Objectified Gestures? Index and Agency in Arman’s Allures d’objet
Beginning in 1957, two years before his breakthrough assemblages, Arman experimented with found objects in another manner: he inked them and then stamped, dragged, rolled, and tossed them onto and across a support. The results were the Allures d’objets, conceived as “object traces,” or records of ea...
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| Publicado en: | URI:https://journals.openedition.org/interfaces, |
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| Autor principal: | |
| Formato: | Article ou chapitre numérique |
| Lenguaje: | Anglais |
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Interfaces
2020
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| Acceso en línea: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumario: | Beginning in 1957, two years before his breakthrough assemblages, Arman experimented with found objects in another manner: he inked them and then stamped, dragged, rolled, and tossed them onto and across a support. The results were the Allures d’objets, conceived as “object traces,” or records of each item’s kinetic behavior. What looked like gestural abstract paintings were in fact indexes of the paths traveled by small objects like beads, eggs, shells, and shattered glass. Pierre Restany, Arman’s critical champion, argued that these traces were “objectified” in that the artist’s intentionality was superseded by the will of the objects themselves. This article questions the notion of an “objectified” gesture and considers the implications of the commingling of agencies in the indexing of objects. I argue that Restany’s attribution of self-determinacy to the object reflects his desire to fit Arman’s Allures d’objets into his own developing theory of a new realism. That theory, which would soon be codified as Nouveau Réalisme, insisted on the direct appropriation and unmediated presentation of “the real.” As such, it necessarily de-emphasized the artist’s gesture. In this article, I contend that Arman’s work resists this classification, and I recast the Allures d’objets as evidence of Arman’s own vision of realism, one that reveals the impossibility of pure objectivity. |
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