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rt4a, read phonetically as ‘Arty Fouray’, is the name under which I release music on the Arthur Fouray Systems label. My recordings have been on streaming platforms since 2022: three albums and nine singles, among them songs recorded between 2008 and 2014 and two versions of Rimsky-Korsakov’s Scheherazade, Op. 35, both played at half speed. Four of the singles accompany paintings.

We Are the Extraterrestrials was released as a single on 31 December 2025, the last of five tracks from Unreleased 2008–2014 to come out as singles, after Monsters, Ecco Beach (a + o –), To Japan and Galeries. Each verse asks ‘Isn’t it nice to…’: to live in a spaceship, to eat some stones, to take a bath on Neptune, to wear the rings of Uranus.

Isn’t it nice to live in a spaceship?
Isn’t it nice to dream in outer space?
Isn’t it nice to know the universe?
Isn’t it nice to change the future?

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

Isn’t it nice to hear the planets?
Isn’t it nice to smell the galaxies?
Isn’t it nice to visit some secret asteroid?
Isn’t it nice to see weird creatures?

Isn’t it nice to eat some stones?
Isn’t it nice to drink some air?
Isn’t it nice to take a bath on Neptune?
Isn’t it nice to wear the rings of Uranus?

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

Isn’t it nice to live in a spaceship?
Isn’t it nice to dream in outer space?
Isn’t it nice to know the universe?
Isn’t it nice to change the future?

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

Galeries [Galleries] (2012) was released as a single on 26 December 2025; the recording belongs to Unreleased 2008–2014. The lyric is an itinerary through Paris: forty-eight stops, each with the time spoken, from 13:27 to 18:50, and some with a status, fermé, impasse, introuvable, déjà visité [closed, dead end, not found, already visited]. In Iceberg (2012), I gave an account of a four-hour walk through fifty Paris galleries, speaking the time of each visit into my iPhone as I left, to find out whether the walls of the white cube were still white.

Galerie Kamel Mennour, treize heures vingt-sept
Galerie Kamel Mennour, quatorze heures huit
Galerie du Jour, agnès b., quatorze heures trente-deux
Galerie Nathalie Obadia, quatorze heures trente-neuf
Centre Wallonie‑Bruxelles, fermé, quatorze heures quarante-deux
Galerie Templon, impasse, quatorze heures quarante-sept
Galerie Daniel Templon, quatorze heures cinquante-deux
Galerie Laurent Godin, quatorze heures cinquante-huit
Galerie Bertrand Grimont, fermée, quinze heures trois
Galerie Anne de Villepoix, quinze heures cinq
Galerie Métropolis, quinze heures onze
Galerie Marian Goodman, quinze heures dix-huit
Galerie JGM, quinze heures vingt-quatre
Galerie Chapon, quinze heures trente-deux
Galerie Frédéric Lacroix, quinze heures trente-quatre
Galerie Claudine Papillon, quinze heures trente-sept
Galerie Isabelle Gounod, quinze heures trente-huit
Galerie Sator, quinze heures quarante et une
Galerie Christian Berst, quinze heures quarante-trois
Galerie Olivier Robert, quinze heures cinquante-six
Galerie Baudoin Lebon, introuvable, seize heures sept
Centre culturel suisse, déjà visité, seize heures douze
La Galerie Particulière, seize heures vingt
Galerie Pascal Gabert, seize heures vingt-deux
Galerie Next Level, seize heures trente
Galerie Chantal Crousel, seize heures trente-trois
Galerie Yvon Lambert, seize heures quarante-cinq
Galerie Xippas, seize heures cinquante
Galerie Taïss, seize heures cinquante-six
Galerie Thaddaeus Ropac, dix-sept heures deux
Galerie Karsten Greve, déjà visitée, dix-sept heures trois
Galerie Pierre‑Alain Challier, déjà visitée, dix-sept heures trois
GDM Galerie de Multiples, dix-sept heures douze
Galerie Chez Valentin, dix-sept heures seize
Galerie Art Concept, dix-sept heures trente
Galerie Polaris, dix-sept heures trente-deux
Sultana, dix-sept heures trente-cinq
Jousse Entreprise, dix-sept heures quarante
Torri, dix-sept heures quarante-neuf
Galerie Frank Elbaz, dix-sept heures cinquante-trois
Galerie Alberta Pane, dix-sept heures cinquante-sept
Galerie Marie Cini, dix-huit heures deux
Galerie Richard, dix-huit heures quatre
Galerie Anne Barrault, dix-huit heures sept
Galerie White Project, dix-huit heures dix
Galerie Perrotin, dix-huit heures trente et une
Galerie Triple V, dix-huit heures quarante-deux
Air de Paris, dix-huit heures cinquante

To Japan (2010) was released as a single on 19 December 2025, a week after Unreleased 2008–2014, the album that revisits, rearranges, remixes and remasters my recordings from those years. ‘You’ll never go to Japan’ returns throughout, sometimes ‘with girls’, set against ‘He doesn’t see what I do see’.

