THIS IS THE THIRTY/FIRST OF THE WALTER NEURATH MEMORIAL LECTURES '�VOYAGE ON WHICH ARE GIVEN ANNUALLY EACH SPRING ON SUB ECTS REFLE CTING THE INTERESTS OF THE NORTH SEX' J THE FOUNDER

OF THAMES HUDSON & IN THE AGE OF THE

THE DIRECTORS POST/MEDIUM CONDITION

OF THAMES HUDSON & WISH TO EXPRESS THEIR GRATITUDE

TO THE TRUSTEES OF

THE NATIONAL GALLERY, LONDON,

FOR GRACIOUSLY HOSTING

THESE LECTURES ROSALIND KRAUSS

THA MES & HUDSON PREFACE

,·II.!;/,sf thoughtI could simply draw a line under the wordmedium} bury it like I '" 1I111L'''aftical toxic waste and walk away from it into a world of lexical freedom. } "MI'I/IIIIII}} seemed too contaminated too ideologically, too dogmatically, too discur/ } "ill('ly loaded. [llJonderedif I could make use of Stanley CaveWsautomatism} the term he ""d appropriated to attack the double problem of addressingfilm as a (relatively) Any copy of this book issued by the publisher as a paperback is sold subject to the condltlon that It shall not by way of trade or otherwise be lent . , resold , hI'red ou t or ot lcrWlse. Clrcu 11t'1/1 IIIcdium and of bringing into focus what seemed to him unexplained about I . I ated WIthout the publisher's prior consent in any fo rm of binding or cover other than that m whICh It IS published and without a similar condition IIWdCl'lIist painting I. The word "automatism}} captured for him the sense in which mcludlllg these words being imposed on a subsequent purchaser. 1',11'1 of film- the part that depends on the mechanics of a camera- is automatic; The Walter Neurath Memorial Lectures, up to 1992, were given at Birkbeck College, University of London, whose Governors and Master most generously II "Iso plugged into the Surrealist use of "automatism}} as an unconscious riflex sponsored them fo r twenty/ four years. (adangerous allusion) but a useful one} as we will see); and it contained the possible 1999 Rosalind Krauss © t'IIlIlIotative reference to "autonomy,}} in the sense of the resultant works freedom First published in paperback in the United States of America in2000 by ,"(1/11 Thames Hndson Inc., 500 Fifth Avenue, New York, New York IOI IO Its maker. & Like the notion of medium or genre within more traditional contexts for art Library of Congress Catalog Card Number99'65176 } ISBN 0/500/28207/2 all automatism would involve the relationship between a technical (or material)

All Rights Reserved. No part of this publication may be reproduced or transmitted operates or articulates . ,l'IIpport and the conventions with which a particular genre �n any fo nn or by any means, electronic or mechanical, inclnding photocopy, . lccordlllg or any other 1I1formatlon storage and retrieval system, without prior 01' ",orks on that support. Wha�/"automatism}} thrusts into the foreground of this permIssIOn 111 wntmg fr om the publisher. Imditional difmitionof "rnedi�m }} however, is the concept of improvisation, of the } Printed and bonnd in Italy IIcl'd to take chances in the face of a medium now cut freefrom the guarantees

5 ) ignored. Further, (1 arti:;tic tradition. It is this sense oj the improvisatory that welcomes the word s IIII' /'Illes that generate the structure itself - was (and is) just ... )) associations with"psychic automatism ; but the automatic rifiexhere is not so much recursive structure is something made) rather than something given) is what Ihllllhis 1111 Imconscious one as it is something like the expressive jreedom that improvisation the traditional connection oj "mediumJJ to matters oj technique) as when 1\ /a/I'III in a/ways contained) as the relation between the technical ground oj a genre and its (I/'Is UJeredivided up within the Academy into ateliers representing the different Iht' j,ivenconventions opened up a space jor release- the way the jugue makes it possible) 111t'ditlllls- painting) ) architecture- in order to be taught.4

jor example) toimprovise complex marriages between its voices. The conventions 'hus) if I have decided in the end to retain the word "medium) JJ it is because jor 1 in question need not be as strict as those oj a jugue or a sonnet; they might be 11111111' misunderstandings and abuses attached to it) this is the term that opens onto level in that exceedingly loose or schematic. But without them there would be no possibility IIII' discursivefield that I want to address. This is true at the historical oj a critical post... oj judging the success or jailure oj such improvisation. Expressiveness would have IIII'jale oj this concept seems to belong chronologically to the rise no goal) so to speak.2 The attraction oj Cavell's example jor me was its insistence IIwr/I'rllism(institutional critique) site specificity)that in its turn has produced its oj ). on the internal plurality oj any given medium) oj the impossibility oj thinking oj (II/II/ problematic aftermath(the international phenomenon oj events. And at an aesthetic medium as nothing more than an unworked physical support. That such II ,"l'l'med, that is, that only "medium" would jace onto this turn

JJ that a definitionoj the medium as mere physical object) in all its reductiveness and drive II lexica/level) it is the word "mediumJJ and not something like "automatism) )) toward reification) had become common currency in the art world) and that the name bl'll/,�s the issue oj "specificity in its wake - as in the designation "mediuw ) loaded concept - abusively Clement Greenberg had been attached to this definition so thatJrom the 60s on) 'pee!ficity.JJ Although this is another, unjortunately )) )) purportedly made to utter the word"medium meant invoking"Greenberg) was the problem I jaced. l /'I'((/sl as a jorm oj objectificationor reification) since a medium is )) Indeed) so pervasive was this drive to "Greenbergize the word that historically "/lcc!fic by being reduced to nothing but its manifest physical properties - it is previous approaches to its definition were now stripped oj their own complexity. (i/l its non... abusively defined jorm) nonetheless intrinsic to any discussion ) Maurice Denis s jamous 1890 dictum about the pictorial medium - "It is well 0[ how the conventions layered into a medium might junction. For the nature to remember that a picture- before being a battle horse) a nude woman) or some C!f recursive structure is that it must be able) at least in part) to specify itself. (/ anecdote- is essentially a plane surface covered with colors assembled in a certain Stuck) therefore, with the word "medium, JJ I must thrust it equally on my order" - was now being read) jor example) as merely presaging an essentialist rl'ader in the rifiectionsthat jollow. I hope) however, that this note in the jorm oj the word itself, with its long reduction oj painting to'Jlatness. JJ That this isnot Denis)s point) that he is instead preface will have gained me s1J1edistance between (/ � dl'scribing the layered) complex relationship that we could call a recursive IIlstory outside the recentbattlesover 'Jormalism, JJ and the assumptions about the

- 11'/'111 and collapse that those battles generated. stl'l1ctl11'C a structure) that is) some oj the elements oj which will produce 's corruption

6 7 With the canny clairvoyance of the materialist, Broodthaers anticipated,

as early as the midd 960s, the complete transformation of artistic production into a branch of the culture industry, a phenomenon which we only now rccogl1lze. Benjamin Buchloh5

cover, devised by Marcel Broodthaers for a 1974 issue of Studio Inter" I/I/tional,A will serve as the mtroduction to what I have to say here. It is

FINE , a rebus that spells out with the picture of the eagle supplying last letter of "fine" and that of the ass functioning as the firstone of the"art s."6 If we adopt the commonly held view that the eagle symbolizes nobility, height, imperious reach, and so forth, then its relationship to the finenessof the finearts seems perfectly obvious. And if the ass is presumed, through the same kind of intellectual reflex,to present the lowliness of a beast of burden, then its connection to the arts is not that of the eagle's unifying movement - the separate arts raised up or subsumed under the synthetic, larger idea of Art - but rather, the stupe" fying particularity of individual techniques, of everything that embeds practice in the tedium of its making: "Dumb like a painter," they say. But we can also read the rebus as an eclipse of the appropriate letter of the given word, and so arrive, somewhat suggestively, at FIN ARTS, the end of art? and this in turn would open onto a specific way that orBroodthaers often used the eagle, and thus onto a particular narrative I, 2 Marcel Broodrhaers, front and back covers of about the end of art, or - reading his rebus more carefully - the end of Studio(above) International, (left) October 1974. the arts. There was, indeed, a narrative about this end to which Broodthaers was especially sensitive in the late 1960s and early '70S. This was the story of a militantly reducti�e modernism that, by narrowing painting to what was announced as the medium's essence - namely flatness - had so contracted it that, suddenly, refracted by the prism of theory,

