this series brings out a porosity of genres. If Kasimir pulls on the Malevich elastic, the object it presents absolves the monochrome of its Suprematist myth, that of a ‘pure’ and self-sufficient abstract painting. Just as Andy clearly refers to Warhol’s Silver Clouds, the airy lightness of the Pop helium balloons lies down beneath the canvas and the paint. By bringing a domestic structure into his canvases, Arthur Fouray turns the degree zero of painting inside out.

Elisa Langlois

L’Époque et son style
2015–2017
gouache, Arches paper, cardboard
26.5 × 26 × 4 cm
Courtesy of the artist

Index

Arthur Fouray Master of Arts HES-SO in Fine Arts

Master of Arts HES-SO in Fine Arts
Diploma
écal
Renens, Switzerland
2015

Photographs by Julien Gremaud and Arthur Fouray

Special thanks to Nastassia Montel, Stéphane Dafflon, Antoine Prokos, Frédéric Gabioud, Pierre Girardin

I completed the Master of Arts HES-SO in Fine Arts at ECAL in Renens in June 2015, in the programme directed by Stéphanie Moisdon. For the diploma I showed three works, from left to right: Andy IV, acrylic and cotton duck on a large pillow; #aaafff (STUDIO MODERNES), from the #aaafff series, acrylic and blackout fabric with towels; and Hélio (Noir Cendré), acrylic and cotton duck on a baby duvet.

Andy IV
2014
acrylic, cotton duck, pillow
60 × 100 × 25 cm
Courtesy of the artist

#aaafff (STUDIO MODERNES)
2015
acrylic, blackout fabric, towels
72 × 9 × 12 cm
Courtesy of the artist

Hélio (Noir Cendré)
2014
acrylic, cotton duck, baby duvet
120 × 90 × 15 cm
Courtesy of the artist

Index

Arthur Fouray Life is a Bed of Roses, (un roman)

Life is a Bed of Roses, (un roman)
Group show
Fondation d’entreprise Ricard
Paris, France
27.05–04.07.2015

Curator
Stéphanie Moisdon

Special thanks to Jean Bourgois

Life is a Bed of Roses (un roman) was a group exhibition conceived by Stéphanie Moisdon at the Fondation d’entreprise Ricard, Paris, from 27 May to 4 July 2015, the year I completed the Master she directed at ECAL. It took shape over a year of workshops, around a film by Alain Resnais. I showed #aaafff (Mach 6), 2014–2015, from the #aaafff series: acrylic and blackout fabric with a Mach 6, the car from the film Speed Racer. To me, Speed Racer is the story of a small company run by caring people who work together to build a racing car. The piece is now in a private collection.

#aaafff (Mach 6)
2014–2015
acrylic, blackout fabric, Mach 6 car (Speed Racer) 
20 × 44 × 12.5 cm
Private collection

PRESS

Life is a Bed of Roses (un roman), Fondation d’entreprise Ricard, Paris – group exhibition listing (conceived by Stéphanie Moisdon), 2015 – Paris Art, 22 May 2015 – paris-art.com · PDF

Index

Arthur Fouray BOOM

BOOM
ECAL
Renens, Switzerland
21.01–22.01.2015

Special thanks to Nicolas Degrange, Marine Julié

I showed four works under the title BOOM in Half Time, a group exhibition at ECAL in Renens on 21 and 22 January 2015: Kasimir (Rose Pâle), acrylic and cotton duck on a pillow; #aaafff (Mur Grec), from the #aaafff series, acrylic and blackout fabric with lime and dispersion paint; a small gouache on Arches paper and cardboard, listed as Elizabeth Taylor in my 2016 captions; and MC (Taupe), acrylic and cotton duck on a ladder. My interest in Elizabeth Taylor began with Warhol’s POPism, where he writes about Boom, her 1968 film of Tennessee Williams’s play The Milk Train Doesn’t Stop Here Anymore.

Kasimir (Rose Pâle)
2014
acrylic, cotton duck, pillow
35 × 35 × 12 cm
Courtesy of the artist

#aaafff (Mur Grec)
2014–2015
acrylic, blackout fabric, lime, dispersion paint 
36 × 58 × 4.5 cm
Private collection

The Milk Train Doesn’t Stop Here Anymore
2015–2017
gouache, Arches paper, cardboard
13.5 × 9.2 × 1 cm
Courtesy of the artist

MC (Taupe)
2014
acrylic, cotton duck, ladder
39 × 244 × 6 cm
Courtesy of the artist

Index

Arthur Fouray Synallagma Show

Synallagma Show
Group show
Espace Quark
Geneva, Switzerland
04.12.2014–11.01.2015

Curator
Elisa Langlois

Special thanks to Elisa Langlois, Paul Limoujoux, Philippe Decrauzat

Synallagma Show was a group exhibition curated by Elisa Langlois at Espace Quark, Geneva, from 4 December 2014 to 11 January 2015. I showed #aaafff (B.A.A.), also titled #aaafff (Bande Adhésive Antidérapante), a piece from the #aaafff series. Each of these canvases, in acrylic and blackout fabric, contains an object that it does not show; the colour, the hexadecimal web code #aaafff, stands for my initials, AF. Each piece rests on the same loop: canvas and colour, then the invisible object, then the label, which tells what the object is. Elisa Langlois went on to curate Spectre, my first solo exhibition, at Quark in 2015.

#aaafff (B.A.A.)
2014
acrylic, blackout fabric, adhesive grip tape
34 × 34 × 3.5 cm
Private collection

Index

Arthur Fouray #aaafff

#AAAFFF

Each #aaafff painting holds an object inside its frame. You face a monochrome, and its title names what is behind it. Looking more closely will not close the distance between the two. The series began in 2014, on frames I had built in 2013, and every work in it has followed the same loop, which I called its theoretical basis: a canvas and a colour, then an invisible object, then a label.

The hexadecimal code #aaafff holds my initials, A and F. I mix the colour by eye from a screen, with fluorescent pink, cobalt blue and titanium white, so the code stays exact while the paint varies from one surface to the next. In April 2015 I meant to sign every piece with it: a print of my right index finger dipped in #aaafff.

Blackout fabric blocks the light. Stretched like a canvas over a found object, or wrapped round it, it gives the object a painted front. In 2014 I wrote that the series reverses classical mysticism, to make a mystery that is concrete and physical.

Rectangles and tondos take their depth from what they contain: towels in STUDIO MODERNES, an ashtray in Cendrier, an ostrich-feather duster in autruche, a toy shark truck in CAR, whose frame dates from 2013 and whose canvas I restretched in 2017. Titles, dimensions and material lists give clues; none of them shows the object. One canvas was opened in 2015 and gave back a replica Star Wars medal; another held L’invention de Morel. The rest stay closed, and the label remains the place where an unseen thing is made public.

From one work to the next the colour’s code stays the same and the object changes. I keep the object; its image belongs to whoever imagines it.

#000FFF

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1. Chronophotographe

   Developer: Étienne-Jules Marey · 1888

   1:1 · camera

   Details [2]

   Camera: 90 mm / 1.00 / 3.543" × 3.543" / unperforated / spherical

   Projection: – / – / – / –

   First work: motion analysis studies

   The archive describes unperforated 90, 60 and 35 mm Marey strips. Camera studies are not asserted to have a theatrical projection standard.

