Un coup de dés jamais n’abolira le hasard. Image
Marcel Broodthaers
1969
Un coup de dés jamais n’abolira le hasard. Image
Un coup de dés jamais n’abolira le hasard. Image
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Mallarmé’s Un coup de dés jamais n’abolira le hasard stands to postmodern poetry as Duchamp’s Fountain stands to conceptual art: a radical rethinking of the conventions of its medium, decades ahead of its time. In ...
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Un coup de dés jamais n’abolira le hasard. Image
Marcel Broodthaers
1969
Antwerp and Cologne: Galerie Wide White Space and Galerie Michael Werner
Unpaginated [32 pages]
32.5 × 25 cm
Edition of 300

Mallarmé’s Un coup de dés jamais n’abolira le hasard stands to postmodern poetry as Duchamp’s Fountain stands 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.




Alongside his reworkings of Heinrich Heine’s Die Lorelei (in En lisant la Lorelei) and Baudelaire’s La Beauté (in Je hais le mouvement qui déplace les lignes), 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 TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of publications devoted to concrete and visual poetry, as well as entirely “white books”.




Broodthaers’s Un coup de dés jamais n’abolira le hasard 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, A metrica n’aboolirà (JCT 1), conceived in 1968 and published that same year.

Antwerp and Cologne: Galerie Wide White Space and Galerie Michael Werner
Unpaginated [32 pages]
32.5 × 25 cm
Edition of 300

Mallarmé’s Un coup de dés jamais n’abolira le hasard stands to postmodern poetry as Duchamp’s Fountain stands 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.


Alongside his reworkings of Heinrich Heine’s Die Lorelei (in En lisant la Lorelei) and Baudelaire’s La Beauté (in Je hais le mouvement qui déplace les lignes), 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 TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of publications devoted to concrete and visual poetry, as well as entirely “white books”.


Broodthaers’s Un coup de dés jamais n’abolira le hasard 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, A metrica n’aboolirà (JCT 1), conceived in 1968 and published that same year.

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Mallarmé’s Un coup de dés jamais n’abolira le hasard stands to postmodern poetry as Duchamp’s Fountain stands 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.


Alongside his reworkings of Heinrich Heine’s Die Lorelei (in En lisant la Lorelei) and Baudelaire’s La Beauté (in Je hais le mouvement qui déplace les lignes), 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 TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of publications devoted to concrete and visual poetry, as well as entirely “white books”.


Broodthaers’s Un coup de dés jamais n’abolira le hasard 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, A metrica n’aboolirà (JCT 1), conceived in 1968 and published that same year.

Antwerp and Cologne: Galerie Wide White Space and Galerie Michael Werner
Unpaginated [32 pages]
32.5 × 25 cm
Edition of 300

Mallarmé’s Un coup de dés jamais n’abolira le hasard stands to postmodern poetry as Duchamp’s Fountain stands 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.


Alongside his reworkings of Heinrich Heine’s Die Lorelei (in En lisant la Lorelei) and Baudelaire’s La Beauté (in Je hais le mouvement qui déplace les lignes), 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 TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of publications devoted to concrete and visual poetry, as well as entirely “white books”.


Broodthaers’s Un coup de dés jamais n’abolira le hasard 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, A metrica n’aboolirà (JCT 1), conceived in 1968 and published that same year.

MORE BOOKS

Mallarmé’s Un coup de dés jamais n’abolira le hasard stands to postmodern poetry as Duchamp’s Fountain stands 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.


Alongside his reworkings of Heinrich Heine’s Die Lorelei (in En lisant la Lorelei) and Baudelaire’s La Beauté (in Je hais le mouvement qui déplace les lignes), 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 TEXT AS IMAGE at Studio 454 in Venice, alongside a profusion of publications devoted to concrete and visual poetry, as well as entirely “white books”.


Broodthaers’s Un coup de dés jamais n’abolira le hasard 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, A metrica n’aboolirà (JCT 1), conceived in 1968 and published that same year.

MORE BOOKS