9 it had emerged from the other side of the lens not simply upside down but transformed mto Its opposite. If,the story goes, Frank Stella's black canvases showed what painting would look like once materialized as unreliev�dly flat - their supposed essence understood as nothing more th�n �n merely physical feature - they announced to Donald Judd that pamtmg had now become an object just like any other three/dimen/ . . s�onal thl�g . Further, he reasoned, with nothing any longer differen/ tlatmg pamtmg. from sculpture, the distinctness of either as separate mediums was over. The name that Judd gave to the hybrids that would form out of this collapse was "SpecificObjects." Idea, It was Joseph Kosuth who quickly saw that the correct term for this Kosuth, Art as Idea as 1967· Idea), Seventh Investigation (Art as Idea as I969. paradoxical �utcome of the modernist reduction was not sp ecijic but 1 Iw;('ph Kosuth, , IO:ICph general. 8 For If modernism was probing painting for its essence - for in which paintings and sculp/ practice had escaped the commodity form what made it specificas a medium - that logic taken to its extreme had to compete in a market inevitably participated as they were forced turned painting inside out and had emptied it into the generic category IIll'llS In this declaration was that increasingly looked just like any other. of Art: art atAarge, or art/in/general. And now, Kosuth maintained, II' art history. The specific � It yet another paradox of recent modernist the ontologlCal labor of the modernist artist was to definethe essence of - had vested their claims to Illldcdmediums - painting, sculpture, drawing Art itself "Being an artist now means to question the nature of art" is to say that in their declaration b purity in being autonomous, which he stated "If one is questioning the nature of painting, one cannot e essence, they were necessarily . � being about nothing but their own questlOmng the nature of art. That's because the word art is general and frames. The paradox was that of,Iiscngaged from everything outside their the word painting is specific." and that abstract art's very modes ,his autonomy had proved chimerical, It was Kosuth's further contention that the definitionsof art, which m serial runs, for example production - its paintings being executed works would now make, might merely take the form of statements and produced commodity of. seemed to carry the imprint of the industrially thus rarefy the physical object into the conceptual condition of language. the work its own status as inter/ object, internalizing within the fieldof But �hese statement , though he saw them resonating with the logical value. By abandoning this � changeable and thus as pure exchange finalIty of an analytIcal proposition, would nonetheless be art and not willingly assuming various forms : pretense to artistic autonomy, and by say, philosophy. Their linguistic form would merely signal the transcen book, for example, or the public and sites - the mass/distributed printed dence of the particular, sensuous content of a given art, like painting securing a higher purity for Art, billboard - s!l-w itself or hotogra�hy, and the subsumption of each by that higher aesthetic of commodity distribution it � so that in Howing throughAhe channels umty - Art Itself -of which any one is only a partial embodiment. but would, by a kind of would not only ad9Pt ;�y form it needed Conceptual art's further claim was that by purifying art of its mate/ itself defense, escape the effects of the market nal. dross, and by producing it as a m/ode of theory/about/art, its own homeopathi�

II

10 Marcel Broodthaers, , Eagles Department (David-Ingres-Wiertz-Courbet), I968. (lOp)(abQllr ana right)Marcel Broodthaers, Muserml of Modern Art, Eagles Department, 19th,Century Section, I968-9. '.7

Although by Broodthaers had ended his four/year enterprise called the "Museum19 of72 Modern Art, Eagles Department" - a sequence of works by which, in producing the activities of the Museum's twelve sections, he operated what he once referred to as a fictitious museum - it is clear that one of the targets of that project carries over onto the Studio International cover. Having explained, a few years before, that for him there was what he called an "identity of the eagle as idea and of art as idea," Broodthaers's eagle functioned more often than not as an emblem for Conceptual art.9 And in this cover then, the triumph of the eagle announces not the end of Art but the termination of the individual arts as medium/specific;and it does so by enacting the form that this loss of specificitywill now take. On the one hand, the eagle itself will be folded into the hybrid or intermedia condition of the rebus, in which not only language and O£TENSt image but high and low and any other oppositional pairing one can A B50L UE think of will freely mix. But on the other hand, this particular combina/ tion is not entirely random. It is specificto the site on which it occurs, l'OUCHERDE ,,(OBJn� which here is the cover of that organ of the market, an art magazine, where the image of the eagle does not escape the operations of the market

8 Marcel Broodrhaers, Museum of Modern Art, Eagles Department, Documentary Section, 1969. 12 by the press. Accordingly, it becomes a form of advertising or servedpromotion, now promoting Conceptual art. Broodthaers made this dear in the announcement he drew up as his cover design for the maga/ Interfunktionen, :tlnc at about the same time: "View," it reads, "according

10 which an artistic theory will function for the artistic product in the same way as the artistic product itself functions as advertising for the order under which it is produced. There will be no other space than this according to which, etc. , .. , [signed] Broodthaers."ro The redou/ viewbUng of art as theory, then, delivers art (and most particularly the art for which it is the theory) to exactly those sites whose function is promotion, and does so without what might be called a critical remainder. And it does so without a formal remainder, as well. In the inter/ media loss of specificity to which the eagle submits the individual arts,

the bird's privilege is itself scattered into a multiplicity of sites � each of

them now termed "specific" � in which the installations that are con/ structed will comment, often critically, on the operating conditions of the site itsel( To this end, they will have recourse to every material support one can imagine, from pictures to words to video to readymade

objects to films. But every material support, including the site itself �

whether art magazine, dealer's fair booth, or museum gallery � will now be leveled, reduced to a system of pure equivalency by the homogenizing principle of commodification, the operation of pure exchange value from which nothing can escape and for which everything is transparent AVIS ANSICHT VIEW seloll lequel der-zufo/ge according to whtch to the underlying market value for which it is a sign. This reduction was

Ime theorie artfstique foncliollne· cine kiinstlerische 17uorie given manic form by Broodthaers as he affixed"figure" labels to random lelzl­ an artistic theory will be fimc­ rait comme publicite pour Ie pro­ lich «Is Werb.ung das kunstle­ fur liolling for tire onisNe product (/ul't artistique, le_ proci..uit ortis­ rische Produkt funktiollieTt, wie ill the same wa)' as Ihg artistic sets of objects, effecting their equivalence through the tags that assign IIque !olle/;onnant eomme pub/i· dos kiins.tlerische Produkt immer product Use/lis {ullctioningas ad­ " " cltt! pour regime ,JOIIS e u Ie / q e/ il schon als Werlitmgfii rdas Regime lite ruiewlder which " 2, 12. ni. ."erasing/or them as either "Fig. "Fig. "Fig. 0," or "Fig. In the Film csl !unktioniert, unter dem es ent· if is produced I, 1f:V aurail d'autre espace que steht. II There will be no other space than ect avis scion iequel etc. gibt ketnen andere" Raum Section of his museum, not only did he stick these labels onto mundane Es als this view, according to which -dicse Ansicht. (jerzufolge etc... etc. objects such as mirrors, pipes, and clocks, but the movie screen itself was (;01>le con/orme I'ollr Filr die Richtigkeit For copy conform riddled with figure numbers is well, so that everything in the film pro/ Marcel Broodthaers jected onto it � from Ghaplin's image to the Palais Royale in -­ now entered this compendium of Broodthaers's "Fig. "s. fr ontcover of Interfunktionen, ') Mitrcel Ilroodthaers, Fall 1974-

IS it'II. [JJ es,_ 1� 0 r";;2 >Iii 1 �riG _�I 6

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L'INVENTION

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10 (opposite, top left)Marcel Broodthaers, Livre tableau, 13 (top left)Marcel Broodthaers, Museum of Moderll 1969-70, Art, Eagles Department, Film Section, 1971-2. Painted

/ /' screen in outer room.

11 (opposite, top right)Marcel Brood�haers, untitled, 1966. 14 (above left) Marcel Broodthaers, Museum of Mailei'll Art, Eagles Department, Film Section, 1971'-2. [2 (opposite, bottom) Marcel Broodthaers, Museum of Modern Art, Eagles Department, Film Section, 1971-2. IS (above) Marcel Broodrhaers, Bnissel Teil, 1971, Broodthaers holding Sadoul's L'Inventiondu Cinema. 16 (overleaf>Marcel Broodrhacrs, Un v"y��etl IM/lt,r/,),) (Napoleon 176g-1g6g), 1969.

Section des Figures (The Eaglefrom the Oligoceneto the Present), mountedIII the by his fictional museum, Broodthaers famously submitted more than three hundred different eagles to this principle of leveling. In this way, the eagle itself, no longer a figureof nobility, becomes a sign of the figure,the mark - that is - of pure exchange. Yet in this there is a further paradox that Broodthaers himself did not live to see. For the eagle principle, which simultaneously implodes the idea of an aesthetic medium and turns everything equally into a ready made that collapses the differencebetween the aesthetic and the commodified, has allowed the eagle to soar above the rubble and to achieve hegemony once again.u Twenty/fiveyears later, all over the world, in every biennial and at every art fair, the eagle principle functions as the new Academy. Whether it calls itself installation art or institutional critique, the international spread of the mixed/media installation has become ubiquitous. Tri/ umphantly declaring that we now inhabit a post/medium age, the post/medium condition of this form traces its lineage, of course, not so much to Joseph Kosuth as to Marcel Broodthaers. Broodthaers, MIISfllll1 17 (left)Marcel of Modern Art, Eagles Departmenl, frolll Section des Figures (The Eagle Illf View Oligoceneto the Present), 1972. Stadthschc of the installation at the Kunsthalle, Dusseldorf.

18 (above) Marcel Broodthacrs, detail of Muset/In of Modem Arl, Eagles Department, Sectioll des Fi.�I/I·f.( (The Eaglefrom the O/igocme 10 (Ilf Present),1972.

