Baby



baby






T r a n s-P a r e n t
diploma
l’elac
Renens, Switzerland
2013

T r a n s-P a r e n t was my Bachelor of Arts diploma at ECAL, Renens, Switzerland, in 2013, with Philippe Decrauzat as tutor. The works belong to the phase I called ‘Pre-Natal’, then ‘Baby’ (2011–2013). Dispersion paint goes onto a door, a bed base, a cart, wooden frames, plastic glass, MDF, OSB and polystyrene. Having to build an artistic practice and question it let me concentrate on colour and on calling the medium into question.


Step Framed
dispersion, wooden frames, staples
50 × 70 cm
2013


T r a n s-P a r e n t

Poly-Glass
dispersion, plastic glass
5 × 9 cm
2013


T r a n s-P a r e n t



Lite
dispersion, thick cotton, do it bed base
124 × 204 × 10 cm
2013


Mono Chat*Rio
dispersion, cotton canvas, cart
38 × 25 cm
2013


Aleatoile
dispersion, cotton canvas, ribbon, Coca-Cola light
8 × 25 × 8 cm
2013

Dia:gonal
dispersion, white canvas, door
85 × 200 cm
2013


Sol(h)ide
dispersion, MDF
30 × 30 cm
2013

Inside Out
foam, wooden frame
40 × 40 cm
2013


T r a n s-P a r e n t

Pink 450g
dispersion, Arches paper, OSB
111 × 111 × 3.5 cm
2013
T r a n s-P a r e n t
Presque Cadres
Dia:gonal
Aleatoile
Pink 450g

Presque Cadres
dispersion, polystyrene
35 × 35 cm, 35 × 35 cm
2013

Camp Views

Camp Views, 2013. One hundred and eight images from the Pre-Natal period, 2011–2013. The idea is Susan Sontag’s: ‘Notes on “Camp”’, 1964.


























































































































































































































Pre Natal Phase




Pre-Natal



I called this phase ‘Pre-Natal’, then ‘Baby’ (2011–2013): the years of my Bachelor at ECAL, with Philippe Decrauzat as my tutor. I wanted to move my practice away from what is called contemporary art, towards the historical notion of the avant-garde, and to understand what an avant-garde could still mean. In 2013 I wrote that we take part in a universalised avant-garde, in which every individual artist embodies the collective by supporting the work of fellow artists, notably by showing it in the exhibitions he curates.

The space in which I presented my work counted for a great deal. The white cube of the exhibition and digital media both became places to work with. Brian O’Doherty’s writing on the white cube and Marshall McLuhan’s The Medium Is the Massage showed me the weight of the context in which art is presented.

My practice was mostly installation. Taken alone, my pieces could be seen as words; presented together or in groups, they became a sentence. I was interested in the limits of an object or a performance when it meets other elements. The succession of works on a wall could be imagined as film editing, in a ‘sequence style’, and each visitor’s drift through the space edited it again. Several pieces came with notes instead of a fixed place: a canvas to be hung at eye level, a wall painting that stops at the highest point the painter can reach, a video that asks for its pale blue outline to be painted on the wall when it is projected.

Labels and wall texts became part of the research. Texts and ideas should accompany a work without overshadowing it or dictating how it is read: the visitor decides what he understands, according to his background or his mood, and this freedom left to the viewer is a great achievement of art. In 2012 I made Playing Labels (Cartels à Jouer), a deck of 37 cards: each card is the label of a work, with notes on how to show it. Robin Lebey and Frédéric Gabioud made some of the cards; the deck’s rule is that tournaments of labels must be held regularly.

I came to treat every space involved in making art as material: the studio, the exhibition, printed formats and curatorial formats, through text, installation, painting, video, music and performance. Curating and my own practice began to meet. The deck of labels went furthest: P+ begins there.








Studio > < Exhibition
variable objects, variable dimensions
2013


Accident Painting
resin, phosphorescent spray, cotton canvas, spruce
121 × 31 × 4 cm
2012













C. R. O. M.
Group show with Paul Limoujoux and Nicolas Degrange
Tour Saint-Georges
Saint-Émilion, France
2012


Une Histoire de Plage
chair, latex, tarp, latex, tarp
130 × 80 × 35 cm
2012


L’une
resin, oil bottle
20 × 20 × 60 cm
2012


Levier
resin, bottle rack
60 × 40 × 40 cm
2012





4pm
video with sound
49 min 51 sec
2011



Mic/Not Working
écal
Renens, Switzerland
2011

Playing Labels (Cartels à Jouer)
37 playing cards, 62 × 87 mm
2012

Notes:
The origin of P+; the whole deck is P+ N.
PDF: English / Français


1/2 Agnès Martin
acrylic on canvas
76.4 × 76.4 × 2.5 cm
2012

Notes:
The best conditions for this canvas to be fully appreciated are met when it is hung at eye level, and is more than one size away from the other pieces.