You’ll never go to Japan with girls
You’ll never go to Japan with girls

You’ll never go to Japan
You’ll never go to Japan
You’ll never go
You’ll never go
You’ll never go to Japan

No, no. (what I do see) Don’t go
(He doesn’t see) Don’t go! (what I do see) Don’t go
No (He doesn’t see) No (what I do see) 
You’ll never go (He doesn’t see what I do see)

You’ll never go to Japan (He doesn’t see what I do see)
You’ll never go to Japan (He doesn’t see what I do see)
You’ll never go (He doesn’t see)
You’ll never go (what I do see)
You’ll never go to Japan (He doesn’t see what I do see)

You’ll never go to Japan, with girls
You’ll never go to Japan, with girls
You’ll never go to Japan, with girls
You’ll never go to Japan, (what I do see) with girls

Never go (He doesn’t see)
Never go (what I do see)
Never go (He doesn’t see)
Never go (what I do see)
(He doesn’t see) Never go to Japan (what I do see)
(He doesn’t see) Never go to Japan (what I do see) with girls

(He doesn’t see) Never go to Japan (what I do see) with girls
(He doesn’t see) Never go to Japan (what I do see) with girls
(He doesn’t see) Never go to Japan (what I do see) with girls
(He doesn’t see) Never go to Japan (what I do see) with girls

You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls

With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls

(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) You’ll never go
(what I do see) You’ll never go
(He doesn’t see) You’ll never go
(what I do see) You’ll never go

You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls

You’ll never go to Japan
Never go to Japan
Never go to Japan with girls

Unreleased 2008–2014 was released on 12 December 2025: 22 tracks, 1 hour 41 minutes. The album revisits, rearranges, remixes and remasters music recorded between 2008 and 2014; I remastered it myself in 2025. Each title carries its year in brackets. Six tracks are credited ‘godart & rt4a’; godart, the duo with my brother, active from 2008 to 2010, had no public existence before this album, not even a MySpace page. Five tracks came out as singles between 28 November and 31 December 2025: Monsters, Ecco Beach (a + o –), To Japan, Galeries and We Are the Extraterrestrials.

Une aurore boréale, mes yeux se ferment
J’entrevois un tissage, fluorescent
Un tunnel venteux, m’entraine jusqu’au néant
Le sommeil, peu à peu me submerge

Je suis étendu, sur mon lit ombragé
L’écrivain me fixe, avec attention
Il m’explique, les détails d’une mission
Il me tend, un étrange fusil doré

L’ambiguïté, me pousse à le prendre
Après qu’il m’a quitté, j’observe la rue
J’ouvre mon vitrage, les passants sont abattus
Soudain les flics tirent, je tente de feindre

La porte saute, et ils me chopent
Comme un zombie, je suis mis au cachot
J’espère qu’un pégase, viendra au trot
Me délivrer, de ce dont j’écope

Ma prison est, un fer à repasser
Je sens son poids, illustre et sinistre
La chaleur étouffe, et rend tout triste
À travers les barreaux, je vois les geôliers

Ils regardent, un écran qui s’éclaire
Un bâton serti, d’un oeil ouvert
S’engouffre, dans une bouche peinte
La nuit, me submerge de plaintes

Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
Tant, tant tant, tant, tant tant, mutant, mutant, mutant, mutant mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, tant, tant, tant, tant, tant, tant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
Mutant, mutant, mutant, mutant, mutant, mutant, mutant
Mutant, mutant, mutant, mutant
Mutant
Mutant
Mutant
Mutant
Mutant
Mutant
Mutant
Mutant
Mutant
Mutant
Mutant, mutant
Mutant, mutant

Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant
Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mu, mu, mu, mu, mu
Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant tant, mutant tant, mutant tant, mutant tant, mutant tant tant, mutant tant tant, mutant, mutant, mutant tant tant, mutant tant tant, mutant tant tant, mutant tant
Tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant, tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant

Isn’t it nice to live in a spaceship?
Isn’t it nice to dream in outer space?
Isn’t it nice to know the universe?
Isn’t it nice to change the future?

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

Isn’t it nice to hear the planets?
Isn’t it nice to smell the galaxies?
Isn’t it nice to visit some secret asteroid?
Isn’t it nice to see weird creatures?

Isn’t it nice to eat some stones?
Isn’t it nice to drink some air?
Isn’t it nice to take a bath on Neptune?
Isn’t it nice to wear the rings of Uranus?

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

Isn’t it nice to live in a spaceship?
Isn’t it nice to dream in outer space?
Isn’t it nice to know the universe?
Isn’t it nice to change the future?

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials
We are the extraterrestrials

Tizheruk, Aqrabuamelu, Pishacha, Grootslang, Nachzehrer, Buraq, Zahhak, Harpy, Matagot, Trauco, Giant Roc, Mara, Bloody Bones, Inugami, Pennywise, Wurm

Okiku Doll, Hag, El Silbon, Yowie, Succubus, Bhuta, Huli Jing, Karkadann, Gigantes, Each Uisge, Abaasy, Underwater Panther, Abaddon, Jikininki, Bugbear, Onryo, Bujang Senang

Firebird, Kur, Caipora, Jikininki, Alicanto, Behemoth, Kishi, El Sombreron, Rusalka, Homa, Alphyn, Kelpie, Salamander, Basilisk, Gargoyle, Sasquatch

Shenlong, Pan, Cherufe, Leshy, Zombie, Satyr, Luduan, Chaneque, Tanuki, Alkarisi, Cockatrice, Balor, Hydra, Pegasus, Abathakathi, Leviathan