21 =y

\ L.

s [Museu11IOf Modern Art, and ahove) Maree Broodthaers. detal '\ 0 O • (opposite 1 21 22 . to the Present). 19.2 . des Ig ures (The Eag eji r011l the Olidocene'" 1972. Eagles Department, Section F I

/ /'

',lI \'\ f. .'. Ii ' .\) \" "P'.' '\f l .. , l. 1\ Id tl\� 1 \",llll1 d .\\, J\ If \ 1,,·( I' c! I , 2

At about the same ti me when Broodthaers was producing thi s medita/ Michael Snow, Wavelength, . I 1967. tiOI1 on the ea gle principle, another development, with undou btedly wider reach, had entered the world of art to shatter the notion of medium/specifici ty in its own way. This was the portapak - a light/ weight, cheap video camera and monitor - and thus the advent of video into art practice, so mething that demands yet another narra tive. It is a story tha t co uld be told from the point of view of Anthology Film Archives, a screening room in New York's Soho, where in the la te '60S and ea rly ' 0S a collection of artists, film/makers, and composers 7 pound idea of the "apparatus" - the medium or support fo r film being gathered night after ni ght to view the repertory of modernist film put neither the celluloid strip of the images, nor the camera tha t filmedthem, together by Jonas Mekas and projected in an unvarying cycle, a co rpu s nor the projector that brings them to life in motion, nor the beam of light that consisted of Sovi et and French avant/garde ci nema, the British that relays them to the screen, nor that screen itself, but all of these taken si lent documentary, ea rly versions of American Independent film, as together, including the audience's position caught between the source of well as Chaplin and Keaton movies.u The artists who sat in the darb the li ght behind it and the image projected before its eyes.'3 Structuralist ness of that theater, the wingchair/li ke seats of which were designed film set itself the project of producing the unity of this diversified to cu t off any peri pheral vision so tha t every drop of attention would support in a single, sustained experience in which the utter interdepen/ be fo cused on the screen itself, artists such as Ri chard Serra, Ro bert dence of all these things would itself be revealed as a model of how the Smithson, or Carl Andre, could be said to be united around their deep viewer is intentionally connected to hi s or her world. The parts of the hostility to Clement Greenberg's rigid version of modernism with its apparatu s would be li ke things that cannot touch oneach other without doctrine of flatness. Yet if they were gathered in Anthology Film themselves being touched; and thi s interdependence would figurefo rth Archives in the firstpl ace it meant that they were committed modernists the mutual emergence of a viewer and a field of vision as a trajectory nonetheless. For Antholo gy both fed into and promoted the current through which the sense of si ght touches on what touches back. work of structuralist film/makers su ch as Mi chael Snow or Hollis Michael Snow's Wavelength, a 45 /minute, si ngle, almost uninterrupted Frampton or Paul Sharits, its screenings providing the di scursive zoom, captures the intensity of this research into how to fo rge the union ground within which this group of young artists could imagine their of such a trajectory into something bo th immediate and obvious. In its way into a kind of film that, fo cused on the na ture of the ci nematic striving to articulate what Merleau/Ponty had termed the preo bjective, medi um itself, would be modernist to its core. and thu s abstract, nature of this connection, such a link could be ca lled Now, the ri ch sa tisfactions of thinking about film's sp ecificity at that a "p henomenological vectoJ)�4 juncture derived from the medium's aggregate co ndition, one that led For Richard Serr9- one of Antholo gy's denizens, a work li ke Wave/ slightly later generati on of theorists to defineit s support with the com/ ' a length would have performed a double fu nction. On the one hand, Snow's film enacts itself as pure horizontal thrust, such that its inex; orable fo rward movement is able to create the abstract spatial metaphor for film'sre la tion to time, now essentialized as the dramatic mode of sus; pense.ls Serra's own drive to make sculpture a condition of something like a phenomenological vector, itself the ex perience of horizontality, would thus have found aesthetic co nfirmationin Wavelength. 16 But more than this, in structuralist film itself Serra would have found support for a newly co nceived idea of an aesthetic medi um, one that, like film's, could no t be understood as redu ctive bu t again, like film's, was thor; oughly modernist. Serra's reformulated idea of what an aesthetic medium might be participated in his generation's newly won understanding of Jackson Pollock and a notion that if Pollock had progr essed beyond the easel picture, as Clement Greenberg had claimed, it was not to make bi gger and flatter paintings.17 Rather, it was to rotate hi s work out of the dimension of the pictorial object altogether and, by placing his canvases on the floor, to transform the whole project of art from making objects, Richard Serra, Casting, in their increasingly reifiedfo rm, to ar ticu lating the vectors that connect 24 1969-91. objects to subjects.18 In understanding this vector as the horizontal field of an event, Serra's problem was to tr y to findin the inner logic of events sets of serial repetitions converge on a given point. The important thing themselves the ex pressive po ssibilities or conventions that would articu; is that Serra experienced and ar ticulated the medium in which he saw late this field as a medium. For, in order to su stain ar tistic practice, himself to be working as aggregative and thus distinct from the material a medium must be a supporting structure, generative of a set of conven; properties of a merely physical objectlike support; and, nonetheless, tions, some of which, in assuming the medi um itself as their subject, he viewed himself as modernist. The example of mdependent, struc; will be wholly "specific" to it, thus producing an expenence of their turalist film - itself a matter of a composite support, yet no netheless own necessity. 19_ modernist - confirmedhim in this. For the purposes of the argument here it is not necessary to know At this juncture it is important, however, to make a little detour into exactly how Serra went about this.2o Suffice it to say that Serra drew the history of official, reductivist modernism itself, and to correct the these conventions from the logic of the event of the work's making, record as it had been written by Judd's logic of specific objects. For like when that ev ent is understood as a form of series, not in the sense of Serra's, Greenberg's view.oePollock had also led him eventually to jet; stamping out identical casts as in industrial produ ction, but in that of tison the materialist,- purely redu ctiv e notion of the medium. Once the differential co ndition of periodic or wavelike fluxin which separate he saw the modernist logic leading to the point where, as he put it,

26 27

? "the observance of merely the two [co nstitutive conventions or 110l'lm ()j

painting - flatness and the delimitation of flatness- ] is eno ugh to ClT;ltr n object which can be experienced as a pictu re," he dissolv ed aobject in the fluid of what he first called "opticality" and thcn til;l! "color field." 21 Which is to say tha t no sooner had Greenberg secmednam('d to isolate the essence of painting in flatnessthan he swung the axis of fieldninety degrees to the actual picture surface to place all the importthe of painting on the vector that connects viewer and object. In this he seemed to shift from the first norm - flatness- to the second - the delimitation of flatness - and to give this latter a reading that was no t that of the bounding edge of the physical object bu t rather the pro jective resonance of the opti cal field itself - what in "Modernist Painting" he had ca lled the "optical third dimension" created by "the very first mark ona canvas [which] destroys its literal and utter flatness."22 This was the resonance he imputed to the effulgence of pure co lo r as he spo ke of it, not only as disembodied and therefo re purely optical, but also "as a thing that opens and expands the pi ctu re plane."23 "Opticality" was thus an entirely abstract, schematized version of the link that tradi tional perspective had fo rmerly established between viewer and object, but one tha t now tran" scends the real parameters of measurable, physical space to express the purely pro jective powers of a preo bjective level of sight: "vision itsel("24 The most serious issue fo r painting now was to understand not its objective fea tures, such as the flatnessof the material surface, bu t its specific mode of address, and to make this the source of a set of new conventions - or what Michael Fried called "a new art."25 One such convention emerged as the sense of the obliqu e generated by fields tha t seemed always to be rotating away from the plane of the wall and into depth, a perspectival rush of surfaces that caused cri tics li ke Leo Steinberg to speak of their sense of speed: what he called the visual (left)Kennetb Noland, installation of Coarse Shadow and Stria 25 in tbe Andre Emmericb Gallery. efficiency of the man in a.hurry.26 Another derived from the seriality -­ both internal to the wo rks and to their production - to which the colol''' (right) Kennetb Noland, Ado, 26 1967. fieldpainters uniformly resorted. Thus it could be argued that in the '60S, "opticality" was also serving as more than just a feature of ar t; it had become a medium of art. As such it was also aggregative, an affront to what was officially under; stood as the reductivist lo gic of mo dernism - a logic and doctrine attributed to this day to Greenberg himsel( Neither Greenberg nor Fried theorized colorfield painting as a new medium, ho wever; they spoke of it only as a new po ssibility for abstract painting.27 Nor was process ar t - the term under which Serra's early work was addressed­ adequately theorized . And certainly the fact that in both cases the specificity of a med ium was being maintained even tho ugh it wo uld now have to be seen as internally differ entiated - on the order of the filmic model - was not theorized either. For in the case of that latter model, the impulse was to try to sublate the internal differences within the filmic apparatus into a single, indivisible, experiential unit that wo uld serve as an onto logical metaphor, a figure- like the 45;minute zoom - for the essence of the whole. In 1972, structuralist film's self; description, as I have said, was modernist. 27 Richard Serra, Television Delivers People, 1973 · Into this situation there entered the portapak, and its televisual effect was to shatter the modernist dream. In the beginning, as ar tists began the fact of the matter is that television and video seem Hydra/headed, to make video works, they used video as a technologically updated con; existing in endlessly diverse forms, spaces, and temporalities for which tinuation of the mode of address organized by the new attention to no single instance seems to provide a formal unity for the whole.29 This the phenomenological, although it was a perverse version of this since is what Sam Weber has called telev ision's "constitutive heterogeneity," the form it took was decidedly narcissistic: ar tists endlessly talking to adding that "what is perhaps mo st difficultto keep in mind are the ways themselves.28 To my knowledge only Serra himself immediately ac; in which what we call television also and above all differ s from itself."lo knowledged that video was in fact television, which means a broadcast If modernist theory fo und itself defeated by such heterogeneity - medium, one that splinters spatial continuity into remote sites of tr ans; which prev ented it from conceptualizing video as a med ium - modernist, mission and reception. His Television Delivers People (1973) - a message Prisoner's Dilemma ( ) structuralist film was routed by video's instant success as a practice. For, displayed in a co ntinuous crawl - and 1974 were ev en if video had a distinct tec�nical support- its own apparatus, so to versions of this. speak - it occupied a kind 9vdiscursive chaos, a heterogeneity of activi/ It is this spatial separation, coupled with the temporal simultaneity ties that could not beAheorized as coherent or conceiv ed of as having of instantaneous broadcast, that has led certain theorists to tr y to locate so mething like essence or unifying coreY Like the eagle principle. the essence of television in its use as closed/circuit surveillance. But an

