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The Politics of Revolution and Negotiation Marcel Broodthaers's Museum of Modern Art: Department of Eagles Project

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2011, 34(), pp.355-382
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : December 30, 2011

이필 1

1Univ. of Chicago

Accredited

ABSTRACT

This essay investigates the Belgian artist Marcel Broodthaers's attempt to deconstruct the museum as a cultural frame by largely focusing on the Nineteenth-century Section, his inaugural exhibition of the Museum of Modern Art: Department of Eagles project (1968-1972). Broodthaers appropriated the existing museum system to invent his own conceptual art museum. This mock museum has significant implications for his own personal and national identity, the broader history of the European museum, and the artist's power to shape culture. Specifically, this essay analyzes layers of meanings implicit in the Museum signboard where Broodthaers inserted a Belgian artist Antoine Wiertz into the line of French master painters, thus forming a permutated line of masters which runs David-Ingres-Wiertz-Courbet. Broodthaers's ingenious construction of the signboard and its relation to his postcards collection for his fictitious museum suggests the idea of revolution in hiswork, central for his inquiry about the authority of the institution of the museum. However, the essay claims that Broodthaers critique was not a mere call for revolution. The multiple layers of his work can only be understood as a revolution followed by negotiation. The idea of revolution and its relation to the authority of the institution then further lead to a consideration of Broodthaers's concerns about the changing role of the artist in a changing culture. While Broodthaers undermined the canonical chronology of French art by injecting Wiertz alongside David-Ingres-Courbet, Broothaers nevertheless affirmed the existence of the Wiertz Museum and sought to use institutional structure to claim the artist's power in shaping culture. This essay claims that anticipating recent critical efforts to move beyond the critique of art institutions, Broodthaers's subversion of canonical institutional authority co-existed with his desire to negotiate institutional authority.

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