2. Paper film

   Developer: Louis Le Prince · 1888

   1:1
   1:1 · camera

   Details

   Camera: 65 mm / 1.00 / – / unperforated / spherical

   Projection: not known / 1.00 / – / spherical

   First work: Roundhay Garden Scene

3. Machine Camera

   Developer: William Friese-Greene · 1889

   1:1 · camera

   Details

   Camera: 65 mm / 1.00 / – / pin wheel perforation / spherical

   Projection: – / – / – / –

   First work: Hyde Park Corner & Marble Arch

4. Kinetoscope cylinder

   Developer: William K. L. Dickson & Thomas Edison · 1889 or 1890

   Aspect ratio not documented

   Details

   Camera: strip rolled around a cylinder / – / – / unperforated / spherical

   Projection: – / – / – / spherical

   First work: Monkeyshines, No. 1

5. Kinesigraph

   Developer: Wordsworth Donisthorpe · 1890 or 1891

   1:1 · camera

   Details

   Camera: 70 mm / 1.00 / – / unperforated / spherical

   Projection: – / – / – / –

   First work: view of Trafalgar Square

6. Friese-Greene

   Developer: William Friese-Greene · 1891

   1.325:1 · camera

   Details

   Camera: 60 mm / 1.325 / – / 8 round perfs, 2 sides / spherical

   Projection: – / – / – / –

   First work: King’s Road, Chelsea, London

7. Kinetoscope horizontal

   Developer: William K. L. Dickson & William Heise · 1891

   Aspect ratio not documented

   Details

   Camera: 19 mm / – / – / 6 perf, 1 side, horizontal / spherical

   Projection: – / – / – / spherical

   First work: Dickson Greeting

8. Silent film standard

   Developer: William K. L. Dickson & Thomas Edison · 1892

   1.33:1
   1.33:1 · camera

   Details [3]

   Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

   Projection: 35 mm / 1.33 / 0.931" × 0.698" / spherical

   First work: Blacksmith Scene

9. Bioscop

   Developer: Max Skladanowsky · 1892

   Aspect ratio not documented

   Details

   Camera: 54 mm / – / – / unperforated (camera); 4 perf, 2 sides (projection) / spherical

   Projection: 54 mm (two strips interleaved) / – / – / spherical

   First work: footage of Emil Skladanowsky

10. Eidoloscope

    Developer: Woodville Latham · 1895

    1.85:1
    1.85:1 · camera

    Details

    Camera: 51 mm / 1.85 / 1.457" × 0.787" / 4 perf, 2 sides / spherical

    Projection: 51 mm / 1.85 / – / spherical

    First work: Griffo-Barnett Prize Fight

11. Cinématographe

    Developer: Lumière Brothers · 1895

    1.33:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 1 perf, 2 sides (rounded) / spherical

    Projection: 35 mm / 1.33 / – / spherical

    First work: La Sortie des usines Lumière

12. Biograph

    Developer: William K. L. Dickson & Herman Casler · 1895

    1.35:1 · camera

    Details

    Camera: 68 mm / 1.35 / 2.625" × 1.938" / 1 perf, 2 sides (punched in-camera) / spherical

    Projection: 68 mm / – / – / spherical

    First work: Sparring Contest at Canastota

13. Joly-Normandin

    Developer: Henri Joly · 1895

    Aspect ratio not documented

    Details

    Camera: 60 mm / – / – / 5 perf, 2 sides / spherical

    Projection: 60 mm / – / – / spherical

14. Biographe

    Developer: Demeny-Gaumont · 1896

    1.4:1
    1.4:1 · camera

    Details

    Camera: 60 mm / 1.40 / 1.750" × 1.250" / unperforated / spherical

    Projection: 60 mm / 1.40 / – / spherical

15. Chronophotographe

    Developer: Demeny-Gaumont · 1896

    1.4:1
    1.4:1 · camera

    Details

    Camera: 60 mm / 1.40 / 1.750" × 1.250" / 4 perf, 2 sides / spherical

    Projection: 60 mm / 1.40 / – / spherical

16. Sivan-Dalphin

    Developer: Casimir Sivan and E. Dalphin · 1896

    Aspect ratio not documented

    Details

    Camera: 38 mm / – / – / 2 perf, 2 sides / spherical

    Projection: 38 mm / – / – / spherical

17. Veriscope

    Developer: Enoch Rector · 1897

    1.66:1 · camera

    Details

    Camera: 63 mm / 1.66 / 1.875" × 1.125" / 5 perf, 2 sides / spherical

    Projection: 63 mm / – / – / spherical

    First work: The Corbett-Fitzsimmons Fight

18. Viventoscope

    Developer: Thomas Henry Blair · 1897

    1.5:1 · camera

    Details

    Camera: 48 mm / 1.50 / 1.500" × 1.000" / 1 perf? / spherical

    Projection: 48 mm / – / – / spherical

19. Birtac

    Developer: Birt Acres · 1898

    Aspect ratio not documented

    Details

    Camera: 17.5 mm / – / – / 2 perf, 1 side / spherical

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

20. Biokam

    Developer: T. C. Hepworth · 1899

    1.6:1 · camera

    Details

    Camera: 17.5 mm / 1.60 / 0.630" × 0.394" / 1 perf, center / spherical

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

21. Prestwich 13 mm

    Developer: John Alfred Prestwich · 1899

    Aspect ratio not documented

    Details

    Camera: 13 mm / – / – / – / spherical

    Projection: 13 mm / – / – / spherical

    First work: unknown (amateur format)

22. Mirograph

    Developer: Reulos, Goudeau & Co · 1900

    Aspect ratio not documented

    Details

    Camera: 21 mm / – / – / 1 notch, 2 sides / spherical

    Projection: 21 mm / – / – / spherical

    First work: unknown (amateur format)

23. Lumière Wide

    Developer: Lumière Brothers · 1900

    1.33:1
    1.33:1 · camera

    Details

    Camera: 75 mm / 1.33 / 2.362" × 1.772" / 8 perf, 2 sides / spherical

    Projection: 75 mm / 1.33 / – / spherical

24. Cinéorama

    Developer: R. Grimoin-Sanson · 1900

    360° – topology diagram

    Details

    Camera: 70 mm × 10 cameras (360°) / – / – / 4 perf? / spherical

    Projection: 70 mm × 10 projectors (360°) / – / – / spherical

    First work: Cinéorama

25. La Petite (Hughes)

    Developer: W.C. Hughes · 1900

    1.6:1 · camera

    Details

    Camera: 17.5 mm / 1.60 / 0.630" × 0.394" / 1 perf, center (smaller and less rectangular than Biokam) / spherical

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

26. Pocket Chrono

    Developer: Gaumont Demeny · 1900

    Aspect ratio not documented

    Details

    Camera: 15 mm / – / – / 1 perf, center / spherical

    Projection: 15 mm / – / – / spherical

    First work: unknown (amateur format)

27. Vitak

    Developer: William Wardell · 1902

    Aspect ratio not documented

    Details

    Camera: no standard / no standard / no standard / 1 perf, center / spherical

    Projection: 11 mm / – / – / spherical

    First work: unknown (amateur format)

28. Home Kinetoscope

    Developer: Edison · 1912

    1.5:1

    Details

    Camera: no standard / no standard / no standard / no standard / spherical

    Projection: 22 mm, 2 perf (on frameline between frame rows) / 1.5 / 0.236" × 0.157" (three frames across width) / spherical

    First work: unknown (amateur format)

29. Pathé Kok

    Developer: Pathé · 1912

    1.36:1 · camera

    Details

    Camera: 28 mm / 1.36 / 0.748" × 0.551" / 3 perf on one side, 1 perf on the other / spherical

    Projection: 28 mm / – / – / spherical

    First work: unknown (amateur format)

30. Duoscope

    Developer: Alexander F. Victor · 1912

    Aspect ratio not documented

    Details

    Camera: 17.5 mm / – / – / 2 perfs, center / spherical

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

31. Panoramico

    Developer: Filoteo Alberini · 1914

    2.52:1 · camera

    Details

    Camera: 70 mm / 2.52 / – / 5 perf, 2 sides / spherical

    Projection: 70 mm / – / – / spherical

    First work: Il sacco di Roma

32. Split Duplex

    Developer: Duplex Corporation · 1915

    1.87:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides (shooting) / spherical

    Projection: 35 mm / 1.87 / 0.735" × 0.394" / spherical (split image 90° rotated)

33. 11 mm

    Developer: Creator not documented – American · 1916

    Aspect ratio not documented

    Details

    Camera: 11 mm / – / – / 1 perf, center / spherical

    Projection: 11 mm / – / – / spherical

    First work: unknown (amateur format)

34. Movette

    Developer: Movette Camera Company · 1917

    Aspect ratio not documented

    Details

    Camera: 17.5 mm / – / – / 2 perfs, 2 sides (rounded) / spherical

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

35. 28 mm safety standard

    Developer: Alexander F. Victor · 1918

    1.36:1 · camera

    Details

    Camera: 28 mm / 1.36 / 0.748" × 0.551" / 3 perf, 2 sides / spherical

    Projection: 28 mm / – / – / spherical

    First work: unknown (amateur format)

