Arman - Golf Tees

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.

For Arman Fernandez, Nouveau Réalisme means recovering, from the margins of society, objects that seem to have completed their useful life and giving them new meaning through an artistic process. In this assemblage, we can see how the process has indeed occurred, but not according to Arman's usual rules. The French artist's usual method is to take the object, deconstruct it, break it, burn it, and only then reconfigure it through a pictorial gesture. In the case of the Golf Teco, however, we are faced with a more traditional ready-made process, more akin to historical Dadaism. But even in this work, the artist's gesture is fundamental, in the idea of ​​using objects that, taken individually, would have no aesthetic value and compressing them into a regular space to achieve an artistic effect.

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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