[{"id":287,"title":"7 Childlike Uses of Warlike Material","dimensions":"7 x (49.5 x 69.5 cm)","date_begin":"1971-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"edition portfolio","publishing_process_id":1,"annotation":"\u003cp\u003e7 gekleurde zeefdrukken op papier in Portfolio in kartonnen gezeefdrukte grijze kaft met linten. Ed. Hartmut Kaminski, D\u0026uuml;sseldorf. 100 getekende exemplaren, R. Filliou en genummerd. portfolio: 55.2 x 75.2 cm, zeefdrukken: 49.5 x 69 .5 cm\u003c/p\u003e\r\n","date_end":null,"reference":"BK7439_M295","stream_count_app":53,"permalink":"7-childlike-uses-of-warlike-material","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/452/large/Filliou,%200006%20Robert,%20%207%20childlike%20uses%20of%20warlike%20material%20ed.%20Harmut%20Kaminski,%201971%20photo%20Jan%20Kempenaers.jpg?1301058859","poster_credits":"(c)image: Jan Kempenaers","translations":[{"locale":"en","description":"\u003cp\u003eThe series of prints \u003cem\u003e7 Childlike Uses of Warlike Material\u003c/em\u003e\u0026nbsp;was made by Robert Filliou in collaboration with Hartmut Kaminski in D\u0026uuml;sseldorf, where Filliou resided at the time. For this photo series they worked with objets trouv\u0026eacute;s, just ordinary objects from everyday life. A text is applied to each photograph, identifying the objects as a variety of potential ordnance, with a suggested use alongside. In the accompanying text, Filliou muses on how he can banish this war material to imagined places: \u003cem\u003e\u0026quot;I can put the submarine on the mountains. the missile on the moon. the uniforms around the stars.\u0026quot;\u003c/em\u003e\u0026nbsp;Filliou sees the work as a\u003cem\u003e \u0026ldquo;contribution to the art of peace\u0026rdquo;\u003c/em\u003e. The series is a playful and poetic ode to the childlike power of imagination.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe reeks van prints getiteld\u0026nbsp;\u003cem\u003e7 Childlike Uses of Warlike Material\u003c/em\u003e\u0026nbsp;maakte Robert Filliou in samenwerking met Hartmut Kaminski in D\u0026uuml;sseldorf, waar Filliou destijds woonachtig was. Ze bewerkten voor deze reeks foto\u0026#39;s van objets trouv\u0026eacute;s en gevonden ensembles. De gevonden gewone objecten kregen een equivalent in een oorlogstuig (houtblokken werden geweren, zagen werden onderzee\u0026euml;rs) of een equivalent van een plaats (emmers werden sterren, zand werd woestijn). De constellaties werden achter gelaten langs de oevers van de Rijn en werden gefotografeerd en daar werd een zeefdruk van gemaakt.\u0026nbsp;Op elke foto is een tekst aangebracht, waarin de objecten ge\u0026iuml;dentificeerd worden als allerhande oorlogstuig enerzijds en als verschillende bestemmingen anderzijds. In de bijgaande tekst stelt Filliou zich vervolgens voor dat hij zich van het strijdmaterieel ontdoet, door het weg te stoppen in de daarvoor genoemde imaginaire plekken:\u003cem\u003e \u0026quot;I can put the submarine on the mountains. the missile on the moon. the uniforms around the stars,\u0026quot;\u003c/em\u003e\u0026nbsp;fantaseert hij. Filliou noemt het werk een \u003cem\u003e\u0026quot;bijdrage aan de kunst van de vrede\u0026quot;\u003c/em\u003e. De reeks is een speelse, po\u0026euml;tische ode aan de kinderlijke verbeeldingskracht. Het werd voor het eerst getoond in 1970 in Aken op de tentoonstelling \u003cem\u003eCOMMEMOR\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003e7 Childlike Uses of Warlike Material\u003c/em\u003e\u0026nbsp;est une s\u0026eacute;rie d\u0026rsquo;estampes r\u0026eacute;alis\u0026eacute;e par Robert Filliou en collaboration avec Hartmut Kaminski \u0026agrave; D\u0026uuml;sseldorf, o\u0026ugrave; Filliou r\u0026eacute;sidait \u0026agrave; l\u0026rsquo;\u0026eacute;poque. Elle consiste en un assemblage d\u0026rsquo;objets du quotidien r\u0026eacute;cup\u0026eacute;r\u0026eacute;s, transform\u0026eacute;s en mat\u0026eacute;riel de guerre (des blocs de bois deviennent des armes, des scies des sous-marins) ou repr\u0026eacute;sentant un lieu (des seaux se transforment en \u0026eacute;toiles, le sable en d\u0026eacute;sert). Ces assemblages ont \u0026eacute;t\u0026eacute; trouv\u0026eacute;s et photographi\u0026eacute;s sur les berges du Rhin. Sur base de ces clich\u0026eacute;s, des s\u0026eacute;rigraphies ont \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;es. Sur chaque photo, un texte identifie les objets \u0026agrave; toutes sortes de mat\u0026eacute;riels de guerre, tout en leur attribuant d\u0026rsquo;autres destin\u0026eacute;es.