31 30 it proclaimed the end of medium/specificity.In the age of television, so it knowledge, and thus a powerful support for interdiscipllll.nHY. broadcast, we inhabit a post/medium condition. outside the academy, in the art world- where autonomy and the A lid that there was something proper or specific to a medium were l1otioll under attack - this gave a glittering theoretical pedigree to practicesalready rampant impurity -like Fluxus or Situationist detournement (subversiveof appropriation) - that had long since been underway. The third narrative, which I will set out with considerably more dis, In the late 1960s and early '70S, Marcel Broodthaers appeared to be patch, concerns the resonance between the post/medium position and the knight errant of all this. In being a fantastic feat of institutional poststructuralism. For during this same late/60s/earlY/70s moment, detournement, his "Museum of Modern Art" also seemed to constitute deconstruction began famously attacking what it derisively referred to as the ultimate implosion of medium/specificity. And even as it did so, the "law of genre," or the aesthetic autonomy supposedly ensured by it appeared to be setting forth the theoretical basis of its own project. As the pictorial frameY From the theory of grammatology to that of the we have seen, for example, the affixingof figurenumbers to a miscellany parergon, Jacques Derrida built demonstration after demonstration to of objects operated as both a parody of curatorial practice and an empty/ show that the idea of an interior set apart from, or uncontaminated by, ing out of the very meaning of classification. Accordingly, the figures an exterior was a chimera, a metaphysical fiction. Whether it be the functioned as a set of meta/captions whose operation was theoretical. interior of the work of art as opposed to its context, or the interiority of a Broodthaers himself commented: theory of the figures would serve ''A lived moment of experience as opposed to its repetition 1ll memory or via only to give an image of a theory. But the Fig. as a theory of the image?"3 3 written signs, what deconstruction was engaged in dismantling was the Yet if Broodthaers can be seen to be moving within the poststruc/ idea of the proper, both in the sense of the self/identical- as in "vision is turalist circle of theory, we must also remember his deep ambivalence what's proper to the visual arts" - and in the sense of the clean or pure­ about theory itself. We must recall the statement from lnterfunktionen as in "abstraction purifies painting of all those things, like narrative in which theories are reduced to, or perhaps revealed as, nothing more or sculptural space, that are not proper to it." That nothing could be than "advertising for the order under which [ they are] produced." constituted as pure interiority or self/identity, that this purity was always According to this condemnation, any theory, even if it is issued as a already invaded by an outside, indeed, could itself only be constituted critique of the culture industry, will end up only as a form of promotion through the very introjection of that outside, was the argument mounted for that very industry. In this way, the ultimate master of detournement to scuttle the supposed autonomy of the aesthetic experience, or the pos/ turns out to be capitalism itself, which can appropriate and reprogram sible purity of an artistic medium, or the presumed separateness of a anything to serve its own ends. Thus, if Broodthaers did not live to see given intellectual discipline. The selDidentical was revealed as, and thus the absolute confirmation of his entirely pessimistic "View," he had dissolved into, the selDdifferent. nonetheless predicted both the eventual complicity between theory and In the university this, along with other poststructuralist analyses, the culture industry and t�e..,ultimate absorption of "institutional cri/ such as those of Michel Foucault, proved a powerful argument for an tique" by exactly the institutions of global marketing on which sllch end to the separation of academic faculties within distinct branches of "critique" depends for its success and its support. 32 33 4

This leads us, however, to another story. For if capitalism is the master of detournement, absorbing every avant/gar de protest in its path and turning it to its own ac count, Broodthaers - by some ultimate turn of the screw - was in a strange kind of mimetic relationship to this. To put it simply, there is a way in which he conducted a form of detournement on himself. Acknowledging this in the pr ess release issued during the 1972 Documenta, where the finalsec tions of his Museum (now renamed the "Museum of Old Master Art [Art Ancien] , 20th/Century Gallery: Eagles Department") were installed, namely the sections of promotion and public relations, Broodthaer s speaks of the "contradictory inter/ views" he had given on the subject of his museum fictions.34 Indeed, Broodthaers's best critics have been alert to the peculiar inconsistencies that mi ne both the ar tist's ex planations of his work and the unfolding of the work itself. Benjamin Buchloh has written, for ex ample: "If any/ thing, it wo uld be his persistent sense of contradictions that could be called the most pr ominent feat ur e in Broodthaers's thoughts and state/ ments and, of course, in his work."35 At one po int Buchloh sees this as a species of blague, a wi llful, tongue/in/cheek form of double negation in which a petrified language acts to mimic the presenvday reification of speech itself at the hands of the co nsciousness mdustry. To this effect, he quotes a Broodthaers text called "My Rhetoric," in which the artist writes: "I, I say I; I, I say I, the Mussels King. Yo u say you. I tautologize. I 'c an it .' I sociologize.1. I manifestly manifest , .. ," and so on.36 5 Douglas Crimp has also fastened on this feature of contradiction, .) . which Broodthaers so metimes called his own "bad faith," as when he Musee d' art moderne ex plained his decision in the early 1960s to stop bei ng a poet and start being an ar tist. The reason, he wrote, was that si nce he hadn't the money 28 Marcel Broodthaers, Musetlm of Modern Art, to collect the art objects he lo ved, he decided to create them instead: to Eagles Department, Section 7 become a creator, then, by default of not being able to be a collector. 3 Publicite, 1972.

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t - --' -- .- ... bondage of utility." What is decisive in the act of collecting, he goes on, ..I is "that the object be dissociated from all its original functions in order to enter into the closest possible relationship with its eguivalents. This is ! . the diametric opposite of use, and stands under the curious category of completeness."18

"",- �r :_. I Un texte de Marcel Broodthaers �L propos de Ma Collection it

This text was written by the Ma Collection est une piece composee de deux valets dont artist to accompany Ma Collection chaque face est exploitee. Dans Ie premier valet comportant (see page 62 fo r translation). des documents d'expositions auxquelles j'ai pu participer est ' inseree une page du catalogue de la foire de Cologne 71 reproduisant les photos des memes documents. Le second volet de Ma Collection est orne d'un portrait du poete europeen Stephane Mallarme en qui je vois Ie fondateur de I'art contemporain. "Un coup de des jamais n'abolira Ie hasard." Ma Collection est une piece au Ie systeme tautoIogique est utilise pour situer Ies Iieux d'exposition. (Elle aurait done plus de sens qu'une collection de timbres/pastes). Le catalogue de

la presente exposition sera utilise comme detail pour constituer 1971. view. 33 (top) Marcd Broodthaers, Ma Collection, Front une piece d'art future temoignant des expositions auxquelles 197I. VIew. 34 (above) Marcel Broodthaers, Ma Collection, Back j'ai participe depuis 197I. Here, the equivalency principle th at levels obj ects to the measur e of their exch ange value, and which Broodth aers seems to attack in th e application of "Fig." numbers within the Film Section of his museum, is l'Iarcel ll:roodthaers valorized in the situation of the personal collection. This Br oodthaers ?1a. Colloction also seems to acknowledge, in that the "Fig." numbers captioning the 11 est qu estion .... ou d'un contrat . images in Ma Collection could be seen as working to for m the new rela...

fi=e d!U1s c tt colleot1on qui aU Bsi 9 CO",,'0 je e a eat un tionships for ged by the "t rue" collector.l These relationships, which chOix parmi lee ca.talogues d de ces der es annees, 'art nier Benj amin calls a "magic circle," allow each object to exfoliate into so elle ne COl1sUt-

rol ais, 61 ]. Ion accepte que 1a representation de man art memory and, among the profane manifestations of 'proximity,' the most apporte un changement de sens/non-�el1B, elle eerait alors convincing one."4 0 roady-made d' fOZ'llle nOUvelle, rea d baroque . un una un dy-ma e This structure in which two opposing forms of equivalence can

Co ready-made dout eux equivaUdrait d n objet d'art o o e. un converge in th e object - that of exch ange and that of "proximity"- is a douteux. Com'!lent vendTe 1e dgute s1 n' a pas de di al ectical condition in which everything within capitalism - every ceptaine? aut re celu1-0ipart , je Khntt:rtx:"m< qU al;l,te artistique D' object , every technological process, every soci al type - is understood as n I ai pas 1e front de specUlar sur U!;1a CollectionU , bien Jpm invested with a double valence: negative and positive, like an object and qu ' avec argent reco�til je pourrais i!OtHIIX I' eoulager 16 miB�re aux Indes ou encore me payer r�volut1on its shadow, or a perception and its after... im age. This is what links type to qui s�Vit una d I avant-garde . Un contrat, un bon contrat me tirerai t countertype, or, in the case of the commodity, produces wh at Benjamin

KH d'affaires en contoruant mon 1nter3t aux usage S 8tabl1•• called "the ambivalence between its utopian and its cynical element."41

Pour renseigne'w.ent s, s'adressar tau3 a ... That the cYl11cal element gains the upper hand over the course

