P+ I

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