And if the work of Arman, who never landed on his airport roundregarding, took off once more 21 years later? A work to which the famous international sculptor from Nice had devoted himself with passion, but which flopped without anyone really knowing why, despite exchanges with the Nice Côte d’Azur Chamber of Commerce and Industry. (CCI) and a start of construction in the premises of the metalwork-ironwork company François Labbé, in Saint-Isidore. Even today, his relatives are wondering, and reading, in Nice morningarticles regarding Nice’s crash in its candidacy for European Capital of Culture, contacted us to tell us regarding this adventure evaporated in the air of the Riviera.
Local talent
It is Véronique Guerrieri, passionate regarding the arts, then curator of exhibitions on her own, who recalls the facts from her home on the heights of Nice: “During the summer of 2002, I was contacted by a project director from the Nice Côte d’Azur Chamber of Commerce and Industry. She knew that I was working in the art world. She told me that there was already The traveler, mineral colossus by Max Cartier, enthroned on the first roundregarding connecting the two terminals of the airport and which, for the second roundregarding, a little further on, the CCI was looking for a famous artist from the region and wanted to work a local business. I thought of Arman, whom I knew.”
The project immediately inspired the artist, who was already weakened by illness. Véronique Guerrieri also works with the company F. Labbé, chemin de la Ginestière, in the Var plain, working in the building industry, inclined lifts, mobile glass roofs… but also in large-scale artistic creations.
High-flying resilience
The sculpture project had excited Arman.Photo DR.
The project is called Going Up. In other words, “to go up” in English… Action of elevation, which was to symbolize a monumental work of 8 meters in height and 5 tons, in stainless steel, composed of 7 silhouettes of planes planted vertically, more or less intertwined, noses pointing to the sky. A take-off or rather, a re-take-off. Get up following falling. The sculpture, giant, made sense, because it intervened following the attack of September 11, 2001, in Manhattan. Xavier Prieur, sales manager for F. Labbé, remembers the sculptor’s enthusiasm: “Arman felt very strongly regarding this attack and wanted this sculpture near an airport. And that it be done in his city, Nice, was close to his heart and honored him. He told us that the CCI had to validate the project, of which I had no official knowledge, at the start, but followingwards, Arman sent me network plans communicated by the CCI.”
A very present creator
The plan takes shape. Or rather, fuselage. Véronique Guerrieri continues the story: “The work Going Up was presented to Francis Perrugini, then president of the CCI. She responded to all the wishes of the consular chamber. For regarding 8 months, the project was studied carefully, all the technical constraints resolved via a study firm and the budget defined. A budget initially established at just over 237,000 euros, before increasing, in May 2004, to 251,000 euros. A particularly justified increase “by that of the price of stainless steel”, explains Xavier Prieur. Four models were designed by Arman in the F. Labbé workshops. “He came regularly to our workshops. He looked, changed, started on something else, assembled, welded. He was a wonderful man, of extreme simplicity, who really invested himself in this company.”
Funding has lost altitude
Xavier Prieur with the original aluminum model made and welded by Arman. Ch.R..
A project. Models. Mails. And following ? “When we met Francis Perrugini, says Véronique Guerrieri, he seemed very inspired, then he appeared less warm.”
On the side of the Labbé company, there is also a loss of altitude: “Arman felt that his project was blocking. So he offered to largely self-finance it, up to 70%, by making small sculptures identical to the original work, signed, that we would have made here in our production unit.“It was 48 small format pieces,”whichcontinues Véronique Guerrieri, would have been offered for sale in Arman’s wide network of collectors and in various galleries.” These mini sculptures have never seen the light of day.
On the wings of sadness
According to the former curator of exhibitions, “an estimate and financing had been proposed to the CCI, but the latter never responded. Arman, who was very ill, went back to New York and I didn’t feel like calling him to ask him what he was planning to do.“.
Xavier Prieur himself evokes “an upset artist, saying he is waiting for a return from the CCI”. Arman never came back from New York. On October 23, 2005, at the age of 76, he reached the sky towards which he wanted to see his aircraft profiles pointing, full of optimism and resilience. “We tried to relaunch the story with an investor ready to make Arman’s project in Paris a reality, but it didn’t work out..”
At a time when we talk regarding Nice and culture, those close to Arman would welcome the prospect of being able to go back around. Arman was a great artist. Known worldwide. “Technically and if the family agreesassures Xavier Prieur, we might build the sculptor’s monumental work here, in our studio. It would be a nice tribute…”
“It was too complicated”, defends the Chamber of Commerce
Véronique Guerrieri tried to find out “why the CCI did not pursue this project”. Not only: “I never got a response from him.”
We contacted Francis Perrugini, who chaired the CCI when Going Up arises from Arman’s mind. Here is what he told us:Terminal 2 of the airport was inaugurated in December 2002. When it was still under construction, we had planned to solicit artists to exhibit their works there, the Côte d’Azur being a land of art. For the interior, we had approached Novarro and Capron, the only one moreover, to whom we paid for the composition.
no way to buy
And for the exterior? “We thought of artists being able to put on works while having the opportunity to take them down, because they remain the owners. We therefore approached curators from several museums in Nice, including the Mamac, Matisse… We were very clear in telling them that the CCI had no intention of buying works and that it was at the expense of the artists. The goal was to make a showcase with a provision of works to promote their authors.”
“We have not signed anything”
Meanwhile, Arman arrives. A first interview takes place with Francis Perrugini, who continues: “Arman was interested in installing a work. He wanted to give away the design, but asked us to hire a company to make the work. I said why not? Arman came back with a metal model that he left for me. He had Labbé draw up a quote, which we received. If the work was done, we would have paid the Labbé company, but we did not follow up, we signed nothing and ordered nothing. It was too complicated. Because when we saw how much the curators of the solicited museums argued, we said stop! A little later, a lady came to collect Arman’s model. That’s all…”
