Arthur Fouray: Chronology

Nothing was indexed in this mode.

1990–2008

Before art: the early archive

Paris

1990

Arthur Fouray is born in Paris on 9 May 1990. Biography

1991

Works from 1991 onwards are gathered retrospectively in before ARTS, which spans 1991–2011; the Pre-Natal phase follows, 2011–2013. These early materials belong to an archive the website keeps reopening. before ARTS, Pre-Natal

A child’s painting on white paper: blue and green smears and pink-brown strokes.
before ARTS, drawing, 1991
2008–2013

Penninghen, ECAL and early experiments

Paris · Renens

2012

Playing Labels (Cartels à Jouer): wall labels drawn as paintings, and paintings written as labels.

C.R.O.M., a group show in Saint-Émilion with Nicolas Degrange and Paul Limoujoux. Nicolas Degrange

A flag on a metal pole against a pale blue sky, printed with patches of pink, purple, yellow and grey textures.
C.R.O.M., Saint-Émilion, 2012

In Iceberg, a walk through Paris galleries becomes an investigation of the white cube. The text records the journey and the printed material gathered along the way. A Painting on the Wall

Iceberg page: two photographs of a plain grey wall, one above the other, each labelled PICT0060.jpg in the margin.
A Painting on the Wall, 055, 2012

Pre-Natal brings together sculptures, paintings and videos, accompanied by wall labels giving their medium, date, dimensions and installation. The videos include P.A.V. and LDMB49.49. Pre-Natal

A white rectangular panel lying flat against black, with a layered edge and a thin strip along its top.
P.A.S., Pre-Natal, 2012

A Painting on the Wall brings together digital page-works and videos made between 2012 and 2013, composed on an A4-format canvas. The page becomes a place to arrange and encounter the work. A Painting on the Wall

A digital collage on acid yellow: a glossy magenta speech bubble, a blue 3D arrow, “YO” on a green bevelled square, a chrome ring and blue stripes.
A Painting on the Wall, 001, 2012

2013

Bachelor of Arts HES-SO in Fine Arts, ECAL, Renens. ECAL

A gallery floor by a glass façade: a low white platform on a wooden base holding a pale blue panel, a pale pink panel, two small white trays and a small white object.
T r a n s-P a r e n t, diploma, ECAL, Renens, 2013

Dear Peggy, Treize, Paris, 6 April – 4 May 2013. Fourteen ECAL artists selected by Gallien Déjean, Stéphane Kropf and Stéphanie Moisdon. CV

Assistant at Pierre Huyghe Studio, Paris, for the retrospective at the Centre Pompidou curated by Emma Lavigne. Centre Pompidou

a + o – begins, a collaborative artistic and curatorial practice with Nastassia Cougoulat Montel, active until 2015. a plus o minus

A round green-gold metallic lid on black, with a small red logo and the number 2064.
a + o –, object

DE)ª(F, a 62-page theoretical text, written and typeset on an iPhone and two iPads. It develops a reflection on the ready-made, representation and the terms through which art is understood.

He enters the Master of Arts HES-SO in Fine Arts at ECAL, in the programme directed by Stéphanie Moisdon. ECAL

The aaafff paintings begin around this time. Their pale blue takes its name from a web colour code formed from the initials A and F; objects concealed within the paintings make what cannot be seen part of the work. aaafff

A small pale lavender-blue canvas on a white wall.
#aaafff (Cendrier), 2013–2014
2013–2015

Painting and exhibition formats

Renens · Geneva · Paris

2014

An unsigned text on aaafff develops the idea of painting as a container: its visible surface can suggest an object held out of sight. aaafff

Entourage II (8 Objects – 9 Interventions), a collaborative artistic and curatorial project by Arthur Fouray and Nastassia Cougoulat Montel at Le Romandie, Lausanne, at the invitation of Julien Gremaud / Think Tank. The interventions enter the nightclub environment; the installation is photographed by Julien Gremaud. Entourage II

A dark stage lit in blue: turntables on a blue-draped table under rows of blue ring lights.
Entourage II, Le Romandie, Lausanne, 2014. Photograph by Julien Gremaud

Synallagma Show, Espace Quark, Geneva, curated by Elisa Langlois. Synallagma Show, CV

