Arthur Fouray: Chronology

Nothing was indexed in this mode.

1990–2008

Before art: the early archive

Paris

1990

I was born in Paris on 9 May 1990. Biography

2008–2013

Penninghen, ECAL and early experiments

Paris · Renens

2012

Playing Labels (Cartels à Jouer), a deck of 37 cards whose title plays on cartes à jouer (playing cards) and cartels (wall 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

Iceberg: I walked for four hours through fifty Paris galleries to find out whether the walls of the white cube were still white. I took 57 photographs; the certificate concludes that every wall photographed was painted white. 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 gathers the sculptures, paintings and videos I made in these years, accompanied by wall labels giving their medium, date, dimensions and installation. Among the videos are P.A.V., in which gloved hands cover Beckett’s Premier amour with blue pigment, 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

From 2012 to 2013 I built A Painting on the Wall, a website on the relation between foreground and background, seen from a curator’s point of view. Each page rests on an image in A4 format. 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: Gallien Déjean, Stéphane Kropf and Stéphanie Moisdon selected fourteen ECAL artists, myself among them. CV

I worked as an assistant at the Pierre Huyghe Studio, Paris, on the retrospective at the Centre Pompidou curated by Emma Lavigne. Centre Pompidou

I began a + o –, 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 research manuscript and artist’s book that I wrote 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.

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

I began the aaafff paintings: a colour mixed by eye from a screen, out of neon pink, cobalt blue and titanium white, painted on blackout fabric stretched over or wrapped round a found object. The hex code holds my initials, A and F. 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

Entourage II (8 Objects – 9 Interventions), an artistic and curatorial project that Nastassia Cougoulat Montel and I made at Le Romandie, Lausanne, at the invitation of Julien Gremaud / Think Tank. The interventions entered the nightclub; Julien Gremaud photographed the installation. 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 #8, edited by Julien Gremaud, Vevey, 2015, published for Spectre: 364 pages that bring into print the online diary I kept from 21 April 2013 to 21 October 2015, with a conversation with Julien Gremaud. Pierre Girardin and Nastassia Montel conceived the book; 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, 13 November–21 December 2015, opening 12 November. The painting I 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, 20 November–18 December 2015. 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, my Master’s thesis: 216 pages of conversations in French, in 22 numbered and signed copies plus 2 artist’s copies. Each conversation took its own form: a portrait of my encounter with Nastassia Montel; messages with Frédéric Gabioud; a conversation with Alfredo Aceto set as a script, which he edited; a text with Prokos on the manifesto and the avant-garde; Space Jam with Damián Navarro, recorded on two iPhones and written up as a theatre piece; and an exchange with Baker Wardlaw in which I speak French and he speaks English.

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

In 2015 I co-founded Silicon Malley, an artist-run space in Prilly, with Grégoire Bolay, Julien Fischer, Frédéric Gabioud and Paul Limoujoux; Baker Wardlaw joined us later. Our last show, Jan Kiefer’s Kontraste, closed on 7 January 2023, and the space closed in February 2023. Exhibition Making

CCI opened the space, 23 January–15 February 2015, 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, followed 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

I became co-curator of the exhibition space at DOC!, an autonomous artist-run production space in Paris, until 2018. DOC!, CV

Cruising, curated by Elise Lammer, SALTS, Birsfelden, 11 September–22 October 2016. SALTS

I was nominated for the Kiefer Hablitzel Prize, Swiss Art Awards, Basel, 14–19 June 2016. 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, 22 January–6 March 2016. 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, 19 March–3 May 2016. 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. I showed Lauren (#aaafff), acrylic, cotton duck and bed base, and Rrose (DOC), acrylic, 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, 12–19 November 2016. 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! I co-curated Rob a Robe with Lauren Coullard, about seventy artists, 23–25 October 2016, opening 22 October, then curated Francis Baudevin, Guitars, 17 December 2016–15 January 2017, opening 16 December. At Silicon Malley the programme included 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 of four sheets I published with Éditions Clinamen. In the form of a grammar table, each sheet conjugates a verb meaning ‘to make art’ in French, English, German or Italian, built from the nearest real verb in that language. artarre

2017

SCREEN, my book with Tombolo Presses, Nevers, 104 pages. 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

I launched SCREEN at Motto Berlin on 18 May 2017 with a conversation with the 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. On 9 June Eleonora Castagna interviewed me for Droste Effect Magazine. 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. 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

I gave Andy (Pyrrole), 2017, to the collection of the Aargauer Kunsthaus. Aargauer Kunsthaus

On 24 October, during Caravan, I spoke at the Aargauer Kunsthaus with my former tutor Philippe Decrauzat and Katrin Weilenmann about the paintings as interfaces: a visible surface over 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, began to represent me; the gallery closed 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. I showed a work made 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! I curated Christophe Lemaitre, 25 November–17 December 2017, under a changing title: Manners Maketh Man, Adversarial Objects, then Road Rage. The DOC! programme also included Francesco Cagnin, So Leggère, and La Nuit juste avant les forêts, which I co-curated with Corentin Canesson, Lucas Erin and Eva Vaslamatzi. At Silicon Malley we showed 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, artgenève, Geneva.

I worked as assistant to Philippe Decrauzat, my former tutor, in Paris. CV

I edited Francis Baudevin, The Guitar and Other Machines, DOC!, Paris, March 2017, 160 pages. 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, artgenève. CV

2018

Tournures, Grichka Commaret and Kim Farkas, DOC!, Paris. The exhibition opened on 19 January and was on view from 20 January to 12 February 2018, in the programme I directed with Corentin Canesson 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

I showed works with Galerie Joy de Rouvre at artgenève, Geneva, stand C41: preview on 31 January, open 1–4 February 2018.