Moi, je doeirs percevbir un impot de d'au of time goes with out saying. But Benj amin believed th at at the birth of ( s droits J!li teur? ) sur les publications , s'U s'en trouve , qui reproduiraient a gi ven soci al form or technological process the ut opi an dimension ma declaration et les images de oetts pags du catalogue was present and, fur thermore, that it is precisely at the moment of the de la fOire de COlo{\lle n. obsolescence of that technology that it once more releases this di men ... (i) M. Broodthaers ( sion, like the last gleam of a dying star. For obsolescence, the very law Toutefois, s1 que�que acheteur enco p s e tom,it re e. os 'd r of commodity production, both fr ees the outmoded obj ect fr om the grip l'objet physique de Obl�eot.ion", prix en "l� Ie serait alo�s. . , of utility and reveals the hollow promise of th at law. 42 celU! de lila conec:l.enoe (Prix d battre " Ii ), : Broodthaers's deep attraction to the forms of the outmoded has been remarked upon by his various critics. His system of references fo cuses , mainly on the nineteenth Ce!].tllry, be they to the Ingres and Courbets in the first manifestation,pf 'his museum, or to the example of Baudelaire and Mallarme for his books and exhibitions, or to the panorama and the

35 Typewritten text on Ma Collection by Broodthaers (see page 62fo r translation), Bio graph or S. and A.), movie pro duction was entirely artisanal. As Broodthaers began to make films in earnest in 1967 and into the early '70S , he cast his own pro duction in prec isely this mold. He imitated the gestures of the silent/movie comic actors, particularly Buster Keaton,

36 Marcel Broodrhaers. capturing the amazing sense they radiated of dogged persistence in the UnJardin d'hiver. I9 74. fac e of endless adversity. And he replicated the primitive look of early cinema with its uneven exposures spliced together and its flickering gait. winter garden as his models fo r social spaces. In fact, as Benjamin That the kind of spontaneous activity represented in this model Buchloh has commented, this "altogether dated au ra of nineteenth/ would be rendered obsolete by the in dustrialization of cinema at the century bourgeois culture that many of his wo rks seem to bring to hands of the big studios in Hollywood and Europe was an issu e fo r just mind might easily seduce th e viewer into dismissing his work as being that structural ist film being made in the late 1960s in the context of obviously obsolete and not at all concerned with the presuppositions of Anthology Film Archives and shown annually at the Experimental contemporary art ."43 Film Festival at Knokke/b Zoute, on the Belgian coast, an event that But what Crimp is suggesting is that the power that Walter Ben/ Broodthaers twice attended.46 The demonstration that it was possible jamin invested in th e outmoded should be acknowledged in Broodt/ to defy the system and to make film singbhan dedly, on practically no haers's use of it - as in his assu mption of th e fo rm of th e "true" collector. Th is was a power that Benjamin hoped his own prospect ing in the historical grounds of nineteenth/century fo rms would be abl e to rel ease. Writing of his own Paris Arcades pro ject, he said: "We are here con/ structing an al arm clock that awakens the kitsch of th e past century into 're/collection."'44 That Benjamin's archaeology was retrospective was a fu nction of the fact that he bel ieved it s view could open up only from th e site of obsolescence. As he remarked: "Only in extinction is the [true] collector compreh ended."4 5

5

The true collector, however, was not the only outmoded figureto whom Broodthaers was attracted. Another was that of the film/maker from the early moments of cinema when, as with th e Lumiere Brothers or with Griffith's and Chaplin's stocbcompany operations (such as D. W. Marcel Broodrhaers. La pluie. I9 69· 37 43 "itself" - moti on both reduced to and summarized in th e ulti mate camera movement (S now's zoom) , or filmic illusion typified in flicker film's di ssecti on of th e persistence of vision (Pau l Sharits's work)the

_ one which, like any totalizing symbolic form , would be unitary; Broodthaers honored the differential condition of film: its inextricable

, relation between simultaneity and sequence, its layering of sound or text " , , over Image. s.-LJ "'� 38 Marcel Broodthaers, Ceci ne semit pas une pipe, 19 69 -7 1 . As Benjamin had predicted, nothing brings the promise encoded at th e birth of a technological form to li ght as effecti vely as the fall into , obsolescence of its finalstages of development. And th e televisual pol'; .;'; j tapak th at killed American Independent Cinema was just this declara; 'tI..� - j "" ti on of film's obsolescence. budget, and fr om the scraps and discards of old stock, as exemplified at Knokke by th e Americans and th e Canadians, undoubtedly reinforced Broodthaers's earlier experiments in film. But th ough many of the 6 Americans saw this defianceof Hollywood as a progressive, avant;garde move, the opportunity for a modernist concentration of th e di sparate; If I am pursuing the example of Marcel Broodth aers in th e context of ness of th e Hollywood production into th e si ngle, structural vector th at th e post/medium condition, it is because he stands at, and th us stands would reveal th e nature of film itself, Broodthaers read it retrogressively, for, wh at I would like to see as th e "complex" of this condition. For a return to the prom esse de bonheur enfolded in cinema's beginnings. Broodthaers, the presumed spokesman for intermedia and the end of th e In so parting company with structuralist film's modernism, Broodt; arts, nonetheless wove for his work an internal li ning that has to be haers was not denying film as a medium. He was, rather, understanding called redemptive. I am taking this notion of redemption fr om Walter this medium in the ligh t of th e openness promised by early film, an Benjamin, whose idea of the countertype - as the di alectical after/image openness woven into the very mesh of th e image, as th e flickeringirreso; of a social role now reified and corrupted under capi talism - seems to lution of the illusion of movement produced th e experience of si gh t operate over part of Broodthaers's activities as collector. And further, itself as di lated: a ph enomenological mixture of presence and absence, the analysis of photography that Benjamin constructed can be seen to immediacy and distance. If th e medium of primitive film resisted struc; slide over Broodth aers's practice of film. tural closure in this sense, it allowed Broodthaers to see wh at the struc; At firstthis may seem counter/intuitive, for like Broodthaers, Ben; turalists di d not: that th e filmic apparatus presents us with a medium jamin is famous for a deconstructive attitude toward th e very idea of a wh ose specificity is to be found in its condition as self/differing. It is medi um. To this end heus€d photograph y not only as a form th at erodes aggregative, a matter of interlocking supports and layered conventi ons. its own specificity �since it forc es the visual image into dependence on a Th e structuralists strove to construct th e ultimate synecdoch e for film written c�ption - but as a tool to attack th e idea of specificity for all the 44 45 revelatory aspect for hi m; as he said of arts. This is because photography's status as a multiple, a function of always seems to have contained a mechanical reproduction, restructures the condition of the other arts. the difference between official museums and his own: "a fiction allows reality and at the same time what it hides."48 As an example, Benjamin explained that "to an ever greater degree the us to grasp What is at issue in the context of a medium, however, is not just this work of art reproduced becomes the work of art designed for repr o,­ possibility of exploiting the fictionalto unmask reality's lies, but of pro,­ ducibility. " And what follows from this is that, becoming prey to the law of commodIfication, the separate work of art, as well as the se parate ducing an analysis of fiction itself in relation to a specific structure of mediums of art, enter the condition of general equivalency, thereby experience. And it was just this structure of a spatial "behind" or layer,­ ing that was for him a metaphor for the condition of absence that is at the losing the uniqueness of the work - what Benjamin called its "aura" - rt of fiction. as well as the specificity of its medium. hea That the novel as the technical support through which fiction was But far from being an undiluted celebration of this state of affairs, conventionalized during the nineteenth century was of particular inter,­ Benjamin's contemplation of photography was also cast in the mold of est to Broodthaers emerges not just in his statements, like the one he pro,­ hi s retrospective attitude, which is to say hi s sense that, as a fossil of its nounced in reference to the "Theory of Figures" exhibition - where he birth, the outmoded stage of a given technological form might betray the sees the objects bearing "Fig. " numbers as "taking on an illustrative redemptive obverse of that technology itself. In the case of photography character referring to a kind of novel about society." 49 It also takes on this ot her promise was encoded in the amateur, non,-professionalized physical shape in relation to his own practice of producing work in the character of its earliest, pre,-commercialized practice, as artists and form of books. writers such as Julia Margaret Cameron, Victor Hugo, and Octavius One of these, Charles Baudelaire. Je hais ie mouvement qui deplace Ies Hill took pictures of their friends. It also had to do withth e length of the !ignes ( 973), is a specific engagement with the revelatory power of the pose exacted by their work, during which there was a possibility of I novel. For in its peculiar dilation of a Baudelaire poem, the book's nov,­ humanizing the gaze, which is to say, of the subject's escaping hi s or her own objectificationat the hands of the machine.47 elized, sequential form is made not only to expose as self,-delusory the romantic belief in poetry as a form of total immediacy - a collapse of the The refuge that Broodthaers took in a practice of primitive cinema that immediacy betrays this same thought of the redemptive possibilities encoded at the difference between subject and object - but also to open birth of a given technical support. And it is this thou ght that I would to its real temporal destiny, in which the subject can never become iden,­ li ke one to see as acting on all of Broodthaers's production as, like a tical with himself. Based on Baudelaire's early poem "La Beaute," raking light shining at a strange angle over a surface, it brings into relief where subjective immediacy is given voice by a sculpture vaunting the way its own selDsufficiency and simultaneous presence is able to symbol,­ an entirely new topographical structure. If I do not have space to give anything li ke a full demonstration of this here, I would nevertheless ize the infinity of a perfect whole ("Je suis belle, mortels! comme un emptying6 out this very notion su gge st that the filmic model is a su bset of a larger contemplation about reve de pierre"), the book sets its sights on of simultaneity. the nature of the medium conducted through the guise of what I think // functioned as the master medium for Broodthaers, namely fiction itself, Printing the poe'm in itsent irety on the first page, which is marked "Fig. " �robdthaers singles out in red the line of verse through which as when Broodthaers referred to hi s museum as "a fiction." For fiction I,

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(opposite) Marcel Broodthaers, Charles Baudelaire. Je hais Ie mouvement qui diplace les lignes,19 73. 40, 41,42 and 3, and Pages I, 2 4 5. -

MARCEL BROOOTHAERS

--- UN COUP DE DES --- jAMAIS N'ABOLIRA LE HASARD (right)Marcel Broodchaers, Un coup 43 de disjama is n'aboliraIe hasard. Image, 19 69. Cover.