36. Clou

    Developer: Creator not documented – Austrian · 1920

    Aspect ratio not documented

    Details

    Camera: 17.5 mm / – / – / 2 perf, 2 sides / spherical

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

37. 26 mm

    Developer: Creator not documented – French · 1920

    Aspect ratio not documented

    Details

    Camera: 26 mm / – / – / 1 perf, 1 side / spherical

    Projection: 26 mm / – / – / spherical

    First work: unknown (amateur format)

38. 9.5 mm

    Developer: Pathé · 1922

    1.31:1
    1.31:1 · camera

    Details

    Camera: 9.5 mm / 1.31 / 0.335" × 0.256" / 1 perf, center / spherical

    Projection: 9.5 mm / 1.31 / 0.315" × 0.242" / spherical

    First work: unknown (amateur format)

39. Phonofilm

    Developer: Lee De Forest · 1922

    1.17:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.17 / 0.826" × 0.708" / spherical

    First work: Barking Dog and Flying Jenny Airplane

40. Widescope

    Developer: John D. Elms & George W. Bingham · 1922

    2.66:1
    1.33:1 · camera

    Details

    Camera: 35 mm × 2 (both in same camera) / 1.33 × 2 negatives / 0.980" × 0.735" / 4 perf, 2 sides / spherical (one lens per strip)

    Projection: 35 mm × 2 projectors / 2.66 / 0.931" × 0.698" / spherical

41. Cinebloc

    Developer: Ozaphan · 1922

    Aspect ratio not documented

    Details

    Camera: 22 mm / – / – / 2 perf, 2 sides / spherical

    Projection: 22 mm / – / – / spherical

    First work: unknown (amateur format)

42. Tri-Ergon soundfilm

    Developer: Tri-Ergon · 1922

    1.33:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 42 mm / 1.33 / 0.931" × 0.698" / spherical

43. 16 mm

    Developer: Eastman Kodak · 1923

    1.37:1
    1.37:1 · camera

    Details

    Camera: 16 mm / 1.37 / 0.404" × 0.295" / 1 perf, 1 or 2 sides / spherical

    Projection: 16 mm / 1.37 / 0.378" × 0.276" / spherical

    First work: unknown (amateur format)

44. Duplex

    Developer: G.J. Bradley · 1923

    Aspect ratio not documented

    Details

    Camera: 11 mm / – / – / 2 perf, 2 sides (rounded) / spherical

    Projection: 11.5 mm / – / – / spherical

    First work: unknown (amateur format)

45. Alberini-Hill

    Developer: Corrado Cerqua · 1924

    1.66:1 · camera

    Details

    Camera: 35 mm / 1.66 / 1.575" × 0.945" (curved) / 10 perf, 2 sides, horizontal / spherical, on 65° revolving drum

    Projection: 35 mm / – / – / spherical

46. Cinelux

    Developer: Ozaphan · 1924

    Aspect ratio not documented

    Details

    Camera: 24 mm / – / – / – / spherical

    Projection: 24 mm / – / – / spherical

    First work: unknown (amateur format)

47. 48 mm

    Developer: J.H. Powrie · 1924

    1.33:1
    1.32:1 · camera

    Details

    Camera: 48 mm / 1.32 / 1.969" × 1.496" / horizontal / spherical

    Projection: 35 mm / 1.33 / 0.931" × 0.698" / spherical

48. Natural Vision

    Developer: George K. Spoor & P. John Berggren · 1925

    2:1
    1.84:1 · camera

    Details

    Camera: 63.5 mm / 1.84 / 2.060" × 1.120" / 6 perf, 2 sides, 20 frame/s / spherical

    Projection: 63.5 mm / 2.00 / – / spherical

    First work: Niagara Falls and Rollercoaster Ride

49. 13 mm

    Developer: Creator not documented – French · 1925

    Aspect ratio not documented

    Details

    Camera: 13 mm / – / – / 4 perf, center / spherical

    Projection: 13 mm / – / – / spherical

    First work: unknown (amateur format)

50. 18 mm

    Developer: Creator not documented – Russian · 1925

    Aspect ratio not documented

    Details

    Camera: 18 mm / – / – / 1 perf, 2 sides / spherical

    Projection: 18 mm / – / – / spherical

    First work: unknown (amateur format)

51. Pathé Rural

    Developer: Pathé · 1926

    1.33:1
    1.26:1
    1.35:1 · camera
    1.3:1 · camera

    Details

    Camera: 17.5 mm / 1.35 (silent); 1.30 (sound) / 0.516" × 0.382" (silent); 0.445" × 0.343" (sound) / 1 perf, 2 sides / spherical

    Projection: 17.5 mm / 1.33 (silent); 1.26 (sound) / 0.472" × 0.354" (silent); 0.445" × 0.343" (sound) / spherical

    First work: unknown (amateur format)

52. Widevision

    Developer: John D. Elms & George W. Bingham · 1926

    Aspect ratio not documented

    Details

    Camera: 57 mm / – / – / 5 perf, 2 sides / spherical

    Projection: 57 mm / – / – / spherical

    First work: Natural Vision Pictures

53. Magnascope

    Developer: Lorenzo del Riccio · 1926

    1.33:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.33 / 0.931" × 0.698" / spherical (selected scenes projected using a wider lens for larger picture)

    First work: Old Ironsides

54. Fox Movietone

    Developer: F. H. Owens, T. Case, Tri-Ergon · 1927

    1.17:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.17 / 0.826" × 0.708" / spherical

    First work: Sunrise: A Song of Two Humans

55. Polyvision

    Developer: Abel Gance · 1927

    4:1
    1.33:1 · camera

    Details [4]

    Camera: 35 mm × 3 cameras / 1.33 × 3 negatives / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm × 3 projectors / 4.00 / 0.931" × 0.698" / spherical

    First work: Napoléon

56. Hypergonar

    Developer: Henri Chrétien · 1927

    2.66:1
    2.66:1 · camera

    Details

    Camera: 35 mm / 2.66 / 0.980" × 0.735" / 4 perf, 2 sides / 2× anamorphic

    Projection: 35 mm / 2.66 / 0.931" × 0.698" / 2× anamorphic

    First work: Pour construire un feu

57. Magnafilm

    Developer: Lorenzo del Riccio · 1929

    2:1
    2.19:1 · camera

    Details

    Camera: 56 mm / 2.19 / 1.620" × 0.740" / 4 perf, 2 sides / spherical

    Projection: 56 mm / 2.00 / – / spherical

    First work: You’re in the Army Now

58. Fox Grandeur

    Developer: Fox Film Corporation · 1929

    2:1
    2.07:1 · camera

    Details

    Camera: 70 mm / 2.07 / 1.890" × 0.913" / 4 perf, 2 sides, 20 frame/s (before 1930) / spherical

    Projection: 70 mm / 2.00 / 1.768" × 0.885" / spherical

    First work: Fox Grandeur News and Fox Movietone Follies of 1929

59. Fearless Super Pictures

    Developer: Ralph G. Fear · 1929

    2.27:1 · camera

    Details

    Camera: 35 mm / 2.27 / 1.813" × 0.800" / 10 perfs, 2 sides, horizontal / spherical

    Projection: 35 mm, horizontal / – / – / spherical

60. Fearless Super-Film / Magnifilm / Fox Vitascope

    Developer: Ralph G. Fear · 1930

    2.05:1
    2:1 · camera

    Details

    Camera: 65 mm / 2.00 / 1.811" × 0.906" / 5 perf, 2 sides / spherical

    Projection: 65 mm / 2.05 / 1.772" × 0.866" / spherical

    First work: Kismet

61. Realife

    Developer: MGM · 1930

    1.75:1
    2.07:1 · camera

    Details

    Camera: 70 mm / 2.07 / 1.890" × 0.913" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.75 / 0.904" × 0.517" / spherical

    First work: Billy the Kid

62. 50 mm

    Developer: Fox Film Corporation & SMPE · 1930

    1.8:1
    1.8:1 · camera

    Details

    Camera: 50 mm / 1.80 / 1.325" × 0.735" / – / spherical

    Projection: 50 mm / 1.80 / 1.305" × 0.725" / spherical

63. 17 mm sound

    Developer: Creator not documented – French · 1930

    Aspect ratio not documented

    Details

    Camera: 17 mm / – / – / 1 perf, 1 side / spherical

    Projection: 17 mm / – / – / spherical

    First work: unknown (amateur format)

64. Giant Expanding Pictures

    Developer: George Palmer · 1930

    1.17:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.17 / 0.826" × 0.708" / spherical (with a special projection zoom lens zooming wider and opening masking for key sequences)

65. Kodel Kemco Homovie

    Developer: Clarence Ogden · 1931

    Aspect ratio not documented

    Details

    Camera: 16 mm / – / 4 sequential images per frame / 1 perf, 2 sides / spherical

    Projection: 16 mm / – / – / spherical

    First work: unknown (amateur format)

66. Academy format

    Developer: AMPAS · 1932

    1.37:1
    1.375:1 · camera
    1.37:1 · camera
    1.375:1 – projection-aperture-derived

    Details

    Camera: 35 mm / 1.375 (commonly abbreviated to 1.37) / 0.868″ × 0.631″ / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.37 / 0.825″ × 0.600″ / spherical

    The reference labels this 1.37. Its spherical projection aperture, 0.825 by 0.600 inches, gives exactly 11:8 (1.375), matching the original prototype. Nominal labels and aperture-derived values remain distinct.