Jack-in-Irons, Lamassu, Hafgufa, Djinn, Tlanchana, La Llorona, Aswang, Megaloceros, Hodag, Tiangou, Taotie, Nuckelavee, Valravn, Wraith, Anzu, Minotaur, Yali, Azeban, Griffin, Breath Stealer, Spring-Heeled Jack, Roc, Raiju, Yuki-onna, Loup-garou, Lubber Fiend, Hippogriff, Qiqirn, Tiyanak, Loch Ness Monster, Catoblepas, Slavic Dragon

Qalupalik, Bukavac, Nidhogg, Merrow, Blemmyes, Adaro, Drop Bear, Vodyanoy, Rakshasi, Woodwose, Jiangshi, Samael, Afanc, Hidebehind, Jormungandr, Xing Tian

Kobold, Rougarou, Kitsune, Abura-akago, Talos, Shedu (Lamassu), Alkonost, Doppelganger, Vampire, Golem, Manananggal, Umibozu, Water Leaper, Ocypete, Baku, Ogopogo

Thunderbird, Bugul Noz, Akaname, Champ, Tokoloshe, Jorogumo, Owlman, Cerberus, Niu Mo Wang, Wampus Cat, Fei Lian, Nymph, Pazuzu, Yakshi, Melusine, Inkanyamba, Tigre Capiango, La Velue, Echidna, Oni, Fulad-Zereh, Stymphalian Birds, El Cadejo, Namahage, Chernobog, Beelzebub, Bastet, Dragon, Ittan-momen, Fafnir, Polevik, Yeti

Drekavac, Bakunawa, Goblin, Iara, Domovoi, Cetus, Cuchivilu, Futakuchi-onna, Montauk Monster, Gulyabani, Fiura, Skin-walker, Njord’s Seal, Hedley Kow, Drude, Impundulu

Pukwudgie, Geryon, Yamauba, Boogeyman, Dhampir, Kinoko, Kirin, Peng, Questing Beast, Vetala, Pixiu, Sleipnir, Gallu, Chimera, Rabisu, Yaoguai

Pisadeira, Asag, Baba Yaga, Lamia, Mapinguari, Mothman, Nahual, Naga, Nue, Irdlirvirissong, Gryla, Jersey Devil, Yara-ma-yha-who, Azazel, Ammit, Dokkaebi, Taotaomona, Wanyudo, Abasi, Ahuizotl, Grendel, Strigoi, Iqniq, El Lobison, Sigbin, Ocu, Amphisbaena, Abaia, Gilgamesh, Upyr (Upior), Lusca, Bai Gu Jing, Chonchon

Ao Ao, Piasa, Beldam, Mogwai, Osiris, Kraken, Tailypo, Nurikabe, Yurei, Sphinx, Medusa, Fog Monster, Asura, Chupacabra, Typhon, Empusa

Duende, Banshee, Morag, Ushi-oni, Charybdis, Ouroboros, Myling, Qareen, Basilisco Chilote, Erlking, Kali, Kurupi, Nguruvilu, Marid, Dakini, Cyclops

Dybbuk, Poltergeist, Ypotryll, Abada, Simurgh, Koschei, Leprechaun, Bunyip, Camazotz, Enfield Beast, Gumiho, Sea Serpent, Choronzon, Velociraptor, Camahueto, Troll, Jasy Jatere

Panlong, Titan, Centaur, Abaia, Hadhayosh, Beist Kione Dhoo, Fox Spirit, Gremlin, Strzyga, Iele, Penanggalan, Ghoul, Ciguapa, Siren, Kikimora, Lyngbakr, Sceadugenga, Cipactli, Rokurokubi, Dynastie, Yamata-no-Orochi, Popobawa, Gashadokuro, Suzaku, Powrie, Cerastes, Encantado, Kulshedra, Python, Noppera-bo, Amarok, Beast of Gevaudan

Dryad, Yinglong, Mephistopheles, Teggie, Loveland Frog, Flatwoods Monster, Mami Wata, Clurichaun, Redcap, Fomorian, Tengu, Headless Mule, Ox-Head and Horse-Face, Azure Dragon, Muldjewangk, Adze, Laestrygonians

Qilin, Lilith, Ijiraq, Rainbow Serpent, Liderc, Cthulhu, Pontianak, Aiwass, Dire Wolf, Karakoncolos, Amphiptere, Capricorn Sea-Goat, Patasola, Makara, Kirinnya, Wendigo

Karabasan, Mimi, Colossus, Batibat, Tiamat, Ke’let, Adlet, Revenant, Incubus, Werewolf, Yaksha, Invunche, Manticore, Tarasque, Cadborosaurus, Puca

Tikbalang, Ifrit, Gorgon, Likho, Peryton, Ropen, Imp, Al-mi’raj, Mudlark, Kuchisake-onna, Karakoncolos, Phoenix, Umaci, Harionago, Hitodama, Dakuwaqa

Bahamut, La Siguanaba, Legion, Lindworm, Akhlut, Buggane, El Chupacabra, Wyvern, Black Shuck, Bigfoot, Church Grim, Krampus, Nemean Lion, Azhi Dahaka, Humbaba, Scylla

Bonnacon, Dullahan, Jenglot, Sirrush, Squonk, Cait Sith, Lamashtu, Ninki Nanka, Draugr, Mokele-mbembe, Bean Nighe, Imundogou, Kapre, Y Ddraig Goch, Mandragora, Alu

Ogre, Fenrir, Rakshasa, Hecatoncheires, Dover Demon, Shinigami, Yama-uba, Bakwas, Kappa, Nian, Kulshedra, Bai Ze, Keelut, Fuath, Selkie, Taniwha

