Charles Baudelaire. Je hais le mouvement qui déplace les lignes
Marcel Broodthaers
1973
Charles Baudelaire. Je hais le mouvement qui déplace les lignes
Charles Baudelaire. Je hais le mouvement qui déplace les lignes
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Marcel 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 ...
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Charles Baudelaire. Je hais le mouvement qui déplace les lignes
Marcel Broodthaers
1973
Hamburg: Edition Hossmann
Unpaginated [16 pages]
31.8 × 25 cm
Edition of 300

Marcel 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.


 


His 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).


 


In 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”.


 


Alongside his reworkings of Heinrich Heine’s Die Lorelei and Stéphane Mallarmé’s Un coup de dés jamais n’abolira le hasard, this work stands among the most significant literary appropriations Broodthaers conceived during his career. It was exhibited in 2024 as part of TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of concrete and visual poetry publications, as well as entirely “white books”.

Hamburg: Edition Hossmann
Unpaginated [16 pages]
31.8 × 25 cm
Edition of 300

Marcel 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.

 

His 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).

 

In 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”.

 

Alongside his reworkings of Heinrich Heine’s Die Lorelei and Stéphane Mallarmé’s Un coup de dés jamais n’abolira le hasard, this work stands among the most significant literary appropriations Broodthaers conceived during his career. It was exhibited in 2024 as part of TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of concrete and visual poetry publications, as well as entirely “white books”.

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Marcel 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.

 

His 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).

 

In 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”.

 

Alongside his reworkings of Heinrich Heine’s Die Lorelei and Stéphane Mallarmé’s Un coup de dés jamais n’abolira le hasard, this work stands among the most significant literary appropriations Broodthaers conceived during his career. It was exhibited in 2024 as part of TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of concrete and visual poetry publications, as well as entirely “white books”.

Hamburg: Edition Hossmann
Unpaginated [16 pages]
31.8 × 25 cm
Edition of 300

Marcel 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.

 

His 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).

 

In 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”.

 

Alongside his reworkings of Heinrich Heine’s Die Lorelei and Stéphane Mallarmé’s Un coup de dés jamais n’abolira le hasard, this work stands among the most significant literary appropriations Broodthaers conceived during his career. It was exhibited in 2024 as part of TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of concrete and visual poetry publications, as well as entirely “white books”.

MORE BOOKS

Marcel 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.

 

His 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).

 

In 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”.

 

Alongside his reworkings of Heinrich Heine’s Die Lorelei and Stéphane Mallarmé’s Un coup de dés jamais n’abolira le hasard, this work stands among the most significant literary appropriations Broodthaers conceived during his career. It was exhibited in 2024 as part of TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of concrete and visual poetry publications, as well as entirely “white books”.

MORE BOOKS