67. 8 mm

    Developer: Eastman Kodak · 1932

    1.33:1
    1.32:1 · camera

    Details

    Camera: 16 mm / 1.32 / 0.192" × 0.145" / 1 perf, 1 side (using 16 mm film with twice as many perfs) / spherical

    Projection: 8 mm / 1.33 / 0.172" × 0.129" / spherical

    First work: unknown (amateur format)

68. Straight 8

    Developer: Bell & Howell · 1935

    1.33:1
    1.32:1 · camera

    Details

    Camera: 8 mm / 1.32 / 0.192" × 0.145" / 1 perf, 1 side / spherical

    Projection: 8 mm / 1.33 / 0.172" × 0.129" / spherical

    First work: unknown (amateur format)

69. Vitarama

    Developer: Fred Waller · 1939

    hemispherical view – topology diagram
    1.37:1 · camera

    Details

    Camera: 16 mm × 11 cameras / 1.37 × 11 negatives / 0.404" × 0.295" / 1 perf, 2 sides / spherical

    Projection: 16 mm × 11 projectors / hemispherical view / 0.378" × 0.276" / spherical

70. Waller Flexible Gunnery Trainer

    Developer: Fred Waller · 1943

    hemispherical view – topology diagram
    1.37:1 · camera

    Details

    Camera: 35 mm × 5 cameras / 1.37 × 5 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

    Projection: 35 mm × 5 projectors / hemispherical view / 0.825" × 0.602" / spherical

    First work: US Air Force interactive training exercise

71. Cinerama

    Developer: Fred Waller · 1952

    2.59:1
    2.59:1 – composite of 3 negatives

    Details

    Camera: 35 mm × 3 cameras / 2.59 (3 × negatives) / 0.996" × 1.116" / 6 perf, 2 sides at 26 frame/s / spherical

    Projection: 35 mm × 3 projectors, with 6 perf pulldown / 2.59, with 146° curved screen / 0.985" × 1.088" / spherical

    First work: This Is Cinerama

    The rectangle is an unwrapped diagram of a curved screen; the documented viewing angle remains in the technical fields.

72. Matted 1.66

    Developer: Paramount · 1953

    1.66:1
    1.37:1 · camera

    Details

    Camera: 35 mm / 1.37 / 0.866" × 0.630" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.66 / 0.825" × 0.497" / spherical

    First work: Shane

73. Matted 1.85

    Developer: Universal · 1953

    1.85:1
    1.37:1 · camera

    Details

    Camera: 35 mm / 1.37 / 0.866" × 0.630" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.85 / 0.825" × 0.446" / spherical

    First work: Thunder Bay

74. Matted 1.75

    Developer: MGM · 1953

    1.75:1
    1.37:1 · camera

    Details

    Camera: 35 mm / 1.37 / 0.866" × 0.630" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 1.75 / 0.825" × 0.471" / spherical

    First work: Arena

75. Cinemascope

    Developer: 20th Century-Fox – Henri Chrétien; Earl I. Sponable and Fox technical team · 1953

    2.55:1
    2.35:1
    2.55:1 · camera
    2.35:1 · camera
    2.66:1 – 1953 demonstration

    Details [5]

    Camera: 35 mm / 2.55 (1953–57); 2.35 (1957–67) / 0.937" × 0.735" (1953–57); 0.868" × 0.735" (1957–67) / 4 perf, 2 sides / 2× anamorphic

    Projection: 35 mm / 2.55 (1953–57); 2.35 (1957–67) / 0.912" × 0.715" (1953–57); 0.839" × 0.715" (1957–67) / 2× anamorphic

    First work: The Robe

    Fox’s December 1953 booklet documents the change from the 2.66 demonstration to the 2.55 magnetic-sound presentation.

76. Arnoldscope

    Developer: John Arnold · 1953

    Aspect ratio not documented

    Details

    Camera: 35 mm / – / – / 10 perf, 2 sides, horizontal / spherical

    Projection: – / – / – / –

77. VistaVision

    Developer: Paramount · 1954

    1.85:1
    1.51:1 · camera
    1.33:1 – permitted Paramount presentation
    1.66:1 – permitted Paramount presentation
    2:1 – permitted Paramount presentation

    Details [6]

    Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontal / spherical

    Projection: 35 mm, 4 perf, vertical / 1.85 / 0.825" × 0.446" / spherical

    First work: White Christmas

    Loren L. Ryder’s Paramount brochure permits 1.33:1 through 2:1, preferring about 1.85:1. The 1.51 negative aperture is not the preferred screen ratio.

78. VistaVision Large Area

    Developer: Paramount · 1954

    1.96:1
    1.51:1 · camera

    Details [6]

    Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontal / spherical

    Projection: 35 mm, 8 perf, horizontal / 1.96 / 1.418" × 0.723" / spherical

    First work: White Christmas

79. Superscope

    Developer: Tushinsky Brothers · 1954

    2:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 2.00 / 0.715" × 0.715" / 2× anamorphic

    First work: Vera Cruz

80. Circarama

    Developer: Disney · 1955

    360° – topology diagram
    1.37:1 · camera

    Details

    Camera: 16 mm × 11 cameras / 1.37 × 11 negatives / 0.404" × 0.295" / 1 perf, 2 sides / spherical

    Projection: 16 mm × 11 projectors / 360° / 0.378" × 0.276" / spherical

    First work: A Tour of the West

81. Todd-AO

    Developer: Michael Todd · 1955

    2.21:1
    2.29:1 · camera

    Details

    Camera: 65 mm / 2.29 / 2.072" × 0.906" / 5 perfs, 2 sides, at 30 frame/s / spherical

    Projection: 70 mm / 2.21, with 120° curved screen / 1.912" × 0.870" / spherical

    First work: Oklahoma

82. CinemaScope 55

    Developer: 20th Century Fox · 1955

    2.55:1
    2.55:1 · camera

    Details

    Camera: 55 mm / 2.55 / 1.824" × 1.430" / 8 perfs, 2 sides / 2× anamorphic

    Projection: 35 mm / 2.55 / 0.912" × 0.715" / 2× anamorphic

    First work: Carousel

83. 9.5 Duplex

    Developer: Pathé Frères · 1955

    1.51:1 · camera

    Details

    Camera: 9.5 mm / 1.51 / 4.1 mm × 6.2 mm / 2 central perforations in a 9.5mm film / spherical

    Projection: 4.75 mm / – / – / spherical, rotated 90°

    First work: ?

84. 8 mm Panoramic

    Developer: Dimaphot, Paris · 1955

    1.5:1 · camera

    Details

    Camera: 16 mm / 1.5 / 5 mm × 7.5 mm / 1 perf, 2 sides / spherical

    Projection: 8 mm / – / – / spherical, rotated 90°

    First work: ?

85. Emel Panoscope

    Developer: Emel, Paris · 1955

    2.7:1 · camera

    Details

    Camera: 16 mm / 2.7 / 3.5 mm × 9.6 mm / 2 perf, 2 sides / spherical

    Projection: 16 mm / – / – / spherical

    First work: ?