- (opposite) Marcel Broodthaers, Un coup � - 44 ... . de dis jamais n'aboliraIe hasard. Image, 19 69. ...u.o'I '''�l''Hff1l'''''''�,t'< --. :.- .�:�' . c:.o.UII;Jf: "orw.El. "'I»ou. �o.x Page 32. Broodthaers's "variant" on Mallarme's poem, rendering the lines of verse unintelligible, thereby transforms the pages into a sec of images.

at the so urce of modern art," he would explain. "He unwittingly the sculpture defies any temporal dilation of its perfect fo rm, th e one th at invented mo dern space. "jO reads, "I hate the mo vement that shifts the lines. " Throughout the fo l, But Broodthaers's own understanding of Mallarme's strategy runs lowing pages of th e book, however, Broodthaers proceeds toward just counter to what th e Baudelaire book performs. First, the very condition of this shift or displacement, as the verse itself becomes layered into th e Broodthaers's "Fig. " notation insists on the incomplete, or fr agmentary mo vement of its own vanishing horizon, with each of its words con, status of the word, its resistance to the possibility of the image's ever signed to th e bo tto m of a single pa ge. being fu lly (self,)pre sent: as his question "But the Fig. as a theory of the It could be objected that, with this revi sion of Baudelaire's poem, image?" suggests, the "Fig. " theorizes the image into the self,deferring Broodthaers is simp ly fo llowing th e example of Ma llarme's Un coup de and displacing status of fictionY In this sense, the "Fig. " questions des, in which the words of the title ("Un coup de des jamais n' abolira Ie rather than imitates the calligrammatic status of Ma llarme's pages, And hasard") are similarly extended along the bottom of several pa ges, the second, the way sequentialization works in th e Baudelaire opposes its text of th e poem itself made radically spatial by the irregularity and dis, operations in Ma llarme. For in Un coup de des, the slow unfur ling of the persal of its lines on every page, sometimes even running across the title along the bottom of the poem's pages serves more li ke a continuous gutter of the book, to transform the verses into something li ke an image. pedal point, or like th e harmonic suspensions that serve to transform the The argument fo r this parallelism might be fu rther supported by the diachronic flow of musical sOl}ndinto the heart,stopping illusion of the sprinkling of "Fig. " numbers on the upper part of the pages of synchronic space of a sipgl e chord that we hear, fo r examp le, in Broodthaers's Baudelaire, acknowledging the way Un coup de des trans, Debussy. That th e dilation we are ma de to experience in the Baudelaire is fo rms th e sequential condition of writing into the simultaneous realm of so mething else again is reenforced by being restaged in the film that seeing in a mo ve to which Broodthaers fr eguently referred. "Mallarme is

so Broodthaers conceived in the same year, Voyage on the North Sea, in desire to open up any given moment of experience to something beyond which once again the gestalt of the image isA narrat ivized (see pages 54-5). itself (reality as "origin"). In both encompassing and enacting such Casting its cinematic voyage in the form of a "book," the film's desire, fiction is, then, the acknowledgment of this very incompleteness. utter! y static shots (each lasting about ten seconds) alternate inter titles, It is the form that an unappeasable lack of self/sufficiency takes as it sets beginning with " " and running to " with motionless offin a search fo r its own beginnings or its own destiny as a way of imag/ PAGE I PAGE I " images of boats. These begin with a photograph of5, a di stant, solitary ining the possibility of achieving wholeness. It is the impossible attempt yacht, seen fo ur times as one progresses fr om page one to page fo ur, and to transform succession into stasis, or a chain of parts into a whole. then shift to a ni neteenth/century painting of a fishing fleet under sail, The modernist story that yielded the supposed "triumph" of the which ov er successive "pages" is shown in vari ous details. monochrome believed that it had produced this totalization in an object The first of these, in performing the radical leap fr om the fu ll marine that was utterly coextensive with its own origins: surfa ce and support in scene, with its schooners and longboats, to a gi ant close/up of the weave an indivisible unity; the medium of painting so reduced to zero that of the canvas, cedes by the next " page" to such a near view of the double nothing was left but an object. Broodthaers's recourse to fiction tells of bi llow of the main sail that it takes on the look of an abstract painting, the impossibility of this st ory in the enactment of a kind of layering that only in turn, after the announcement of the following "page," to yield to can itself stand for, or allegorize, the self/differential condition of another view of canvas weave that parades as a kind of radical mono/ mediums themselves. chrome. This progression mi ght suggest that the narrative summoned When Broodthaers refers to the novel in his definition of a "Theory by the "book" is an arvhistorical one, telescoping onto three successive of Figures," he speaks of the complexity he hopes to have achieved wit h pages the story of modernism's exchange of the deep space necessary to the commonplace objects li ke pipes and mirrors that "illustrate" this visual narrative for an increasingly flattened surface that now refers only work. "I would never have obtained this kind of complexity," he says, to its own parameters, the "reality" of the world supplanted by the "with technological objects, whose singleness condemns the mind to reality of the pictorial givens. 52 But by the next " page," the monochrome monomania: minimal art, robot, computer. "53 detail again retreats to a fu ll/view of the schooner, as in successive moves In such a remark is folded two components of the argument I have Broodthaers scrambles the account of a modernist progression. been pursuing in this meditation on the medium. First, that the speci/ What we are offered in its place is the experience of a passage ficity of mediums, even modernist ones, must be understood as differen/ between several surfaces, in a layering that draws an analogy between the tial, self/diffenng, and thus as a layering of conventions never simply stacked pages of a book and the additive condition of even the most coll apsed into the physicality of their support. "Singleness," as monochrome of canvases, which, however objectifiedit might be, must Broodthaers say s, "condemns the mind to monomania."54 Second, that nonetheless apply paint over its underlying support. Indeed, as the book's it is precisely the onset of higher orders of technology - "robot, com/ "pages" unfurl, this voyage appears to be one of a search for the work's puter" - which allows us, by rendering older techniques outmoded, to origi ns, such an "origin" being suspended equally between the material/ grasp the inner complexity;of the mediums those techniques support. In ity of the work's canvas flatbed (the modernist "origin") and the image Broodthaers's hands" fiction itself became such a medium, such a form projected on that opaque surface as the index of the viewer's origi nating of differenti�l specificity. ,"

52 53 Broodthaers, A vayage the North Sea, Marcel 0/1 1973-4. 7 NOTES

Fredric Jameson characterizes postmodernity as the total saturation of I Stanley Cavell, The Wo rld Viewed (Cam, refers to two aspects of his own work. On the one bridge, Mass .. Harvard University Press, hand, it performs a riff on the La Fontaine fa ble of cultur al space by the image, whether at the hands of advertising, com, 1971), pp. 101-18. the fox and the crow that had served Broodthaers munications media, or cyberspace. This complete image... permeation of 2 In this regard, see Stanley Cavell, "Music fo r his exhibition and film Le Corbeau et Ie rellard social and daily li fe means, he says, that aesthetic experience is now Discomposed," in Must We Mean What We Say? (1967) . On the other, it alludes to the typo in the (New York: Scribner's, r969), pp. 199-202. announcement fo r his exhibition "Court/Circujt" everywhere, in an ex pansi on of culture that has not only made the 3 This problem is fu rther complicated by the (1967), in which the typesetters left out the "h" in notion of an indivi dual work of art wholly pr oblematic, but has also very need to bracket off Greenberg's name with the Broodthaers and the artist added the letter by hand, use of scare,quotes in the way have done in this thereby turning the mistake into an autographic emptied out the very concept of aesthetic autonomy. In this state in I sentence so as to indicate that this reading of his work or marketable object or, in French slang, which "everything is now fully translated into the visible and the cultur, own use of the word "medium" involved (and "fro mage" (money). ally familiar, [including all critiques of this situation], .. , aesthetic involves) a strange misunderstanding, one that I 7 My attention was firstdrawn to this cover, and address below (see pp. 27- 0). its particular play on words, by Benjamin Buchloh attention," he says, "finds itself transferred to the life of perception as 3 4 Throughout this text I will use mediums as the in his important essay "Marcel Broodthaers: Alb plural of medium in order to avoid a confusion with gories of the Avant,Garde," ArtJorum, vol. such." This is what he calls a "new life of postmodern sensation," in XVIII media, which I am reserving fo r the technologies of (May 1980), p. 57. which "t he perceptual system of late capitalism" ex periences ever ything communication indicated by that latter term. For the presentation and theorization of this from shopping to all forms of leisure as aesthetic, thereby rendering any ... Benjamin H. D. Buchloh, "Introductory transformation fr om specificto general, see Thierry thing that could be called a properly aesthetic sphere ... obsolete. 55 Note [to the special Broodthaers issue)," October, de Duve, Kant After D"champ (Cambridge, Mass. no. 42 (Fall 1987), p. 5. Benjamin Buchloh's cen, MIT Press, 1996), particularly the chaptet "The One description of art within this regime of post modern sensation tral role in the critical reception of Broodthaers's Monochrome and the Blank Canvas." is that it mi mi cs just this leeching of the aesthetic out into the social field work as that unfolded in the early '70S is obvious in 9 Broodthaers's explanation appears in Museum, the many citations of his writing that occur the two,volume catalogue of the exhibition "Der in general. Withm this situation, however, there are a few contemporar y throughout this essay, as in its reference to his nur, Adler vom Oligozan bis Heute" (Dusseldorf, ar tists who have decided not to follow this pr actice, who hav e decided, turing activities as an editor and publisher in con, Stadtische Kunsthalle, 1972.),vol. 2, p. 19· In the nection with his journal Interfimktiollell. Here, draft of a text apparently addressed to Jiirgen that is, not to engage in the international fashion of installation and in apposition to this statement placed as an epi, Harten, Broodthaers played with the conceptual, intermedia work, in whi ch ar t essentially findsitself complicit with a graph to what fo llows, I want to state my own grat, ists' claim to "theory" and their ambition to limit globalization of the image in the service of capital. These same ar tists itude to Benjamin Buchloh fo r the generosity of his art to apodictic statements that would produce its willingness to read this text in manuscript and to "definition": have also resi sted, as impossible, the retreat into etiolated forms of the discuss it with me, in the open exchange of appro, bation and disagreement that makes dialogue with Theo y traditional mediums - such as painting and sculpture. Instead, ar tists r Museum at the time him consistently so challenging and illuminating. [presentl] such as James Coleman or William Kentridge have embraced the idea am the Eagle 6 Studio Illternafiollal, vol. 188 (October 1974)· I of differential specificity,whi ch is to say the medium as such, whi ch they The back cover is also by Broodthaers. It is a Thou art the Eagle He is the Eagle mixture of the same kind of children's "object understand they will now have to reinvent or rear ticulate.56 The We the Eagle lesson" discs (Z fo r zebra, H fo r horse, W fo r are You are the Eagle ex ample of Marcel Broodthaers, which I have been presenting here, has watch, with the appropriate picture on each· disc) been fundamental to this task . and discs bearing letters only. Under tpe/grid of They and indolent are cruel these discs, Broodthaers has penned: "tifments du intelligent and like · impulsive discours ne peuvent servir l'art une fa ute like remorse, like lions, d'orthographe cachee vaut un fr omage." This rats.

