Arman - Collection of tubes and alarm clocks

During the 1950s and 1960s, the so-called poetics of the object began to spread in European and American art. Harking back to the readymades of Dadaist memory, a new wave of groups or movements emerged that repurposed everyday objects as works of art. The departure from traditional Dada lay in the strong influence of Abstract Expressionism, which led to the reconfiguration of objects with new languages ​​and new stimuli.

Many of Arman's works are the result of the artist's reflections on a new language based on the interpolation of objects and artistic practice. The object, a finished product belonging to tangible reality, enters the artwork, while the artwork, through the object, invades the observer's real space. Beyond reviving the concept of the ready-made, there is also a connection to the collages of Cubism's synthetic phase: the moment the object opens up, it loses its completeness, unfolding on the canvas. This canvas, in turn, adds another fundamental component, a pictorialism linked to the gesturality of Abstract Expressionism, which imbues the object with new meanings and new perceptual stimuli.

A leading exponent of Nouveau Réalisme, Arman Fernandez (1928–2005) encompassed virtually every phase of the poetics of the object throughout his artistic career. Arman's specific artistic practice consisted of appropriating society's discarded, everyday objects, and reconfiguring them with new meaning through a dramatic, violent action that was both gestural and pictorial. The object was dismembered, broken, or burned to exemplify the self-destructive nature of consumer society. The drama was then poetically heightened by the pictorial intervention, which confirmed and accentuated the violence of the gesture and reconfigured the object with a new language.

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