86. Technirama

    Developer: Technicolor · 1956

    2.35:1
    2.26:1 · camera

    Details

    Camera: 35 mm / 2.26 / 1.496" × 0.992" / 8 perf, 2 sides, horizontally / 1.5× anamorphic

    Projection: 35 mm, 4 perf vertical / 2.35 / 0.839" × 0.715" / 2× anamorphic

    First work: The Monte Carlo Story

87. Technirama Large Area

    Developer: Technicolor · 1956

    2.42:1
    2.26:1 · camera

    Details

    Camera: 35 mm / 2.26 / 1.496" × 0.992" / 8 perf, 2 sides, horizontally / 1.5× anamorphic

    Projection: 35 mm, 8 perf horizontal / 2.42 / 1.421" × 0.881" / 1.5× anamorphic

    First work: The Monte Carlo Story

88. Dynamic Frame

    Developer: Glenn Alvey · 1956

    1.3:1
    1.5:1
    2.5:1
    1.3:1 · camera
    1.6:1 · camera
    2.5:1 · camera

    Details

    Camera: 35 mm / 1.3, 1.6, and 2.5 / variable aperture plates / 8 perf, 2 sides, horizontally / spherical

    Projection: 35 mm, 4 perf, vertical / 1.3, 1.5, and 2.5 / – / spherical

    First work: The Door in the Wall

89. Superscope 235

    Developer: Superscope Inc. · 1956

    2.35:1
    1.33:1 · camera

    Details

    Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm / 2.35 / 0.839" × 0.715" / 2× anamorphic

    First work: Run for the Sun

90. Thrillarama

    Developer: Albert H. Reynolds · 1956

    3.55:1
    1.78:1 · camera

    Details [7]

    Camera: 35 mm × 2 cameras / 1.78 × 2 negatives / – / 3 perf, 2 sides? / spherical

    Projection: 35 mm × 2 projectors / 3.55, with a curved screen / – / spherical

    First work: Thrillarama Adventure

    Motion Picture Herald, 11 August 1956: Albert H. Reynolds, two cameras/projectors, 3.55:1.

91. Magirama

    Developer: Abel Gance · 1956

    4:1
    1.33:1 · camera

    Details

    Camera: 35 mm × 3 cameras (sides bounced off mirrors) / 1.33 × 3 negatives / 0.980" × 0.735" / 4 perf, 2 sides / spherical

    Projection: 35 mm × 3 projectors (sides bounced off mirrors) / 4.00 / 0.931" × 0.698" / spherical

    First work: Magirama

92. MGM Camera 65

    Developer: Panavision and MGM – Robert Gottschalk, Walter Wallin, Takuo Miyagishima and engineering teams · 1957

    2.76:1
    2.76:1 · camera

    Details [8]

    Camera: 65 mm / 2.76 / 2.072" × 0.906" / 5 perf, 2 sides / 1.25× anamorphic

    Projection: 70 mm / 2.76 / 1.912" × 0.870" / 1.25× anamorphic

    First work: Raintree County

    Panavision describes system development in 1955; 1957 is the first-release date used by the reference table. Modern Ultra Panavision lens products can use a different squeeze, so their specifications do not apply to this format.

93. Ultra Panavision

    Developer: Panavision and MGM – Robert Gottschalk, Walter Wallin, Takuo Miyagishima and engineering teams · 1962

    2.76:1
    2.76:1 · camera

    Details [8]

    Camera: 65 mm / 2.76 / 2.072" × 0.906" / 5 perf, 2 sides / 1.25× anamorphic

    Projection: 70 mm / 2.76 / 1.912" × 0.870" / 1.25× anamorphic

    First work: Ben-Hur

94. Cinestage

    Developer: Mike Todd · 1957

    2.12:1
    2.29:1 · camera

    Details

    Camera: 65 mm / 2.29 / 2.072" × 0.906" / 5 perfs, 2 sides / spherical

    Projection: 35 mm (1 mm shaved off for UK prints) / 2.12 / 0.912" × 0.675" / 1.567× anamorphic

    First work: Around the World in 80 Days

95. Rank VistaVision

    Developer: J. Arthur Rank Organization · 1957

    1.82:1
    1.51:1 · camera

    Details

    Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontally / spherical

    Projection: 35 mm, 4 perf, vertical / 1.82 / 0.825" × 0.602" / 1.33× anamorphic

96. Modern anamorphic

    Developer: Panavision · 1958

    2.35:1
    2.39:1
    2.37:1 · camera

    Details

    Camera: 35 mm / 2.37 / 0.866" × 0.732" / 4 perf, 2 sides / 2× anamorphic

    Projection: 35 mm / 2.35 (1957–70); 2.39 (1970–present) / 0.839" × 0.715" (1957–70); 0.838" × 0.7" (1970–93); 0.825" × 0.690" (1993–present) / 2× anamorphic

    First work: The Female Animal

97. Kinopanorama

    Developer: NIKFI · 1958

    2.72:1
    0.91:1 · camera

    Details

    Camera: 35 mm × 3 cameras / 0.91 × 3 negatives / 1.014" × 1.116" / 6 perf, 2 sides, at 25 frame/s / spherical

    Projection: 35 mm × 3 projectors / 2.72 / 0.985" × 1.088" / spherical

    First work: Great Is My Country

98. 70 mm

    Developer: American Optical Company · 1958

    2.21:1
    2.28:1 · camera

    Details

    Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides / spherical

    Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

    First work: South Pacific

99. Cinemiracle

    Developer: National Theatres · 1958

    2.59:1
    0.89:1 · camera

    Details

    Camera: 35 mm × 3 cameras (sides bounced off mirrors) / 0.89 × 3 negatives / 0.996" × 1.116" / 6 perf, 2 sides at 26 frame/s / spherical

    Projection: 35 mm × 3 projectors (sides bounced off mirrors), with 6 perf pulldown / 2.59, with 120° curved screen / 0.985" × 1.088" / spherical

    First work: Windjammer

100. Super Technirama

     Developer: Technicolor · 1959

     2.21:1
     2.26:1 · camera

     Details

     Camera: 35 mm / 2.26 / 1.496" × 0.992" / 8 perf, 2 sides, horizontally / 1.5× anamorphic

     Projection: 70 mm / 2.21 / 1.912" × 0.816" / spherical

     First work: Sleeping Beauty

101. Smith-Carney System

     Developer: Rowe E. Carney Jr. and Tom F. Smith · 1959

     4.69:1
     4.69:1 · camera

     Details

     Camera: 35 mm / 4.69 / 0.839" × 0.370" (bottom half) and 0.449" × 0.370" (top quarters) / 4 perf, 2 sides / spherical × 3

     Projection: 35 mm / 4.69 / three sub-frames projected to one 180° image / spherical × 3

     First work: Missouri travelogue

102. Circular Kinopanorama / Circlorama

     Developer: E. Goldovsky · 1959

     360° – topology diagram
     1.37:1 · camera

     Details

     Camera: 35 mm × 11 cameras / 1.37 × 11 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

     Projection: 35 mm × 11 projectors / 360° / 0.825" × 0.602" / spherical

     First work: The Path of Spring

103. Varioscope

     Developer: Jan Jacobsen · 1959

     2.28:1 · camera

     Details

     Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides / spherical

     Projection: 70 mm / variable framing run through control signal / 1.912" × 0.87" / spherical

     First work: Flying Clipper

104. Quadravision

     Developer: Ford Motor Company · 1959

     4 images in 2 × 2 arrangement – ratios not documented

     Details

     Camera: ? mm × 4 cameras / ? × 4 negatives / – / – / spherical

     Projection: ? mm × 4 projectors / ? (4 images in 2×2 configuration) / – / spherical

     First work: Design for Suburban Living showtent

105. Techniscope

     Developer: Technicolor · 1960

     2.39:1
     2.33:1 · camera

     Details

     Camera: 35 mm / 2.33 / 0.868" × 0.373" / 2 perf, 2 sides / spherical

     Projection: 35 mm / 2.39 / 0.838" × 0.7" / 2× anamorphic

     First work: The Pharaoh’s Woman

106. Wonderama (Arc 120)

     Developer: Leon W. Wells · 1960

     2.5:1

     Details

     Camera: no standard / no standard / no standard / no standard / no standard

     Projection: 35 mm / 2.50 with a 120° curved screen / 0.931" × 0.698", with two half-images turned 90° and placed side-by-side / spherical × 2

