Arman

Arman , born Armand Pierre Fernandez the November 17th 1928 with Nice and died with New York the October 22nd 2005, is an artist French, painter, sculptor and plastics technician, celebrates for his " accumulations".

Its first meeting with art is done in the shop of antiquities of his/her father. It starts to paint at 10 years. He studies with the École of decorative Arts of Nice, then with the École of Louvre. He meets Yves Klein and Claude Pascal at the school of Judo which they attend in Nice in 1947.

At the end of 1957, Arman, which signed its works of its first name in homage to Van Gogh, decides to give up the " d" of Armand and his signature of artist at the time of an exposure at Iris Clert in 1958 officializes. In October 1960 it makes the exposure " the plein" where it filled the gallery of Clert Iris of objects of rebus and contents with dustbins selected. This exposure makes the counterpoint of the exposure " The vide" made two years earlier with the same gallery by his/her friend Yves Klein. In October 1960 also, under the crook of the art critic Pierre Restany, it becomes with Yves Klein one of the founding members of the group of the Realistic Nouveaux = " perceptive new approaches of the réel" at the sides in particular of François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques Villeglé, joined later by César, Mimmo Rotella, Niki de Saint Phalle, Christo and Gerald Deschamps.

Arman was initially married in 1953 with the musician Eliane Radigue of which it has three children, Marion (1951), Anne (1953) and Yves (1954-1989), then in 1971 in Corice Canton with which it has two children, Yasmine (1982) and Philippe (1987). His sixth and last child, Yves César was born except marriage in 1989.

Arman is deceased on October 22nd 2005. It had double American French nationality and , acquired in 1972.

Work

Arman was interested in the statute of the object and the report/ratio which the modern societies maintain with this one, between sacralization and consumption.

Its first " Cachets" (traces of inks objects or painted) in Paris go back to 1956.

In 1959, it begins the realization of the series of the Poubelles : it exposes household refuse, refuses found in the street and of waste. Its " accumulations" objects according to a quantitative logic which erases their singularity return an image of profusion, at the same time as they underline the perishable character of the products of the company of abundance.

In 1960, it uses for the first time of the plexiglass.

In 1961, it starts the series of the Colères : destruction of objects (the Cuts of violin, piano, double bass…) learnedly restuck on Pedestal or mural supports. In the Combustions (1963), these same objects are flarings.

Between 1980 and 1999, the range of works and techniques widens. Arman declines and multiplies the various procedures of execution. At the end of the years 1990, work is radicalized in a succession of gestures connected to the object (Accumulations in Relation, Casca-des, Sandwiches Combo). Interest renewed for painting (the starlight night, Nec Mergitur) 1998/2001. A great retrospective takes place with the National Gallery of the Jeu de Paume from January in April 1998. This exposure joins together more than one hundred works (1959 to 1997). The retrospective travels then until 2001 to Germany, Portugal, Israel, Brésil, Mexico, Taiwan, Spain…

In 2000, it works on fragmentations on panel, of the fragments (drawings and sculptures). Retrospective set of themes (the Crossing of the Objects), Castle of Villeneuve, Vence, France. Its bronze sculptures take part of a similar gesture: the artist seizes icons of the Western art (Venus de Milo, Hercules Farnèse, etc), which it cuts up for then resoldering them in an excavated disorder.

In 2002 - 2003, Arman joins again with the painting of rest in a series of works " serious paintings" who combine the recombining of musical instruments to their " setting in scène" in painting.

Arman invested public spaces of almost a hundred cities of the world by carrying out monumental works: with the Republic with the Elys3ee palace in Paris, in New York (the Rostropovitch' S Tower ), with the Station Saint Lazare of Paris (accumulations of bags and clock), with Chicago (a monumental tower) or the Long Term Carpark of the Cartier ex-Foundation to Jouy-in-Josas, an accumulation of true carcasses of cars superimposed ones on the others, run in the concrete realized in 1982 and more recently " Hope of Paix" an accumulation of tanks and tanks in a pyramid of concrete realized with Beirut in 1995.

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