Arman. 1954-1974.
Silvana Editoriale| N° d'inventaire | 23480 |
| Format | 24 x 30 |
| Détails | 423 p., publisher's hardcover. |
| Publication | Milan, 2021 |
| Etat | Nine |
| ISBN | 9788836636198 |
This book, edited by Germano Celant, presents the artistic journey of Arman (Nice, 1928 - New York, 2005) through a rich journey, where personal events intersect with history and the international artistic context. From his beginnings in the 1950s, to the signing of the New Realism manifesto in 1960 and his move to the United States where he encountered the neo-Dadaist movements and Pop Art – the chronology retraces the artist's entire life in stages, focusing in particular on the period between his first works and 1974. The artist deploys his research around everyday objects: as Celant states, "the intensification of the existential virtualities of the object led Arman to explore territories from the minimum to the maximum of living in the city: from the cachet to the monument. He mixed materials and products, units and series, singularities and heterogeneities, imposing order and disorder, to arrive at constituting the critical flow of reality. » The editorial narration is enriched by a vast iconographic apparatus: from the Accumulations of industrial objects and mass-produced products, to the Dustbins which memorize the waste of consumer society; from the famous Angers, Cups and Combustions, which dematerialize objects through different processes, depriving them of their functionality, to painting, actions and monumental works.
This book, edited by Germano Celant, presents the artistic journey of Arman (Nice, 1928 - New York, 2005) through a rich journey, where personal events intersect with history and the international artistic context. From his beginnings in the 1950s, to the signing of the New Realism manifesto in 1960 and his move to the United States where he encountered the neo-Dadaist movements and Pop Art – the chronology retraces the artist's entire life in stages, focusing in particular on the period between his first works and 1974. The artist deploys his research around everyday objects: as Celant states, "the intensification of the existential virtualities of the object led Arman to explore territories from the minimum to the maximum of living in the city: from the cachet to the monument. He mixed materials and products, units and series, singularities and heterogeneities, imposing order and disorder, to arrive at constituting the critical flow of reality. » The editorial narration is enriched by a vast iconographic apparatus: from the Accumulations of industrial objects and mass-produced products, to the Dustbins which memorize the waste of consumer society; from the famous Angers, Cups and Combustions, which dematerialize objects through different processes, depriving them of their functionality, to painting, actions and monumental works.