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Marcel BroodthaersGestalt-Bild-Abbildung
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Beschreibung
Marcel Broodthaers
Gestalt-Bild-Abbildung
9-teilige Arbeit: je typographisch bedruckte Leinwand 85 x 100 cm. Einzeln unter Glas gerahmt. - Mit geringfügigen Altersspuren.
Mit beiliegender Entwurfsskizze mit Anmerkungen des Künstlers zu der vorliegenden Arbeit vom August 1973.
Provenienz
Wide White Space Gallery, Antwerpen; Privatsammlung, Antwerpen
Ausstellungen
Knokke-Zoute 2014 (Galerie Ronny Van de Velde), Conceptual Art, Ausst.Kat., S. 34/35 mit Farbabb.
Brüssel 1974 (Palais des Beaux-Arts), Marcel Broodthaers, Catalogue, Catalogus, Ausst.Kat., o.S. mit Abb
Literatur
Gloria Moure, Marcel Broodthaers, Collected Writings, Barcelona 2012, S. 409 mit Installationsansicht
Diese Arbeit wird im Rahmen der Vorbesichtigung ausgewählter Werke am 20.Nov./21.Nov. von 10-17 Uhr in unserer Repräsentanz in Brüssel ausgestellt.
Zwischen 1972 und 1975 schafft der belgische Konzeptkünstler Marcel Broodthaers eine Serie mehrteiliger sogenannter Gemälde, die unter dem Titel „Peintures littéraires“ zusammengefasst werden. Die Arbeiten bestehen jeweils aus neun Leinwänden in einer festgelegten Hängung. Es handelt sich nicht, wie der Titel vermuten ließe, um eigenhändige Malerei, sondern um druckgraphische Arbeiten, die unter Aufsicht des Künstlers im Hochdruckverfahren in einer Buchdruckerei entstehen.
Die Darstellung der „Peintures littéraires“ beschränkt sich auf Textschnipsel, die in gleichmäßigen, auf die Bildfläche gesetzten Reihungen die Assoziationsfähigkeit des Betrachters ansprechen.
Das hier vorgestellte Werk zeigt nacheinander auf den in der oberen Reihe hängenden drei Leinwände oben und unten mittig die deutschen Begriffe „gestalt“, „bild“ und „abbildung“. Die darunter angeordneten Leinwände kombinieren an gleicher Position französischsprachige Begriffe wie „Le fou“, „L'armoire“ oder „La méduse“, die sich teils wiederholen. Statt einer Verbildlichung der gegebenen Begriffe sieht sich der Betrachter mit den gleichförmig angeordneten Verweisen wie „fig. A“ oder „fig. 2“ auf vermeintliche Abbildungen konfrontiert - Verweise, die aus wissenschaftlichen Publikationen bekannt sind, hier aber vollständig ins Leere laufen.
„Die „Peintures littéraires“ setzen die Reihe von Fragen fort, die sich Broodthaers bereits vor fast einem Jahrzehnt gestellt hatte, als er sich fragte: ‚Was ist Malerei? Also, sie ist Literatur. Was ist dann Literatur? Also, sie ist Malerei.' […] Broodthaers' Entscheidung zugunsten des Hochdrucks, der bis in die zweite Hälfte des 20. Jahrhundert die Standartdrucktechnik für Bücher war, vereint den Akt des Schreibens mit dem des Malens.“ (Kim Conaty, in: Marcel Broodthaers. Eine Retrospektive, Ausst.Kat, Museum of Modern Art New York u.a., Köln 2016, S. 271)
Marcel Broodthaers
Gestalt-Bild-Abbildung
9-part work: each typographically printed canvas 85 x 100 cm. Individually framed under glass. - Minor traces of age.
With accompanying draft sketch with comments about the work by the artist, dated August 1973.
Provenance
Wide White Space Gallery, Antwerp; private collection, Antwerp
Exhibitions
Knokke-Zoute 2014 (Galerie Ronny Van de Velde), Conceptual Art, exhib.cat., p. 34/35 with colour illus.
Brussels 1974 (Palais des Beaux-Arts), Marcel Broodthaers, Catalogue, Catalogus, exhib.cat, n.pag. with illus.
Literature
Gloria Moure, Marcel Broodthaers, Collected Writings, Barcelona 2012, p.409 with installation view
This artwork is on preview 20.Nov./21.Nov. from 10-17 hours in our office in Brussels.
Between 1972 and 1975, the Belgian conceptual artist Marcel Broodthaers created a series of multi-part so-called paintings, brought together under the title “Peintures littéraires”. The works were each made up of nine canvases hung in a defined pattern. They weren't, as the title suggests, actually painted by the artist, but printed works which were produced by the letterpress process under the supervision of the artist at a printers.
The presentation of “Peintures littéraires” is limited to snippets of text in even rows on the picture surface which address the association ability of the viewer. The present work shows the German terms “gestalt”, “bild” and “abbildung” one after another at the top and lower middle of the three canvases hanging in the top row. The canvases arranged below combine French terms such as “Le fou”, “L'armoire” or “La méduse” in the same position, some of which are repeated. Instead of a visualisation of the given terms, the viewer sees themself confronted with the uniformly arranged references such as “fig. A” or fig. 2” to supposed illustrations - references that are known from academic publications, but here fall completely into the void.
““Peintures littéraires” continues the series of questions which Broodthaers had already posed almost a decade ago, when he asked himself: 'What is painting? Well, it is literature. What then is literature? Well, it is painting.' […] Broodthaers' decision in favour of letterpress printing, the standard printing technique for books until the second half of the 20th century, unites the act of writing with that of painting.” (Kim Conaty, in: Marcel Broodthaers. Eine Retrospektive, exhib.cat., Museum of Modern Art New York et al., Cologne 2016, p. 271)
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Marcel Broodthaers
Gestalt-Bild-Abbildung
9-teilige Arbeit: je typographisch bedruckte Leinwand 85 x 100 cm. Einzeln unter Glas gerahmt. - Mit geringfügigen Altersspuren.
