INTERNATIONAL SYMPOSIUM
ON THE RECEPTION OF
POP ART IN BELGIUM
(1960-1970)

1-2 DECEMBER 2011
ROYAL MUSEUMS OF
FINE ARTS OF BELGIUM

NEWS
PHOTOS
THE SYMPOSIUM
KEYNOTES
SCHEDULE
CALL FOR PAPERS
SUPPORTED BY
CONTACT
THE KEYNOTES OF THE SYMPOSIUM
Allan Jones & Marco Livingstone
Allan Jones, interviewd by Marco Livingstone

Alexander Streitberger
Coup de Fil à Pierre Restany
Marcel Broodthaers and Nouveau Réalisme


Rogier Schumacher
Signing the world.
Pop Art In Museumjournaal


Carl Jacobs
Consuming America.
How Belgian art met and incorporated American Pop.



Coup de Fil à Pierre Restany
Marcel Broodthaers and Nouveau Réalisme

- Alexander Streiberger
Few months before he entered the art world by setting in plaster the remaining unsold copies of his book of poetry Pense-Bête, Marcel Broodthaers wrote in November 1963 the article Gare au défi! where he linked Pop Art's concern with art and consumerism to the influence of Magritte's works on American artists such as George Segal and Jim Dine. In the following years Broodthaers engaged in an ongoing reflection on Pop Art and Nouveau Réalisme that ended more or less with the exhibition Court Circuit in 1967. For the catalogue, Pierre Restany contributed the text J'attends ton coup de fil, Marcel! to which the artist replied ironically with the work Coup de Fil à Pierre Restany, a telephone wrapped in cotton. Departing from this mute ‘dialogue' between the artist and the critic, the paper will discuss the ambiguous relationship that Broodthaers had with Pop Art and Nouveau Réalisme in relation to major concerns such as the commodity character of art and the concept of the ready-made.