The Dip LED Lamp is an upright disk, radiating directional light. The small dimensions of the LED technology allow for a tilted forward layout of the individual light-emitting diodes in the body of the lamp. This basically means glare-free light, but by playfully rolling the lamp to and fro, the light can be guided in any direction desired. The built-in battery makes the lamp independent of a fixed place, giving it a fun aspect beyond its functional quality.
The Dip LED Lamp is an upright disk, radiating directional light. The small dimensions of the LED technology allow for a tilted forward layout of the individual light-emitting diodes in the body of the lamp. This basically means glare-free light, but by playfully rolling the lamp to and fro, the light can be guided in any direction desired. The built-in battery makes the lamp independent of a fixed place, giving it a fun aspect beyond its functional quality.
The Dip LED Lamp is an upright disk, radiating directional light. The small dimensions of the LED technology allow for a tilted forward layout of the individual light-emitting diodes in the body of the lamp. This basically means glare-free light, but by playfully rolling the lamp to and fro, the light can be guided in any direction desired. The built-in battery makes the lamp independent of a fixed place, giving it a fun aspect beyond its functional quality.
The Dip LED Lamp is an upright disk, radiating directional light. The small dimensions of the LED technology allow for a tilted forward layout of the individual light-emitting diodes in the body of the lamp. This basically means glare-free light, but by playfully rolling the lamp to and fro, the light can be guided in any direction desired. The built-in battery makes the lamp independent of a fixed place, giving it a fun aspect beyond its functional quality.
The Dip LED Lamp is an upright disk, radiating directional light. The small dimensions of the LED technology allow for a tilted forward layout of the individual light-emitting diodes in the body of the lamp. This basically means glare-free light, but by playfully rolling the lamp to and fro, the light can be guided in any direction desired. The built-in battery makes the lamp independent of a fixed place, giving it a fun aspect beyond its functional quality.
The Dip LED Lamp is an upright disk, radiating directional light. The small dimensions of the LED technology allow for a tilted forward layout of the individual light-emitting diodes in the body of the lamp. This basically means glare-free light, but by playfully rolling the lamp to and fro, the light can be guided in any direction desired. The built-in battery makes the lamp independent of a fixed place, giving it a fun aspect beyond its functional quality.
„Der Fall Marcel Broodthaers lädt den Rezipienten dazu ein, sich mit dessen Vorläufern auseinanderzusetzen. Nicht etwa, weil dort Geheimnisse aufzudecken wären – im Gegenteil, die broodthaers’schen Galionsfiguren sind in seinem Werk alle namentlich präsentiert –, sondern eher auf Grund der Tatsache, da er es wie kaum ein anderer verstanden hat, sich bestimmter Vorbilder zu bedienen, sprich, sich Teilaspekte aus deren Werken anzueignen und die darin enthaltenen Kerngedanken eigens fortzuschreiben. Dies geschieht auf eine Art und Weise, die es vermag, Hommage und Kritik zu vereinen.”
„Über zwei Doppelseiten hinweg breitet sich im Ausstellungskatalog zur Section des Figures [...] das graphisch aus, was Broodthaers als seine METHODE tituliert. Diese Blätter folgen in direktem Anschluß an das Vorwort, sie markieren den Anfang zu jenem Katalogteil, der sowohl inhaltlich, als auch formal maßgeblich vom Künstler gestaltet worden ist. Bereits die Typographie des Titelworts strahlt – in Majuskel gesetzt – eine hohe Wichtigkeit aus. Wer allerdings ausführliche Erläuterung erwartet hat, wird enttäuscht, es handelt sich vielmehr um eine anspielungsreiche Illustration als um eine schriftliche Erklärung, doch gleichwohl trägt diese Ausführung den Charakter des Manifests.”
‘The case of Marcel Broodthaers invites the recipient to engage with his precursors. Not because there are secrets to be uncovered there - on the contrary, Broodthaers' figureheads are all presented by name in his work - but rather due to the fact that he understood better than almost anyone else how to make use of certain role models, i.e. to appropriate partial aspects from their works and to continue the core ideas contained therein in his own way. This is done in a way that manages to combine homage and criticism.’
‘Over two double-page spreads in the exhibition catalogue for Section des Figures [...] Broodthaers' METHOD is presented graphically. These pages follow directly after the preface and mark the beginning of the section of the catalogue that was designed by the artist both in terms of content and form. Even the typography of the title word - set in majuscule - radiates great importance. However, anyone expecting a detailed explanation will be disappointed; it is more of an allusive illustration than a written explanation, but this version nevertheless has the character of a manifesto.’
„Der Fall Marcel Broodthaers lädt den Rezipienten dazu ein, sich mit dessen Vorläufern auseinanderzusetzen. Nicht etwa, weil dort Geheimnisse aufzudecken wären – im Gegenteil, die broodthaers’schen Galionsfiguren sind in seinem Werk alle namentlich präsentiert –, sondern eher auf Grund der Tatsache, da er es wie kaum ein anderer verstanden hat, sich bestimmter Vorbilder zu bedienen, sprich, sich Teilaspekte aus deren Werken anzueignen und die darin enthaltenen Kerngedanken eigens fortzuschreiben. Dies geschieht auf eine Art und Weise, die es vermag, Hommage und Kritik zu vereinen.”
„Über zwei Doppelseiten hinweg breitet sich im Ausstellungskatalog zur Section des Figures [...] das graphisch aus, was Broodthaers als seine METHODE tituliert. Diese Blätter folgen in direktem Anschluß an das Vorwort, sie markieren den Anfang zu jenem Katalogteil, der sowohl inhaltlich, als auch formal maßgeblich vom Künstler gestaltet worden ist. Bereits die Typographie des Titelworts strahlt – in Majuskel gesetzt – eine hohe Wichtigkeit aus. Wer allerdings ausführliche Erläuterung erwartet hat, wird enttäuscht, es handelt sich vielmehr um eine anspielungsreiche Illustration als um eine schriftliche Erklärung, doch gleichwohl trägt diese Ausführung den Charakter des Manifests.”
‘The case of Marcel Broodthaers invites the recipient to engage with his precursors. Not because there are secrets to be uncovered there - on the contrary, Broodthaers' figureheads are all presented by name in his work - but rather due to the fact that he understood better than almost anyone else how to make use of certain role models, i.e. to appropriate partial aspects from their works and to continue the core ideas contained therein in his own way. This is done in a way that manages to combine homage and criticism.’
‘Over two double-page spreads in the exhibition catalogue for Section des Figures [...] Broodthaers' METHOD is presented graphically. These pages follow directly after the preface and mark the beginning of the section of the catalogue that was designed by the artist both in terms of content and form. Even the typography of the title word - set in majuscule - radiates great importance. However, anyone expecting a detailed explanation will be disappointed; it is more of an allusive illustration than a written explanation, but this version nevertheless has the character of a manifesto.’