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Nowadays, the expansion and omnipresence of museums is phenomenal and recent museum culture tends to obscure the fact that this phenomenon is historical rather than natural. Accordingly, the recent development of ‘museum discourse’ focuses on the revelation and subsequent deconstruction of its ideology and institutionalization, Related institution critique was initiated by the Conceptualist artists in the late 1960s and among them, Marcel Broodthaers is a central figure. He established his own museums and used exhibition itself as a medium of inquiry.
His interest in museum and its power was caused by the 1968 student revolution in Paris and in Brussels. With fellow artists, he occupied the museum and negotiated with museum officials. After this incident he opened his own museum in his own house in Brussels and called it Museum of Modern Art, Department of Eagle, 19-century Section, Eagle was the symbol of the authority and power of art. The museum continued to be open for 4 years changing the location and name, but it was an imaginary and discontinuous one.
The final manifestation of the museum is at the Kunsthalle, Dusseldorf in 1972. Almost 300 images of eagles from all periods and in all media were collected from various other museums and collections under the heading ‘The Eagle from the Oligocene to the Present.’ Each image was labelled “This is not a work of art’ in English, French, or German. The formula was obtained by the contraction of a concept by Duchamp and Magritte. By this, he underlined the principle of authority and asked who decide art and with whose consensus. By reversing Duchamp’s readymade concept he criticized Duchamps generalization of art and by denying Magritte, he tried to recover the objecthood of things.
He was invited to the Documenta 5 in 1972 and on that occasion, closed his museum for good, His last exhibition was also about the issue of who is responsible for the definition of art. Although his museums were fictions and the eagle exhibition was a kind of farce, his desire to reveal and thus to investigate the ideology of museum and of the exhibition methodology is a valuable contribution to museum discourse.
His interest in museum and its power was caused by the 1968 student revolution in Paris and in Brussels. With fellow artists, he occupied the museum and negotiated with museum officials. After this incident he opened his own museum in his own house in Brussels and called it Museum of Modern Art, Department of Eagle, 19-century Section, Eagle was the symbol of the authority and power of art. The museum continued to be open for 4 years changing the location and name, but it was an imaginary and discontinuous one.
The final manifestation of the museum is at the Kunsthalle, Dusseldorf in 1972. Almost 300 images of eagles from all periods and in all media were collected from various other museums and collections under the heading ‘The Eagle from the Oligocene to the Present.’ Each image was labelled “This is not a work of art’ in English, French, or German. The formula was obtained by the contraction of a concept by Duchamp and Magritte. By this, he underlined the principle of authority and asked who decide art and with whose consensus. By reversing Duchamp’s readymade concept he criticized Duchamps generalization of art and by denying Magritte, he tried to recover the objecthood of things.
He was invited to the Documenta 5 in 1972 and on that occasion, closed his museum for good, His last exhibition was also about the issue of who is responsible for the definition of art. Although his museums were fictions and the eagle exhibition was a kind of farce, his desire to reveal and thus to investigate the ideology of museum and of the exhibition methodology is a valuable contribution to museum discourse.
목차
1. 들어가는 말
2. 성전에서 포럼으로
3. 이것은 미술관이 아니다
4. 이것은 예술작품이 아니다
5. 맺는 말
Abstract
「마르셀 브로타스의 미술관」에 대한 질의(정헌이)
정헌이 선생님의 질의에 대한 답변(강태희)
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UCI(KEPA) : I410-ECN-0101-2009-609-017289770