{"id":21851,"title":"Moules Oeufs Frites Pots Charbon","dimensions":"20 × 14 cm","date_begin":"1966-01-01","material":"Catalogus solotentoonstelling in Wide White Space Gallery, Antwerpen, 26 mei – 26 juni 1966 Offset lithograph, 8 pages (12 pages including cover?), tekst by and designed by Marcel Broodthaers","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Privé Collectie","cached_tag_list":"MB","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"moules-oeufs-frites-pots-charbon-a479c972-4fe6-41e3-9621-2e9372ddd6c8","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/572/medium_500/1966_WWS1a.jpg?1670514657","cached_actor_names":"Marcel Broodthaers","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Book","nl":"Boek","fr":"Livre"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/572/large/1966_WWS1a.jpg?1670514657","poster_credits":null,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eMussels Eggs Chips Pots Coal\u003c/strong\u003e\u003cbr /\u003e\r\n26 May \u0026ndash; 26 June 1966\u003c/p\u003e\r\n\r\n\u003cp\u003eMarcel Broodthaers\u0026rsquo;s first exhibition at Wide White Space gallery took place from 26 May to 26 June 1966.\u0026nbsp;The exhibition was characterised by two large-scale works: \u0026ldquo;Armoire \u0026agrave; Charbon\u0026rdquo; [\u0026ldquo;Coal Cupboard\u0026rdquo;)] (1966) and \u0026ldquo;\u003cstrong\u003eGrande Casserole de Moules\u003c/strong\u003e\u0026rdquo; [\u0026ldquo;Large Saucepan of Mussels\u0026rdquo;] (1966). The latter work was the largest (65 cm tall) and also the last of his \u0026ldquo;Casseroles\u0026rdquo;. It stood on the floor, simply, without any pedestal, which looked very odd in those days.\u0026nbsp;\u0026ldquo;Armoire \u0026agrave; Charbon\u0026rdquo; was a black cupboard and if you opened it you saw a series of cardboard cases of Champagne bottles, which stared at the spectator like just as many ghosts.\u0026nbsp;Another important object was \u0026ldquo;\u0026Eacute;tal de Moules\u0026rdquo; [\u0026ldquo;Mussel Stall\u0026rdquo;] (1966), a pyramid-like piling-up of mussel shells, such as could be seen at a market, with on the wooden framework 7 FRS K\u0026deg; (7 francs per kilo).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eThe Invitation\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eA few weeks before the opening of his exhibition Broodthaers came to Antwerp to design the invitation. As the gallery had sent out large posters for the two previous exhibitions it seemed obvious that it would also be a poster this time. But when Marcel got his hands on the poster-size sheet of paper, he began to fold it until it resulted in a small 20 cm by 13.5 cm book.\u003c/p\u003e\r\n\r\n\u003cp\u003eBroodthaers asked the printer to set the titles in \u0026ldquo;Anglaise\u0026rdquo; fount.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis led to the beautiful title \u0026ldquo;Moules, \u0026OElig;ufs, Frites, Pots, Charbon\u0026rdquo; [\u0026ldquo;Mussels, Eggs, Chips, Pots, Coal\u0026rdquo;) in the elegant italic fount that he would go on using later.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn the cover of the book was all the information concerning date, address and opening.\u003c/p\u003e\r\n\r\n\u003cp\u003eInside was a short biography followed by a sheet of paper with the words \u0026ldquo;Pot, moule, \u0026oelig;uf, c\u0026oelig;ur\u0026rdquo; [\u0026ldquo;Pot, mussel, egg, heart\u0026rdquo;] repeated dozens of times. Then three poems, \u0026ldquo;Ma Rh\u0026eacute;torique\u0026rdquo; [\u0026ldquo;My Rhetoric\u0026rdquo;], \u0026ldquo;Po\u0026egrave;me\u0026rdquo; [\u0026ldquo;Poem\u0026rdquo;] and \u0026ldquo;Th\u0026eacute;or\u0026egrave;me\u0026rdquo; [\u0026ldquo;Theorem\u0026rdquo;], accompanied by images of\u0026nbsp; mussels, eggs, chips.