Installation view, Synallagma Show, Espace Quark, Geneva, 2014
Synallagma Show, Espace Quark, Geneva, 2014
#aaafff (B.A.A.), 2014, shown in Synallagma Show, Espace Quark, Geneva
#aaafff (B.A.A.), 2014. Synallagma Show, Espace Quark, Geneva

Summer Camp, Happy Baby Gallery, Crissier. CV

The Rise of the New Creative Class, a workshop at the Allianz Club, Renens. CV

2015

Master of Arts HES-SO in Fine Arts, ECAL, Renens. ECAL

Master of Arts HES-SO in Fine Arts display: a pale cushion on the floor, a small lavender wall shelf with two hanging panels and a dark navy cloth pinned to a white wall.
Master diploma, ECAL, Renens, 2015. Photograph by Julien Gremaud and Arthur Fouray

M, Micronaut no. 8, Vevey, 2015. The book brings an online notes system into print, gathering material from 21 April 2013 to 21 October 2015. Published on the occasion of Spectre, it includes a conversation with Julien Gremaud; ISBN 978-2-8399-1768-1. M

Artist’s book: a white cover with a large black letter m, standing beside an orange translucent m on a reflective black surface.
M (Micronaut #8), Julien Gremaud, Vevey, 2015

Spectre, curated by Elisa Langlois, Espace Quark, Geneva. The painting made for it, 000fff (Polyvision) (Spectre), takes its name from Abel Gance’s three-screen process for Napoléon (1927); its three blue incrustation wall paintings, marking the format’s three aspect ratios, begin the 000fff series. Spectre

A white gallery under fluorescent lights: a small lavender square on one wall, three light wooden boxes in a row on the other.
Spectre, Espace Quark, Geneva, 2015

Osmosis, La Placette, Lausanne. Osmosis

A white room: a large bright blue cloth pinned to the wall, a small lavender square on the far wall, and a blue cushion on a low white platform.
Osmosis, La Placette, Lausanne, 2015

Life is a Bed of Roses (un roman), Fondation d’entreprise Ricard, Paris, 27 May – 4 July 2015, conceived by Stéphanie Moisdon. Life is a Bed of Roses

A white wall with metal fixings, faint cut-out shapes and a tall lavender panel; beyond it, a corridor with a blue carpet and a row of tall patterned prints.
Life is a Bed of Roses (un roman), Fondation d’entreprise Ricard, Paris, 2015

Nuit des musées, curated by Simon Paccaud and Stéphanie Serra, Musée Jenisch, Vevey. Musée Jenisch

Private Life, Can Sep Simo, Ibiza. CV

Core Texts, 216 pages of interviews with Alfredo Aceto, Frédéric Gabioud, Nastassia Montel, Damián Navarro, Prokos and Baker Wardlaw. Edition of twenty-two, plus two.

Boom, ECAL, Renens. Boom

A lavender square panel on a gallery wall, a pink cushion with a pale border on a low white shelf, a white plinth and a long beige board leaning on the wall.
Boom, ECAL, Renens, 2015

Silicon Malley opens in Prilly, co-founded with Grégoire Bolay, Julien Fischer, Frédéric Gabioud and Paul Limoujoux; Baker Wardlaw joins later. It runs until 2022. Exhibition Making

CCI opens the space, with Thomas Baud, Giulia Essyad, Thomas Koenig, Thomas Vogel, Laura Zalewski and Guillaume de Nadaï. Robin Lebey, 1, and Myriam Stamoulis, Guitare, Tanpura et Tabla électronique, follow the same year. CCI

A room with a parquet floor: a red printed garment on a clothes-drying rack, a grey box with a small orange object, and a small black device with a cable.
CCI, Silicon Malley, Prilly, 2015
2016–2018

Silicon Malley and DOC!

