Exposition Litt茅raire Autour de 惭补濒濒补谤尘茅
Exposition litt茅raire autour de 惭补濒濒补谤尘茅, recalls an exhibition of the same name by Marcel Broodthaers in 1969 at Wide White Space in Antwerp, Belgium. The exhibition is centered around re-readings and re-writings of Un Coup de D茅s Jamais N鈥橝bolira Le Hasard across different media, around that icon of the avant-garde. The exhibition will be a 1-on-1 appropriation of a historical exhibition, hence a 鈥済reatest hit鈥� in its own right.
Coup de D茅s (collection) unites a vast number of editions of 惭补濒濒补谤尘茅鈥檚 chef d鈥檕euvre as well as many of its historical and contemporary editions and appropriations by other authors such as J茅r茅mie Bennequin, Bernard Chiavelli, Jim Clinefelter, Mario Diacono, Sammy Engramer, Cerith Wyn Evans, Ernest Fraenkel, Elsworth Kelly, Michael Maranda, Guido Molinari, Aur茅lie Noury and Eric Zboya. The collection also includes a variety of publications (backgammon tutorials, pulp fiction, and militaria books) that feature the phrase 鈥淐oup de D茅s鈥� on the cover without explicitly referring to 惭补濒濒补谤尘茅. Coup de D茅s (collection) is ongoing and subject to open submission.
The exhibition includes Un Coup de D茅s Jamais N鈥檃bolira Le Hasard SCULPTURE, a close copy of the 1914 edition of St茅phane 惭补濒濒补谤尘茅鈥檚 poem, but with all the words cut out by laser, in a way that corresponds directly to the typographic layout used by 惭补濒濒补谤尘茅. When turning the pages, numerous shadows are generated by the cutouts. Pichler鈥檚 version is juxtaposed with editions by Broodthaers and 惭补濒濒补谤尘茅, who had written 鈥淯n Coup de D茅s jamais n鈥檃bolira le Hasard. PO脠ME鈥� in 1897, and also saw it published in a magazine called Cosmopolis. 惭补濒濒补谤尘茅 left copious notes as to how it should be typeset, instructions that were finally carried out 16 years after his death, in 1914. In 1969 this work was appropriated in three renditions as Un Coup de D茅s Jamais N鈥檃bolira Le Hasard. IMAGE鈥� by Marcel Broodthaers, who replaced the words by black stripes.
A glass version of Un Coup de D茅s jamais n鈥檃bolira le Hasard. SCULPTURE is installed in the airspace of the gallery as a spatial installation or walk-through book, even though there is no text displayed on the plates. Through its 鈥渟trategic illegibility,鈥� it seems to establish what Jacques Derrida would call 鈥渁 text, that is, a readability without a signified鈥�.
Somewhere in the gallery, a player piano rocks away with a that somehow resembles aleatoric music. The turn-of-the-century pianola is indeed playing Un Coup de D茅s Jamais N鈥檃bolira le Hasard. MUSIQUE, created by running a 288mm tracker roll of Pichler鈥檚 cut-out windows/verses.
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Exposition litt茅raire autour de 惭补濒濒补谤尘茅, recalls an exhibition of the same name by Marcel Broodthaers in 1969 at Wide White Space in Antwerp, Belgium. The exhibition is centered around re-readings and re-writings of Un Coup de D茅s Jamais N鈥橝bolira Le Hasard across different media, around that icon of the avant-garde. The exhibition will be a 1-on-1 appropriation of a historical exhibition, hence a 鈥済reatest hit鈥� in its own right.
Coup de D茅s (collection) unites a vast number of editions of 惭补濒濒补谤尘茅鈥檚 chef d鈥檕euvre as well as many of its historical and contemporary editions and appropriations by other authors such as J茅r茅mie Bennequin, Bernard Chiavelli, Jim Clinefelter, Mario Diacono, Sammy Engramer, Cerith Wyn Evans, Ernest Fraenkel, Elsworth Kelly, Michael Maranda, Guido Molinari, Aur茅lie Noury and Eric Zboya. The collection also includes a variety of publications (backgammon tutorials, pulp fiction, and militaria books) that feature the phrase 鈥淐oup de D茅s鈥� on the cover without explicitly referring to 惭补濒濒补谤尘茅. Coup de D茅s (collection) is ongoing and subject to open submission.
The exhibition includes Un Coup de D茅s Jamais N鈥檃bolira Le Hasard SCULPTURE, a close copy of the 1914 edition of St茅phane 惭补濒濒补谤尘茅鈥檚 poem, but with all the words cut out by laser, in a way that corresponds directly to the typographic layout used by 惭补濒濒补谤尘茅. When turning the pages, numerous shadows are generated by the cutouts. Pichler鈥檚 version is juxtaposed with editions by Broodthaers and 惭补濒濒补谤尘茅, who had written 鈥淯n Coup de D茅s jamais n鈥檃bolira le Hasard. PO脠ME鈥� in 1897, and also saw it published in a magazine called Cosmopolis. 惭补濒濒补谤尘茅 left copious notes as to how it should be typeset, instructions that were finally carried out 16 years after his death, in 1914. In 1969 this work was appropriated in three renditions as Un Coup de D茅s Jamais N鈥檃bolira Le Hasard. IMAGE鈥� by Marcel Broodthaers, who replaced the words by black stripes.
A glass version of Un Coup de D茅s jamais n鈥檃bolira le Hasard. SCULPTURE is installed in the airspace of the gallery as a spatial installation or walk-through book, even though there is no text displayed on the plates. Through its 鈥渟trategic illegibility,鈥� it seems to establish what Jacques Derrida would call 鈥渁 text, that is, a readability without a signified鈥�.
Somewhere in the gallery, a player piano rocks away with a that somehow resembles aleatoric music. The turn-of-the-century pianola is indeed playing Un Coup de D茅s Jamais N鈥檃bolira le Hasard. MUSIQUE, created by running a 288mm tracker roll of Pichler鈥檚 cut-out windows/verses.
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