Musée d’art moderne, Département plusieurs aigles, Section XIX siècle. (Museum of contemporary Art, Bald eagle Department)
This really is really a imaginary institution, a monumental work of conceptual art by itself – at that time it opened up (1968), The city didn’t have Museum of contemporary Art. (Which endeavor would be a jab in the lack too.)
The artist – as well as curator, administrator, press agent, and museum founder – Marcel Broodthaers required the name in one of his verses : ô mélancolie, aigre Château plusieurs aigles (O melancholy, the bitter Castle of eagles) and filled his “museum” with postcards featuring famous pieces of art (for example La grand odalisque, Jean Auguste Dominique Ingres, below), boxes and crates, designed to imitate installing an exhibit.
Based on him, reproductions were worth nearly as much as the originals, and wooden crates could represent perfectly well the whole shebang inside – reply to the occasions of Mai 68, which in fact had also shaken Belgium. His exhibition would be a reflection around the relation between your arts and also the museum/gallery, and also the more and more “material” facet of artwork, as consumerism flourished in Europe.
This Museum is really a make believe museum. It plays the function of, around the one hands, a political parody of art shows, and however a creative parody of political occasions. Which is actually what official museums and institutions like documenta do. Using the difference, however, that the work of fiction enables you to definitely capture reality and simultaneously what it really conceals. (1)
His “museum” was upgrading of Marcel Duchamp’s Fountain (2) “Basically say it’s art, it’s art, but maybe I’m just screwing along with you.Inches The press qualified his exhibition being an “imaginary institution” along with a “fictional museum” – that they agreed with completely, even saying throughout the “real” opening from the Department of Eagles (3) the entreprise was only a “trick” or “lie” passing itself off like a museum. (4)
What he desired to do was throw into question the need for a thing of beauty (could it be “good” because it’s great, or since the art snobs let them knowOrit is inside a museum?), by extension the workings from the art market (what is the “conspiracy” to make sure artists appear more essential than they are really? Could it be much more about whom you know than you need to do?), and more importantly – similar to uncle René Magritte (5) and Walter Benjamin (6) – to look at the relation between an authentic and it is copies: do reproductions repeat the same items to the viewer? Could they be still as effective? Who’s art for? And what’s art, exactly? The look or even the factor/support?
The museum ceases to exist, but there has been retrospectives – the newest was the reconstitution at La Monnaie (Paris) in 2015, and should you ever end up in The city, you are able to stand before 30, Rue en Pepinière and have a selfie having a shiny sign. You’ll be able to mix the road and eat fried sausages with a number of sauces.
Its not necessary to determine the particular museum. It’s the concept that counts, in the end )
Hope this helped!
(1) Marcel Broodthaers, “Musée d’Art Moderne, Département plusieurs Aigles, Section Art Moderne et Publicité” (1972), in Gloria Moure, Marcel Broodthaers: Collected Writings (Barcelona: Ediciones Poligrafa, 2012).
Marcel Duchamp, Fontaine, 1917.
(3) His “museum” was open from 1968–1972, in a variety of locations 1969 in Antwerp, 1970–1972 Düsseldorf and also the other half of 1972 in Kassel, with new sections each and every opening – “Section XVII”, “The Motion picture Section”, “The Portion of Figures”. The Department of Eagles opened up in 1968, and it was filled with…all types of stuff, featuring eagles – sculptures, stuffed examples, lighters, buttons, picture books…and before every display situation was stuck the label “Ceci n’est pas une oeuvre d’art” – This isn’t a thing of beauty.
(4) L’entreprise n’est au final qu’une tromperie, united nations mensonge, jouant avec le vraisemblance pour se faire passer pour une entité muséale officielle produisant plusieurs expositions ou peut-rrtre un plusieurs tracts.
Bernd Kluser, Katharina Hegewisch, L’art de l’exposition: Une documentation sur trente expositions du XX siècle, (Paris, Editions du regard) 1998.
(5) A Belgian Surrealist painter with a really awesome museum in The city Body of his most well-known works may be the infamous La trahison plusieurs images (The Treachery of Images) 1928–1929. (Or “This Isn’t A Pipe”.)
(6) Walter Benjamin (1892–1940) would be a philosopher, art critic, translator and art historian. In 1935, he authored The Thing of beauty in age Mechanical Reproduction (printed posthumously in 1955), which influced – and is constantly on the influence – heavily contemporary art.