The Down with the Pop Art Series

 

The Kiss (tirage 8+4 EA) - 2008

Bronze, nickel

h60cm

 

Silver Kiss (tirage 8+4 EA) - 2008

Fiberglass, aluminum

h60cm

 

Red Kiss (tirage 8+4 EA) - 2008

Red coated fiberglass

h60cm

 

Big Red Kiss - 2009

Fiberglass, coated red

h300cm (350cm avec socle inox pour extérieur) x 280cm

 

Installation view (sharing exhibition space with the work of Felice Varini) at the Contemporary Art Centre of Chatellerault

 

«For instance a Coca Cola bottle is attacked by two planes (The Kiss, 2008). The piece has multiple meanings, it can be a symbolic representation of a Saint-Sebastien, pierced by arrows or it can be a critique of the consequences of capitalism, as the association of the two objects can be interpreted as a cross between the 9/11 attacks and the marketing giants. A priori nothing seems to link these two elements. One is a terrorist strike that traumatized the whole world (a subject still very under presented as it is still taboo), the other is an object of hyper-consumption, a symbol of the crushing effects of globalization. The use of "hard hitting shortcuts" allows the two objects to open up universal interpretations that transcend culture and are understood by all.It is precisely this global dimension that Arnaud Cohen wishes to work within. The objects reproduced at a different scale or in a hardly altered form are part of our everyday lives, our interactions whether conscious or unconscious to the image: media, publicity, artistic, or religious. Cohen states: If the meaning is fundamental, the sharing of this meaning is something else. This is why it is so important for me to use the letters of the demotic alphabet. Like this I can offer a first level reading, without ever giving up the privilege of further exchange with those who make the effort and have the means. So my Big Red Kiss is of course an allegory of the attacks of 11th September, America Under Attack, a Pearl Harbor of vertical capitalism, but it is also a Saint Sebastian, a Christ on the cross, the world market victim of the tools of globalization, the telescoping of two works by Dali (his May West mouth and his Dream caused by the flight of a bee around a pomegranate one second before awakening), the assassination of the father whether it's Warhol or Koons, and still many more things: did you know it takes up to nine liters of water to produce one liter of Coca Cola? What do you think the wars of the 21st century should look like? »

Julie Crenn, Arnaud Cohen Mécanismes de la contestation, in revue LAURA #14

 

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Black Coke down - 2009

Black coated fiberglass

h45cm x 90cm x 300cm

 

Installation view in a private collection

 

 

 

Remains of the day #1 - 2011

Aluminum, fiberglass, resin

h103cm x 67cm x 125cm

 

Remains of the day #2 - 2011

Aluminum, fiberglass, resin

h94cm x 105cm x 105cm

 

Remains of the day #3 - 2011

The column with the goat (a tribute to Raushenberg)

Aluminum, fiberglass, resin and stuffed goat

h94cm x 105cm x 105cm

Works from the « Remains of the day, a tribute to Anne & Patrick Poirier » series

 

Are these really ruins? Dead vestiges of the consumer society? Archeological objects? Arnaud Cohen (…) welcomes us to the Laure Rownette Gallery with three antique columns which take the shape of Coca-Cola bottles: an amiable post-pop joke, post-Koonsian, an amusing critique of the most famous brand in the world. Maybe so, but what is that female goat doing planted on one of the ruins ? Rather than being guided by memories of visits to Greek temples or Raushenbergian Combines perhaps we should see a mark of life there, amongst these dead ruins: the truncated bottle could be Mount Ida and the goat, Amalthea. And what are these crevasses on the side of the ruins, not cracks of dilapidation, but on the contrary anatomically fertile fissures. And that pinkish glow radiating form one of the truncated bottles: phosphorescent, vibrant, alive, is this not a sign of life? of irrigated mucus? of sanguine vitality? of approaching birth? Marc Lenot. Living amongst the ruins 2011, (excerpt).

The Sliding Ed TAZ Raft  - 2018

(Ed is for Edouard Glissant. Glissant in French means either Sliding or Slippery)

On a Raft made of recycled 3m long Coke bottles and planks made from the artist's island trees stand two recycled mannequin kids wearing masks of Hakim Bey and Olympe de Gouge. In a world getting darker and darker, they sail across the globe, looking for the perfect shore to start again and creolize our planet.