57 TO Interfimktionen, no. II (Fall 1974), cover. Ben, 15 Annette Michelson writes: ''As the camera its monotony, and its whiteness manifest the [October I967D. What this reading scants, jamin Buchloh, editor and publisher of this avant/ continues to move steadily fo rward, building a absolute nudity of substance; it is the in/itself however, is the way Greenberg understood the garde journal, commissioned the cover fr om tension that grows in direct ratio to the reduction which is only in/itself. . What I wish is that this category of opticality as a support fo r practice, Broodthaers, as well as another work fo r the issue: a of the field,we recognize, with some surprise, those in/itself might be a sort of emanation of myself and thus - though he never says this a medium. film scenariocalled "Seance," in which a fictitious horizons as defining the contours of narrative, of while still remaining in/itself. One wants to 'do And what this means in turn is that Greenberg's movie screening consisting of a "short," a news that narrative fo rm animated by distended tempo/ something out of snow' - to impose a fo rm on it own "modernism" is more complex than either he broadcast, and a fu ll/length fe ature is set out rality, turning upon cognition, towards revelation. which adheres so deeply to the matter that the articulates or Judd and company wanted to under, through pirated images. "Seance" was bracketed Waiting fo r an issue, we are 'suspended' towards matter appears to exist fo r the sake of the fo rm .... stand, or de Duve acknowledges. The guestion of by a pair of images of palm trees, under which the resolution .... Snow, in reintroducing expectation To ski is, beyond skill, rapidity, play, a way of pos/ opticality as a phenomenological vector is fu rther caption "Racisme vegetale" announced Broodt... as the core of filmfo rm, redefinesspace as being ... sessing this field. I am doing something to it. By my developed in my "The Crisis of the Easel Picture," haers's fo rthcoming book of the same name. It was essentially ' a temporal notion.' Voiding the filmof activity I am changing the matter and meaning of op. cit. Buchloh who translated Broodthaers's cover text, the metaphoric proclivity of montage, Snow the snow." (Jean/Paul Sartre, Being and Nothingness, 25 In relation to one version of such rotation, ''Avis,'' into English in collaboration with the created a grand metaphor fo r narrative fo rm." trans. Hazel E. Barnes [New York: Washington Fried writes that this would allow something artist. Once again, my attention to this little/known ("Toward Snow. Part I," Artforum, vol. IX (June Square Press, 1956], pp. 742-3). The concept of "powerful enough to generate new conventions, a work was alerted by Buchloh, in "Broodthaers: 1971), pp. 31-2. the "phenomenological vector" is precisely engaged new art" (Michael Fried, "Shape as Form," in Art Allegories of the Avant/Garde," op. cit., pp. 57-8. 16 Serra speaks of the importance of Michael with this idea of an activity of organization and and Objecthood [Chicago and Loudon: Chicago

I I By coining the term " eagle principle" fo r that Snow's wOlk fo r him in Annette Michelson, connection through which a subject engages with a University Press, 1998], p. 88). part of Broodthaers's use of the eagle that critiques Richard Serra, and Clara Weyergraf, "The Films world as meaningful. 26 Leo Steinberg, Other Criteria (New York:

Conceptual art and thus a certain turn of events of Richard Serra: An Interview," October, no. 10 r 9 I have explored this issue in a series of essays: Oxford University Press, I 972), p. 79. within the history of postwar art, I am trying to (Fall 1979). . And Then Tu rn Away?' An Essay on James 27 Cavell's use of the term automatism to suggest distinguish this fr om the fu ll range of what 17 In a selies of essays in the late 1940S Green, Coleman," October, no. 81 (Summer 1997), pp. the idea of a medium as a support fo r practice opens Broodthaers meant the eagle to address, which berg enunciates this idea of the end of easel paint, 5-3 3; "Reinventing the Medium," Critical Inquiry, up the beginuing of such a theorization. For obviously includes the political dimension of the ing and the opening of picture/making to no. 25 (Winter 1999), pp. 289-305; and "The example, it sees the relatiou between a given symbol and more specifically, within Broodthaers's something "beyond" it. See "The Crisis of the Crisis of the Easel Picture," fo rthcoming in the "automatism" and the fo rm its development would European context, its permeation and exploitation Easel Picture" (April 1948) and "The Role of second volume of the Jackson Pollock catalogue, take as necessarily serial in nature, each member of by fa scism. Nature in Modern Painting" (1949), in Clement The Museum of Modern Art, New York. the series beiug a new instance of the medium itself 12 For a discussion of Anthology Film Greenberg, The Collected Essays and Criticism, vol. 2, 20 Such an analysis is undertaken in the discus, (The Wo rld Viewed, op. cit., pp. 103-4). Archives, see Annette Michelson, "Gnosis and ed. John O'Brian (Chicago and London: Univer, sion of Serra at the end of my "The Crisis of the 28 See my "Video and Narcissism," October,

Iconoclasm: A Case Study of Cinephilia," sity of Chicago Pless, 1986), pp. 224 and 273-4; Easel Picture," op. cit. no. I (Spring r976). October, no. 83 (Winter 1998), pp. 3-r8. see also ''American/Type Painting" (1955), 21 See "Louis aud Noland" (1960) and ''After 29 Stanley Cavell seeks to locate this unity 13 See ]./L. Baudry, "The Apparatus," Camera Clement Creenberg, op. cit., vol. 3, p. 235. Abstract Expressionism" (1962), in Clement through television's material basis as "a current of no. (1976); and Teresa de Lauretis and In analyzing the lines of intention that Cremberg, op. cit., vol. pp. aud simultaneous event reception," and a fo rm of per,.. Obswra, I 18 4, 97 r3 I. Stephen Heath (eds), The Cinematic Apparatus connect a subject to his world, Same speaks not 22 "Modernist Painting," ibid., p. 90. ception specificto it, which he calls "monitoring" (London: Macmillan, 1980). only of the reciprocity of points of view - the 23 "Louis and Noland," ibid., p. 97· (see Stanley Cavell, "The Fact of Television," in '4 Maurice Merleau/Ponty, Phenomenology of vector that connects my body as my point of view 24 Thierry de Duve's account of Greenberg's Video Culture: A Critical Investigation, ed. John Perception, trans. Colin Smith (London: Routledge on things with that aspect which marks out the reaction to Minimalism's transmutation of mod... Hanhardt (Rochester, N.Y. Visual Studies Worb and Kegan Paul, 1962). The section titled "The point of view of those things on my body -but also ernist "flatness"into the monochrome canvas taken shop, 1986). Other attempts to articulate the speci, Body" addresses the interconnectedness of the of those movements through the world which are as a kind of readymade sees Greenberg abandon, ficityof television and/or video include: Jane Feuer, body's "back" and "front" within a system of the my fO lm of appropriating it, through play fo r ing modernism and embracing fo rmalism, the "The Concept of Live Television: Ontology as meanings of these relationships. These, given pre/ example. "Sport," he writes, "is a fr ee transforma... latter beiug an exclusive concern fo r the aesthetic as Ideology," In Regarding Te levision: Critical objectivally by the space of the body, thus fu nction tion of the worldly environment into the support/ the exercise of judgmeuts of taste (in "The Mono, Approaches, ed. E. Ann Kaplan (Frederick, Md.: as a primordial model fo r meaning itself. The body ing element of the action. This fa ct makes it creative chrome aud the Blank Canvas," oF-,cit., p. 222). University Publications of America, r983); Mary as the preobjective ground of all experience of the like art. The environment may be a field of snow This, of course, accords with Greeuberg's self Ann Doane, "Information, Crisis, and Catastt'ol relatedness of objects is the first"world" explored . to see it is already to possess it. It represents pure description in his POS(/I962 writings such phe, " in Logics of Te levision: Essays in Cultural Crili/ by Phenomenology of Perception. exteriority, radical spatiality; its undifferentiation, as "Complaint� of an Art Critic" (Artforum cism, ed. Patricia Mellencamp (Bloomington:

