16 Tons
17 Tons: Memory as practice
17 Tons: Memory as practice
2012 Architects & Refunc
Aesthetics of Pollution
Alexandrov, Grigori
Almarcegui, Lara
Amalrik, Leonid, Dmitri Babichenko & ...
Amorales, Carlos
Anthoine, Roger
Apóstol, Alexander
Art Salon | Artist Talk ...
Artwork Entry
Ashington Group, The
Auden, W. H. [Wystan Hugh]
Becher, Bernd & Hilla
Beehive Design Collective
Ben Cain: About his research
Ben Cain: Audience and Interaction
Ben Cain: Physical aspects of ...
Bevierre, Olivier
Biscotti, Rossella
Bissill, George
Boltanski, Christian
Boom, Irma & Johan Pijnappel
Brandt, Bill
Britten, Benjamin
Broodthaers, Marcel
Buckle, Janet
Burtynsky, Edward
Cain, Ben
Campbell, Duncan
Carboniferous Landscapes
Cinematek Brussels
Claire Fontaine
Claus, Emile
Coal Face, 1935
Cobb, Francis William
Contemporary Art
Cornish, Norman
Crises of Capitalism
Cuauhtémoc Media (Chief Curator Manifesta ...
Cvijanovic, Nemanja
Cycles of Realism
Dark Matter
Dawn Ades: Coal as a ...
Daykin, Gilbert
de Loutherbourg, Philippe Jacques
Deller, Jeremy
Demuth, Charles
Douard, Cécile
Duchamp, Marcel
Durán, Manuel
Edgar Hermans about the Heritage ...
Embroidered Sayings
Epics of Redundancy
Ernst, Max
European Civilisation
Furlan, Tomaž
Garden Cities
Geers, Kendell
Geerts, Paul
Goldin+ Senneby
Granata, Rocco
Gronbach, Eva
Grubic, Igor
Guillaumin, Armand
Habex, Jan
Hair, Thomas Harrison
Hammons, David
Hanging the Manifesta 9 Flag
Harrison, Tony
Harskamp, Nicoline van
Hedwig Fijen: The idea behind ...
Herman, Josef
Heslop, Robert
Hüner, Emre
Industrial Revolution
Interview: Ante Timmermans
Ivens, Joris & Henri Storck
Izquierdo, Jota
Jafri, Maryam
Jitrik, Magdalena
Kaliski, Kevin
Karikis, Mikhail & Uriel Orlow
Kessels, Willy
Kilbourn, Oliver
Klutsis, Gustav
Konijnenberg, Willem Adriaan van
Konrad, Aglaia
Kozakis, Nicolas & Raoul Vaneigem
Kuai Shen
Landscape: From the Picturesque to ...
Landscape: From the Picturesque to ...
Leck, Bart van der
Lieshout, Erik van
Linde Hermans: Scenography of Manifesta ...
Livrets des ouvriers mineurs du ...
Long, Richard
Luce, Maximilien
Luque, Manuel
Maciá, Oswaldo
Manifesta 9
Manifesta Journal 13: Conversation between ...
Martin, John
Masereel, Frans
Mass-Observation movement
Matthys, Michaël
McCullin, Don
McGuinness, Tom
Meunier, Constantin
Michaël Matthys about La Ville ...
Mieke Mels (Curatorial Assistant) about ...
Mies van der Rohe, Ludwig
Mining Machine
Monko, Marge
Moore, Henry
Munby, Arthur
Museum of the Miner’s House, ...
Newcomen Colliery Winding Engine
News from the Graveyard: On ...
Ni, Haifeng
Nostalgia and Its Discontents
Origins of Manifesta
Pabst, Georg Wilhelm
Paulus de Châtelet, Pierre
Perlee Parker, Henry
Poetics of Restructuring
Portrait of Spyros Roumeliotis and ...
Prayer Mats
Preparation of the Building
Promo Video
Raqs Media Collective
Rittase, William
Robinson, William Heath
Rocco Granata about 'Marina'
Saint Barbara
Schlingelhoff, Bea
Selander, Lina
Sime, Sidney
Smithson, Robert
Smoke, Colours and Loans
Soi, Praneet
Soviet propaganda
Stella, Joseph
Sutherland, Graham Vivien
The Age of Coal: An ...
The Legacy of Manifesta
The Mine Depot, Waterschei
Timmermans, Ante
Tomaszewski, Yan
Torfs, Ana
Underground as Hell
Underground, Models of the
Vanden Eynde, Maarten
Vandersteen, Willy
Vega Macotela, José Antonio
Venet, Bernar
Vercheval, Georges
Vermeir, Katleen & Ronny Heiremans
VIDEO: Kuai Shen
Video: manifesta 9 symposium on ...
VIDEO: Marge Monko - Nora's ...
VIDEO: Raqs Media Collective - ...
Video: Sounds from Beneath - ...
VIDEO:Oswaldo Maciá - Martinete
Visible Solutions, LLC
Waterschei Planning Archive
Woods, Paolo
Zola, Émile
Zwartberg drama

EN / nl

Broodthaers, Marcel

b. 1924, Brussels, Belgium; d. 1976, Brussels

Bac à cendre, 1971-72 Sculpture with ashtray and ashes, 91 x 45 x 22 cm Collection: Estate Marcel Broodthaers

Deux morceaux de charbon, (anthracite) entourés d’ouate blanche, 1967 Sculpture with coal and cotton wool, 12 x 7.5 x 6 cm and 12 x 5 x 10.5 x 5 cm Collection: Estate Marcel Broodthaers

Trois tas de charbon, 1967 Installation with coal, wood, paper, variable dimensions. Collection: Estate Marcel Broodthaers

Between 1966 and 1967, Marcel Broodthaers incorporated coal into his trademark material vocabulary, a choice he wittily systematised in the title of his 1966 exhibition at the Wide White Space Gallery in Antwerp: Moules Oeufs Frites Pots Charbon (Mussels Eggs Fries Pots Coal). Beyond alluding to the emergent ontology of an art that was merging with the everyday, coal became part of Broodthaers’s skewed critique of Belgian identity, entrusted to “materials that symbolically duplicate the tautological structure of the nation-state and then undo their own symbolic power” which were made laughable upon being inserted into the artwork (Haidu 2010:37). That these anti-monuments practically coincide in time with the political crisis caused by the violent clashes between the Belgian police and the miners picketing the Zwartberg coal mine in Genk (January 1966) would tempt the viewer to feel that when René Magritte reproached Broodthaers for being “more a sociologist than an artist” (Broodthaers 1988:41), he may have had works like Trois tas du charbon in mind. However, at the time the work was shown, Pierre Restany preferred to argue that the work involved a comparison between an excess of coal production in the 19th century and an “excess of information and visual solicitations” in the 20th (1998:55). Perhaps, then, the historical import of these works, indicated in the artist’s awareness that the “exploitation of the political consequences of art” had become, not unlike theory, “a private property” (Broodthaers 1988:45), derives from their occupying a peculiar space of aesthetic ambiguity and opacity, refusing to choose between literalness, critique and ridicule. CM