Prilly · Paris

2016

He joins the curatorial team at DOC!, Paris, an autonomous artist-run production space, and stays until 2018. DOC!, CV

Cruising, curated by Elise Lammer, SALTS, Birsfelden. SALTS

Nominated for the Kiefer Hablitzel Prize, Swiss Art Awards, Basel. Kiefer Hablitzel Prize

A tall narrow lavender panel on a white wall, with a tuft of white feathers at its lower end.
#aaafff (Autruche), 2016. Kiefer Hablitzel Prize, Swiss Art Awards, Basel

Accrochage Vaud, MCBA, Lausanne. Accrochage Vaud

A pale blue curved panel leaning against a white wall with grey panelling, and a bright blue curved panel hung level beside it, above a herringbone parquet floor.
Accrochage Vaud, MCBA, Lausanne, 2016

Tous les tableaux sont à l’envers, Circuit, Lausanne. CV

RÉ DO, curated by Silicon Malley, La Cabine, Clermont-Ferrand. Silicon Malley, CV

Les lèvres nues, a proposal by Noémie Vulpian and Jarry, DOC!, Paris, 16–30 April 2016. The installation includes Lauren (#aaafff), acrylic on cotton duck and bed base, and Rrose (DOC), acrylic on jute and pillow. Les lèvres nues

A white room with a row of frosted windows and a fluorescent tube; a mint-green cushion with a pale border is set high on the wall, under the ceiling.
Les lèvres nues, DOC!, Paris, 2016

Frédéric Gabioud, Arthur Fouray, Baker Wardlaw, Galerie Joy de Rouvre, Geneva. Frédéric Gabioud, Arthur Fouray, Baker Wardlaw

A table with a bright green top on a thin metal frame, a small line of black text at its centre.
Daniel (Eve Kendall), 2016, Galerie Joy de Rouvre, Geneva

At DOC!, he co-curates Rob a Robe with Lauren Coullard and presents Francis Baudevin, Guitars, 16 December 2016 – 15 January 2017. At Silicon Malley, the collective programme includes Nicolas Degrange, Suite, and Noémie Vulpian and César Chevalier, Cluster. Rob a Robe

A large room with a concrete floor: garments on clothes rails, a hat on a mannequin head, shoes, a suitcase and a printed cloth hanging from the ceiling.
Rob a Robe, DOC!, Paris, 2016
A white hall with a concrete floor: a wall painted with rows of black trapezoids between white lines, a row of record sleeves on a shelf and three small framed works.
Francis Baudevin, Guitars, DOC!, Paris, 2016. Photograph by Paul Nicoué
Seen through a doorway: a narrow white room filled by a stack of printed cardboard boxes; beside the door, a wall rack of magazines above a radiator.
Nicolas Degrange, Suite, Silicon Malley, Prilly, 2016

arter, to art, kunsten, artarre, an insert for Éditions Clinamen. Four sheets conjugate an invented verb meaning “to make art” in French, English, Dutch and Italian, adopting the form of a grammar table. artarre

2017

SCREEN, Tombolo Presses, Nevers. Edition of 500, edited by Thierry Chancogne, ISBN 979-10-96155-05-7. Its text is an extract of the dialogue Alain Robbe-Grillet wrote for Alain Resnais’s L’Année dernière à Marienbad. SCREEN

An open artist’s book on black, its pages printed with a grainy black-and-white photograph of a room with dark rectangles on the walls.
SCREEN, Tombolo Presses, Nevers, 2017

SCREEN launches at Motto Berlin on 18 May 2017, with a conversation between Arthur Fouray and curator Rachel Walker, ahead of the opening of 2080 (MMLXXX).

2080 (MMLXXX), ZQM, Berlin, 21 May – 18 June 2017, with an opening on 20 May. Eleonora Castagna interviews him for Droste Effect Magazine on 9 June. Interview

A white room with two windows: red panels on the left wall, a deep blue panel on the right, a small photograph between the windows, green printed cushions on a black floor.
2080 (MMLXXX), ZQM, Berlin, 2017
Black poster: a painting of a red square with folded green and white shapes over deep blue and grey, above large white lowercase letters and small white capitals.
Louis Ziéglé, poster for 2080 (MMLXXX), ZQM, Berlin, 2017

Ristretto, Le Marquis, Saint-Denis, 23–27 June 2017. CV

MONO, DOC!, Paris, 15–28 July 2017. CV

Caravan, curated by Yasmin Afschar and Katrin Weilenmann, Aargauer Kunsthaus, Aarau, 26 August – 12 November 2017. His first solo exhibition in an institution. Kunsthaus archive