Ending Explained, organised by Will Benedict with the ECAL Master, was hosted at DOC! while I was co-curating the space, 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 exhibition at DOC!, Paris, 16–20 February 2018, in the programme I directed with Corentin Canesson and Eva Vaslamatzi. CV

I curated Pierre Joseph, Fondation Vincent van Gogh Arles, DOC!, 8 September–7 October 2018, with the support of Air de Paris. My 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, December 2018–January 2019. 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

My works appear in Art Club, Académie de France à Rome – Villa Medici, and Caravan, Aargauer Kunsthaus, both published in 2018 after the exhibitions Greffes and Caravan. Bibliography & Press

2018–2020

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

Paris · Geneva · Arles

2018

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

From 2017 to 2019 I was Studio Director for Matthew Lutz-Kinoy in Paris. CV

2020

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

On 14 February I gave I do not wish to add more at Vues & Données, École nationale supérieure de la photographie, Arles; the colloquium ran 13–14 February 2020. ENSP Arles

At Silicon Malley, Prilly, we showed Matthieu Laurette, Demands & Supplies: opening 24 August 2020, on view 25 August–20 September, with an online viewing room until 24 August 2021. Matthieu and I wrote its text together: the costs and expenses of his past eight years, disclosed in full as a score of A4 sheets that filled the 2.5 × 4 m space from floor to ceiling, could be acquired through two-line contracts, in the space or through a Shopify shop. The work leaves a financial exhaust in its wake, as data leaves a digital one, and our text cites my I do not wish to add more. 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, was published in January in the proceedings of Vues & Données (228 pages, ISBN 979-10-91540-38-4); the press material for Demands & Supplies cites it. 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 works by Édouard Glissant, Sylvie Séma-Glissant, Etel Adnan, agnès b., Julien Creuzet, Dominique Gonzalez-Foerster, Manthia Diawara, Julie Mehretu, Philippe Parreno, Asad Raza, The Otolith Group 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

Since 2021 I have signed my work rt4a. The name goes back to 2013–2014, when Siri turned my dictated ‘Arty Fouray’ into something like a serial number, as I told Baker Wardlaw in Core Texts. I also wrote rt4a, a text that connects my work across images, language and sound. rt4a

My painting continued alongside my archival and curatorial work. Museum (Fraser Official Welcome) puts the word ‘Museum’ in the Marvel logo; Beware of Curator takes the form of a warning sign. Beware of Curator is also paired with a sound work released in 2022, the single Beware of Curator – Smithson Cultural Confinement. 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 works by 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

My first records came out 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, opening 1 July, on view 2 July 2023–26 May 2024. The Glissant chapter travelled to LUMA Westbau, Zurich, 9 June–19 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 I made in 2023 for my works of 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. Inspired by Duchamp’s La Boîte verte (1934) and conceived as a dynamic and interface-driven book, it traces, retraces and contextualises a singular body of work: the active archive of an entire production since the age of one, solo or in groups, as an artist or curator. Systems

Stéphanie Moisdon, who directed my Master’s programme at ECAL, edited Matthew Lutz-Kinoy, published by Les presses du réel, Dijon, in 2023. The book features La Nuit juste avant les forêts, which I co-curated at DOC! in 2017, and includes my contribution; I was Lutz-Kinoy’s Studio Director from 2017 to 2019.

DEMANDS & SUPPLIES, the exhibition I curated at Silicon Malley in 2020, is featured in Matthieu Laurette: une monographie dérivée (1993–2023), MAC VAL, Vitry-sur-Seine, 2023. 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 was shown at LUMA Westbau, Zurich, 7 June–3 November 2024. Chapter 4: Gustav Metzger

I co-edited Édouard Glissant, Dans un monde imprévisible, l’utopie est nécessaire with Bernard Comment: an exhibition catalogue and compendium, Éditions du Seuil / LUMA, 17 May 2024, 192 pages. Éditions du Seuil

On 15 October I took 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

I developed P+ 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, LUMA Arles, 1 May 2025–5 April 2026: the first major exhibition in over twenty-five years in France devoted to Maria Lassnig. The Metzger chapter was shown at LUMA Westbau, Zurich, 13 June–7 September 2025. Chapter 5: Maria Lassnig

I curated Lauren Coullard, They Hover over Me, DOC!, Paris, 11–26 January 2025, and wrote the signed bilingual booklet. The project resumed 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

I released three albums and five singles as rt4a, among them godart, Unreleased 2008–2014 and two versions of Rimsky-Korsakov’s Scheherazade, Op. 35, which I play in real time on the keyboard. 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 I began a series of eleven canvases in acrylic, charcoal pencil and pastel pencil on cotton, monochrome and in chiaroscuro, to simplify my relationship with visual production. Each title is the catalogue identifier of the image’s source: an ISBN for a book, an ISRC for a piece of music. 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

I continued P+ with 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 the wall labels I first made in 2012.

Curriculum Vitae · Biography · Index

Paintings · Relations · Atlas

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

A work can be made in one year, shown in another and released in a third: this chronology keeps those dates apart. Materials, titles and collaborators open other routes through it. Follow what changes each time something returns.

This chronology lists my works, exhibitions, publications, records and curatorial projects year by year. 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.