Assembly

The assembly became a very important aspect of the art when a more and more important number of artists questioned the idea of the work as a quite homogeneous, unified, obeying the hierarchical criteria associated with the traditional materials. It was not still evident that any material can enter by rights the artistic field and be assembled with the other one. The principle of the assembly consists of the configuration of diverse material, phenomenon which knows a progressive extension throughout the century. A step had already been exceeded this way by Kurt Schwitters who indicates in 1919 which used lost property as materials. This conception collided with Clément Greenberg's ideas who wanted a shape of "purity" of paint opposing in it to the principle of Pop Art which was going to appear after the second world war. For Robert Rauschenberg " the error it is to isolate the paint(painting), it is to classify her(it), j used(employed) materials others than the paint(painting), so that we can see things in a new way "

Appropriation, recovery, are decisive notions from the moment are developed the practices of the assembly, where confirmed the tendency assimilating the most heterogeneous materials corresponding to our urban society.

The Surrealism: the urban wastebasket and the oedipian dream. Its contents were updated to include accessories of showers, tires, television set, fragments of rusty engines and signboards of neon (on this point the assembly joins the pop). But usually these elements appear by fragments, where all the group of fragments establishes(constitutes) a fragment of common reality, in the style of the late Cubist; and so we constantly are playing by our current answers with the first quarter of this century. The experimental art on 1966 In 1950 the assembly is very appreciated by the new realists. Among others, Arman realizes garbage cans, where pile up rubbish, garbage through a window, and accumulations where are collected the functional objects of same one family, more or less worn. Through the accumulation, Arman introduces besides the dimension of the quantitative which contributes to divert(hijack) the status of the object envisaged in its peculiarity as well as the functions(offices) which are attributed(awarded) to him(her), advancing(moving), not her reduction, plastic consequences which begin working for and by themselves. The confrontation of several materials and techniques is a line of inescapable strength of the modern art connected in tendency widely investigated by the fact that have him sometimes indicated under the generic name of mixed techniques.