{"id":45555,"date":"2022-04-09T13:51:39","date_gmt":"2022-04-09T12:51:39","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/arman-on-fire\/"},"modified":"2022-05-06T14:50:28","modified_gmt":"2022-05-06T13:50:28","slug":"arman-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/fr\/arman-on-fire\/","title":{"rendered":"Arman – On Fire"},"content":{"rendered":"

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Vues d’exposition<\/h2>\n

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Oeuvres expos\u00e9es<\/h2>\n

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Un jour, alors que je travaillais sur la s\u00e9rie des Poubelles, je me promenais dans une d\u00e9charge lorsque j’ai vu un fauteuil Louis XV sur un tas d’ordures fumantes ; sous mes yeux, le fauteuil en flammes s’est retourn\u00e9. Cela m’a fait penser \u00e0 un tableau de Magritte, L’\u00c9chelle du feu<\/em>, o\u00f9 apparaissent du papier, un fauteuil et un tuba en feu.<\/h2>\n

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Arman en conversation avec Otto Hahn, in Arman, Me\u0301moires accumule\u0301s: Entretiens avec Otto Hahn, Belfond, Paris 1992<\/h4>\n

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En 1964, Arman<\/strong> est invite\u0301 a\u0300 exposer au muse\u0301e Stedeljik d\u2019Amsterdam. Le conservateur lui ayant demande\u0301 de cre\u0301er une \u0153uvre pour l\u2019entre\u0301e du muse\u0301e, ils ont visite\u0301 ensemble une de\u0301charge ou\u0300 un fauteuil de style Louis XV bru\u0302lait au sommet d\u2019un tas d\u2019ordures. Cette \u0153uvre lui a rappele\u0301 le tableau<\/p>\n

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emble\u0301matique de Rene\u0301 Magritte, L\u2019e\u0301chelle du feu. De retour a\u0300 Nice, il cre\u0301e le Fauteuil d\u2019Ulysse avec l\u2019aide de Martial Raysse. Ce fut le point de de\u0301part de la technique de combustion d\u2019Arman, dans laquelle des meubles de style et des instruments de musique e\u0301taient consume\u0301s par le feu avant d\u2019e\u0302tre stabilise\u0301s par l\u2019introduction de re\u0301sine. Le choix des mate\u0301riaux d\u2019Arman rappelle le concept du Ready Made de Duchamp et le cubisme de Braque et Picasso dans la division des objets en plusieurs plans. Il re\u0301active ainsi, au de\u0301but des anne\u0301es 1960, les re\u0301volutions avant-gardistes du de\u0301but du XXe sie\u0300cle.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Arman<\/strong> est n\u00e9 \u00e0 Nice en 1928, fils unique d’Antonio Fernandez, un marchand de meubles et d’antiquit\u00e9s d’origine espagnole qui avait v\u00e9cu en Alg\u00e9rie, et de Marguerite Jacquet, issue d’une famille d’agriculteurs. Arman est internationalement connu comme l’un des principaux protagonistes de l’\u00e9cole fran\u00e7aise du Nouveau R\u00e9alisme, qui s’est d\u00e9velopp\u00e9e parall\u00e8lement au mouvement am\u00e9ricain du Pop Art dans les ann\u00e9es 1960. Au centre de sa production artistique se trouvent les Accumulations, dont les sujets sont des objets du quotidien.<\/div>\n
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\u00c0 partir de 1953, il con\u00e7oit et produit des objets en s\u00e9rie log\u00e9s dans des bo\u00eetes ou des coffrets en plexiglas, s’imposant comme l’un des artistes les plus acclam\u00e9s du Nouveau R\u00e9alisme. Toujours int\u00e9ress\u00e9 par les objets et leur rapport \u00e0 la soci\u00e9t\u00e9 moderne, \u00e0 mi-chemin entre sacralit\u00e9 et consommation, Arman s’est r\u00e9v\u00e9l\u00e9 \u00eatre un collectionneur passionn\u00e9 d’objets du quotidien (montres, armes, stylos, etc.) et d’\u0153uvres, notamment celles de l’art traditionnel africain.<\/div>\n
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Apr\u00e8s le lyc\u00e9e, il s’inscrit \u00e0 l’\u00c9cole des arts d\u00e9coratifs de Nice (actuelle Villa Arson) puis \u00e0 l’\u00c9cole du Louvre. En 1947, il rencontre Yves Klein \u00e0 l’\u00e9cole de judo qu’il fr\u00e9quente \u00e0 Nice.<\/div>\n
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En 1960, Arman utilise pour la premi\u00e8re fois le plexiglas et expose Le Plein<\/em> (piles de d\u00e9chets s\u00e9lectionn\u00e9s) \u00e0 la Galerie Iris Clert. L’exposition contraste ouvertement avec celle de son ami Yves Klein, Le Vide<\/em>, organis\u00e9e deux ans plus t\u00f4t par la m\u00eame galerie. La m\u00eame ann\u00e9e, sous la direction du critique d’art Pierre Restany, Arman et Yves Klein fondent le groupe Nouveaux R\u00e9alisme, avec Fran\u00e7ois Dufr\u00eane, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely et Jacques Villegl\u00e9, rejoints ensuite par C\u00e9sar, Mimmo Rotella, Niki de Saint Phalle, G\u00e9rard Deschamps et, en 1963, Christo.<\/div>\n
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\u00c0 partir de 1961, Arman d\u00e9veloppe sa carri\u00e8re \u00e0 New York, o\u00f9 il vit et travaille jusqu’en 1967, alternant les p\u00e9riodes \u00e0 Nice jusqu’\u00e0 sa mort.<\/div>\n
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