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn the back was the logo of the gallery with the address, and the addendum \u0026ldquo;achter het museum\u0026rdquo; [\u0026ldquo;behind the museum\u0026rdquo;].\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAnny De Decker 2019\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eMoules \u0026OElig;ufs Frites Pots Charbon\u003c/strong\u003e\u003cbr /\u003e\r\n26 mei \u0026ndash; 26 juni 1966\u003c/p\u003e\r\n\r\n\u003cp\u003eDe eerste tentoonstelling van Marcel Broodthaers in de galerie Wide White Space vond plaats van 26 mei tot 26 juni 1966.\u0026nbsp;Twee grote werken kenmerkten deze tentoonstelling : \u0026ldquo;Armoire \u0026agrave; Charbon\u0026rdquo;(1966) en \u0026ldquo;\u003cstrong\u003eGrande Casserole de Moules\u003c/strong\u003e\u0026rdquo; (1966). Dit laatste werk was de grootste (65 cm hoog) en tevens de laatste van zijn \u0026ldquo;Casseroles\u0026rdquo;. Zij stond eenvoudigweg op de vloer, zonder sokkel, wat toen als heel eigenaardig voorkwam.\u0026nbsp;\u0026ldquo;Armoire \u0026agrave; Charbon\u0026rdquo; was een zwarte kast en als men de kast opende zag men een reeks kartonnen omhulsels van Champagneflessen, die de toeschouwer als spoken aanstaarden.\u0026nbsp;Een belangrijk object was ook \u0026ldquo;Etal de Moules\u0026rdquo; (1966) , een pyramideachtige opeenhoping van mosselschelpen, zoals men ze op een markt kon zien, met op de houten omlijsting 7 FRS K\u0026deg; (7 frank per kilo). Het is het enige werk met mosselen in zijn soort. Andere \u0026ldquo;Panneaux de Moules\u0026rdquo; hebben niet dit objet-trouv\u0026eacute; karakter. Verder waren er ook nog kleurige plastic eierdopjes, gevuld met eieren. Op de prijslijst figureren ze als \u0026ldquo;Les Coquetiers\u0026rdquo; en \u0026ldquo;Armoire \u0026agrave; coquetiers\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eDe uitnodiging\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eEnkele weken voor de opening van zijn tentoonstelling kwam Broodthaers naar Antwerpen om de uitnodiging te ontwerpen. Daar we met de galerie voor de twee voorgaande tentoonstellingen grote posters hadden rondgestuurd leek het vanzelfsprekend dat het ditmaal ook een poster zou worden. Maar toen Marcel het blad papier, op formaat van de poster, een tijdje onder handen had genomen, begon hij het te plooien tot het resulteerde in een boekje van 20 cm x 13,5cm.\u003c/p\u003e\r\n\r\n\u003cp\u003eBroodthaers vroeg de drukker om de titels in \u0026ldquo;Anglaise\u0026rdquo; te zetten.\u003c/p\u003e\r\n\r\n\u003cp\u003eZo ontstond de mooie titel \u0026ldquo;Moules, Oeufs, Frites, Pots, Charbon\u0026rdquo; in het elegante cursieve lettertype dat hij later nog veel zou aanwenden.\u003c/p\u003e\r\n\r\n\u003cp\u003eOp de kaft van het boekje stond ook alle informatie betreffende datum, adres en vernissage.\u003cbr /\u003e\r\nBinnenin was een korte biografie. Dan volgde een blad met de woorden \u0026ldquo;Pot, moule, oeuf, coeur\u0026rdquo;\u0026nbsp; tientallen keren herhaald. Vervolgens drie gedichten \u0026ldquo;Ma Rh\u0026eacute;torique,\u0026rdquo;, \u0026ldquo;Po\u0026egrave;me\u0026rdquo; en \u0026ldquo;Th\u0026eacute;or\u0026egrave;mes\u0026rdquo;, vergezeld van afbeeldingen van mosselen, eieren, frieten.\u003c/p\u003e\r\n\r\n\u003cp\u003eOp de achterkant stond het logo van de galerie en het adres, met de aanvulling \u0026ldquo;(achter het museum)\u0026rdquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnny De Decker. 