BROODTHAERS: MARCEL BROODTHAERS, COLLECTED WRITINGS

BROODTHAERS: MARCEL BROODTHAERS, COLLECTED WRITINGS.

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Marcel Broodthaers (Bruselas, 1924-1976), poeta antes de convertirse en artista en 1964, fue pionero en la instalación intermedia y site-specific, pero, ante todo, un teórico que escribió penetrantes artículos sobre las artes visuales. La obra de Broodthaers goza de un amplio reconocimiento en términos de movimiento y combinación de medios expresivos diversos: las performances, películas, obra basada en textos, etc. Muchas veces poco considerada, su obra artística incluye una auténtica investigación sobre la naturaleza del lenguaje, que aporta al conjunto de su obra una continuidad conceptual. «Soy el resultado de una experiencia (literaria) 'quizá un poco fuerte' digamos que de un indudable gusto por la literatura; ése era mi punto de partida. No obstante, pienso que ahora estoy en condiciones de expresarme en el límite de las cosas, donde el mundo de las artes plásticas y el de la poesía, no me atrevería a decir que confluyen, sino en el punto preciso donde divergen.» Marcel Broodthaers (Brussels, 1924-1976), a poet before becoming an artist in 1964, was a pioneer of intermedia and site-specific installation art but above all an in-depth theorist who ranged widely over the visual arts in his writings. Broodthaers' work is widely recognized for its movement and combination of mediums: performance, film, text-based work, etc. Often overlooked, his artworks include genuine research into the nature of language, giving a conceptual continuity to all his practice. "I am the result of (literary) experience-that's perhaps a little strong-let's say of a taste for literature definitely, that was my starting point, however, I do think I am now able to express myself on the edge of things, where the world of plastic arts and the world of poetry might possibly, I wouldn't say meet, but at the very frontier where they part." This fully illustrated collection of Broodthaers' writings presents his early poetry in a comprehensive selection of statements and critical essays-some unpublished while others were originally published in newspapers and art magazines and are here collected for the very first time. All of this, together with his so-called open letters, interviews, preparatory notes, and scripts, introduces us to his solid thinking on politics, economics, nationalism, publicity, institutional politics, and culture. The two critical essays that serve as the book's introduction written by Gloria Moure (editor of this volume) and Birgit Pelzer examine the artist's approach in relation to the linguistic turn in art practices of the 1960s, and its legacy in contemporary art.

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