Texte remanié de: Dissertation--Köln, 1995. / Bibliogr. p. 245-278.

O Museu de Arte Moderna Departamento das Águias, criação de Marcel Broodthaers, foi fundado em 1968, em Bruxelas, e extinto em 1972, em Kassel. Este Museu permitiu a Broodthaers assumir de forma paródica a persona de autoridade institucional no contexto da então nascente arte conceitual. Nesta tese analisamos sua composição e fundamentos através do estudo e reconstituição de cada uma das doze Seções de que este Museu fictício se constituiu. Para cada uma das Seções contingências específicas são abordadas. Foi investigado o acervo de imagens remanescentes em publicações a respeito do assunto, bem como pareceres e leituras de seus maiores interlocutores, além do legado literário do próprio artista. Finalmente, a tese apresenta uma tradução de tendência alegórica que correlaciona os aspectos mais marcantes deste Museu nascido para analisar o sistema de produção e distribuição de arte, com os fatores contextuais de seu breve período de atuação mas também, em potência, e por analogia, com o período atual. / The Museum of Modern Art, Department of Eagles, a creation of Marcel Broodthaers, was founded in 1968 in Brussels and extinguished in 1972 in Kassel. This Museum allowed Broodthaers to assume the parodic form of an institutional authority\'s persona in the context of the emerging conceptual art. In this thesis we analyze its composition and grounds through the study and restoration of each of the twelve sections that constituted this fictitious Museum. For each of the sections, specific contingencies are addressed. The ensemble of remaining images in publications on the subject as well as advices and readings of its biggest partners beyond the literary legacy of the artist himself were investigated. Finally, the thesis presents a translation of allegorical trend that correlates the most striking aspects of this Museum which was created to analyse the production and circulation systems of art with the contextual factors of its short period of operation as well as potentially, and by analogy, with the current period.

O Museu de Arte Moderna Departamento das Águias, criação de Marcel Broodthaers, foi fundado em 1968, em Bruxelas, e extinto em 1972, em Kassel. Este Museu permitiu a Broodthaers assumir de forma paródica a persona de autoridade institucional no contexto da então nascente arte conceitual. Nesta tese analisamos sua composição e fundamentos através do estudo e reconstituição de cada uma das doze Seções de que este Museu fictício se constituiu. Para cada uma das Seções contingências específicas são abordadas. Foi investigado o acervo de imagens remanescentes em publicações a respeito do assunto, bem como pareceres e leituras de seus maiores interlocutores, além do legado literário do próprio artista. Finalmente, a tese apresenta uma tradução de tendência alegórica que correlaciona os aspectos mais marcantes deste Museu nascido para analisar o sistema de produção e distribuição de arte, com os fatores contextuais de seu breve período de atuação mas também, em potência, e por analogia, com o período atual. / The Museum of Modern Art, Department of Eagles, a creation of Marcel Broodthaers, was founded in 1968 in Brussels and extinguished in 1972 in Kassel. This Museum allowed Broodthaers to assume the parodic form of an institutional authority\'s persona in the context of the emerging conceptual art. In this thesis we analyze its composition and grounds through the study and restoration of each of the twelve sections that constituted this fictitious Museum. For each of the sections, specific contingencies are addressed. The ensemble of remaining images in publications on the subject as well as advices and readings of its biggest partners beyond the literary legacy of the artist himself were investigated. Finally, the thesis presents a translation of allegorical trend that correlates the most striking aspects of this Museum which was created to analyse the production and circulation systems of art with the contextual factors of its short period of operation as well as potentially, and by analogy, with the current period.

MASTERS FACULTY OF HUMANITIES SCHOOL OF ARTS STUDENT NO: 9910933F / This study investigates the ways in which museums are understood as texts, and how artists challenge those assumptions within their work. The extent to which parody, a central tenet of post- modern art, can be used as an effective means to challenge the hegemony of the art museum, is investigated through an analyses of artworks by Illya Kabakov and Marcel Broodthaers. The first part of the study interrogates the hegemonic function of museums, through a discussion of the central tenets of museological discourse, in order to contextualise the discussion of the artworks in question. The second part of this study includes an analysis of specific artworks by Illya Kabakov and Marcel Broodthaers, detailing the ways in which these artists parody aspects of museum practice. The concluding chapter interrogates my own artistic production in relation to this research.