A glass-walled foyer onto a street: a row of small red and white cushions along the window, a pale blue plinth, and red curtains behind a curved glass door.
Caravan, Aargauer Kunsthaus, Aarau, 2017. Curated by Yasmin Afschar and Katrin Weilenmann
A white toy lorry with a translucent turquoise cargo box, on white.
Invitation, Caravan, Aargauer Kunsthaus, Aarau, 2017

Andy (Pyrrole), 2017, enters the Aargauer Kunsthaus collection as a gift. Aargauer Kunsthaus

An artist’s talk at the Aargauer Kunsthaus on 24 October brings Arthur Fouray into conversation with Philippe Decrauzat and Katrin Weilenmann. He discusses the paintings as interfaces, connecting a visible surface with an object concealed inside. Aargauer Kunsthaus

3 years, Smart Move, Galerie Joy de Rouvre, Geneva, 11 November – 23 December 2017. Gallery archive

Installation view, 3 years, Smart Move, Galerie Joy de Rouvre, Geneva, 2017
3 years, Smart Move, Galerie Joy de Rouvre, Geneva, 2017

Galerie Joy de Rouvre, Geneva, begins to represent him. The gallery closes in 2022. 3 years, Smart Move, CV

Greffes, Art Club #18, curated by Pier Paolo Pancotto at the Académie de France à Rome – Villa Medici. He presents a collaborative work with Christophe de Rohan Chabot. Greffes

A stone hall with arches: a staircase rising to a marble statue in a niche between two lit lamps, and two pale blue panels standing on the floor.
Greffes, Académie de France à Rome – Villa Medici, 2017

PRIX Novembre à Vitry, Galerie municipale Jean-Collet, Vitry-sur-Seine, 19 November – 17 December 2017. paris-art.com, CV

At DOC!, he curates Christophe Lemaitre, 25 November – 17 December 2017, under a changing title: Manners Maketh Man, Adversarial Objects, then Road Rage. The DOC! programme also includes Francesco Cagnin, So Leggere and La Nuit juste avant les forêts, co-curated with Corentin Canesson, Lucas Erin and Eva Vaslamatzi. At Silicon Malley, the collective presents Lauren Coullard, BREAK(FEAST) and Demelza Watts, free time. Road Rage

A large white hall with a concrete floor: a low black metal table structure, a small dark picture on the far wall, and a framed photographic sequence on a side wall.
Christophe Lemaitre, Road Rage, DOC!, Paris, 2017
A large room with a concrete floor: three tall painted panels on a turquoise wall, a yin-yang painting on the far wall, red and blue forms on the right, a flat object on the floor.
La Nuit juste avant les forêts, DOC!, Paris, 2017. Photograph by Paul Nicoué

Elsewhere in 2017

Twin Peaks, single-channel video with sound, 1 min 43 sec. Twin Peaks

Nouvelle Collection Paris, ENSBA, Paris; Jeudi x PRP, Art Genève, Geneva.

Assistant to Philippe Decrauzat, Paris. CV

He edits Francis Baudevin, The Guitar and Other Machines, DOC!, Paris. Guitars, CV

Artist’s book standing upright on a glossy surface, its white cover printed with a black grid of trapezoids between white lines.
Francis Baudevin, The Guitar and Other Machines, DOC!, Paris, 2017. Graphic design by Pierre Girardin and Lisa Guedel-Dolle

Silicon Malley, Terrasse 2013–2017, mixed media, 300 × 300 × 125 cm, Art Genève. CV

2018

Tournures, Grichka Commaret and Kim Farkas, DOC!, Paris. The exhibition opens on 19 January and is on view from 20 January to 12 February 2018, within the programme directed by Corentin Canesson, Arthur Fouray and Eva Vaslamatzi. Tournures

A long white hall with a concrete floor, a few small dark works hung far apart and a larger dark red and black panel on the right.
Grichka Commaret and Kim Farkas, Tournures, DOC!, Paris, 2018

Works shown with Galerie Joy de Rouvre at artgenève, Geneva: preview on 31 January, public days 1–4 February 2018.

