{"title":"Marcel Broodthaers","description":null,"products":[{"product_id":"phantomas-no-62","title":"Phantomas no. 62","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54577891246419,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4375.png?v=1786624109"},{"product_id":"un-coup-de-des-jamais-n-abolira-le-hasard-image","title":"Un coup de dés jamais n’abolira le hasard. Image","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMallarmé’s \u003cem\u003eUn coup de dés jamais n’abolira le hasard \u003c\/em\u003estands to postmodern poetry as Duchamp’s \u003cem\u003eFountain \u003c\/em\u003estands to conceptual art: a radical rethinking of the conventions of its medium, decades ahead of its time. In his notorious variation on the Symbolist poem, Broodthaers transforms Mallarmé’s work into an abstract, almost haptic sequence of images, emphasizing its spatial and typographic structure as a conceptual artwork in its own right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlongside his reworkings of Heinrich Heine’s \u003cem\u003eDie Lorelei \u003c\/em\u003e(in En lisant la Lorelei) and Baudelaire’s\u003cem\u003e La Beauté\u003c\/em\u003e (in \u003cem\u003eJe hais le mouvement qui déplace les lignes\u003c\/em\u003e), this work ranks among the most significant literary appropriations Broodthaers conceived over the course of his career. It was exhibited in 2024 as part of \u003cem\u003eTEXT AS IMAGE\u003c\/em\u003e at Studio 454 in Venice, alongside a profusion of publications devoted to concrete and visual poetry, as well as entirely “white books”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBroodthaers’s \u003cem\u003eUn coup de dés jamais n’abolira le hasard\u003c\/em\u003e not only shares affinities with Emilio Isgrò’s technique of conceptual erasure; it also coincided with the publication of Mario Diacono’s parody of Mallarmé, \u003cem\u003eA metrica n’aboolirà (JCT 1)\u003c\/em\u003e, conceived in 1968 and published that same year.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638810202451,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4470.png?v=1787229137"},{"product_id":"charles-baudelaire-je-hais-le-mouvement-qui-deplace-les-lignes","title":"Charles Baudelaire. Je hais le mouvement qui déplace les lignes","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMarcel Broodthaers’s conceptual reworking of Baudelaire’s sonnet “La Beauté” originated in a seminar on the poet given by the philosopher Lucien Goldmann in Brussels in the winter of 1969–70, to which Broodthaers had been invited to participate as an artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHis fragmentary reading of the poem challenges the formal structures of typography and the fixity of meaning by focusing on its seventh line, which also provides the title of the book: “Je hais le mouvement qui déplace les lignes” (I hate movement that displaces lines).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn her essay “Marcel Broodthaers: The Place of the Subject”, Birgit Belzer interprets this conceptual variation as a playful engagement with “the conventions of editing, which are part of the definition of the book”: Broodthaers repeatedly manipulates its standard markers (the author’s name, title, place and date of publication) through “the same strategy of an occultation that affirms, validates and makes present what is absent”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlongside his reworkings of Heinrich Heine’s \u003cem\u003eDie Lorelei\u003c\/em\u003e and Stéphane Mallarmé’s \u003cem\u003eUn coup de dés jamais n’abolira le hasard\u003c\/em\u003e, this work stands among the most significant literary appropriations Broodthaers conceived during his career. It was exhibited in 2024 as part of \u003cem\u003eTEXT AS IMAGE\u003c\/em\u003e at Studio 454 in Venice, alongside a profusion of concrete and visual poetry publications, as well as entirely “white books”.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54640285876563,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4472.png?v=1787237640"},{"product_id":"en-lisant-la-lorelei-wie-ich-die-lorelei-gelesen-habe","title":"En lisant la Lorelei. Wie ich die Lorelei gelesen habe","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this text-and-image composition, Marcel Broodthaers revisits Heinrich Heine’s\u003cem\u003e \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003eDie Lorelei\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e \u003c\/em\u003ethrough an anachronistic combination of 19th-century color engravings of the poem, his own line drawings, and extracts from financial newspapers. In doing so, Broodthaers disrupts the romantic mythology of Lorelei as an evil female spirit who lures people to their death in the water, replacing the poem’s narrative with the fragmentary language of economic charts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eQuoting Heine in the epigraph to his introduction (“When I think of Germany in the night, \/ I cannot find sleep”), Broodthaers reflects on the tragic destiny of a capitalist Europe, tracing the transformation of Romantic imagery into the language of destruction:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It is not only Germany that makes me sad, even though old songs sometimes cross my mind. It is in many countries of Europe that its nostalgia has taken the place of an already nostalgic reality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHistorical Romanticism has become perverted in a process of destruction. Its face of ashes reappears as a signal of authority. Yet certain rumors still sing harmoniously, like ‘The Lorelei.’ Today, it’s ‘ready-to-wear.’ Let’s go back a hundred and fifty years. It was then legitimate that Heinrich Heine wanted to overcome Romanticism through irony. He did not marry ‘Lorelei.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhether Heinrich Heine’s voice was inscribed in the direction of modern thought or the opposite has already been the subject of a debate that had its relevance around the 1930s with Georg Lukács. And I do not wish to engage here in that analysis. It is not at all a matter of fixing a single figure. My proposal here, fragmentary, concerns the evolution of imagery around the Lorelei and the Rhine in the context of current developments.” (loosely translated from the French)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBroodthaers’s last artist’s book based on a literary work was released posthumously, with copies authenticated by the stamp “Estate Marcel Broodthaers” and numbered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54667934531923,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4478.png?v=1787480389"},{"product_id":"l-entre-de-l-exposition","title":"L’Entré de l’Exposition","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54750327439699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4552.png?v=1787838554"}],"url":"https:\/\/metabooks.art\/collections\/marcel-broodthaers.oembed","provider":"Metabooks","version":"1.0","type":"link"}