En el contexto del arte contemporáneo, una investigación centrada en la autoría de Marcel Broodthaers nunca es inocente. El examen de su trayectoria artística con un enfoque teórico y crítico permite valorar su trabajo como una obra heterogénea y coherente más que como una serie de experimentos que abastan la poesía, la fotografía, el cine o la escultura en el sentido estricto de los géneros. Globalmente, sus propuestas giran en torno a la cuestión del papel del arte en la sociedad y del papel del artista. Broodthaers comienza a realizar sus primeros assemblages a finales de 1963 preguntándose si no podría vender algo. Después, en 1968, construye en Bruselas la ficción del Musée d'Art Moderne, Département des Aigles en medio del ambiente de revuelta social con la intención de escenificar el enfrentamiento entre la violencia institucional y la violencia poética. La huella de esta experiencia justifica posteriormente la concepción de exposiciones retrospectivas o antológicas como otras formas de ficción y la idea de Décor deviene la síntesis de sus interrogantes sobre la función social de la obra de arte. Lógicamente, la repercusión del trabajo de Broodthaers y su relación con las instituciones artísticas - galerías, museos, ferias de arte, macroexposiciones, bienales, etc. - es de lo más interesante. La autoría de Broodthaers constituye un modelo de utopía, pero no se trata de una utopía romántica pura sino de una utopía bastarda y mestiza que actualiza los legados artísticos de Mallarmé, de Baudelaire, de Duchamp, de Schwitters y de Manzoni. Este modelo de autoría consigue ser una forma de ejercer la libertad artística y de preservar la memoria: una estrategia de resistencia y de supervivencia espiritual, lo cual resulta hoy día muy estimulante. / Angulo Alemán, T. (2004). La utopia pervinguda. El model d'autoria de Marcel Broodthaers [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/15573

This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.

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The main objective of this thesis is to formulate a practical aesthetic framework from Giorgio Agamben’s writings, and to use his concepts as an interpretative tool in relation to certain aspects of poetry in contemporary art. The specific category of printed poetry by artists is studied from a meta perspective, looking primarily at the gesture performed by writing poetry as an artist. A selective history of poetry in art looks at Marcel Broodthaers and the Bernadette Corporation, including the ways in which they can clarify the aesthetics of Agamben, followed by a shorter interpretations of three contemporary artist-poets – Karl Larsson, Karl Holmqvist and Hanne Lippard. These works can be defined as a hybrid third with Agamben, not art, but making the absence of art present. Works that are neither poetry nor art but with the availability and potential for both. An aesthetic terminology from Agamben is an aesthetics of privation and potential, of absence and inoperability, as well as an aesthetics of negation and resistance. A framework for looking at the tension between activity and passivity, and the resistance present there. The concept of potentiality also proves to be a fruitful opening for the interpretation of art leaning toward negation or withdrawal. / Populärvetenskaplig sammanfattning Uppsatsen undersöker en samling filosofiska begrepp kopplade till konst, hämtade från några av den italienska filosofen Giorgio Agambens böcker. Dessa kan läsas som en estetisk modell, och användas för att tolka konst som tangerar aspekter av inaktivitet och frånvaro, eller befinner sig mellan konst och andra uttrycksformer. Poesi skriven av konstnärer läses här ur ett metaperspektiv, med hjälp av Agambens filosofiska ramverk. Poesins kvalitet eller effekt är inte det huvudsakliga intresset, utan den gest som skrivandet av poesin förkroppsligar. En historisk kontext presenteras genom konstnären Marcel Broodthaers och konstnärsgruppen Bernadette Corporation. De filosofiska begreppen prövas sedan på tre samtida artist-poets, konstnärer som skriver poesi. Agamben ger verktyg för tolkning av konst som dra sig undan definition och representation. Uppsatsen påvisar hur poesi, när den produceras av konstnärer, kan tolkas som ett motstånd mot konstmarknaden.

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