{"id":45407,"date":"2022-04-09T13:51:39","date_gmt":"2022-04-09T12:51:39","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/?p=45407"},"modified":"2022-05-06T14:50:27","modified_gmt":"2022-05-06T13:50:27","slug":"arman-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/it\/arman-on-fire\/","title":{"rendered":"Arman – On Fire"},"content":{"rendered":"

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<< torna al menu<\/a><\/em><\/span><\/p>\n

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Vedute della mostra<\/h2>\n

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Opere in mostra<\/h2>\n

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Un giorno, mentre lavoravo alla serie Poubelles <\/em>[Rifiuti], camminando in una discarica vidi una poltrona Luigi XV in cima a un mucchio di spazzatura fumante; sotto il mio sguardo, la poltrona avvolta dalle fiamme si capovolse. E mi fece pensare a un dipinto di Magritte, L\u2019E\u0301chelle du feu<\/em> [La scala di fuoco], in cui compaiono della carta, una poltrona e una tuba in fiamme.<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Nel 1964\u00a0Arman<\/strong> fu invitato a esporre al Museo Stedeljik di Amsterdam. Quando il curatore gli chiese di creare un\u2019opera per l\u2019ingresso del museo, visitarono una discarica dove una poltrona stile Luigi XV stava bruciando in cima a un mucchio di spazzatura. Quest\u2019opera gli ricord\u00f2 l\u2019iconico quadro L\u2019\u00e9chelle du feu<\/em> di Ren\u00e9 Magritte. Tornato a Nizza, cre\u00f2 il Fauteuil d\u2019Ulysse<\/em> con l\u2019aiuto di Martial Raysse. Questo fu il punto di partenza per la tecnica di combustione di Arman, in cui mobili eleganti e strumenti musicali furono consumati dal fuoco prima di essere stabilizzati dall\u2019introduzione di resina. La scelta dei materiali di Arman ricorda il concetto di Ready Made<\/em> di Duchamp e il cubismo di Braque e Picasso nella divisione degli oggetti in pi\u00f9 piani. In questo modo, all\u2019inizio degli anni \u201960, riattiv\u00f2 le rivoluzioni delle avanguardie dell\u2019inizio del XX secolo.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”47028″ img_size=”large”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

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Arman<\/strong> nasce a Nizza nel 1928, unico figlio di Antonio Fernandez, commerciante di mobili e antiquariato di origine spagnola che aveva vissuto in Algeria, e di Marguerite Jacquet, proveniente da una famiglia di contadini. Arman e\u0300 conosciuto a livello internazionale come uno dei protagonisti principali della scuola del Nouveau Re\u0301alisme francese, che si sviluppo\u0300 in parallelo al movimento della Pop Art americana negli anni sessanta. Al centro della sua produzione artistica troviamo le Accumulations, i cui soggetti sono oggetti di uso quotidiano.<\/p>\n

A partire dal 1953 progetta e realizza oggetti in serie alloggiati in scatole o teche in plexiglas, affermandosi come uno degli artisti piu\u0300 acclamati del Nouveau Re\u0301alisme. Sempre interessato agli oggetti e al rapporto che li lega alla societa\u0300 moderna, a meta\u0300 strada fra sacralita\u0300 e consumo, Arman si dimostra un appassionato collezionista di oggetti quotidiani (orologi, armi, penne etc.) e opere, soprattutto quelle dell\u2019arte tradizionale africana.<\/p>\n

Dopo gli studi superiori si iscrive alla Scuola di Arti Decorative di Nizza (ora Villa Arson) e poi all\u2019E\u0301cole du Louvre. Nel 1947 conosce Yves Klein alla scuola di judo che frequenta a Nizza.<\/p>\n

Nel 1960 Arman utilizza il plexiglas per la prima volta ed espone Le Plein<\/em> (mucchi di spazzatura selezionata) alla Galerie Iris Clert. La mostra e\u0300 in aperto contrasto con quella dell\u2019amico Yves Klein, Le Vide,<\/em> organizzata due anni prima dalla medesima galleria. Quello stesso anno, sotto la direzione del critico d\u2019arte Pierre Restany, Arman fonda insieme a Yves Klein il gruppo Nouveaux Re\u0301alisme, con Franc\u0327ois Dufre\u0302ne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely e Jacques Villegle\u0301, cui in seguito si uniscono Ce\u0301sar, Mimmo Rotella, Niki de Saint Phalle, Ge\u0301rard Deschamps e, nel 1963, Christo.<\/p>\n

A partire dal 1961, Arman sviluppa la propria carriera a New York, dove vive e lavora fino al 1967, alternando periodi a Nizza fino alla morte.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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