You’ll never go to Japan with girls
You’ll never go to Japan with girls

You’ll never go to Japan
You’ll never go to Japan
You’ll never go
You’ll never go
You’ll never go to Japan

No, no. (what I do see) Don’t go
(He doesn’t see) Don’t go! (what I do see) Don’t go
No (He doesn’t see) No (what I do see) 
You’ll never go (He doesn’t see what I do see)

You’ll never go to Japan (He doesn’t see what I do see)
You’ll never go to Japan (He doesn’t see what I do see)
You’ll never go (He doesn’t see)
You’ll never go (what I do see)
You’ll never go to Japan (He doesn’t see what I do see)

You’ll never go to Japan, with girls
You’ll never go to Japan, with girls
You’ll never go to Japan, with girls
You’ll never go to Japan, (what I do see) with girls

Never go (He doesn’t see)
Never go (what I do see)
Never go (He doesn’t see)
Never go (what I do see)
(He doesn’t see) Never go to Japan (what I do see)
(He doesn’t see) Never go to Japan (what I do see) with girls

(He doesn’t see) Never go to Japan (what I do see) with girls
(He doesn’t see) Never go to Japan (what I do see) with girls
(He doesn’t see) Never go to Japan (what I do see) with girls
(He doesn’t see) Never go to Japan (what I do see) with girls

You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls

With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls

(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) With girls
(what I do see) With girls
(He doesn’t see) You’ll never go
(what I do see) You’ll never go
(He doesn’t see) You’ll never go
(what I do see) You’ll never go

You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls
You’ll never go to Japan with girls

You’ll never go to Japan
Never go to Japan
Never go to Japan with girls

You see now, you’ve gotta do it
The future’s driving you into it
Plug yourself right into it
You’ll never want to live without it
What do you want? You’re everything with it
I assure you that you’re safe with it
Don’t worry, you can afford it
You won’t be my friend if you don’t wear it
Everyone learned to live with it
You won’t get a job if you don’t have it

How would you like to pay without it?
How would you like to vote without it?
How would you like to talk without it?
Would you be human if you weren’t with it?

You see now, you’ve gotta do it
The future’s driving you into it
Plug yourself right into it
You’ll never want to live without it
What do you want? You’re everything with it
I assure you that you’re safe with it
Don’t worry, you can afford it
You won’t be my friend if you don’t wear it
Everyone learned to live with it
You won’t get a job if you don’t have it

How would you like to pay without it?
How would you like to vote without it?
How would you like to talk without it?
Would you be human if you weren’t with it?

Je ne suis plus et ne t’aime plus, sale petit con, t’as tout perdu
Pas tout à fait. Je ne te vois plus, mais je sais que je t’ai plu
C’est ça, c’est ça, sois abattu, car ton amante a disparu
Non, ne pars pas. Je ne peux plus, te laisser, notre lien rompu
Ah, mais que dis-tu ? Tu dis, par là, que tu m’aimes plus ?
Oui, je crois, j’en suis même sûr : mon désir, il perdure
Mon ami, tu rêves, tu rêves, si tu crois que tu m’as vu
Une étincelle me dévoile les courbures de ton corps nu
Après tout ce temps, je pensais plus, que t’avais l’esprit tordu
Cette démesure, qui te rend folle, rend âcres toutes tes vertus
Et puis d’abord, moi, je n’en peux plus de ta manière de vivre reclus
Toi, tu t’en fous. T’en as ras le cul de ce petit con qui a la berlue
Moi, je m’en fiche, je t’écoute plus : tu ne me bouffes que trop la vue
Tu rayonnes, et tu m’aimes plus. J’en redemande, et t’en peux plus

Tu rayonnes, et tu m’aimes plus. J’en redemande, et t’en peux plus
Moi, je m’en fiche, je t’écoute plus : tu ne me bouffes que trop la vue
Toi, tu t’en fous. T’en as ras le cul de ce petit con qui a la berlue
Et puis d’abord, moi, je n’en peux plus de ta manière de vivre reclus
Cette démesure, qui te rend folle, rend âcres toutes tes vertus
Après tout ce temps, je pensais plus, que t’avais l’esprit tordu
Une étincelle me dévoile les courbures de ton corps nu
Mon ami, tu rêves, tu rêves, si tu crois que tu m’as vu
Oui, je crois, j’en suis même sûr : mon désir, il perdure
Ah, mais que dis-tu ? Tu dis, par là, que tu m’aimes plus ?
Non, ne pars pas. Je ne peux plus, te laisser, notre lien rompu
C’est ça, c’est ça, sois abattu, car ton amante a disparu
Pas tout à fait. Je ne te vois plus, mais je sais que je t’ai plu
Je ne suis plus et ne t’aime plus, sale petit con, t’as tout perdu

