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Musée d'Arte Moderne, Département des Aigles, Section des Figures.
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Musée d'Arte Moderne, Département des Aigles, Section des Figures.
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Title
Musée
d'Arte
Moderne
,
Département
des
Aigles
,
Section
des
Figures
.
Creator
Broodthaers, Marcel (Belgian installation artist and author, 1924-1976)
Date
1972
Cultural Context
European
Western European
Theme
Exhibitions (events)
Installations (visual works)
Museums (institutions)
Fiction
Fantasy
Imagination
Art objects (object genres)
Works of art
Art (fine art)
Arts (broad discipline)
Museology
Ideology
Value (economic concept)
Taxonomies
Materialism
Capitalism
Symbolism (artistic concept)
Symbols
Signage
Labels (identifying artifacts)
Signs (declaratory or advertising artifacts)
Identification signs
Logos
Found objects
Bottles
Vessels (containers)
Containers (receptacles)
Corks (stoppers)
Emblems (symbols)
Figures (representations)
Birds
Eagles (birds)
Animals
Wild animals
Wildlife
Subject
Exhibitions
Art exhibitions
Galleries & museums
Fantasy
Art objects
Art
Capitalism
Commercialism
Imperialism
Symbols
Signs (Notices)
Labels
Logos
Bottles
Eagles
Birds
Animals
Description
"
Broodthaer's
Musée
d'Arte
Moderne
assumed
various
forms
. The
'Department
of
Eagles'
,
which
contained
the
exhibits
pictured
here, had
further
permutations
in
other
venues
. In a
Düsseldorf
showing
of
1970
the
museum's
'nineteenth-century'
section
consisted
of
eight
nineteenth-century
paintings
borrowed
from the
city's
museum
which
Broodthaers
hung
in
two
rows
according
to the
principles
of
size
,
shape
, and
genre
. In
Antwerp
and
Brussels
,
art-historical
epochs
were
represented
via
postcard
reproductions
of
artworks
.
Conventional
museological
notions
of
ordering
and
value
were
methodically
scrambled.
"
(Caption
,
p.166)
; "
Marcel
Broodthaers
,
based
in
Belgium
,
took
up
visual
art
in
1964
having
previously
been a
poet
. His
relations
to
it
were to be
profoundly
ambivalent
. He had been
involved
in a
spin-off
group
from
CoBrA
and the
Belgian
Communist
Party
in the
1940s
and
1950s
and was
critical
of the
commercial
motivations
of
much
1950s
avant-gardism
,
particularly
American
Pop
. For him the
Marxist
notion
of
'reification'
(the
illusory
sense
that
social
relations
or
values
are
immutable
,
which
extends
to
capitalism's
implantation
of
abstract
values
in
material
goods)
was
art's
defining
principle
. His
characteristic
works
involved
esoteric
exposés
of the
arbitrary
relationships
between
objects
and
signs
, in the
tradition
of the
Belgian
Surrealist
René
Magritte's
famous
depiction
of a
pipe
with the
words
'This
is
not a
Pipe'
inscribed
beneath
. In
1965
, for
instance
, he
took
two
human
femur
bones
,
one
male
and
one
female
, and
painted
them the
colors
of the
Belgian
and
French
flags
respectively
,
obliquely
commenting
on the
way
national
characteristics
are
thought
,
like
gender
, to be
innate
.
[…]
In
1968
Broodthaers
participated
in a
sit-in
by
artists
at the
Palais
Beaux-Arts
in
Brussels
. This
inspired
his
most
explicitly
political
project
-
a
sardonic
dismantling
of the
notion
of the
museum
and its
functions
.
It
took
place
between
1968
and
1972
in a
series
of
enigmatic
events
and
installations
manifesting
different
'sections'
of a
fictitious
museum
.
Possibly
the
most
elaborate
'section'
, the
'Department
of
Eagles'
,
displayed
in the
Kunsthalle
in
Düsseldorf
in
1972
,
consisted
of
vitrines
containing
diverse
representations
of
eagles
,
produced
in
art
,
craft
, or
commercial
contexts
and
dating
'from
the
Oligocene
to the
present'
. The
objects
were
accompanied
by
signs
asserting
'This
is
not a
work
of
art'
.
Acknowledging
Magritte
as
well
as
[Marcel]
Duchamp's
readymades
, the
declarations
implied
that
museums
obscure
the
ideological
functioning
of
images
via
the
imposition
of
spurious
value
judgments
or
taxonomies
.
Eagles
have
often
symbolized
the
transcendence
of
material
reality
but,
like
certain
museum
collections
, they have also
signified
imperial
might
.
(Excerpt
,
p
.
165)
Material
Found objects
Inscription
Sign in front reads: 67 This is not a work of art
Work Type
Installations (visual works)
Exhibitions
Art exhibitions
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.166, fig.84)
Rights
Photograph reproduced in Hopkins courtesy: Maria Gilissen. © DACS, 2000.
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
826-38.jpg
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