5 8 S9 Indiana University Press, I990); Fredric Jameson, Walker Art Center, 1989), pp. 71-91. Broodt, fo unded the Festival, was the head of the Royal graphic shots of sailboats taken by J3m()dth;\,·\'�. "Video," Postmodernism: Or the Cultural Logic oj haets's explanation about becoming a "creator" is Film Archives in Brussels, which fu nctioned as a In an interview conducted on the occasion of' Late Capitalism (Durham, N. Duke University fr om his essay "Comme du beurre dans un repository of the same type of cinematic repertory Broodthaers's 1973 exhibition of his Literary c.. {Ja illt, Press, 199I). sandwich," Phantom as, no. 51'.61 (December privileged by Anthology Film Archives. illgs, in which Allalyse d'lIlIe Peilltllrr was scrcclled, 30 Samuel Weber, "Television, Set, and Screen," 1965), pp. 295'-6, as cited in Crimp, op. cit., p. 71. In his essay "Le Cinema Experimental er les Benjamin Buchloh and Michael Oppitz qlle" in Moss Mediatlros: Fo rm, Te chnics, Media (Pasadena, 38 Wa lter Benjamin, Dos PassagCl/- We rk (Frank­ fa bles de La Fontaine. La raison du plus fo rt," tioned the artist about the film.In his questions to Calif. Stanford University Press, 1996), p. 110. fu rt am Main: Suhrkamp, 1982), vol. I, p. 277, written in relation to his exhibition " Le Corbeau Broodthaers, Buchloh assumes that the film is an 31 Fredric Jameson comments on this resistance allegory of modernism, one that analyzes as cited in Crimp, op. cit., p. 72. et Ie Renard," Broodthaers describes Snow's film and of video to modernist theorization in his HTrans/ 39 The "Fig." numbers in Ma Collection are in some detail. He then purs it in relation to Euro­ attacks its self_certainties: "Your way of ironically fo rmations of the Image in Postmodernity," in The fo r once consecutive, unlike the random character pean "structuralist film," particularly Selbstschiisse repeating the painterly gestures of reduction and Cultural Ttmz: Selected Writings on the Postlllodern, that Broodthaers names as the principle of num­ by the German film_maker Luc Mommartz annihilation in film- do not the same obsolete and 1983-1998 (London: Ve rso, 1998). bering in the "Sections des Figures" exhibition (Marcel Broodtham: Cillema, Barcelona: Tapies retardataire principles determine your own analysis 32 See Jacques Derrida, "The Law of Genre," ("The Eagle from the Oligocene to the Present"), Foundation, 1997, pp. 60--1; my thanks to Maria of a painting as welh" Broodtbaers's replies to this " Glyph, no. 7 (1980). or the aleatory quality of the sprinkling of "Fig. I, Gilissen fo r calling my attention to this reference are singularly resistant: "Is the tool of analysis really 33 This, inscribed on an untitled work of "Fig. 2," "Fig. A," etc. and to Mommattz.) sufficient fo r 'working'?" he asks at one point. At 1973-4, is itself a complex statement. The first half 40 Ibid., p. 7J. 47 Walter Benjamin, Short History of Pho­ another, he seems to object to the idea that his film ''A connects to the eagle principle's double description 41 This is fr om Walter Benjamin, Charles Baude­ tography," in "aile Way Street" alld Other Writillgs, deals, as Buchloh insists, "with the problem of of the way theories are themselves porous to com­ laire: A Lyric Poet in the Era oj High Capitalism, trans. trans. Edmund Jephcott and Kingsley Shorter painting." "Not with painting as a problem," he modification and of the fa ct that the substitution of Harry Zohn (London: New Left Books, 1973), (London: New Left Books, 1979). For a fu rther says, "but with painting as a subject. If there is in language fo r the physical object does not protect art p. I65, as cited in Crimp, op. cit., p. 80. discussion, see my "Reinventing the Medium," your opinion a problem of painting, I claim to fr om this condition either. But the second sentence 42 See Susan Buck-Morss, The Dialectics op. cit. have treated the film which we are speaking about is fa r less negative and opens onto the redemptive oj Seeing: TMllter Benjamin and the Arcades Project 48 Press release fo r "Musee d'Art Moderne, in a style that transforms this problem." (Marcel possibilities toward which the "Fig." as a new type (Cambridge, Mass . MIT Press, 1989), pp. 241-5. Departement des Aigles, Sections Art Moderne et Broodtham: Cillema, op. cit., pp. 230--1). of image - a fr agment that participates wholly in 43 Benjamin H. D. Buchloh, "Formalism and Publicite" (Kassel, 1972), reprinted in Marcel It is my view that when Broodthaers uses the neither language nor icon - might gesture. This is Historicity - Changing Concepts in American Broodthaers, 1991, op. cit., p. 227. word subject as he does above - "painting as a suggested by the role of the "Fig." in Ma Collectioll and European Art since 1945," in Ellrope in the 49 Marcel Broodthaers, after an interview by subject" - he is often pointing not to anything like and the book Charles Baudelaire. Je hais Ie mouvellient Seventies: Aspects oj Recent Art, exh. cat. (Chicago: Irma Lebeer, "Ten Thousand Francs Reward," "subject/matter" or content, but to the issue of the qui deploce les lignes, both discussed below. I am The Art Institute of Chicago, 1977), p. 98. October, no. 42 (Fall 1987), p. 43· medium. extremely grateful to Benjamin Buchloh fo r his Walter Benjamin, Das Passagen-Werk, op. cit., 50 From the catalogue fo r "MTL-DTH," 53 Marcel Broodthaers, "Ten Thousand Francs 44 suggestions about the complexity of Broodthaers's p. 271, as cited in Crimp, op. cit., p. 73. quoted in Anne Rorimer, "The Exhibition at the Reward," op. cit., p. 43. "Theory of Figures" and the allegorical status of 45 Walter Benjamin, "Unpacking My Library" MTL Gallery Brussels, March I3-April 10, 54 Ibid. in this notion within his work. (1931), in Illuminatiolls, traus. Harry Zohn (New I970," October, no. (Fall 1987), p. lIO. 55 Fredric Jameson, The Cllltliral Ttlrn, op. cit., 42 l4 Press release fo r "Musee d'Art Moderne, York: SchockenBooks, 1969), p. 67. 51 See note 33, above. pp. rra--I2. Departement des Aigles, Sections Art Moderne et 46 Although Broodthaers had made two earlier 52 The marine scene fo otage in A V

60 61 Translation oftext on page 38 LIST OF ILLUSTRATIONS

text by Marcel Broodthaers on A Ma Collection I Marcel Broodthaers, front cover of Studio 15 Marcel Broodthaers, Briissel Teil ll, 1971. Film is a work composed of two panels, both sides of which are used. Within the Ma Collection rlllematiollal, October 1974. Courtesy of Studio frame. Photo © Gilissen. first panel, containing documents fr om exhibitions at which I have been able to exhibit, Intematiollal. 16 Marcel Broodthaers, Vo yage Wa terloo ' UII a there is inserted a page fr om the catalogue of the Cologne fa ir of 7I with photos of these 2 Marcel Broodthaers, back cover of Studio (Napoleon 176g-1g69), 1969. Film frames. Photo © same documents. The second panel of is adorned with a portrait of the In ternatiollal, October 1974. Courtesy of Studio Gilissen. Ma Collection European poet Stephane Mallarme, whom I consider to be the fo under of contemporary Internatiollal. 17 Marcel Broodthaers, Muse

Translation oftext on page 1968. Paint on vacuum,formed plastic. 33'1. X 47';' che Kunsthalle, Dusseldorf.Photo © Gilissen. 40 inches. Photo © Gilissen. 20 Marcel Broodthaers, Muse

28 Marcel Breodthaers, Mllsfllm of Modern Art, 37 Marcel Breodthaers, La pluie, 1969. Film Eag les Department, SectionPllblicite. Wall momage of fr ame. Photo © Gilissen.

1972 exhibition. Photo © Gilissen. 38 Marcel Breodthaers, Ceci ne serait pas I"" pipe, ANTI UITY DEPICTED 29 Marcel Breodthaers, Museum of Modem Art, 1969-71 . FIlm fr ame. Pholo © Gilissen. Q P O STUART [ TT Eagles Department, Section Publicite. Wa ll montage of 39 Marcel Breodthaers, Charles Baudelaire. Je hais GG 1972 exhibition. Photo © Gilissen. Ie mouventent qui deplace les lignes, 1973 . Book cover. THE PA INTER DEPICTED 30 Marcel Breodthaers, Museum of Modem Art, Photo © Gilissen. LEVEY Eagles Department, Section Publicite. Wall montage of 40 Marcel Breodthaers, Charles Baudelaire. Je hais M[CHAEL 1972 exhibition. Photo © Gilissen. Ie mouvemellt qui deplace les lignes, 1973 . Page 1. Photo 31 Marcel Broodthaers, Musfllm of Moderll Art, ©Cilissen. THE FORGOTTEN COLLECTOR Eagles Department, Section Publicite. Wa ll montage of Marcel Breodthaers, Charles Baudelaire. Je '

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