(Armand Pierre Fernandez) Arman - Red Paint Tubes, 1987

Rote Maltuben auf Leinwand in einer Plexiglas-Box

103 x 87 x 11 cm
40 x 34 x 4 inch

Signed, dated

N 9426

About the work

On 27 October 1960, the French art historian and cultural philosopher Pierre Restany (1930 - 2003) founded the Les Nouveaux Réalistes movement in Yves Klein’s Paris apartment. On this evening, this loose association of artists, which already dissolved again in 1963, included, besides Restany himself, Yves Klein and the artists Arman (actually Fernandez Armand), François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques de la Villeglé. The artists opposed Informalism and Abstract Expressionism in the manifesto authored by Restany and established:
“Painting on the easel … has had its time. Today it is taking the last, sometimes still expansive breaths of a long system of absolute rule.”
(cited from: Roland Wetzel, foreword, exhib. cat. Arman, Museum Tinguely Basel, Antwerp 2011, p.18.)
The Nouveaux Réalistes developed a completely new concept of art. The reality of daily life was to be integrated into art with new techniques and found materials. For the artists of the movement, the term Nouveau Réalisme meant a "new approach of the perceptive faculty to the real” ("Nouveau Réalisme = nouvelles approches perceptives du réel." trans.: "new perceptive approaches to reality”). Everyday items ("objets trouvés") became art: music instruments, televisions, record players, bicycles, tools, even the contents of trash bins and much more.
In the work "Red Paint Tubes", this is an "accumulation" of red paint tubes. Arman arranged 17 red tubes of paint with the openings facing downward in each of three not entirely precisely installed rows. Their content runs in more or less serpentine tracks over the canvas. Their unscrewed caps are also attached to the red canvas with their threads facing upward. This installation presents tubes of paint as an aesthetic object: through the accumulation of the same objects in a different stage of use, Arman emphasises their commonalities and their respective uniqueness. Each tube left behind a slightly different track of paint on the canvas and looks slightly different in its used state. Everyday things are thus initially perceived as identical, but then suddenly as unique and individual.

Text authored and provided by Dr Andrea Fink, art historian

The art historian, curator and freelance publicist Andrea Fink studied art history, cultural studies and humanities, modern history and philosophy in Bochum and Vienna. Doctorate in 2007 on the work of the Scottish artist Ian Hamilton Finlay. As a freelance curator and art consultant, her clients include, among others, the Kunstverein (art association) Ahlen, Kunstverein Soest, Wella Museum, Museum am Ostwall Dortmund, ThyssenKrupp AG, Kulturstiftung Ruhr, Osthaus Museum Hagen, Franz Haniel GmbH, Kunsthalle Krems, Austria.

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(Armand Pierre Fernandez) Arman, Red Paint Tubes, 1987, 103 x 87 x 11 cm, N 9426
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