Catalogue published on the occasion of the solo exhibition of Arman, 16 December 1969 to 8 February 1970 at the Kunstverein for the Rhineland and Westphalia, Dusseldorf, Germany. Largely illustrated throughout with Arman’s great body of accumulation works that made up this exhibition – assemblage sculpture and relief works using dizzying repeated elements from Renault automobiles. Photography in colour and black and white, drawings by the artist, texts in German (by Karl-Heinz Hering and Arman) and a biography and list of exhibited works.

Arman (November 17, 1928 – October 22, 2005) was a French-born American artist.[1] Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or paint traces they leave (“cachet”, “allures d’objet”) to using them as the painting itself. He is best known for his “accumulations” and destruction/recomposition of objects.

In October 1960, Arman, Yves Klein, François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques Villeglé, and art critic and philosopher Pierre Restany founded the Nouveau réalisme group. Joined later by Cesar, Mimmo Rotella, Niki de Saint Phalle, and Christo, the group of young artists defined themselves as bearing in common their “new perspective approaches of reality.” They were reassessing the concept of art and the artist for a 20th-century consumer society by reasserting the humanistic ideals in the face of industrial expansion.

In 1961, Arman made his debut in the United States, the country which was to become his second home. During this period, he explored creation via destruction. The “Coupes” and the “Colères” featured sliced, burned, or smashed objects arranged on canvas, often using objects with a strong “identity” such as musical instruments (mainly violins and saxophones) or bronze statues.

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Arman - Accumulations Renault
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