Galerie Kamel Mennour, treize heures vingt-sept
Galerie Kamel Mennour, quatorze heures huit
Galerie du Jour, agnès b., quatorze heures trente-deux
Galerie Nathalie Obadia, quatorze heures trente-neuf
Centre Wallonie‑Bruxelles, fermé, quatorze heures quarante-deux
Galerie Templon, impasse, quatorze heures quarante-sept
Galerie Daniel Templon, quatorze heures cinquante-deux
Galerie Laurent Godin, quatorze heures cinquante-huit
Galerie Bertrand Grimont, fermée, quinze heures trois
Galerie Anne de Villepoix, quinze heures cinq
Galerie Métropolis, quinze heures onze
Galerie Marian Goodman, quinze heures dix-huit
Galerie JGM, quinze heures vingt-quatre
Galerie Chapon, quinze heures trente-deux
Galerie Frédéric Lacroix, quinze heures trente-quatre
Galerie Claudine Papillon, quinze heures trente-sept
Galerie Isabelle Gounod, quinze heures trente-huit
Galerie Sator, quinze heures quarante et une
Galerie Christian Berst, quinze heures quarante-trois
Galerie Olivier Robert, quinze heures cinquante-six
Galerie Baudoin Lebon, introuvable, seize heures sept
Centre culturel suisse, déjà visité, seize heures douze
La Galerie Particulière, seize heures vingt
Galerie Pascal Gabert, seize heures vingt-deux
Galerie Next Level, seize heures trente
Galerie Chantal Crousel, seize heures trente-trois
Galerie Yvon Lambert, seize heures quarante-cinq
Galerie Xippas, seize heures cinquante
Galerie Taïss, seize heures cinquante-six
Galerie Thaddaeus Ropac, dix-sept heures deux
Galerie Karsten Greve, déjà visitée, dix-sept heures trois
Galerie Pierre‑Alain Challier, déjà visitée, dix-sept heures trois
GDM Galerie de Multiples, dix-sept heures douze
Galerie Chez Valentin, dix-sept heures seize
Galerie Art Concept, dix-sept heures trente
Galerie Polaris, dix-sept heures trente-deux
Sultana, dix-sept heures trente-cinq
Jousse Entreprise, dix-sept heures quarante
Torri, dix-sept heures quarante-neuf
Galerie Frank Elbaz, dix-sept heures cinquante-trois
Galerie Alberta Pane, dix-sept heures cinquante-sept
Galerie Marie Cini, dix-huit heures deux
Galerie Richard, dix-huit heures quatre
Galerie Anne Barrault, dix-huit heures sept
Galerie White Project, dix-huit heures dix
Galerie Perrotin, dix-huit heures trente et une
Galerie Triple V, dix-huit heures quarante-deux
Air de Paris, dix-huit heures cinquante

Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; 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Une forme d’académisme s’est créée
Un peu, peut-être, courbaturé par une société, réfractaire à son objet
Au final, le plus beau et le plus poétique dans l’art, c’est que…
Il ne s’agit pas d’ajouter de l’art dans la vie mais d’ajouter de la vie dans l’art
Chercher à faire le neuf, ça sert absolument à rien
Considérer l’idée d’être d’arrière-garde, de se prôner d’arrière-garde, plutôt que d’avant-garde
Parce qu’en fin de compte…
Ce n’est pas incohérent de respecter…
Ce qui a pu être fait avant soi
Tenter de réfléchir, quelque part, peut-être au plus juste
Non pas au plus faussement savant
Non pas à découvrir superficiellement des choses
Et rester plus sur des…
Des pensées qui peuvent être préexistantes

Du moins se poser aujourd’hui…
La question de la relation au…
Ouais, au double ou à…
À la version…
Ou au multiple…
À des formes de frictions…
Dans les usages que nous faisons des choses
Qui nous font mélanger…
Les notions, quelque part…
Sur lesquelles la société dans laquelle on vit est basée
Remise en question, à la fois, de notre état personnel au regard de la société mais aussi remise en question de la société au regard de notre état
Quelque part…
Tout peut se convertir en n’importe quoi
Tout est susceptible d’être réinterprété à l’infini
Tout est sujet à une forme de jugement collectif

Et, à la fois, une envie très maniériste
L’arrière-garde va pleinement dans ce sens-là
Revenir à de beaux matériaux, à une forme d’essence, c’est tout un leitmotiv de cette époque
Tout est, quelque part, soumis, à notre examen
Même dans notre consommation de quelque chose
On peut, à l’inverse, s’emparer de tout et n’importe quoi
Réussir à conserver la plus petite chose
Une fascination…
Un enthousiasme très particulier
Un enthousiasme…
Très esthétisant. Très difficile
Très exigeant…
Plus doux…
Assez fluet
Assez…
Lunatique…
Dans lequel, finalement, dans un certain sens
Nous sommes tous contraints à naviguer comme des…
Des formes de poissons dans l’eau.
Se retourner, faire un tour sur nous-mêmes.
Sortir de l’eau,
De temps en temps

Wake up or die
You can’t even be aside
Wake up or die
You can’t ever miss a chance for love
You can’t ever miss a chance for love

Wake up or die
I’m too close to open my eyes
Wake up or die
I just have to put these drops away
Away

Put it away
Put it away
Put it away, away, away, away
Put it away
Put it away
Put it away, away, away, away

Wake up or die
You can’t even be aside
Wake up or die
You can’t ever miss a chance for love
You can’t ever miss a chance for love

Wake up or die
I’m too close to open my eyes
Wake up or die
I just have to put these drops away
Away

Believe in love
Believe in chance
Believe in hope
Believe in you

You can’t miss a chance for love
You can’t miss a chance for love
You can’t miss a chance for love
You can’t miss a chance for love

Wake up or die
I just have to open my eyes
Wake up or die
You can’t ever miss a chance for love
You can’t ever miss a chance for love

Wake up, oh wake up, oh wake up, wake up, wake up, oh wake up, oh wake up
Oh oh oh wake up

Ecco Beach (a + o –) is a song and a video that NCM and I made in 2013, as a + o –, the collaborative curatorial practice we shared from 2013 to 2015. I composed the track; the synthesisers, drums and production are ours together. It came out as a single on 5 December 2025, a week before Unreleased 2008–2014, and its official video was published on rt4aVEVO the same day.