     First work: Honeymoon

107. Cine System 3

     Developer: Eric Berndt · 1960

     Aspect ratio not documented

     Details

     Camera: 3 mm / – / – / 1 perf, centered / spherical

     Projection: – / – / – / –

     First work: USAF and NASA usage

108. Grandeur 70

     Developer: 20th Century Fox · 1961

     2.21:1
     2.55:1 · camera

     Details

     Camera: 55 mm / 2.55 / 1.824" × 1.430" / 8 perfs, 2 sides / 2× anamorphic

     Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

     First work: The King and I (re-release)

109. Cinerama 360

     Developer: Cinerama Corporation · 1962

     Circular projected image – equal diameters
     1:1 – circular camera image

     Details

     Camera: 65 mm / 1.00 (circle) / 2.25" diameter circular image / 10 perf, 2 sides / fisheye

     Projection: 70 mm / 1.00 (circle) / 2.25" diameter circular image / spherical

     First work: Journey to the Stars

110. Super 8

     Developer: Eastman Kodak · 1965

     1.36:1
     1.48:1 · camera

     Details

     Camera: 8 mm / 1.48 / 0.245" × 0.166" / 1 perf, 1 side / spherical

     Projection: 8 mm / 1.36 / 0.215" × 0.158" / spherical

     First work: unknown (amateur format)

111. Real Sound

     Developer: Kenner · 1965

     1.33:1

     Details

     Camera: no standard / no standard / no standard / 1 perf, 1 side / spherical

     Projection: 11.5 mm / 1.33 / 0.172" × 0.129" / spherical

112. Double Super 8

     Developer: Eastman Kodak · 1965

     1.36:1
     1.48:1 · camera

     Details

     Camera: 16 mm / 1.48 / 0.245" × 0.166" / 1 perf, 1 side (using 16 mm film with twice as many perfs) / spherical

     Projection: 8 mm / 1.36 / 0.215" × 0.158" / spherical

     First work: unknown (amateur format)

113. Single-8

     Developer: Fujifilm · 1966

     1.35:1
     1.36:1 · camera

     Details

     Camera: 8 mm / 1.36 / 0.224" × 0.164" / 1 perf, 1 side / spherical

     Projection: 8 mm / 1.35 / 0.213" × 0.157" / spherical

     First work: unknown (amateur format)

114. Dimension 150

     Developer: American Optical Company · 1966

     2.21:1
     2.28:1 · camera

     Details

     Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides / spherical

     Projection: 70 mm / 2.21, with 150° curved screen / 1.912" × 0.87", optically curved to compensate for the screen / spherical

     First work: The Bible: In the Beginning

115. Circle Vision 360

     Developer: Disney · 1967

     360° – topology diagram
     1.37:1 · camera

     Details

     Camera: 35 mm × 9 cameras / 1.37 × 9 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

     Projection: 35 mm × 9 projectors / 360° / 0.825" × 0.602" / spherical

     First work: America the Beautiful

116. 8.75 mm

     Developer: Shanghai Film Projection Equipment Factory · 1968

     Aspect ratio not documented

     Details

     Camera: – / – / – / 1 perf / spherical

     Projection: 8.75 mm / – / – / spherical

     First work: unknown (amateur format)

117. Astrovision

     Developer: Goto Optical · 1969

     Dome projection – topology diagram

     Details

     Camera: 65 mm / – / – / 10 perf, 2 sides / spherical or fish-eye

     Projection: 70 mm / – / – / fish-eye (dome projection)

118. IMAX

     Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1970

     1.43:1 – IMAX 70mm presentation
     1.34:1 · camera
     1.31:1 – reference aperture; historical transcription

     Details [9] [10]

     Camera: 65 mm / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally / spherical

     Projection: 70 mm, horizontal / 1.31 / 2.692" × 2.056" / spherical

     First work: Tiger Child

     The reference table gives a 1.31 projector-aperture ratio. IMAX release presentations specify 1.43:1; these are retained as separate historical aperture/presentation facts, not averaged.

119. Super 16 mm film

     Developer: Rune Ericson · 1970

     1.66:1 · camera

     Details

     Camera: 16 mm / 1.66 / 0.493" × 0.292" / 1 perf, 1 side / spherical

     Projection: no standard, but often blown up to 35 mm / no standard / 0.463" × 0.279" (full frame); 0.463" × 0.251" (framed for 1.85) / spherical

     First work: Blushing Charlie

120. Pik-a-Movie

     Developer: Leon W. Wells · 1972

     1.48:1

     Details

     Camera: no standard / no standard / no standard / no standard / no standard

     Projection: 70 mm, horizontal, 1 perf, 2 sides / 1.48 / 0.245" × 0.166", 12 rows high, underneath 12 rows of optical sound / spherical

121. OMNIMAX

     Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1973

     Dome projection – topology diagram
     1.31:1 – reference projector aperture
     1.34:1 · camera

     Details [9]

     Camera: 65 mm / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally / special fish-eye lenses optically centered 0.37" above film horizontal center line

     Projection: 70 mm, horizontal / 1.31 / 2.692" × 2.056" / spherical, projected elliptically on a dome screen, 20 degrees below and 110 degrees above perfectly centered viewers

     First work: Garden Isle

122. 8/70 (Dynavision, Iwerks 870)

     Developer: Dynavision · 1973?

     1.34:1
     1.37:1 · camera

     Details

     Camera: 65 mm / 1.37 / 2.031" × 1.484" / 8 perf, 2 sides, 24 or 30 frame/s / spherical

     Projection: 70 mm / 1.34 / 1.913" × 1.431" / spherical

123. Showscan

     Developer: Douglas Trumbull · 1978

     2.21:1
     2.28:1 · camera

     Details

     Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, at 60 frame/s / spherical

     Projection: 70 mm, at 60 frame/s / 2.21 / 1.912" × 0.87" / spherical

     First work: Night of Dreams

124. Polavision

     Developer: Polaroid Corporation · 1978

     1.36:1
     1.48:1 · camera

     Details

     Camera: 8 mm / 1.48 / 0.245" × 0.166" / 1 perf, 1 side / spherical

     Projection: 8 mm / 1.36 / 0.215" × 0.158" / spherical

     First work: unknown (amateur format)

125. Cinema 180

     Developer: Omni Films · 1979

     180°, on a dome – topology diagram
     2.28:1 · camera

     Details

     Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, 30 frame/s / fisheye

     Projection: 70 mm / 180°, on a dome / 1.912" × 0.87" / fisheye

     First work: Crazy Wheels

126. Super 35

     Developer: Joe Dunton · 1982

     1.33:1 · camera

     Details

     Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

     Projection: 35 mm / no standard / no standard / no standard

     First work: Dance Craze

127. Circle Vision 200

     Developer: Disney · 1982

     6.85:1
     1.37:1 · camera

     Details

     Camera: 35 mm × 5 cameras / 1.37 × 5 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

     Projection: 35 mm × 5 projectors / 6.85, on a 200° screen / 0.825" × 0.602" / spherical

     First work: Impressions de France

128. Swissorama 360 / Imagine 360

     Developer: Ernst A. Heiniger · 1984

     360° – topology diagram

     Details [11]

     Camera: 65 mm / 360° / 1.91" (outer edge), 1.20" (inner edge) / 10 perf, 2 sides / 360° × 35° extreme fisheye

     Projection: 70 mm / 360° / – / 360° × 35° extreme fisheye

     First work: Impressions of Switzerland

     The documented screen is cylindrical, 360°, 60 m around and 5 m high. Neither 14:1 nor a single flat rectangle is adopted as its physical screen ratio.

