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Fernandez ArmanTrio à cordes III.1987
1987
$1,348.94
£1,003.80
€1,150
CA$1,843.23
A$2,077.94
CHF 1,101.37
MX$25,617.90
NOK 13,388.55
SEK 12,868.53
DKK 8,748.58
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About the Item
Publisher GKM.
Unframed.
Edition of 150 ex.
Signed and numbered.
Free shipment worldwide.
Arman wrote, “The bow on the strings releases an explosion of sounds,” in the book Trio à cordes published by GKM Siwert Bergström nearly twenty years ago. The words are his own. The book is a tender homage to music and expresses the artist’s predilection for the tones of violin, cello and double bass. Lyrically orchestrated poems are conflated with ingenious detail images: multi-coloured violins and a delicately painted cello are but two of the motifs drawn against the straight lines of the score.
The first steps towards collaboration with GKM Siwert Bergström came with an exhibition in Malmö, when Arman staged a “happening” in Malmö Concert Hall. This was followed by several exhibitions in Malmö, at the Stockholm Art Fair, at FIAC in Paris and at the Glyptoteket in Copenhagen. Contacts with GKM subsequently led to an exhibition of Arman’s works at the Lund Konsthall gallery with the support of Marianne Nanne-Bråhammar. This also included a happening.
Arman died in October 2005 at the age of 76. For the last 30 years of his life he maintained two homes and studios, in New York and in Vence, in the south of France.
- Creator:Fernandez Arman (1928-2005, French)
- Creation Year:1987
- Dimensions:Height: 38.19 in (97 cm)Width: 26.38 in (67 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Malmo, SE
- Reference Number:1stDibs: LU328608272
Fernandez Arman
Arman (civil name Armand Pierre Fernandez, 1928 - 2005) was a French-US-American object artist and co-founder of Nouveau Réalisme - a style that took up ideas from Dadaism and is therefore also called Neo-Dadaism. Real objects from everyday life are declared Ready-Mades, so that found objects and rubbish are arranged into assemblages, accumulations and collages. He became artist friends with Yves Klein and Claude Pascal and was also artistically influenced by the work of the German Dadaist Kurt Schwitters and by his encounter with the art critic Pierre Restany, who later became the theoretician of Nouveau Réalisme. After a trip to Europe in 1947, attended the École des Arts Décoratifs in Paris. From 1949 he changed to the École du Louvre
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