Monsters (2009) was released as a single on 28 November 2025, two weeks before Unreleased 2008–2014. For six minutes and twenty seconds the lyric names more than four hundred monsters from myth, folklore and fiction, from Tizheruk to Taniwha.

Tizheruk, Aqrabuamelu, Pishacha, Grootslang, Nachzehrer, Buraq, Zahhak, Harpy, Matagot, Trauco, Giant Roc, Mara, Bloody Bones, Inugami, Pennywise, Wurm

Okiku Doll, Hag, El Silbon, Yowie, Succubus, Bhuta, Huli Jing, Karkadann, Gigantes, Each Uisge, Abaasy, Underwater Panther, Abaddon, Jikininki, Bugbear, Onryo, Bujang Senang

Firebird, Kur, Caipora, Jikininki, Alicanto, Behemoth, Kishi, El Sombreron, Rusalka, Homa, Alphyn, Kelpie, Salamander, Basilisk, Gargoyle, Sasquatch

Shenlong, Pan, Cherufe, Leshy, Zombie, Satyr, Luduan, Chaneque, Tanuki, Alkarisi, Cockatrice, Balor, Hydra, Pegasus, Abathakathi, Leviathan

Jack-in-Irons, Lamassu, Hafgufa, Djinn, Tlanchana, La Llorona, Aswang, Megaloceros, Hodag, Tiangou, Taotie, Nuckelavee, Valravn, Wraith, Anzu, Minotaur, Yali, Azeban, Griffin, Breath Stealer, Spring-Heeled Jack, Roc, Raiju, Yuki-onna, Loup-garou, Lubber Fiend, Hippogriff, Qiqirn, Tiyanak, Loch Ness Monster, Catoblepas, Slavic Dragon

Qalupalik, Bukavac, Nidhogg, Merrow, Blemmyes, Adaro, Drop Bear, Vodyanoy, Rakshasi, Woodwose, Jiangshi, Samael, Afanc, Hidebehind, Jormungandr, Xing Tian

Kobold, Rougarou, Kitsune, Abura-akago, Talos, Shedu (Lamassu), Alkonost, Doppelganger, Vampire, Golem, Manananggal, Umibozu, Water Leaper, Ocypete, Baku, Ogopogo

Thunderbird, Bugul Noz, Akaname, Champ, Tokoloshe, Jorogumo, Owlman, Cerberus, Niu Mo Wang, Wampus Cat, Fei Lian, Nymph, Pazuzu, Yakshi, Melusine, Inkanyamba, Tigre Capiango, La Velue, Echidna, Oni, Fulad-Zereh, Stymphalian Birds, El Cadejo, Namahage, Chernobog, Beelzebub, Bastet, Dragon, Ittan-momen, Fafnir, Polevik, Yeti

Drekavac, Bakunawa, Goblin, Iara, Domovoi, Cetus, Cuchivilu, Futakuchi-onna, Montauk Monster, Gulyabani, Fiura, Skin-walker, Njord’s Seal, Hedley Kow, Drude, Impundulu

Pukwudgie, Geryon, Yamauba, Boogeyman, Dhampir, Kinoko, Kirin, Peng, Questing Beast, Vetala, Pixiu, Sleipnir, Gallu, Chimera, Rabisu, Yaoguai

Pisadeira, Asag, Baba Yaga, Lamia, Mapinguari, Mothman, Nahual, Naga, Nue, Irdlirvirissong, Gryla, Jersey Devil, Yara-ma-yha-who, Azazel, Ammit, Dokkaebi, Taotaomona, Wanyudo, Abasi, Ahuizotl, Grendel, Strigoi, Iqniq, El Lobison, Sigbin, Ocu, Amphisbaena, Abaia, Gilgamesh, Upyr (Upior), Lusca, Bai Gu Jing, Chonchon

Ao Ao, Piasa, Beldam, Mogwai, Osiris, Kraken, Tailypo, Nurikabe, Yurei, Sphinx, Medusa, Fog Monster, Asura, Chupacabra, Typhon, Empusa

Duende, Banshee, Morag, Ushi-oni, Charybdis, Ouroboros, Myling, Qareen, Basilisco Chilote, Erlking, Kali, Kurupi, Nguruvilu, Marid, Dakini, Cyclops

Dybbuk, Poltergeist, Ypotryll, Abada, Simurgh, Koschei, Leprechaun, Bunyip, Camazotz, Enfield Beast, Gumiho, Sea Serpent, Choronzon, Velociraptor, Camahueto, Troll, Jasy Jatere

Panlong, Titan, Centaur, Abaia, Hadhayosh, Beist Kione Dhoo, Fox Spirit, Gremlin, Strzyga, Iele, Penanggalan, Ghoul, Ciguapa, Siren, Kikimora, Lyngbakr, Sceadugenga, Cipactli, Rokurokubi, Dynastie, Yamata-no-Orochi, Popobawa, Gashadokuro, Suzaku, Powrie, Cerastes, Encantado, Kulshedra, Python, Noppera-bo, Amarok, Beast of Gevaudan