129. Super Duper 8 / Max 8 / Super 8B

     Developer: Mitch Perkins & Greg Miller · mid-1980s

     1.51:1 · camera

     Details

     Camera: 8 mm / 1.51 / 0.250" × 0.166" / 1 perf, 1 side / spherical

     Projection: 8 mm / no standard / no standard / spherical

     First work: Sleep Always (2002)

130. 3-perf

     Developer: Rune Ericson · 1987

     1.79:1 · camera

     Details

     Camera: 35 mm / 1.79 / 0.980" × 0.546" / 3 perf, 2 sides / spherical

     Projection: 35 mm / no standard / no standard / no standard

     First work: Pirates of the Lake

131. Super VistaVision

     Developer: Paramount · 1989

     2.21:1
     1.51:1 · camera

     Details

     Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontal / spherical

     Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

     First work: The Ten Commandments (re-release)

132. Kinoton HDFS

     Developer: Kinoton · 1990

     2:1

     Details

     Camera: no standard / no standard / no standard / no standard / no standard

     Projection: 35 mm / 2.00 / 0.931" × 0.698" / 1.5× anamorphic

133. IMAX Magic Carpet

     Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1990

     Two screens – one in front, one below
     1.34:1 · camera

     Details [9]

     Camera: 65 mm × 2 cameras / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally / spherical

     Projection: 70 mm, horizontal × 2 projectors / 1.31 × 2 screens (one in front, one below) / 2.692" × 2.056" / spherical

     First work: Flowers in the Sky

134. Iwerksphere

     Developer: Iwerks · 1991

     1.34:1
     1.37:1 · camera

     Details

     Camera: 65 mm / 1.37 / 2.031" × 1.484" / 8 perf, 2 sides, 24 or 30 frame/s / fisheye

     Projection: 70 mm / 1.34 / 1.913" × 1.431" / fisheye

135. IMAX HD

     Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1992

     1.31:1
     1.34:1 · camera

     Details [9]

     Camera: 65 mm / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally, 48 frame/s / spherical

     Projection: 70 mm, horizontal / 1.31 / 2.692" × 2.056" / spherical

     First work: Momentum

136. Hexiplex

     Developer: Creator not documented – Australian · 1992

     360°, with rotating screens and projectors – topology diagram
     1.37:1 · camera

     Details

     Camera: 35 mm × 6 cameras / 1.37 × 6 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

     Projection: 35 mm × 6 projectors / 360°, with rotating screens and projectors / 0.825" × 0.602" / spherical

     First work: Expo ’92 demo

137. Ultra Toruscope

     Developer: Mac McCarney · 1992

     360° – topology diagram
     1.37:1 · camera

     Details

     Camera: 35 mm × 3 cameras / 1.37 × 3 negatives / 0.866" × 0.630" / 4 perf, 2 sides, at 30 frame/s / spherical

     Projection: 70 mm × 3 projectors, at 30 frame/s / 360° / 1.912" × 0.87" / spherical

138. Imagination FX 7012

     Developer: Geo-Odyssey · 1992?

     2.21:1
     2.08:1 · camera

     Details

     Camera: 35 mm / 2.08 / 2.040" × 0.980" / 12 perf, 2 sides, horizontal / spherical

     Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

139. Univisium

     Developer: Vittorio Storaro and Fabrizio Storaro · 1998

     2:1
     2:1 · camera

     Details [12] [13] [14]

     Camera: 35 mm / 2.00 / 0.945" × 0.472" / 3 perf, 2 sides at 25 frame/s / spherical

     Projection: 35 mm / 2.00 / – / spherical

     First work: Tango

     Storaro describes first use on Tango in 1997; the reference table lists the film release/proposal year 1998. Production and release dates stay distinct.

140. Maxivision

     Developer: Dean Goodhill · 1999

     1.85:1
     1.79:1 · camera

     Details

     Camera: 35 mm / 1.79 / 0.980" × 0.546" / 3 perf, 2 sides / spherical

     Projection: 35 mm, 3 perf / 1.85 / – / spherical

141. Maxivision 48

     Developer: Dean Goodhill · 1999

     1.85:1
     1.79:1 · camera

     Details

     Camera: 35 mm / 1.79 / 0.980" × 0.546" / 3 perf, 2 sides, 48 frame/s / spherical

     Projection: 35 mm, 3 perf, 48 frame/s / 1.85 / – / spherical

142. Super Dimension 70

     Developer: Robert Weisgerber · 1999

     2.21:1
     2.28:1 · camera

     Details

     Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, at 48 frame/s / spherical

     Projection: 70 mm, at 48 frame/s / 2.21 / 1.912" × 0.87" / spherical

143. FuturVision 360

     Developer: Creator not documented · Date not documented

     1.47:1
     1.52:1 · camera

     Details

     Camera: 65 mm / 1.52 / 2.066" × 0.906" / 5 perfs, 2 sides, 30 frame/s / 1.5× vertical anamorphic

     Projection: 70 mm / 1.47 / 1.912" × 0.87" / 1.5× vertical anamorphic

144. Mini-Max

     Developer: Vistascope · Date not documented

     2.66:1
     2.66:1 · camera

     Details

     Camera: 35 mm / 2.66 / – / 2 perf, 2 sides, 30 frame/s / spherical

     Projection: 35 mm / 2.66 / – / spherical

145. MotionMaster

     Developer: Omni Films · Date not documented

     2.21:1
     2.28:1 · camera

     Details

     Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, 30 frame/s / spherical

     Projection: 70 mm / 2.21, on a curved screen / 1.912" × 0.87" / spherical

146. Row-film

     Developer: R. Thun · Date not documented

     Aspect ratio not documented

     Details

     Camera: 35 mm / – / 20 rows of images wide / – / spherical

     Projection: – / – / – / spherical

147. Septorama

     Developer: Creator not documented · Date not documented

     hemispherical view – topology diagram
     1.33:1 · camera

     Details

     Camera: ? mm × 7 cameras / 1.33 × 7 negatives / – / – / spherical

     Projection: ? mm × 7 projectors / hemispherical view / – / spherical

     The undated reference entry has no creator. Contemporary USIA records mention Septorama; the Eames seven-screen installation has a separate attribution. These records describe different installations.

148. Single Cinerama

     Developer: Fred Waller · Date not documented

     Aspect ratio not documented

     Details

     Camera: 35 mm / – / curved gate / 16 perf, 2 sides, horizontal / spherical

     Projection: 35 mm, horizontal / curved screen / – / spherical

149. Soviet 10

     Developer: Creator not documented · Date not documented

     2.09:1

     Details

     Camera: 65 mm / – / – / 10 perf, 2 sides / 2× anamorphic

     Projection: 70 mm / 2.09 / 1.890" × 1.811" / 2× anamorphic

150. Vario-35

     Developer: Creator not documented · Date not documented

     1.84:1 · variable
     1.35:1 · variable
     1:1 · variable
     0.75:1 · variable

     Details

     Camera: 35 mm / – / – / – / spherical

     Projection: 35 mm / variable framing run through control signal / 0.835" × 0.713" (full); 0.835" × 0.453" (1.84); 0.709" × 0.524" (1.35); 0.614" × 0.614" (1.00); 0.535" × 0.713" (0.75) / spherical

151. Vario-35A

     Developer: Creator not documented · Date not documented

     2.35:1 · variable
     1.85:1 · variable
     1.37:1 · variable
     1:1 · variable
     0.75:1 · variable
     0.59:1 · variable

     Details

     Camera: 35 mm / – / – / – / –

     Projection: 35 mm / variable framing run through control signal / 0.835" × 0.713" / variable anamorphic (2× for 2.35; 1.57× for 1.85; 1.17× for 1.37; 0.85× for 1.00; 0.64× for 0.75; 0.5× for 0.59)

152. Vario-70

     Developer: Creator not documented · Date not documented

     2.35:1 · variable
     1.85:1 · variable
     1.37:1 · variable
     1:1 · variable
     0.74:1 · variable
     0.59:1 · variable
     0.46:1 · variable

     Details

     Camera: 65 mm / – / – / 10 perfs, 2 sides / spherical

     Projection: 70 mm / variable framing run through control signal / 1.890" × 1.811" (full); 1.890" × 0.803" (2.35); 1.673" × 0.906" (1.85); 1.441" × 1.051" (1.37); 1.232" × 1.232" (1.00); 1.063" × 1.429" (0.74); 0.945" × 1.604" (0.59); 0.839" × 1.811" (0.46) / spherical

153. Acres 70

     Original attribution: Birt Acres · 1894

     1.38:1 – my own research

     Details

     The attribution, date and ratio follow the original catalogue entry and have not been independently confirmed.

