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    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014
    Open a larger version of the following image in a popup: John M. Armleder, Untitled (4 chairs), 1986-2014

    John M. Armleder

    Untitled (4 chairs), 1986-2014
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    Photo: JC Lett
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    Dans la filiation des Ready-Made de Duchamp, l’artiste suspend quatre chaises banales en haut des arbres du parc. Ce geste absurde est fidèle à la philosophie du groupe Ecart, proche...
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    Dans la filiation des Ready-Made de Duchamp, l’artiste suspend quatre chaises banales en haut des arbres du parc. Ce geste absurde est fidèle à la philosophie du groupe Ecart, proche de Fluxus, qu’Armleder fonda en Suisse en 1968. Par des associations simples et délibérément humoristiques, Armleder bouscule la notion et le statut d’œuvre d’art, une chaise perchée en haut d’un arbre devient ainsi une sculpture monumentale. La sacralité de l’art est ici mise à distance au profit du plaisir du jeu et de l’inattendu.

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