Dryad, Yinglong, Mephistopheles, Teggie, Loveland Frog, Flatwoods Monster, Mami Wata, Clurichaun, Redcap, Fomorian, Tengu, Headless Mule, Ox-Head and Horse-Face, Azure Dragon, Muldjewangk, Adze, Laestrygonians

Qilin, Lilith, Ijiraq, Rainbow Serpent, Liderc, Cthulhu, Pontianak, Aiwass, Dire Wolf, Karakoncolos, Amphiptere, Capricorn Sea-Goat, Patasola, Makara, Kirinnya, Wendigo

Karabasan, Mimi, Colossus, Batibat, Tiamat, Ke’let, Adlet, Revenant, Incubus, Werewolf, Yaksha, Invunche, Manticore, Tarasque, Cadborosaurus, Puca

Tikbalang, Ifrit, Gorgon, Likho, Peryton, Ropen, Imp, Al-mi’raj, Mudlark, Kuchisake-onna, Karakoncolos, Phoenix, Umaci, Harionago, Hitodama, Dakuwaqa

Bahamut, La Siguanaba, Legion, Lindworm, Akhlut, Buggane, El Chupacabra, Wyvern, Black Shuck, Bigfoot, Church Grim, Krampus, Nemean Lion, Azhi Dahaka, Humbaba, Scylla

Bonnacon, Dullahan, Jenglot, Sirrush, Squonk, Cait Sith, Lamashtu, Ninki Nanka, Draugr, Mokele-mbembe, Bean Nighe, Imundogou, Kapre, Y Ddraig Goch, Mandragora, Alu

Ogre, Fenrir, Rakshasa, Hecatoncheires, Dover Demon, Shinigami, Yama-uba, Bakwas, Kappa, Nian, Kulshedra, Bai Ze, Keelut, Fuath, Selkie, Taniwha

The Wendy Version, released on 24 October 2025, is a new mix of my Half-Speed Version, inspired by the electronic textures of Wendy Carlos. Both play Nikolai Rimsky-Korsakov’s Scheherazade, Op. 35 at half speed, performed in real time on keyboards with digital and analogue synthesisers, in several passes; neither is a MIDI render. I wanted a vrai faux, the simulacrum of an orchestra, and it took nearly two years of experiment. The four movements last an hour and forty-one minutes.

I rearranged Nikolai Rimsky-Korsakov’s Scheherazade, Op. 35 for synthesisers and played it at half speed, in real time on keyboards, in several passes; it is not a MIDI render. Released on 25 May 2025, this original version lasts an hour and forty-one minutes over four movements. The aim was to create a vrai faux, the simulacrum of an orchestra, the result of nearly two years of experiment. A new mix inspired by Wendy Carlos, the Wendy Version, followed on 24 October 2025.

Accelerate condenses Bernard Herrmann’s Psycho score twentyfold, into an urgent five minutes, where Douglas Gordon stretched the film to twenty-four hours in 24 Hour Psycho (1993). The repeated word ‘accelerate’ recalls the Beatles’ ‘Revolution 9’ (1968), over thousands of samples that shift with each bar, and the Wilhelm scream, a nod to the film’s climax, returns faster and faster. Released on 30 June 2022, the track accompanies my painting Accelerate (2022), acrylic, KRINK marker and pencil on linen.

Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

Accelerate, accelerate, accelerate, accelerate.

Accelerate, accelerate, accelerate, accelerate, accelerate.
Accelerate.
Accelerate, accelerate, accelerate, accelerate, accelerate.

Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

Accelerate, accelerate, accelerate.
Accelerate, accelerate, accelerate, accelerate, accelerate.
Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

Accelerate, accelerate, accelerate.

AI voices read Robert Smithson’s ‘Cultural Confinement’, published in Artforum in October 1972. Released on 29 June 2022, the recording lasts eight and a half minutes and accompanies my painting Beware of Curator – Smithson Cultural Confinement (2021), acrylic on cotton canvas, which turns the ‘Beware of Dog’ sign towards the museum. The curator guards culture as the dog guards the house and, in protecting works, may also confine them: for Smithson, cultural confinement takes place ‘when a curator imposes his own limits on an art exhibition’.

(Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.)

Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits. Artists are expected to fit into fraudulent categories. Some artists imagine they’ve got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control. Artists themselves are not confined, but their output is. Museums, like asylums and jails, have wards and cells—in other words, neutral rooms called “galleries.” A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world. A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence. They are looked upon as so many inanimate invalids, waiting for critics to pronounce them curable or incurable. The function of the warden-curator is to separate art from the rest of society. Next comes integration. Once the work of art is totally neutralized, ineffective, abstracted, safe, and politically lobotomized it is ready to be consumed by society. All is reduced to visual fodder and transportable merchandise. Innovations are allowed only if they support this kind of confinement.

(All is reduced to visual fodder and transportable merchandise. Innovations are allowed only if they support this kind of confinement.)

Occult notions of “concept” are in retreat from the physical world. Heaps of private information reduce art to hermeticism and fatuous metaphysics. Language should find itself in the physical world, and not end up locked in an idea in somebody’s head. Language should be an ever developing procedure and not an isolated occurrence. Art shows that have beginnings and ends are confined by unnecessary modes of representation both “abstract” and “realistic.” A face or a grid on a canvas is still a representation. Reducing representation to writing does not bring one closer to the physical world. Writing should generate ideas into matter, and not the other way around. Art’s development should be dialectical and not metaphysical.

