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positions contrast gracefully with
the calligraphic craftsmanship and
“beauty” that “decorate” the world
of other artists. The “object-reliefs”
of the same period, full of unex
pected associations, are the product
of Arp the jester. The same may be
said of his poetry, in which there
abound absurdities mockingly ex
pressed in inflated mannerisms of
speech, in imaginative deformations
of words, in puns and grotesque ir
rational images. The realities and
banalities of everyday life are, for
him, part and parcel of poetry.
A mere glance at the titles 0 of
Arp’s works illustrates to what an
extent he was preoccupied with odd
“configurations,” as he called them, of
beings and objects, of bottles, mouths,
neckties, navels, moustaches, leaves,
anchors and heads, etc. How are we
to explain his marked tendency, es
pecially typical of the early period,
to break man’s body down into sun
dry parts? There can be no doubt
that it springs from a desire to place
man on the level of the innumerable
things that surround him, “pour
elles, il n’y a pas de quartier de
noblesse,” Picasso has said. For Arp,
man is not the crown of creation,
but simple, lost, transient, like a leaf
in the wind. Everywhere in his work
a kind of romantic irony disrupts
man’s bombastic self-satisfaction, re
ducing him to the humble scale of
his surroundings. Precisely the same
6. Tête moustache et bouteille; Soulier,
lèvres, nombril; Têtes et cravattes; Tête et
feuille; Le gant; La moustache sans fin; Le
corpusculus; Objets placés comme l’écriture;
Objets placés d’après la loi du hasard; Con
figurations, etc.
tendency is present in Arp’s poems,
“The Pyramid’s Petticoat,” “The
Cloud Pump,” etc. Arp starts by
throwing everything conceivable
into a vast bag which is thoroughly
shaken in order to upset all logical
order and to annihilate any rigid
hierarchy of values. He subsequently
conjures up a transformed world,
full of ingenious and paradoxical
ties between bodies and ideas, an
irrational world where everything
is fraternally compatible with every
thing else. New life is imparted to
the basic unit of speech, the word,
and its power to evoke images and
associations. Consecutive descrip
tion (the result of a mechanical con
ception of time) is as foreign to
Arp’s poetry as perspective (the re
sult of an analogous conception of
space) is foreign to his art.
As early as 1908, Arp had been
interested in the problem of defor
mation and in the deliverance of
art from servile imitation. During a
long stay in Weggis 6 7 (Switzerland)
in 1909-12, Arp, together with some
Swiss artists, founded the “Mo-
derner Bund.” The group arranged
meetings and exhibitions in Zurich
and Lucerne, through which they
hoped to launch their ideas. How
ever, the most decisive influence
upon Arp was his coming into con
tact with the well-known “Blaue
Reiter,” a group founded in Munich
(1912) by Kandinsky and Franz
Marc. Even today Arp regards Kan
dinsky’s inspiring personality, next
to Ball’s ascetic fervor, as one of the
crucial experiences of his life. The
7. Where he first met Paul Klee.