Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
Hbk, 9.5 x 12 in. / 352 pgs / 450 color. | 2/23/2016 | In stock ISBN 9780870709623 | $75.00
Published by The Museum of Modern Art, New York. Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
Marcel Broodthaers’ extraordinary artistic output placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Throughout his career, from early objects variously made of mussel shells, eggshells and books of his own poetry, to his most ambitious project, the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles), and the Décors made at the end of his life, Broodthaers occupied a unique position, often operating as both innovator and commentator. Setting a precedent for what we call installation art today, his work has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large. Published to accompany Broodthaers’ first retrospective in New York, this volume examines the artist’s work across all mediums. Essays by the exhibition organizers Christophe Cherix and Manuel Borja-Villel, along with a host of major scholars, including Benjamin H.D. Buchloh, Jean François Chevrier, Thierry de Duve and Doris Krystof, provide historical and theoretical context for the artist’s work. The book also features new translations of many of Broodthaers’ texts. Marcel Broodthaers (1924–76) worked as a poet and critic until the age of 40, when he declared himself a visual artist. Over the next 12 years, he moved between Brussels, his birth city, and Düsseldorf and London. From 1968 to 1972 Broodthaers operated the Musée d’Art Moderne, Département des Aigles, an itinerant museum devoted to the exploration of the role of the institution itself and the function of art in society.
Published by Siglio. Translated by Elizabeth Zuba.
This intimate and gorgeously produced book pairs Belgian artist-poet Marcel Broodthaers’ first two collections of poetry, My Ogre Book (1957) and Midnight (1960)—both previously unpublished in English—with an 80-image projection work, Shadow Theater (1973–74), made toward the end of his too-brief life. Together these works reveal a dizzyingly prodigious interplay between the images and texts, particularly illuminating Broodthaers’ use of the oblique and dark fairytale framework within (and against) which he plays with reflections and reproductions, inversions and fictions, body and shadow, decor and violence. My Ogre Book (Mon livre d’ogre) and Midnight (Minuit) served as a wellspring for Broodthaers’ later visual work: he continually recycled and reworked them into new schemata in his installations, films, sculptures and paintings. Both are wildly cinematic books that perform like a fictional theater set (or museum) for a dark fable of which we are only dimly aware. In this vein, Shadow Theater (Ombres chinoises), published in full for the first time here, creates a fantastical poetic landscape of semblance and sleights of hand. The three works are published together to provide the reader with an unprecedented opportunity to read Broodthaers in both language and image.
In 1970, Belgian artist and poet Marcel Broodthaers (1924–76) created several films—including Une Seconde d’Éternité d’aprčs une idée de Charles Baudelaire, or "A Second of Eternity According to an Idea of Charles Baudelaire"—in which he updated the 19th-century poet’s ideas of creativity and narcissism for the age of cinema. Broodthaers created the film using animation, tracing the strokes of his signature on 24 frames of film (one per second), opening the camera shutter every time that he changed or manipulated the image. The artist toys with the idea of a signature: typically the artist’s guarantee of a work’s completion and authenticity, here the signature is notable for the absence of work it accompanies. This volume, formatted as a paperback flipbook, is the perfect companion to and interpretation of the acclaimed film.
The Project for a Discourse of all Figures in Three Parts, previously unpublished and documented here in facsimile, is based on one of the blue school exercise books that Marcel Broodthaers (1924–76) worked on in Autumn 1970, after moving from Brussels to Düsseldorf. Tucked away in each of these originals is an envelope containing a 100 mark note from which the eagle has been cut out. The project recalls the founding of the legendary Musée d’Art Moderne Département des Aigles in 1968 and formulates ideas which Broodthaers would go on to realize in 1972 in the Kunsthalle in Düsseldorf in the "Section des Figures" of his institutional fiction. Curator and art historian Jürgen Harten describes his collaboration with Broodthaers on this project in this unique artist’s book and narrative hybrid, addressing the artistic and art-critical questions with which Broodthaers’ project confronted us.
This volume presents a survey of the photographs that the influential Belgian conceptualist Marcel Broodthaers (1924–1976) took between 1957 and 1974. Accompanying the photographs are texts (in French and German) by Broodthaers and additional contributions (also in German and French) by Marie Gilissen, Susanne Lange and Claudia Schubert.
Published by D.A.P./Distributed Art Publishers, Inc.. Edited by Marie-Puck Broodthaers. Text by Wilfried Dickhoff, Bernard Marcadé.