At DOC!, he helps host Ending Explained, organised by Will Benedict with the ECAL Master, 17 March – 9 April 2018. Ending Explained

A low brown platform covered with many small objects, in front of a wall of framed posters in two rows.
Ending Explained, DOC!, Paris, 2018. Photograph by Aurélien Mole
A blurred grey sausage shape with a drawn smiling face, surrounded by large black hand-drawn letters and arrows, on white.
Poster, Ending Explained, DOC!, Paris, 2018. Graphic design by Baldinger·Vu-Huu

Obsédés, an evening at DOC!, Paris, 10 April 2018, in the programme directed with Corentin Canesson and Eva Vaslamatzi. CV

He curates Pierre Joseph, Fondation Vincent van Gogh Arles, DOC!, 8 September – 7 October 2018, with the support of Air de Paris. His signed bilingual essay follows the exhibition’s forty-five potato photographs and the systems of reproduction around them. Pierre Joseph

A wall covered with a grid of photographs of potatoes.
Fondation Vincent van Gogh Arles, Pierre Joseph, DOC!, Paris, 2018. Photograph by Aurélien Mole
Large black brush-written words across white, with small black type at the lower right.
Poster, Fondation Vincent van Gogh Arles, Pierre Joseph, DOC!, Paris, 2018. Graphic design by Baldinger·Vu-Huu

On Italian museography… at Silicon Malley, with Koenraad Dedobbeleer and the EPFL Studio Master 1. On Italian museography…

A hinged screen of painted panels on a black stand, showing architectural interiors with figures under a deep blue sky.
On Italian museography…, Silicon Malley, Prilly, 2018

Works are featured in Art Club, Académie de France à Rome – Villa Medici, and Caravan, Aargauer Kunsthaus, both published in 2018. They document the earlier exhibitions Greffes and Caravan. Bibliography & Press

2018–2020

D************* and the move to LUMA

Paris · Geneva · Arles

2018

D************* ******** ** * ************* ***** ******, **-******* **** ********* ****** ** ****. * ***** ************ ***** *** ****** ****** ** * ******* ****. CV

He is Studio Director for Matthew Lutz-Kinoy in Paris, from 2017 to 2019. CV

Alongside his studio work, he shows with Galerie Joy de Rouvre at artgenève and continues the DOC! and Silicon Malley programmes. Exhibitions and publications, 2018

2020

1984 (feat. 1990), deuxième partie, Galerie Joy de Rouvre, Geneva. CV

He delivers I do not wish to add more on 14 February at Vues & Données, École nationale supérieure de la photographie, Arles. The colloquium runs 13–14 February 2020. ENSP Arles

Silicon Malley presents Matthieu Laurette, Demands & Supplies, Prilly, opening on 24 August 2020. Contracts disclosing the costs of the artist’s practice fill the small exhibition space, and the project extends into an online shop. Demands & Supplies

White sheets of paper pinned edge to edge in a grid across three white walls.
Demands & Supplies, Matthieu Laurette, Silicon Malley, Prilly, 2020. Photograph by Arthur Fouray
Two white walls meeting in a corner, covered edge to edge with rows of printed white sheets, above a parquet floor.
Demands & Supplies, Matthieu Laurette, Silicon Malley, Prilly, 2020. Photograph by Arthur Fouray
2021–2023

Archives, paintings and records

Arles · Zurich

2021

I do not wish to add more, delivered in 2020, is published in January in the proceedings of Vues & Données, ISBN 979-10-91540-38-4. The text is cited in the press material for Demands & Supplies. Demands & Supplies, Bibliography

Édouard Glissant – Où tous les imaginaires du monde peuvent se rencontrer et s’entendre, Hans Ulrich Obrist Archives, Chapter 1, LUMA Arles, 26 June 2021 – 1 May 2022. Co-curated with Hans Ulrich Obrist, with Sylvie Séma-Glissant, Etel Adnan, agnès b., Julien Creuzet, Dominique Gonzalez-Foerster, Manthia Diawara, Julie Mehretu, Philippe Parreno, Asad Raza, The Otolith Group and Koo Jeong A. The format, proposed by Maja Hoffmann together with Hans Ulrich Obrist, reveals different aspects of the archive over time; Obrist thanks Vassilis Oikonomopoulos and Mustapha Bouhayati “for making this project a reality”. Chapter 1: Édouard Glissant

Hans Ulrich Obrist Archives: large posters on a white wall, among them drawings, a grid of painted globes and a bright yellow handwritten sheet, before wooden chairs with rabbit-ear backs.
Édouard Glissant, Chapter 1, LUMA Arles, 2021. Photograph by Arthur Fouray
Two large wall texts, in French and English, beside an open doorway to a room with images on the walls, chairs and a projection.
Édouard Glissant, Chapter 1, LUMA Arles, 2021. Photograph by Arthur Fouray

