A giant glass ball rolling freely with the wind
in a field of flowers.
A sign at the entrance
of an exhibition, warning
of the presence of an artist
or multiple artists
in the space:
Beware of artist(s).
Drones lit with cobalt lights, arranged
in square formations reflected on the sea under the moonlight.
Wearing glasses that make everyone around you
appear to be wearing pink suits with furry hats.
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.
Reproducing the packaging
of the game ‘Sorry’
as an oversized sculpture.
Inventing job titles using terms from dead languages
to address the employment void
of the 21st century.
Never produce
a finished object
or work; only write and imagine drafts of ideas, mixing them together.
Install thousands
of lit lamps of various sizes in a room, creating an environment
so intensely bright
that it is impossible
to photograph.
A 100m³
windowless room bathed in dark turquoise blue light,
a pedestal at the center showcases
a 1997 Bondi Blue iMac G3 with
a red screen, broadcasting
local radio news.
A blanket, embroidered
with the text: 'How to revert power from context
to content?'
A blank blackboard
with a dark green
glaze, borderless
and installed on a concrete floor
of a space, ready
to be walked on.
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.
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.
A society where daily
rituals and ceremonies revolve around art, E.G.: Mondays for book reading
• Tuesdays for movie-going
• Wednesdays for music listening
• Thursdays for exhibition visits
• Fridays for attending a spectacle.
A space where
the floor tiles are
keys which, when stepped upon, activate or affect
the environment
in diverse manners.
An exhibition of works floating in the clouds.
As an experiment, empty
all the art institutions
of a city (E.G. New York),
and see how the citizens appropriate these spaces.
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.
Designing a card game
similar to Pokemon cards, where collecting and exchanging are as crucial,
if not more so, than
the actual game. Instead
of creatures, these cards would feature artist names.
A darkened room, with a 2m wide disco ball at its center, 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.
A world where all construction materials, instead of having natural dyes like grey, brown,
and beige, would be in neon colors.
An illustration of Pablo Picasso with, around
his head, instead of
an aureola, the bright side of the Death Star from Star Wars (1977).
An exhibition titled: ‘Ideological Software’
An exhibition where visitors become the spectacle, as they would be required to wear light costumes, such as capes, to enter the space.
A contemporary art museum as a refurbished cruise ship. If it moves from city to city, this could embody carbon footprint in arts. If it stays still, this could be an illustration of decay.
A museum
conceived by exchanging
with cows.
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.
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.
A train, arranged as a white cube, would be an ideal exhibition space.
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 center.
An art center designed to welcome any communities,
aiming to hospitable
for anyone,
by adapting
rather than imposing.
Inventorying errors occurring when producing a task. These errors
or missteps might
not only inform
but could be
the task itself.
Assemble a team
of screenwriters
to conceive a show
with multiple episodes
over one year.
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.
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.
A plane as a
museum offering
the experience of
a casual opening.
Destinations
would be
essential,
and flight duration, too.
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?
Conceive an object based on the following interrogation:
If we assume that [books, poetry, philosophy, music, radio, cinema, series, video games, etc.] can all be
enjoyed wherever and whenever a 'user' desires,
how might contemporary art offer the same accessibility?
An exhibition space with only curved
walls.
A room with walls covered in sandpaper.
Walls painted
in pale pink mixed
with glitter.
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.
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…
An island, replicating
the epiphany from 'The Invention of Morel' (1940)
by Adolfo Bioy Casares, could present a complex museum dystopia.
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?
Like party
or dining buses, refurbished electric buses could serve
as mobile white cubes, offering
new possibilities for exhibition making.
Building shields made
of the most precious materials, with each
one inscribed with different words reflecting current political struggles
and activisms such as: feminism, decolonialism, ecology, queer, trans.
Install gigantic billboards connecting
the Haussmannian buildings’ roofs, displaying posters made by artists.
Write a script about: 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 31st century (if not destroyed – most certainly)?
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.
Conceive a show with only
one visible work in a room, changing the work every day
for 90 days (thus, requiring
90 different works).
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.
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.
Every day, write
a project on the
city walls, one
that is feasible within the specific context of the written project.