Marcel Broodthaers filled his brief, 12-year artistic career with more ideas and works than most artists manage in a lifetime. This career began in 1964, following a period of more than two decades laboring in some obscurity as a poet in the Belgian Surrealist circle of René Magritte (a crucial mentor for Broodthaers) and Paul Nougé. He also wrote articles on art during these years, including early critiques of Pop art. Broodthaers' first exhibition, held that year in Brussels, was accompanied by a now-famous announcement: "I, too, asked myself if I could not sell something and succeed in life. I had for quite a while been good for nothing … Finally the idea of inventing something insincere came to me and I got to work immediately." Traversing media freely-from installation and sculpture to artist's books, prints, film and writings-Broodthaers embodied the 'post-media artist' for whom any form could be recruited in the service of a larger conception. Those conceptions included institutional critique (of which he is a pioneer), art-historical critique, pastiche and philosophical-linguistic puzzles. Edited by Broodthaers' daughter Marie-Puck, and with a range of both classic and never-before-seen works, this volume is the largest and most authoritative Broodthaers monograph ever published. As such, it is the first substantial overview in nearly 25 years. It includes a biography, exhibition chronology and a selected bibliography of publications. Marcel Broodthaers was born in Belgium in 1924. From the late 1940s to the early 1960s he worked primarily as a poet, and was a member of the Belgian Groupe Surréaliste-revolutionnaire. After almost two decades of poverty, Broodthaers performed a symbolic burial of his career as a poet by embedding 50 copies of his poetry collection Pense-Bęte in plaster. Broodthaers died in 1976, on his fifty-second birthday, and is buried in Brussels beneath a tomb of his own design that features images from his allegorical repertoire, including a pipe, a wine bottle and a parrot. An important collection of his work can be seen at The Museum of Modern Art, New York.
Published by Ediciones Poligrafa. Edited by Gloria Moure. Text by Birgit Pelzer. Preface by Marie Gilissen Broodthaers.
“I, too, asked myself if I could not sell something and succeed in life... Finally the idea of inventing something insincere came to me and I got to work immediately.” With this statement, penned for his first solo show in April, 1964, Marcel Broodthaers (1924-1976) announced his death as a poet and birth as an artist. In fact, he was to transform the category of artist completely, purging the vocation of its medium-specific implications to pursue a unified conceptualism across media such as artist's books, prints, film, installation, sculpture and writings--” where the world of plastic arts and the world of poetry might possibly, I wouldn't say meet, but at the very frontier where they part.” Broodthaers' Museum of Modern Art, Eagles Department (1968-1972) inaugurated the practice now known as institutional critique, and the linguistic foundations of his art--as well as his emphasis on printed multiples--also proved prescient for subsequent strains of Conceptual art. Edited by Gloria Moure in collaboration with the artist's estate, this momentous publication eclipses in its scope all previous Broodthaers writings collections. It gathers his early poetry, statements, critical essays both published and unpublished, open letters, interviews, preparatory notes and scripts, plus a wealth of illustrations. Marcel Broodthaers was born in Belgium in 1924. From the late 1940s to the early 1960s he worked primarily as a poet, and was a member of the Belgian Groupe Surréaliste-revolutionnaire, which included André Blavier, Achille Chavée and René Magritte. After almost two decades of poverty, Broodthaers performed a symbolic burial of his life as a poet by embedding 50 copies of his poetry collection Pense-Bęte in plaster. However, his art continued to be characterized by its emphasis on written text. Broodthaers died in 1976, on his fifty-second birthday, and is buried in Brussels beneath a tomb of his own design that features images from his allegorical repertoire, including a pipe, a wine bottle and a parrot.
Published by Walther König, Köln. Foreword by Gregor Jansen, Vanessa Joan Müller. Text by Elodie Evers, Gregor Jansen.
The ongoing influence of Marcel Broodthaers (1924-1976) has extended itself to video art, Relational Aesthetics and text art of all kinds. This volume assesses that multifarious influence, in works by Tacita Dean, Olivier Foulon, Andreas Hofer, Henrik Olesen, Kirsten Pieroth, Stephen Prina, Rirkrit Tiravanija, Joëlle Tuerlincks, Susanne M. Winterling and Cerith Wyn Evans.
This previously unpublished Broodthaers project was conceived in 1970, in reaction to the 1968 publication of the now famous Michel Foucault book-length essay This is Not a Pipe. The Magritte painting "Ceci n'est pas une pipe" which sparked this debate was of paramount importance to Broodthaers, opening up lasting themes and avenues of exploration in his work: "this pipe stands at the beginning of my adventure," he once declared. Reconstituted through fragments recovered from the original project, which Broodthaers aborted in 1972, this book returns to the core of Broodthaers' complex artistic questioning and its entanglement with post-structuralist discourse.