MORE Projects

🖇️ Archive 2025: MORE Projects based in Paris presented Georges J. Ayrault (b.1997, France). Georges J. Ayrault, lives in Paris and works at Argenteuil. Georges J. Ayrault’s practice is based on their collection of “dead stocks”, a corpus of recovered objects—from second-hand markets, waste, and many donations, reshaped with as much affection as concern. These sources allow him to question the locality of production, but also what constitutes value scales—seeking to reinsert the pieces into a proximity that is both geographical and emotional. His work is based on a documentary and critical approach to our contemporary modes of consumption. He is interested in how these materials and objects are media, conveying norms and producing domination. Recovery is a strategy used as an attempt at rewriting and reappropriation. The sculptures appear as dysfunctional objects, inspired by design—prototypes—on the anti-design side of Italian radicals. Courtesy of the artist and MORE Projects, Paris. © Nicolas Lafon. @more_projects @georges.ju.ay 🌴🌴🌴 Visit the link in bio to access the full archive of our 2025 edition #parisinternationale #parisinternationale2025 #moreprojects #georgesjayrault

Il 33 giri si trasforma in motore per nuove sperimentazioni su carta: 55 artisti italiani e internazionali interpretano 55 copertine di vinili Casa degli Artisti: TOOMANYRECORDSS. DISEGNI A 33 GIRI 55 artisti internazionali interpretano 55 copertine di vinili > Opening con performance e djset: 21/11, ore 18.30 Corso Garibaldi 89/A, Milano Dal 22 al 30 novembre la @collezioneramo presenta MILANO DRAWING WEEK 2025, manifestazione diffusa di disegno moderno e contemporaneo con MOSTRE a ingresso gratuito, EVENTI, TALK e WORKSHOP. Tutte le info su milanodrawingweek.com (link in bio) @casadegliartisti_art / @more_projects Patrocinio e collaborazione: @comune_milano / @comunedimilano_cultura / @tommasosacchi Sponsor: @ace_creativeengineering / @gruppo_censeo / @cansonpaper / @lyra_feelcreative Sponsor tecnico: @bolligermoving / @saccovignaioliapuli / @lispi_official #MilanoDrawingWeek #MilanoDrawingWeek2025 #CollezioneRamo

From A., 2025
Dimensions variables 
Dead stock de papier peint, cravate, pinces à cheveux, bouton de porte, aiguilles à tricoter, papier cadeau Présentée dans le cadre de ma proposition pour Ones avec @more_projects à @aaaahhhparisinternationale . Une cravate rayée, tachetée, suspendue par une aiguille issue d’un bouquet d’aiguilles à tricoter dépareillées — un cadeau de Martine, qui tricote et coud beaucoup.
Le tout est accroché à un prototype de porte-cravate fait à partir d’un papier peint plié, couleur pêche-terracotta, années 2000, tenu par des pinces à cheveux.
Un bouton de porte vert en forme de poisson, trouvé à Bergerac, y est fixé ; sa paire bleu ciel et violet est cachée dans une autre pièce.
Une petite chute de papier cadeau complète l’ensemble. Un 🩷 à @audrey.prdhm qui dépose toujours avec bcp d’attention des cadeaux avec lesquels travailler Et un ❤️ à @creation.tetik pour ton bouquet d’aiguilles 📸 Image : Nicolas Lafon @anacrews Texte : @annavanilla

Once again we had such a great time at @aaaahhhparisinternationale . Thank you for all of you who visited us, and special thanks to the lovely team of the fair! “ones” with George J. Ayrault @georges.ju.ay At the occasion of the 2025 edition of Paris International, MORE Projects once again composed, with many hands, a new arrangement. Inviting Georges Ayrault as the lead instrumentalist, the collective orchestrated a proposition that amplified not a single but a multitude of voices. The opportunity of participation was extended as a plural and expansible invitation, addressing the invitee not as someone but as a sum, an ensemble. From there arose a piece, carried out by a chorus, reverberating beyond the building’s walls. Photos by Nicolas Lafon @anacrews 1. Exhibition view 2. For U (Pour toi) 2025 Unique piece Vintage lamp from the 1990s, gift made to an artist from Georges via his friend Audrey, in his absence, left in a café in Paris. The gift remains a gift. 3. From Mum (De Maman) 2025 Unique piece Piece of fabric, coated with gesso and violet floral printed paper from the 1970s that Georges’s mother had found and kept, and used as wrapping paper for gifts, which Georges himself retrieved. 4. For (Pour) 2025 Installation, unique piece (30x200x250cm) Three ties (including two offered by Audrey, friend of Georges), held by a knitting needle, hidden in a wall built of MDF and wood, painted in purple (with paint coming from a paint shop in Villeperdue which closed and whose remaining stock was bought by a materials resale shop). 5. From A. 2025 Unique piece A striped tie with various patterns, suspended by a needle from a bunch of mismatched knitting needles (gift from Martine who knits and sews a lot) in a prototype of a tie rack made from folded wallpaper, peach–terracotta color, 2000s, held by hair clips, with a green fish-shaped doorknob found in Bergerac whose sky-blue–violet pair is hidden in another piece, and a small scrap of wrapping paper. (Continues in comments)

