The poetics of accumulation in Arman's work

Arman, whose real name is Armand Pierre Fernandez, is an emblematic French artist of the 20th century, known above all for his significant contribution to the Nouveau Réalisme art movement and in particular for the art of accumulation. Born in Nice in 1928, he developed a passion for objects at a young age, which led him to transform everyday objects into works of art. Accumulation is an artistic practice in which a large number of similar objects are put together to create a work. This approach highlights the oversupply of goods in modern consumer society and questions the value and meaning of objects in our everyday lives.

The current of accumulation

Arman was influenced by Marcel Duchamp’s work and his concept of the “ready-made”. He took this idea further by accumulating ordinary objects to create artistic compositions. This method enabled him to transform banal objects into powerful and symbolic works of art.

The Accumulation movement is part of Nouveau Réalisme, an art movement founded in 1960 by Pierre Restany and a group of artists including Arman, Yves Klein and Jean Tinguely. It positioned itself in opposition to the prevailing abstract art of the time. The artists of Nouveau Réalisme attempted to reintegrate elements of everyday life into art, and Arman stood out in this movement through the use of everyday objects in his collections.

The most famous works by Arman

The work “Le Plein” (1960) is one of his most iconic creations. For this installation, Arman filled the Iris Clert gallery in Paris with garbage and discarded objects until the space became practically inaccessible. The work is a critique of consumer society and waste. By flooding the exhibition space with garbage, Arman forces the audience to confront the reality of excess and overproduction in modern life.

Another famous piece is “Home Sweet Home” (1960), a powerful accumulation of gas masks in a display case, symbolizing threat and violence. By evoking the horrors of war and dehumanization, the artist not only criticizes the destruction caused by armed conflict, but also highlights how technology, initially designed to protect, can become a symbol of fear and death. In this way, the title “Home Sweet Home” reinforces the irony and contrast between the idea of the home as a place of security.

“Long Term Parking” (1982) is a monumental sculpture of 60 cars embedded in a 19-metre-high concrete block. The excessive accumulation and environmental impact of car culture is highlighted.

Arman perfectly captured the spirit of his time, using the accumulation of objects to reflect and criticize consumer society. Indeed, through his often provocative work, he invites us to reconsider our relationship with objects and the influence they exert on our daily lives. As an emblematic figure of New Realism, the artist continues to inspire his contemporary colleagues, and stands out as a pioneer in the art of transforming the ordinary into the extraordinary.