Marcel Broodthaers (28 January 1924 – 28 January 1976) was a Belgian poet, filmmaker, and visual artist with a highly literate and often witty approach to creating art works. In 1943-1951 he was a member of a Communist party. Life and career Broodthaers was born in Brussels, Belgium, where he was associated with the Groupe Surréaliste-revolutionnaire from 1945 and dabbled in journalism, film, and poetry. After spending 20 years in poverty as a struggling poet, at the end of 1963 he decided to become an artist and began to make objects. He performed the symbolic act of embedding fifty unsold copies of his book of poems Pense-Bête in plaster, creating his first art object. That same year, 1964, for his first exhibition, he wrote an infamous introduction that was printed onto pages cut from magazines that doubled as the exhibition's public announcement: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. 'But it is art' he said 'and I will willingly exhibit all of it.' 'Agreed' I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." Broodthaers made his first film in 1957, and from 1967 he produced over 50 short films in documentary, narrative, and experimental styles. Broodthaers later worked principally with assemblies of found objects and collage, often containing written texts. He incorporated written language in his art and used whatever was at hand for his raw materials—most notably the shells of eggs and mussels, but also furniture, clothing, garden tools, household gadgets and reproductions of artworks. In his Visual Tower (1966), Broodthaers made a seven-story circular tower of wood. He filled each story with uniform glass jars, and in every jar he placed an identical image taken from an illustrated magazine, of the eye of a beautiful young woman. For Surface de moules (avec sac) (Surface of mussels (with bag)) (1966), he glued mussels in resin on a square panel; in 1974 the artist added a discreet metal hook to the