2019\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eMoules \u0026OElig;ufs Frites Pots Charbon\u003c/strong\u003e\u003cbr /\u003e\r\n26 mei \u0026ndash; 26 juni 1966\u003c/p\u003e\r\n\r\n\u003cp\u003eLa premi\u0026egrave;re exposition de Marcel Broodthaers \u0026agrave; la galerie Wide White Space a eu lieu du 26\u0026nbsp;mai au 26\u0026nbsp;juin 1966. Deux grandes \u0026oelig;uvres ont marqu\u0026eacute; cette exposition\u0026nbsp;: \u003cem\u003eArmoire \u0026agrave; Charbon \u003c/em\u003e(1966) et\u003cem\u003e \u003cstrong\u003eGrande Casserole de Moules\u003c/strong\u003e\u003c/em\u003e (1966). Cette derni\u0026egrave;re \u0026eacute;tait la plus grande (65\u0026nbsp;cm de haut) et aussi la derni\u0026egrave;re de ses \u003cem\u003eCasseroles\u003c/em\u003e. Elle \u0026eacute;tait pos\u0026eacute;e tout simplement \u0026agrave; m\u0026ecirc;me le sol, sans socle, ce qui paraissait tr\u0026egrave;s \u0026eacute;trange \u0026agrave; l\u0026rsquo;\u0026eacute;poque.\u0026nbsp;\u003cem\u003eArmoire \u0026agrave; Charbon\u003c/em\u003e \u0026eacute;tait une armoire noire qui, quand on l\u0026rsquo;ouvrait, contenait une s\u0026eacute;rie de gaines en carton pour bouteilles de champagne \u0026agrave; l\u0026rsquo;aspect de fant\u0026ocirc;mes qui semblaient fixer le spectateur.\u0026nbsp;Un objet important \u0026eacute;tait aussi \u003cem\u003e\u0026Eacute;tal de Moules\u003c/em\u003e (1966), un empilement pyramidal de coquilles de moules comme on pouvait les voir dans un march\u0026eacute;, avec sur le cadre en bois l\u0026rsquo;inscription\u0026nbsp;7\u0026nbsp;FRS K\u0026deg;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eL\u0026rsquo;invitation\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eQuelques semaines avant le vernissage de l\u0026rsquo;exposition, nous avons discut\u0026eacute; avec Broodthaers de l\u0026rsquo;invitation. Comme la galerie avait envoy\u0026eacute; de grandes affiches pour les deux expositions pr\u0026eacute;c\u0026eacute;dentes, il nous paraissait \u0026eacute;vident d\u0026rsquo;\u0026agrave; nouveau cr\u0026eacute;er une affiche, mais lorsque Broodthaers a eu la feuille de papier de la taille d\u0026rsquo;une affiche entre les mains un petit temps, il a commenc\u0026eacute; \u0026agrave; la plier, ce qui a fini par donner lieu \u0026agrave; une brochure de 20 x 13,5\u0026nbsp;cm. Broodthaers a demand\u0026eacute; \u0026agrave; l\u0026rsquo;imprimeur de mettre les titres en anglaise [\u0026eacute;criture cursive pench\u0026eacute;e \u0026agrave; droite]. Ainsi est n\u0026eacute; le joli titre \u003cem\u003eMoules, \u0026OElig;ufs, Frites, Pots, Charbon\u003c/em\u003e dans un \u0026eacute;l\u0026eacute;gant caract\u0026egrave;re cursif qu\u0026rsquo;il utilisera encore souvent par la suite.\u003c/p\u003e\r\n\r\n\u003cp\u003eSur la couverture de la brochure \u0026eacute;tait \u0026eacute;galement reprise toute l\u0026rsquo;information concernant le vernissage (date, adresse\u0026hellip;). \u0026Agrave; l\u0026rsquo;int\u0026eacute;rieur, on pouvait lire une br\u0026egrave;ve biographie. Sur la page suivante, les mots \u003cem\u003ePot, moule, \u0026oelig;uf, c\u0026oelig;ur\u003c/em\u003e \u0026eacute;taient r\u0026eacute;p\u0026eacute;t\u0026eacute;s des dizaines de fois. Suivaient ensuite trois po\u0026eacute;sies, \u003cem\u003eMa Rh\u0026eacute;torique\u003c/em\u003e, \u003cem\u003ePo\u0026egrave;me\u003c/em\u003e et \u003cem\u003eTh\u0026eacute;or\u0026egrave;mes,\u003c/em\u003e accompagn\u0026eacute;es d\u0026rsquo;images de moules, d\u0026rsquo;\u0026oelig;ufs et de frites.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Agrave; l\u0026rsquo;arri\u0026egrave;re \u0026eacute;taient imprim\u0026eacute;s le logo et l\u0026rsquo;adresse de la galerie avec la mention \u0026laquo;\u0026nbsp;derri\u0026egrave;re le mus\u0026eacute;e\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnny De Decker, 2019\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":95,"name":"Marcel Broodthaers","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}