  1. 1/2 Agnès Martin
    Arthur Fouray,
    acrylic on canvas,
    2012,
    76.4 × 76.4 × 2.5 cm.
    Notes:
    The best conditions for this
    canvas to be fully appreciated
    are met when it is hung at eye
    level, and is more than one size
    away from the other pieces.


CHROME
canvas on frame, spray-painted
2012

Notes:
This canvas can be displayed vertically, or diagonally, depending on use. The white wall is a quality choice.

  1. CHROME
    Arthur Fouray,
    Canvas on frame,
    spray-painted,
    2012.
    Notes:
    This canvas can be displayed
    vertically, or diagonally,
    depending on use. The white wall
    is a quality choice.








Ok?
Galerie Toroni
écal
Renens, Switzerland
2012

Et alors ? — PDF, French, 4 pages
Exercices de recherches — PDF, French, 9 pages
Espace / Sous-espace — PDF, French, 3 pages
Iceberg — PDF, French, 5 pages
Pour le plus beau des arts, essayez le Pop — PDF, French, 42 pages




Dal(le) Erranc(e)
2 resin bricks
25.5 × 12.5 × 6 cm
2012

Notes:
These two bricks must be presented side by side on the floor. The arrangement is left to the curator’s discretion.


PEPITO
resin and foam on Sagex
25 × 25 × 3 cm
2012

Notes:
This sculpture must be presented on a wall, at a height other than 175 cm.

  1. PEPITO PIZZA
    Arthur Fouray,
    Resin and foam
    on sagex,
    2012.
    Notes:
    This sculpture must imperatively
    be shown on the wall, at a height
    other than 175 cm.

P.A.V.
video with sound
14 min 23 sec
2012

P.A.S.
book on printed canvas
27 × 46.5 × 3 cm
2012

Notes:
This testimonial-sculpture is to be placed on the floor. Connection with the video ‘P.A.V.’ is not necessary.

  1. P.A.S.
    Arthur Fouray,
    book on printed canvas,
    2012,
    27 × 46.5 × 3 cm.
    Notes:
    This testimonial-sculpture is to
    be placed on the floor.
    Connection with the video
    “P.A.V.” is not necessary.






FAUX PLAFOND
rosette (white) on painted wall (blue)
125 × variable height × 2 cm
2012

Notes:
The rosette should appear on an azure/sea-blue background. The wall must be painted with scotch tape on the left and right, starting at the floor. The wall painting stops at the highest point the painter can reach. Paint is applied with a roller.

  1. FAUX PLAFOND
    Arthur Fouray,
    Rosette (white) on
    painted wall (blue),
    2012.
    Notes:
    The rosette should appear on an
    azure/sea-blue background. The
    wall must be painted with scotch
    tape on the left and right, starting
    at the floor. The wall painting
    stops at the highest point the
    painter can reach. Paint is
    applied with a roller.


FROMAGE
four layers of resin, yellow, orange, then 2× yellow, on object
25 × 70 × 15 cm
2012

Notes:
This panoptical object should be placed intelligently on the floor. It can also play with ‘FROMAGE (BIS)’.

  1. FROMAGE
    Arthur Fouray,
    Four layers of
    resin, yellow, orange,
    then 2× yellow,
    on object,
    2012.
    Notes:
    This panoptical object should be
    placed intelligently on the floor. It
    can also play with “FROMAGE
    (BIS)”.
  2. FROMAGE (BIS)
    Arthur Fouray,
    Spray paint and
    resin on object,
    2012.
    Notes:
    This panoptical object should be
    placed intelligently, on the floor,
    on the wall or on the ceiling, to
    raise a question about its
    function. It can also play with
    “FROMAGE”.




De)a(f — PDF, French

Pre Natal Portfolio — English PDF
Pre Natal Portfolio — two-page PDF view

A Painting on the Wall

Arthur Fouray
A Painting on the Wall
2012–2013
(114 Digital Media)

A Painting on the Wall, a website from the Pre-Natal period, treats the relation between foreground and background from a curatorial point of view. Each page rests on an image of 595 × 842 pixels, which corresponds to the A4 format. The aim was a medium close to an exhibition display, adapted to web standards.
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Void Drawing

Void Drawing Participation in ‘ORBITES EXCENTRIQUES’, the first exhibition of the MIna Virtual Museum. Inspired by THX 1138, this project is a metaphor for a trajectory becoming a drawing in the void. The exhibition was available at this address: minaccess.com (no longer online).