Retour en images sur ma proposition pour l’invitation Ones de MORE Projects à Paris Internationale. Chaque partie de l’installation a été accompagnée d’un titre et d’une notice écrite par/avec Anna @annavanilla — en forme d’adresse — elles tracent des départs et des arrivées. Image 1 Vue d’exposition ONES avec @more_projects à @aaaahhhparisinternationale Images 2–3 For (Pour), 2025 Installation, pièce unique (30 × 200 × 250 cm) MDF, dead stock de peinture, aiguilles à tricoter, cravates, pinces à cheveux Trois cravates (dont deux offertes par Audrey, amie de Georges), tenues par une aiguille à tricoter, cachées dans un mur construit en MDF et en bois, peint en violet — avec une peinture provenant d’une boutique de peinture à Villeperdue, aujourd’hui fermée, dont le stock restant a été racheté par une boutique de revente de matériaux. Image 4 From Mum (De Maman), 2025 Pièce unique Rouleau de papier, coupon de tissu Coupon de tissu enduit de gesso, et papier imprimé floral violet des années 1970 que la mère de Georges avait récupéré et gardé. Elle l’utilisait comme papier d’emballage pour les cadeaux — que Georges lui-même a ensuite récupéré. Un grand merci à @more_projects pour leur générosité et leur confiance, à tou·te·s celleux qui sont passé·e·s, et un merci spécial à @louischaumier_ et @audrey.prdhm , pour leur présence, leur aide et leur tendresse — dans la vie autant que dans le travail. 📸 Crédit photo : Nicolas Lafon — @anacrews 🤹

MORE Projects, Paris, is presenting Georges J. Ayrault. @more_projects @georges.ju.ay Since 2016, MORE Projects has conceived collective protocols for artistic processes that engage an international network — the “eternal network”, as imagined by Robert Filliou. While many of these take the form of exhibitions, several are conceived as open-ended, ongoing scores. MORE Projects also produces specific curatorial initiatives, designed around a theme or a place. Most of its propositions have an editorial dimension, involving archiving practices that lead to collections of artworks — eventually made available to the public for acquisition, helping to fund future projects. It also edits fanzines, books, and multiples by contemporary artists. MORE Projects is an artist-run space without a fixed location. The MORE Projects team: Allison Blumenthal, Margaux Bonopera, Camila Farina, Elisabeth Vollmann, Sofia Lurati, Audrey Prédhumeau, Anna Piroska Tóth, Sergio Verastegui, and Davide Bertocchi. 💥11th Edition💥 Paris Internationale 2025 October 22-26, 2025 Preview October 21 Rond-point des Champs-Élysées, Paris 8 #parisinternationale #parisinternationale2025 #moreprojects #artfair

MORE Projects Paris Internationale 2025 @aaaahhhparisinternationale Room 1.5 NP -ones- For the 2025 edition of Paris International, MORE Projects once again composes, with many hands, a new arrangement. Inviting Georges J. Ayrault as the lead instrumentalist, the collective orchestrates a proposition that amplifies not a single but a multitude of voices. The opportunity of participation is extended as a plural and expansible invitation, addressing the invitee not as someone but as a sum, an ensemble. From there arises a piece, carried out by a chorus, reverberating beyond the building’s walls. GEORGES J. AYRAULT @georges.ju.ay Born in 1997. Lives in Paris and works in Argenteuil. Georges J. Ayrault’s practice is based on his collection of «dead stock», a corpus of recovered objects—from second-hand markets, waste, and many donations, reshaped with as much affection as concern. These sources allow him to question the locality of production, but also what constitutes value scales—seeking to reinsert the pieces into a proximity that is both geographical and emotional. His work is based on a documentary and critical approach to our contemporary modes of consumption and is interested in how these materials and objects are media, conveying norms and producing domination. Recovery is a strategy used as an attempt at rewriting and reappropriation. Crédit photos : Images 1-3-4-5-6 © Nicolas Lafon @anacrews Image 2 © Flora Aussant @flora.aussant Image 7-8 © Georges J. Ayrault @georges.ju.ay

MORE Projects Paris Internationale 2025 @aaaahhhparisinternationale Room 1.5 NP -ones- For the 2025 edition of Paris International, MORE Projects once again composes, with many hands, a new arrangement. Inviting Georges J. Ayrault as the lead instrumentalist, the collective orchestrates a proposition that amplifies not a single but a multitude of voices. The opportunity of participation is extended as a plural and expansible invitation, addressing the invitee not as someone but as a sum, an ensemble. From there arises a piece, carried out by a chorus, reverberating beyond the building’s walls. GEORGES J. AYRAULT @georges.ju.ay Born in 1997. Lives in Paris and works inArgenteuil. Georges J. Ayrault’s practice is based on his collection of «dead stock», a corpus of recovered objects—from second-hand markets, waste, and many donations, reshaped with as much affection as concern. These sources allow him to question the locality of production, but also what constitutes value scales—seeking to reinsert the pieces into a proximity that is both geographical and emotional. His work is based on a documentary and critical approach to our contemporary modes of consumption and is interested in how these materials and objects are media, conveying norms and producing domination. Recovery is a strategy used as an attempt at rewriting and reappropriation.

We’re happy to share our participation in Made Anywhere, September 5–7, 2025. For this occasion, we reactivate 𝓑𝓲𝓮𝓷 à 𝓿𝓸𝓾𝓼— a project initiated in 2022. 💌 100+ proposals sealed in envelopes, each available for €150. 🤫 Artists’ names remain hidden until the moment of purchase. 📲 A few days before, we’ll drop the list of participating artists and the anonymized catalogue. 📍 Fondation Fiminco, Romainville 🗓 Opening: Friday, September 5, 4–9pm Dance♫Dance♫Dance♫Anywhere♫ evening until 11pm ⏰ Weekend: 1–8pm 🩸Bloody Marley (concert) : Saturday 06/09 4pm Looking forward to seeing you there ✨ @madeanywhere.fr @fondationfiminco #MOREprojects #Bienàvous #madeanywhere