Starry Nights, Nicolas Trembley’s Artforum Diary of 12 July 2021, is listed as press for the Glissant chapter. Bibliography

He writes rt4a, a text connecting his work across images, language and sound. rt4a

Painting continues alongside archival and curatorial work. Museum (Fraser Official Welcome) and Beware of Curator bring text and familiar visual signs onto canvas. Beware of Curator is also paired with a sound work released in 2022. Museum, Beware of Curator

Painting in acrylic and pencil on linen: the word MUSEUM in white capitals on a red band, over blue lightning on black.
rt4a, Museum, 2021
Painting in acrylic on cotton canvas: the title in white brushed capitals edged in blue on orange-red, its first word inside a white frame.
rt4a, Beware of Curator, 2021

2022

Etel Adnan – Le monde a besoin de proximité, pas de séparation. D’amour, pas de suspicion. D’un avenir commun, pas d’isolation., Chapter 2, LUMA Arles, 2 July 2022 – 29 May 2023, with Etel Adnan and Simone Fattal. Chapter 2: Etel Adnan

Hans Ulrich Obrist Archives: a black sun drawn on a white wall, rows of yellow handwritten sheets, and screens on stands among wooden chairs with rabbit-ear backs.
Etel Adnan, Chapter 2, LUMA Arles, 2022. Photograph by Joana Luz and Arthur Fouray
Large black handwritten words and a drawing on a white wall, beside a small yellow object on a white plinth.
Etel Adnan, Chapter 2, LUMA Arles, 2022. Photograph by Joana Luz and Arthur Fouray

The first records appear under the name rt4a: Accelerate, Beware of Curator – Smithson Cultural Confinement, This Is Not a Tender World and Chiquito. Music

Single cover: the word ACCELERATE in large grey letters on a long black canvas.
rt4a, Accelerate, single, 2022

Galerie Joy de Rouvre closes. CV

2023

Agnès Varda, Chapter 3, LUMA Arles, 2 July 2023 – 26 May 2024. The Glissant chapter travels to LUMA Westbau, Zurich, 9 June – 22 October 2023. Chapter 3: Agnès Varda

Hans Ulrich Obrist Archives: a bright pink square on a white wall, handwritten in black: “un jour sans voir un arbre est un jour foutu”.
Agnès Varda, Chapter 3, LUMA Arles, 2023. Photograph by Arthur Fouray
A long white hall leading to glass doors onto greenery: small works on white plinths, a bright pink panel and wall texts.
Agnès Varda, Chapter 3, LUMA Arles, 2023. Photograph by Arthur Fouray
Three tall white text panels, in English, German and French, on a black wall above a long black bench.
Édouard Glissant, Chapter 1, LUMA Westbau, Zurich, 2023. Photograph by Nelly Rodriguez

Cartes-cartels, forty pages of museum-style labels made in 2023 for works from 2012. The catalogue gives materials and dimensions to an early body of sculpture, painting and installation and returns it to the present as an archival form.

arthurfouray.systems begins. It takes Duchamp’s La Boîte verte (1934) as its model and is built as an interface rather than a portfolio; it traces and retraces a single body of work – an active archive of everything produced since the age of one, alone or in groups, as artist or as curator. Systems

La Nuit juste avant les forêts, the exhibition he co-curated at DOC! in 2017, is featured in Matthew Lutz-Kinoy, edited by Stéphanie Moisdon and published by Les presses du réel, Dijon, in 2023.

DEMANDS & SUPPLIES, the exhibition he curated at Silicon Malley in 2020, is featured in Matthieu Laurette : une monographie dérivée (1993–2023), MAC VAL, Vitry-sur-Seine. Bibliography & Press

2024–2026

Chapters, cards and Systems

Arles · Zurich · Paris

2024

Gustav Metzger – Chacun de nous, tous ensemble, Chapter 4, LUMA Arles, 30 June 2024 – 4 May 2025. The Varda chapter opens at LUMA Westbau, Zurich, on 7 June 2024. Chapter 4: Gustav Metzger

Édouard Glissant, Dans un monde imprévisible, l’utopie est nécessaire, co-edited with Bernard Comment. Exhibition catalogue and compendium, Éditions du Seuil / LUMA. Éditions du Seuil

On 15 October he takes part in Entretiens avec Édouard Glissant at the Théâtre de la Ville-Sarah Bernhardt, Paris, with Sylvie Glissant, Julien Creuzet and Vassilis Oikonomopoulos. Théâtre de la Ville

P+ develops as an associative system of physical and digital cards. Images, words and references can be rearranged into changing connections, extending the archive into a form that can be handled and recomposed.

