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拍品詳情

Collection Marianne et Pierre Nahon

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巴黎

Arman
LE MASSACRE DES INNOCENTS II
accumulation of dolls in an artist's box
Executed in 1961, this work is unique.

This work is recorded in the Arman Studio Archives New York under number: APA# 8002.61.021.
This work is registered in the archives of Denyse Durand-Ruel under number 2843 and is accompanied by a certificate of authenticity signed by the artist.


signed and dated 61



119 x 48 x 10,5 cm; 46 7/8 x 18 7/8 x 4 1/8 in.
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來源

Galerie Daniel Gervis, Paris
Collection Ahrenberg, Switzerland
Sale: Sotheby's London, Modern and Contemporary Art, 5 April 1979, lot 412
Acquired from the above by the present owners

展覽

Geneva, Galerie Bonnier, Arman, oeuvres choisies, 1985; catalogue, no. 2, illustrated
Vence, Château Notre Dame des Fleurs, Galerie Beaubourg, Les Nouveaux réalistes, 26 June - 31 october 1997
Nice, MAMAC, Arman, Passage à l'acte, 16 June - 14 October 2001; catalogue, p. 81, illustrated in colour
Paris, Centre Pompidou, Arman, 22 September - 10 January 2011; catalogue, p. 149, illustrated in colour

出版

Denyse Durand-Ruel, Arman Catalogue raisonné II, Turin, 1991, p.90, no. 149, illustrated
Bernard Lamarche-Vadel, Arman, Paris, 1998, p. 109, illustrated in colour
Tita Reut, Arman armé, Milan, 2004, p. 86, illustrated in colour
Pierre Nahon, L'Histoire de la Galerie Beaubourg I, 1936-1988, Paris, 2009, p. 258, illustrated in colour


相關資料

Of all the New Realists, Arman is the one who thrust more toward his appropriative orientation. There is an instinct of appropriation of the real in him, that is the key to his adventure, a fundamental need to express the contingent reality in the natural state.
Pierre Restany, 1961

Since the beginning of the century, artistic creation has become a behavior: acting like an artist has become more important that the production that justified this status. Imbued with this power of fascination, artists like Arman set their seal on products that derive from our relationship to objects. Unlike before, when art required artists to transfer the outside world as well as their inner one onto the canvas with so little means, today it is enough to manipulate objects. What did Arman do? First, imprints, traces of objects covered with ink on paper. Then he appropriated a space by entirely filling it up with waste and trash: the full that follows Yves Klein’s empty. Very logically, he materialized the empty through a series of works, the “Inclusions”. They were pieces of waste enclosed in a box and sealed in plastic. The full is also about accumulation, piling up the same object to saturation, and allowing objects to fully express themselves through their form.

Collection Marianne et Pierre Nahon

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巴黎