{"title":"Broodthaers's Debt","authors":"Trevor Stark","doi":"10.1162/octo_a_00494","DOIUrl":null,"url":null,"abstract":"Abstract This essay investigates the status of “reification” in the work of Marcel Broodthaers, particularly in the 1971 “Section Financière” of his Musée d'Art Moderne, Départment des Aigles. It will pose finance and debt as social forms through which Broodthaers both experienced reification concretely and attempted to register its forming pressure upon the artwork's conditions of possibility. The article argues that it was Broodthaers's understanding of reification that allowed him, at a crux in the history of finance represented by the end of the Bretton Woods agreement in 1971, to posit art as a speculative investment at once uncoupled from the concrete limitations of production and ever-more-tightly ensnared by the economic power of debt.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"OCTOBER","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1162/octo_a_00494","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract This essay investigates the status of “reification” in the work of Marcel Broodthaers, particularly in the 1971 “Section Financière” of his Musée d'Art Moderne, Départment des Aigles. It will pose finance and debt as social forms through which Broodthaers both experienced reification concretely and attempted to register its forming pressure upon the artwork's conditions of possibility. The article argues that it was Broodthaers's understanding of reification that allowed him, at a crux in the history of finance represented by the end of the Bretton Woods agreement in 1971, to posit art as a speculative investment at once uncoupled from the concrete limitations of production and ever-more-tightly ensnared by the economic power of debt.
摘要本文探讨了“物化”在马塞尔·布罗德泰尔(Marcel Broodthaers)的作品中的地位,特别是1971年他的《现代艺术》(dassaement des Aigles)中的“金融部分”。它将把金融和债务作为社会形式,通过这些形式,布罗德塔埃尔既具体地经历了具体化,又试图在艺术作品的可能性条件下记录其形成压力。这篇文章认为,正是布罗德泰尔斯对具体化的理解,使他在1971年布雷顿森林协定结束为代表的金融历史的关键时刻,将艺术视为一种投机性投资,立即与生产的具体限制脱钩,并越来越紧密地陷入债务的经济力量。
期刊介绍:
At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.