Mit beiliegender Entwurfsskizze mit Anmerkungen des Künstlers zu der vorliegenden Arbeit vom August 1973.
Provenienz
Wide White Space Gallery, Antwerpen; Privatsammlung, Antwerpen
Ausstellungen
Knokke-Zoute 2014 (Galerie Ronny Van de Velde), Conceptual Art, Ausst.Kat., S. 34/35 mit Farbabb.
Brüssel 1974 (Palais des Beaux-Arts), Marcel Broodthaers, Catalogue, Catalogus, Ausst.Kat., o.S. mit Abb
Literatur
Gloria Moure, Marcel Broodthaers, Collected Writings, Barcelona 2012, S. 409 mit Installationsansicht
Diese Arbeit wird im Rahmen der Vorbesichtigung ausgewählter Werke am 20.Nov./21.Nov. von 10-17 Uhr in unserer Repräsentanz in Brüssel ausgestellt.
Zwischen 1972 und 1975 schafft der belgische Konzeptkünstler Marcel Broodthaers eine Serie mehrteiliger sogenannter Gemälde, die unter dem Titel „Peintures littéraires“ zusammengefasst werden. Die Arbeiten bestehen jeweils aus neun Leinwänden in einer festgelegten Hängung. Es handelt sich nicht, wie der Titel vermuten ließe, um eigenhändige Malerei, sondern um druckgraphische Arbeiten, die unter Aufsicht des Künstlers im Hochdruckverfahren in einer Buchdruckerei entstehen.
Die Darstellung der „Peintures littéraires“ beschränkt sich auf Textschnipsel, die in gleichmäßigen, auf die Bildfläche gesetzten Reihungen die Assoziationsfähigkeit des Betrachters ansprechen.
Das hier vorgestellte Werk zeigt nacheinander auf den in der oberen Reihe hängenden drei Leinwände oben und unten mittig die deutschen Begriffe „gestalt“, „bild“ und „abbildung“. Die darunter angeordneten Leinwände kombinieren an gleicher Position französischsprachige Begriffe wie „Le fou“, „L'armoire“ oder „La méduse“, die sich teils wiederholen. Statt einer Verbildlichung der gegebenen Begriffe sieht sich der Betrachter mit den gleichförmig angeordneten Verweisen wie „fig. A“ oder „fig. 2“ auf vermeintliche Abbildungen konfrontiert - Verweise, die aus wissenschaftlichen Publikationen bekannt sind, hier aber vollständig ins Leere laufen.
„Die „Peintures littéraires“ setzen die Reihe von Fragen fort, die sich Broodthaers bereits vor fast einem Jahrzehnt gestellt hatte, als er sich fragte: ‚Was ist Malerei? Also, sie ist Literatur. Was ist dann Literatur? Also, sie ist Malerei.' […] Broodthaers' Entscheidung zugunsten des Hochdrucks, der bis in die zweite Hälfte des 20. Jahrhundert die Standartdrucktechnik für Bücher war, vereint den Akt des Schreibens mit dem des Malens.“ (Kim Conaty, in: Marcel Broodthaers. Eine Retrospektive, Ausst.Kat, Museum of Modern Art New York u.a., Köln 2016, S. 271)
Marcel Broodthaers
Gestalt-Bild-Abbildung
9-part work: each typographically printed canvas 85 x 100 cm. Individually framed under glass. - Minor traces of age.
With accompanying draft sketch with comments about the work by the artist, dated August 1973.
Provenance
Wide White Space Gallery, Antwerp; private collection, Antwerp
Exhibitions
Knokke-Zoute 2014 (Galerie Ronny Van de Velde), Conceptual Art, exhib.cat., p. 34/35 with colour illus.
Brussels 1974 (Palais des Beaux-Arts), Marcel Broodthaers, Catalogue, Catalogus, exhib.cat, n.pag. with illus.
Literature
Gloria Moure, Marcel Broodthaers, Collected Writings, Barcelona 2012, p.409 with installation view
This artwork is on preview 20.Nov./21.Nov. from 10-17 hours in our office in Brussels.
Between 1972 and 1975, the Belgian conceptual artist Marcel Broodthaers created a series of multi-part so-called paintings, brought together under the title “Peintures littéraires”. The works were each made up of nine canvases hung in a defined pattern. They weren't, as the title suggests, actually painted by the artist, but printed works which were produced by the letterpress process under the supervision of the artist at a printers.
The presentation of “Peintures littéraires” is limited to snippets of text in even rows on the picture surface which address the association ability of the viewer. The present work shows the German terms “gestalt”, “bild” and “abbildung” one after another at the top and lower middle of the three canvases hanging in the top row. The canvases arranged below combine French terms such as “Le fou”, “L'armoire” or “La méduse” in the same position, some of which are repeated. Instead of a visualisation of the given terms, the viewer sees themself confronted with the uniformly arranged references such as “fig. A” or fig. 2” to supposed illustrations - references that are known from academic publications, but here fall completely into the void.
““Peintures littéraires” continues the series of questions which Broodthaers had already posed almost a decade ago, when he asked himself: 'What is painting? Well, it is literature. What then is literature? Well, it is painting.' […] Broodthaers' decision in favour of letterpress printing, the standard printing technique for books until the second half of the 20th century, unites the act of writing with that of painting.” (Kim Conaty, in: Marcel Broodthaers. Eine Retrospektive, exhib.cat., Museum of Modern Art New York et al., Cologne 2016, p. 271)
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