paris

Arman, Arrêt de temps (Time Stop), 1963, alarm clock on wood panel, 18 1/8 x 14 1/8".

Arman

Centre Pompidou

Arman, Arrêt de temps (Time Stop), 1963, alarm clock on wood panel, 18 1/8 x 14 1/8".

The trajectory of Arman’s retrospective at the Centre Pompidou (now on view at the Tinguely Museum in Basel) was thematic, showing the artist’s pursuit of certain operational modes between the 1950s and the ’90s, and also the recurrence of several types of object; his production does not comply with common schemas of linear development or fall into distinct periods. Nevertheless, curator Jean-Michel Bouhous’s exhibition of 120 works imposed a visibly circular movement on his career: from painting to objects and back.

Arman, who was born in 1928 in Nice and died in 2006, came onto the artistic scene at the height of the School of Paris and of Lyrical Abstraction in the vein of Nicolas de Staël or Serge Poliakoff, which he practiced for a brief moment before extracting painting from its traditional framework, first through the use of rubber stamps, then through the accumulation,

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