47
22 Jan 12 at 5 pm

Marcel Broodthaers - Minuit (1969)

Included in this exhibition are eight vacuum formed plastic and painted plaques that date between 1968-1970. These works come from a series Broodthaers called “Industrial Poems”.

These plaques recall the first plastic-based works Broodthaers made in 1963 when he had sections of his series of poems titled, Pense-Bete,(Dumb thought), stamped into some leftover plaster casts. Through this action the text was transformed as sculpture, poetry became object and the poet a visual artist. For Broodthaers, poetry remains essential, but he also began to perceive a necessity to instigate a transition from language towards the visual object. He emphasized the importance of the technical process which allowed him to fully realize this project. He applied a mold to the back side of a sheet of plastic thereby leaving the imprint of text and image on the front side. It was a simple process which permitted him to produce a large quantity of work at one time, and as such, forced a dialogue about the uniqueness of a work of art and Walter Benjamin’s theory about the loss of aura once a work has been repeatedly reproduced.

(Sutton Lane)

Marcel Broodthaers - Minuit (1969)

Included in this exhibition are eight vacuum formed plastic and  painted plaques that date between 1968-1970. These works come from a  series Broodthaers called “Industrial Poems”.
These plaques recall the first plastic-based works Broodthaers made  in 1963 when he had sections of his series of poems titled,  Pense-Bete,(Dumb thought), stamped into some leftover plaster casts.  Through this action the text was transformed as sculpture, poetry became  object and the poet a visual artist. For Broodthaers, poetry remains  essential, but he also began to perceive a necessity to instigate a  transition from language towards the visual object. He emphasized the  importance of the technical process which allowed him to fully realize  this project. He applied a mold to the back side of a sheet of plastic  thereby leaving the imprint of text and image on the front side. It was a  simple process which permitted him to produce a large quantity of work  at one time, and as such, forced a dialogue about the uniqueness of a  work of art and Walter Benjamin’s theory about the loss of aura once a  work has been repeatedly reproduced.

(Sutton Lane)
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    "Pense-bete" = reminder.
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