A light wooden box with a metal clasp, its lid engraved with a repeating grid of letters.
P+, 2024. Physical and digital cards
Rows of black brushed zigzag strokes running diagonally across brown kraft paper.
P+ II, card, 2024

2025

Maria Lassnig – Living with art stops one wilting!, Chapter 5, opens at LUMA Arles on 1 May 2025. It is the first major exhibition in France in more than twenty-five years devoted to Lassnig. The Metzger chapter opens at LUMA Westbau, Zurich, on 13 June 2025. Chapter 5: Maria Lassnig

He curates Lauren Coullard, They Hover over Me, DOC!, Paris, 11–26 January 2025, and writes the signed bilingual booklet. The project resumes a working relationship begun with BREAK(FEAST) at Silicon Malley in 2017. They Hover over Me

A white hall with a concrete floor: a freestanding metal frame holding painted canvases of black-and-white faces, seen front and back.
They Hover over Me, Lauren Coullard, DOC!, Paris, 2025. Photograph by Arthur Fouray
Ornate engraved capital letters in pale yellow-green, cut up and stacked on black, with small type at the lower left.
Poster, Lauren Coullard, They Hover over Me, DOC!, Paris, 2025. Graphic design by Tom Cazin

Mémoire, a video work, goes into production.

Three albums and five singles appear as rt4a, including godart, Unreleased 2008–2014 and two versions of Rimsky-Korsakov’s Scheherazade, Op. 35, which he plays in real time on the keyboard. Earlier recordings become part of the published body of work. Music

Album cover painting: a blue river running down between red stepped walls toward a disc, with green pyramids, pale blue clouds and furry purple creatures with large eyes.
rt4a, godart, Unreleased 2008–2014, 2025

2026

In January, he begins a new series of eleven canvases in acrylic, charcoal pencil and pastel pencil on cotton. Monochrome and chiaroscuro return; titles use identifiers of the source images, including ISBNs for books and ISRCs for music. The paintings are made, not yet exhibited, continuing his aim of “seeking to simplify my relationship with visual production.” rt4a

Zaha Hadid – I Think There Should Be No End to Experimentation, Chapter 6, LUMA Arles, 1 May 2026 – 31 March 2027. Artistic direction by Vassilis Oikonomopoulos; co-curated with Hans Ulrich Obrist in close collaboration with the Zaha Hadid Foundation. Chapter 6: Zaha Hadid

The Lassnig chapter is presented at LUMA Westbau, Zurich, 13 June – 20 December 2026. The acknowledgements of this and the Hadid chapter name Claire Charrier, Barbara Blanc, Julie Boukobza and Elif Kulözü among those who took part in developing the exhibitions. Lassnig, LUMA Westbau

P+ continues through five decks made in 2026: P+ IV — Lascaux, P+ V — Golden, P+ VI — Water Yam, P+ VII — Rouge Noir, P+ VIII — GR33C3. P+ N — Playing Labels carries forward the wall labels first made in 2012; the date of the source work remains distinct from the later deck.

The chronology continues with the paintings and P+. Earlier images, labels and recordings return in new forms; their dates stay distinct.

Curriculum Vitae · Biography · Index

Paintings · Relations · Atlas

Works, exhibitions, books, records and shared projects, from 1990 to the present.

A work may be made, shown and released at different moments; this chronology keeps those dates apart. Materials, titles and collaborators give other routes through it. Follow what changes when something returns.— arthurfouray.systems, 2023–present

The chronology follows the work across its forms and collaborations. Solo exhibitions appear under their own titles; group exhibitions are a selection. Curatorial projects are listed under their host spaces, with collaborators credited in each entry. For the formal record, see the Curriculum Vitae; for a narrative, the Biography; for the whole site, the Index.