Void Drawing 1, Arthur Fouray, 2012: snow falling over a white plain, a basketball in the air.

Dribble? Arthur Fouray, basketball standing for the entrance to ‘Void Drawing’, 3D, 2012.

Void Drawing 2, Arthur Fouray, 2012: drink cans scattered on a snowy slope.

Junky Ants Arthur Fouray, intervention in the museum’s space / dis(placement)carded in Antarctica, 3D, 2012.

Void Drawing 3, Arthur Fouray, 2012: blue, green and red blocks side by side on white, a black ball below.

Void Drawing Arthur Fouray, the project’s ‘white space’, 3D, 2012.

TV Wall Arthur Fouray, wall activating three colours: blue, green, red, 3D, 2012.

REZ Arthur Fouray, Ball = Pencil, 3D, 2012.

Void Drawing 4, Arthur Fouray, 2012: blue and green walls on white, a red post in front.

Void Drawing Arthur Fouray, the project’s ‘white space’, 3D, 2012.

TV Wall Arthur Fouray, wall activating three colours: blue, green, red, 3D, 2012.

REZ Arthur Fouray, Ball = Pencil, 3D, 2012.

Traces Arthur Fouray, 3D, 2012.

Traces Arthur Fouray, 3D, 2012.

Void Drawing 5, Arthur Fouray, 2012: a white statue of Christ with open arms beside long rows of yellow balls, one of them green.

Void Drawing Arthur Fouray, the project’s ‘white space’, 3D, 2012.

REZ Arthur Fouray, Ball = Pencil, 3D, 2012.

Traces Arthur Fouray, 3D, 2012.

Jesus Arthur Fouray, portal for leaving the project and discovering the traced drawing, Taschen 3D, 2012.

Void Drawing 6, Arthur Fouray, 2012: lines in blue, green, red, yellow and black traced on white.

Drawing 1138 Arthur Fouray, drawing obtained from the traces, JPEG, 2012.

Traces Obtained Arthur Fouray, JPEG, 2012.

Jesus Arthur Fouray, portal for leaving the project and discovering the traced drawing, Taschen 3D, 2012.

Dribble?: Arthur Fouray, basketball standing for the entrance to ‘Void Drawing’, 3D, 2012.

Junky Ants: Arthur Fouray, intervention in the museum’s space / dis(placement)carded in Antarctica, 3D, 2012.

Void Drawing: Arthur Fouray, the project’s ‘white space’, 3D, 2012.

TV Wall: Arthur Fouray, wall activating three colours: blue, green, red, 3D, 2012.

REZ: Arthur Fouray, Ball = Pencil, 3D, 2012.

Void Drawing: Arthur Fouray, the project’s ‘white space’, 3D, 2012.

TV Wall: Arthur Fouray, wall activating three colours: blue, green, red, 3D, 2012.

REZ: Arthur Fouray, Ball = Pencil, 3D, 2012.

Traces: Arthur Fouray, 3D, 2012.

Traces: Arthur Fouray, 3D, 2012.

Void Drawing: Arthur Fouray, the project’s ‘white space’, 3D, 2012.

REZ: Arthur Fouray, Ball = Pencil, 3D, 2012.

Traces: Arthur Fouray, 3D, 2012.

Jesus: Arthur Fouray, portal for leaving the project and discovering the traced drawing, Taschen 3D, 2012.

Drawing 1138: Arthur Fouray, drawing obtained from the traces, JPEG, 2012.

Traces Obtained: Arthur Fouray, JPEG, 2012.

Jesus: Arthur Fouray, portal for leaving the project and discovering the traced drawing, Taschen 3D, 2012.

Missing Information

Missing Information began in December 2011 as hundreds of one-second clips of fractal and interference images. A first video of 9′58″ came out of them in January 2012. The film, finished in 2026, runs 16′01″. The 488 GIFs came after the clips; they play as a grid of simultaneous loops. A separate hour-long audio work shares the title, with a question mark added.

I wanted to test what a change of format could do to a work. The videos have a beginning and an end; the GIFs, played together, have neither. In 4pm and P.A.V. the movement comes from physical gestures. Here it comes from the format.

A loop has no running time.