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Marcel Broodthaers (28 January 1924 – 28 January 1976) was a Belgian poet, filmmaker and artist with a highly literate and often witty approach to creating art works. ==Life and career== Broodthaers was born in Brussels, Belgium, where he was associated with the Groupe Surréaliste-revolutionnaire from 1945 and dabbled in journalism, film, and poetry. After spending 20 years in poverty as a struggling poet,〔Oxford Art Online; Essay on Broodthaers by Michael Compton〕 at the end of 1963 he decided to become an artist and began to make objects.〔(Marcel Broodthaers ) Tate.〕 He performed the symbolic act of embedding fifty unsold copies of his book of poems ''Pense-Bête'' in plaster, creating his first art object. That same year, 1964, for his first exhibition, he wrote a famous preface for the exhibition catalogue;
Broodthaers made his first film in 1957, and from 1967 he produced over 50 short films in documentary, narrative, and experimental styles.〔(Marcel Broodthaers ) Tate.〕〔(The Films of Marcel Broodthaers: Between Art History and Film Studies, 15 May 2010 ) University of Chicago.〕 Broodthaers later worked principally with assemblies of found objects and collage, often containing written texts. He incorporated written language in his art and used whatever was at hand for his raw materials—most notably the shells of eggs and mussels, but also furniture, clothing, garden tools, household gadgets and reproductions of artworks.〔Suzanne Muchnich (18 July 1989), (Sincerely Insincere ) ''Los Angeles Times''.〕 In his ''Visual Tower'' (1966), Broodthaers made a seven-story circular tower of wood. He filled each story with uniform glass jars, and in every jar he placed an identical image taken from an illustrated magazine, of the eye of a beautiful young woman.〔John Russell (23 April 1989), (An Antic, Insubordinate Performer Babel? ) ''New York Times''.〕 For ''Surface de moules (avec sac) (Surface of mussels (with bag))'' (1966), he glued mussels in resin on a square panel;〔Souren Melikian (28 June 2012), (Modern Blue Chips Avert Downturn ) ''New York Times''.〕 in 1974 the artist added a discreet metal hook to the centre of the work designed to support a shopping bag filled with mussel shells.〔(Marcel Broodthaers, ''Surface de moules (avec sac) (Surface of mussels (with bag))'' (1966) ) Christie's Post-War and Contemporary Art Evening Auction, 27 June 2012, London.〕 From 1968 to 1975 Broodthaers produced large-scale environmental pieces that reworked the very notion of the museum.〔John Russell (23 April 1989), (An Antic, Insubordinate Performer Babel? ) ''New York Times''.〕 His most noted work was an installation which began in his Brussels house which he called ''Musée d'Art Moderne, Départment des Aigles'' (1968). This installation was followed by a further eleven manifestations of the 'museum', including at the Kunsthalle Düsseldorf for an exhibition in 1970 and at documenta 5 in Kassel in 1972. In 1970 Broodthaers conceived of the ''Financial Section'', which encompassed an attempt to sell the museum "on account of bankruptcy." The sale was announced on the cover of the Art Cologne fair catalogue in 1971, but no buyers were found. As part of the ''Financial Section'', the artist also produced an unlimited edition of gold ingots stamped with the museum's emblem, an eagle, a symbol associated with power and victory. The ingots were sold to raise money for the museum, at a price calculated by doubling the market value of gold, the surcharge representing the bar's value as art.〔(Marcel Broodthaers, ''Musée d'Art Moderne, Département des Aigles, Section Financière (Museum of Modern Art, Department of Eagles, Financial Section)'' (1970-1971) ) Museum of Modern Art, New York.〕 In 1975 Broodthaers presented the exhibition "L’Angelus de Daumier" at the Centre National d’Art Contemporain in Paris, at which each room had the name of a colour.〔(Marcel Broodthaers, ''La Salle blanche'' (1975) ) MACBA, Barcelona.〕 In ''La Salle Blanche (The White Room)'' (1975), a life-size copy of a room and a half in Broodthaers' home in Brussels, the wooden walls of the empty, unfurnished rooms are covered with printed words in French—such as museum, gallery, oil, subject, composition, images, and privilege—all intended to examine "the influence of language on perceptions of the world and the ways museums affect the production and consumption of art."〔Suzanne Muchnich (18 July 1989), (Sincerely Insincere ) ''Los Angeles Times''.〕〔Michael Brenson (15 June 1984), (For Jean Cocteau, Word Was Multifarious ) ''New York Times''.〕 For such works he is associated with the late 20th century global spread of both installation art, as well as "institutional critique," in which interrelationships between artworks, the artist, and the museum are a focus. From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London.〔(Marcel Broodthaers ) Tate.〕 He died of a liver disease〔Suzanne Muchnich (18 July 1989), (Sincerely Insincere ) ''Los Angeles Times''.〕 in Cologne, Germany on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marcel Broodthaers」の詳細全文を読む スポンサード リンク
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