(Writing should generate ideas into matter, and not the other way around. Art’s development should be dialectical and not metaphysical.)

I am speaking of a dialectics that seeks a world outside of cultural confinement. Also, I am not interested in art works that suggest “process” within the metaphysical limits of the neutral room. There is no freedom in that kind of behavioral game playing. The artist acting like a B. F. Skinner rat doing his “tough” little tricks is something to be avoided. Confined process is no process at all. It would be better to disclose the confinement rather than make illusions of freedom.

(It would be better to disclose the confinement rather than make illusions of freedom.)

(I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.)

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation. The parks that surround some museums isolate art into objects of formal delectation. Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art. A park carries the values of the final, the absolute, and the sacred. Dialectics have nothing to do with such things. I am talking about a dialectic of nature that interacts with the physical contradictions inherent in natural forces as they are—nature as both sunny and stormy. Parks are idealizations of nature, but nature in fact is not a condition of the ideal. Nature does not proceed in a straight line, it is rather a sprawling development. Nature is never finished. When a finished work of 20th-century sculpture is placed in an 18th-century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us. Many parks and gardens are re-creations of the lost paradise or Eden, and not the dialectical sites of the present. Parks and gardens are pictorial in their origin—landscapes created with natural materials rather than paint. The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.

(Landscapes created with natural materials rather than paint. The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.)

Apart from the ideal gardens of the past, and their modern counterparts—national and large urban parks, there are the more infernal regions—slag heaps, strip mines, and polluted rivers. Because of the great tendency toward idealism, both pure and abstract, society is confused as to what to do with such places. Nobody wants to go on a vacation to a garbage dump. Our land ethic, especially in that never-never land called the “art world” has become clouded with abstractions and concepts.

(Our land ethic, especially in that never-never land called the “art world” has become clouded with abstractions and concepts.)

(Could it be that certain art exhibitions have become metaphysical junkyards? Categorical miasmas? Intellectual rubbish?)

Could it be that certain art exhibitions have become metaphysical junkyards? Categorical miasmas? Intellectual rubbish? Specific intervals of visual desolation? The warden-curators still depend on the wreckage of metaphysical principles and structures because they don’t know any better. The wasted remains of ontology, cosmology, and epistemology still offer a ground for art. Although metaphysics is outmoded and blighted, it is presented as tough principles and solid reasons for installations of art. The museums and parks are graveyards above the ground—congealed memories of the past that act as a pretext for reality. This causes acute anxiety among artists, in so far as they challenge, compete, and fight for the spoiled ideals of lost situations.

(Robert Smithson)

Robert Smithson

This Is Not a Tender World was released as a single on 18 March 2022: two minutes and twenty-seven seconds of post-punk, for guitar, synth and voice. It accompanies my painting This Is Not a Tender World (2021), acrylic on hessian, where the same words are set in Croissant, the typeface Philip Kelly designed in 1978.

This Is Not a Tender World.
This Is Not a Tender World.
This Is Not a Tender World.

This is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world.

Released on 7 March 2022, Chiquito sets elements of the theme from The Matrix over beats inspired by Massive Attack’s ‘Teardrop’ (1998). The French lyric is the description of Telfar’s Small Shopping Bag, translated from Telfar’s official website. My painting CHIQUITO (2021) shows a black Telfar Small Shopping Bag on a green ground that recalls the code rain of The Matrix (1999); the title refers to a tiny Jacquemus bag.

L’emblématique sac de shopping unisexe est un sac de tous les jours pour tout le monde.
Il est doté d’une double sangle (poignées et sangles transversales), d’un logo en relief et d’une fermeture à bouton-pression magnétique. Fabriqué en faux cuir et doublure en sergé. Le sac est emballé dans un sac à cordon 100 % coton avec logo sérigraphié.
La taille S convient pour la fête et l’after aussi.
(Hauteur 12 cm, Largeur 17 cm, Profondeur 7,5 cm, Longueur de la sangle 55 cm, Longueur de la poignée 12 cm).
Comptez 5 à 7 jours pour l’envoi de la commande.

L’emblématique sac de shopping unisexe est un sac de tous les jours pour tout le monde.
Il est doté d’une double sangle (poignées et sangles transversales), d’un logo en relief et d’une fermeture à bouton-pression magnétique. Fabriqué en faux cuir et doublure en sergé. Le sac est emballé dans un sac à cordon 100 % coton avec logo sérigraphié.
La taille S convient pour la fête et l’after aussi.
(Hauteur 12 cm, Largeur 17 cm, Profondeur 7,5 cm, Longueur de la sangle 55 cm, Longueur de la poignée 12 cm).
Comptez 5 à 7 jours pour l’envoi de la commande.

L’emblématique sac de shopping unisexe est un sac de tous les jours pour tout le monde.
Il est doté d’une double sangle (poignées et sangles transversales), d’un logo en relief et d’une fermeture à bouton-pression magnétique. Fabriqué en faux cuir et doublure en sergé. Le sac est emballé dans un sac à cordon 100 % coton avec logo sérigraphié.
La taille S convient pour la fête et l’after aussi.
(Hauteur 12 cm, Largeur 17 cm, Profondeur 7,5 cm, Longueur de la sangle 55 cm, Longueur de la poignée 12 cm).
Comptez 5 à 7 jours pour l’envoi de la commande.