154. Seven-screen presentation – Glimpses of the U.S.A.

     Designers: Charles and Ray Eames / Eames Office; dome: R. Buckminster Fuller · 1959

     7 screens, each 3:2 – schematic 4 + 3 layout

     Details [16]

     MoMA specifies seven 30-by-20-foot screens. The 4 + 3 layout is schematic, not a measured aggregate ratio. The diagram shows discrete screens; 6.65:1 from the prototype is preserved as its artistic trigger, not a verified installation ratio.

155. Display timing 640 × 350

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     64:35 – square-pixel raster

     Details [17]

     Raster: 640 × 350

     DMT defines raster timings. Raster width ÷ height assumes square pixels; it is not evidence of the physical shape of every historical CRT using this timing.

156. Display timing 640 × 400

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     8:5 – square-pixel raster

     Details [17]

     Raster: 640 × 400

157. Display timing 640 × 480

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 640 × 480

158. Display timing 720 × 400

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     9:5 – square-pixel raster

     Details [17]

     Raster: 720 × 400

159. Display timing 800 × 600

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 800 × 600

160. Display timing 848 × 480

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     53:30 – square-pixel raster

     Details [17]

     Raster: 848 × 480

161. Display timing 1024 × 768

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1024 × 768

162. Display timing 1152 × 864

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1152 × 864

163. Display timing 1280 × 768

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     5:3 – square-pixel raster

     Details [17]

     Raster: 1280 × 768

164. Display timing 1280 × 800

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     8:5 – square-pixel raster

     Details [17]

     Raster: 1280 × 800

165. Display timing 1280 × 960

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1280 × 960

166. Display timing 1280 × 1024

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     5:4 – square-pixel raster

     Details [17]

     Raster: 1280 × 1024

167. Display timing 1360 × 768

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     85:48 – square-pixel raster

     Details [17]

     Raster: 1360 × 768

168. Display timing 1400 × 1050

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1400 × 1050

169. Display timing 1440 × 900

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     8:5 – square-pixel raster

     Details [17]

     Raster: 1440 × 900

170. Display timing 1600 × 1200

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1600 × 1200

171. Display timing 1680 × 1050

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     8:5 – square-pixel raster

     Details [17]

     Raster: 1680 × 1050

172. Display timing 1792 × 1344

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1792 × 1344

173. Display timing 1856 × 1392

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1856 × 1392

174. Display timing 1920 × 1200

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     8:5 – square-pixel raster

     Details [17]

     Raster: 1920 × 1200

175. Display timing 1920 × 1440

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     4:3 – square-pixel raster

     Details [17]

     Raster: 1920 × 1440

176. Display timing 2560 × 1600

     Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

     8:5 – square-pixel raster

     Details [17]

     Raster: 2560 × 1600

177. SD digital television · 480 lines · 4:3

     Standard publisher: ITU-R · BT.601

     4:3 – display

     Details [18]

     Raster: 720 × 480

     720 samples per active line; non-square pixel interpretation and active clean-aperture conventions must be retained. The stored raster ratio alone does not define the screen.

178. SD digital television · 480 lines · 16:9

     Standard publisher: ITU-R · BT.601

     16:9 – display

     Details [18]

     Raster: 720 × 480

179. SD digital television · 576 lines · 4:3

     Standard publisher: ITU-R · BT.601

     4:3 – display

     Details [18]

     Raster: 720 × 576

180. SD digital television · 576 lines · 16:9

     Standard publisher: ITU-R · BT.601

     16:9 – display

     Details [18]

     Raster: 720 × 576

181. HD 720

     Standard publisher: SMPTE – Technology Committee 10E · ST 296:2012

     16:9 – display

     Details [19]

     Raster: 1280 × 720

182. HD 1080

     Standard publisher: ITU-R · BT.709

     16:9 – display

     Details [20]

     Raster: 1920 × 1080

183. UHD 4K

     Standard publisher: ITU-R · BT.2020 · 2012 / 2015

     16:9 – square pixels

     Details [21]

     Raster: 3840 × 2160

184. UHD 8K

     Standard publisher: ITU-R · BT.2020 · 2012 / 2015

     16:9 – square pixels

     Details [21]

     Raster: 7680 × 4320

185. Digital cinema 2K – Flat

     Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

     1.850000:1 – active raster

     Details [22]

     Raster: 1998 × 1080

     Nominal Flat 1.85, Scope 2.39 and Container 1.90 are rounded labels. Exact raster ratios are preserved. Container size does not by itself define picture masking.

186. Digital cinema 2K – Scope

     Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

     2.386946:1 – active raster

     Details [22]

     Raster: 2048 × 858

187. Digital cinema 2K – Full container

     Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

     1.896296:1 – container

     Details [22]

     Raster: 2048 × 1080

188. Digital cinema 4K – Flat

     Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

     1.850000:1 – active raster

     Details [22]

     Raster: 3996 × 2160

189. Digital cinema 4K – Scope

     Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

     2.386946:1 – active raster

     Details [22]

     Raster: 4096 × 1716

190. Digital cinema 4K – Full container

     Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

     1.896296:1 – container

     Details [22]

     Raster: 4096 × 2160

191. IMAX digital presentation

     Developer: IMAX Corporation · Digital IMAX

     1.90:1 – presentation

     Details [10]

192. Odyssey G9 DQHD

     Manufacturer: Samsung Electronics · 2020

     32:9 – display

     Details [23]

     Raster: 5120 × 1440

     A curved 1000R monitor; this rectangle represents its pixel raster, not a curvature measurement.

193. iPhone 5 display

     Manufacturer: Apple · 2012

     40:71 – portrait display

     Details [24]

     Raster: 640 × 1136

     The exact raster differs slightly from ideal 9:16.

A screen has a shape before it has an image. In #000fff, chroma-key blue – the colour a studio replaces with another picture – is painted on a wall in the proportions of a historical film format, and every painting hosts another work, by another artist or by me. The series began with Spectre in 2015, and its name plays on ‘off’. Here the browser carries the research on through 193 formats, from Marey’s chronophotograph of 1888 to the iPhone 5; resize the window or move between formats to compare their frames.

Camera fields: gauge / reference A/R / gate aperture / transport / optics. Projection fields: gauge / reference A/R / aperture / optics.

Camera frames, projected pictures, stored rasters and spatial installations retain their own measurements. A circle or dome is a topology diagram. Missing attributions and dimensions remain marked. Historical fields are reference transcriptions unless a named primary source confirms the field.

Wikipedia contributors, List of motion picture film formats, consulted 2 October 2026. Adapted factual catalogue with additions, CC BY-SA 4.0.

1. Wikipedia film-format reference

2. Cinémathèque: Marey film strips

3. Library of Congress: origins of motion pictures

4. PDF

5. 20th Century-Fox: The Dynamo, 1953

6. Loren L. Ryder / Paramount: VistaVision brochure

7. Motion Picture Herald: Thrillarama, 11 August 1956

8. Panavision: system development history

9. IMAX: company and co-founder attribution

10. Universal: IMAX release presentation formats

11. Swissorama history and screen topology

12. Vittorio Storaro: Univisium interview

13. American Cinematographer: Univisium production

14. PDF

15. PDF

16. PDF

17. ITU-R BT.601: standard-definition television

18. PDF

19. ITU-R BT.709: high-definition television

20. ITU-R BT.2020: ultra-high-definition television

21. ISDCF: image rasters, containers and masking

22. Samsung: Odyssey G9 display specifications

23. Apple: iPhone 5 display specifications

Art Hur Fou Ray

m   ART#AAA
mm  HUR FFF
    FOU#000
    RAY FFF

+   credits

Between 2012 and 2016 I split my name into ART, HUR, FOU and RAY, set in Courier Std, on labels, cards and the website.

Each syllable also took a colour value: ART #AAA and HUR FFF spell #aaafff; FOU #000 and RAY FFF spell #000fff. In April 2015 I meant to sign my pieces with it: a print of my right index finger dipped in #aaafff.

Three documents accompany the works: Core Texts (2015), my book of conversations; Riva, the proposal Louis Ziéglé and I made for the Audi Talent Award 2016, which carries Land Art into a virtual world around a fictional painting, #aaafff Riva; and the portfolio of 2015–2017.

Core Texts : PDF

Riva : PDF

Portfolio 2015–2017 : PDF