\u003c/p\u003e\r\n\r\n\u003cp\u003eDans le texte inclus, Filliou \u0026eacute;met ensuite l\u0026rsquo;hypoth\u0026egrave;se selon laquelle il pourrait se d\u0026eacute;faire du mat\u0026eacute;riel de guerre en le dissimulant dans les lieux imaginaires pr\u0026eacute;c\u0026eacute;demment cit\u0026eacute;s : \u0026laquo;\u0026nbsp;Je pourrais d\u0026eacute;placer le sous-marin dans la montagne, le missile sur la lune, les uniformes autour des \u0026eacute;toiles\u0026nbsp;\u0026raquo;, imagine-t-il. Pour Filliou, l\u0026rsquo;\u0026oelig;uvre est une \u0026laquo;\u0026nbsp;contribution \u0026agrave; l\u0026rsquo;art de la paix\u0026nbsp;\u0026raquo;. La s\u0026eacute;rie est une ode po\u0026eacute;tique et ludique au pouvoir imaginatif des enfants. Elle a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e pour la premi\u0026egrave;re fois en 1970 \u0026agrave; Aix-la-Chapelle, dans le cadre de l\u0026rsquo;exposition \u003cem\u003eCOMMEMOR\u003c/em\u003e. \u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":401,"title":"Galerie Légitime","dimensions":"65 x 88 cm","date_begin":"1969-01-01","material":"ink, paper","short_description":"\u003cp\u003eGalerie l\u0026eacute;gitime, 1969, zeefdruk, Ed. Galerie Wilbrand, K\u0026ouml;ln. 120 ex, gesigneerd en genummerd: R. Filliou. afmeting totaal : 65 x 88 cm. afmeting beeld: 51 x 74 cm\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"seriegraphy","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7410_M268","stream_count_app":25,"permalink":"galerie-legitime","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/803/large/Filliou,%200017%20Robert,%20Galerie%20Legitime,%20ed.%20Wilbrand,%201969-70%20%20photo%20Jan%20Kempenaers.jpg?1303115479","poster_credits":"(c)image: Jan Kempenaers","translations":[{"locale":"en","description":"\u003cp\u003eRobert Filliou considered language and words an artist\u0026rsquo;s most important material. In the 1960s Filliou ran La Galerie l\u0026eacute;gitime (\u0026lsquo;The Legitimate Gallery\u0026rsquo;, exhibiting artworks on his own person) and, together with George Brecht, the gallery La C\u0026eacute;dille qui sourit (\u0026lsquo;The Smiling Cedilla\u0026rsquo;). He developed the themes that established him as a leading member of the transatlantic Fluxus movement, to some extent coordinated from New York by the Lithuanian-born George Maciunas: \u0026lsquo;Eternal Network\u0026rsquo;, \u0026lsquo;Teaching and Learning as Performance Art\u0026rsquo;, \u0026lsquo;Po\u0026iuml; Po\u0026iuml;\u0026rsquo; (a greeting borrowed the Dogon language), \u0026lsquo;Constant Creation\u0026rsquo; and many others.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVoor Robert Filliou waren taal en woorden het belangrijkste materiaal van een kunstenaar. In de jaren 1960 runde Filliou de Galerie L\u0026eacute;gitime, in feite een hoed waarin hij kunstwerken van zichzelf en van andere kunstenaars, presenteerde, en de galerie La C\u0026eacute;dille qui sourit, samen met George Brecht. Hij ontwikkelde er thema\u0026#39;s die hem tot een vooraanstaand lid van de trans-Atlantische Fluxusbeweging zouden maken: \u0026#39;Eternal Network\u0026#39;, \u0026#39;Teaching and Learning as Performance Arts\u0026#39;, \u0026#39;Po\u0026iuml; Po\u0026iuml;\u0026#39; (een uit de Dogontaal geleende groet), \u0026#39;Constant Creation\u0026#39; en vele andere. In 1968 maakte hij samen met Anne No\u0026euml;l zes of zeven plexiglazen hoeden die hij ook Galerie legitime noemde. Ze evoceerden een galerie in een galerie in een galerie in een galerie. Zo kon het hele Louvre onder een hoed worden gevangen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":1099,"title":"Hand Show","dimensions":"","date_begin":"1967-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"installation Filliou","publishing_process_id":1,"annotation":"\u003cp\u003e24 z/w zeefdrukken in een houten doos waarvan het plexiglazen deksel gezeefdrukt is. (in M HKA elke zeefdruk ingelijst) Ed SABA-Studio, Brunner Schwer, Villingen. 150 ex waarvan sommige met waterschade voor de verspreiding. gesigneerd en genummerd op p3 van demap van de zeefdrukken. Doos: 30 x 24.2 x 4 cm elke zeefdruk: 28.2 x 22 cm\u003c/p\u003e\r\n","date_end":null,"reference":"M00003","stream_count_app":44,"permalink":"hand-show","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/675/large/Filliou,%200100%20Robert,%20Hand%20Show%28,%201967%286%29.jpg?1308215257","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eRobert Filliou made the photographic series \u003cem\u003eHand Show\u003c/em\u003e\u0026nbsp;in collaboration with the photographer Scott Hyde. The series consists of 24 prints of photographs the duo shot of the hands of 24 artists, Filliou and Hyde included. Among the artists who lent a hand to be photographed were Roy Liechtenstein, Pol Bury and Andy Warhol; the latter, moreover, saw to it that the series would first be put on show in the display windows of Tiffany\u0026rsquo;s in New York. With \u003cem\u003eHand Show\u003c/em\u003e\u0026nbsp;Filliou playfully examines what it is that might distinguish artists from non-artists. \u003cem\u003e\u0026quot;It has occurred to me that the key to art may well consist in learning the significance or meaning of each part, line, marking or shape of the artists\u0026#39; hands. As a group, artists have many things in common that distinguish them from other groups\u0026quot;\u003c/em\u003e, he says in an accompanying text. In the end, however, he has to conclude that all these hands display little in the way of similarities. Here, Filliou ridicules the notion that artists with their creative powers are somehow different than \u0026lsquo;regular\u0026rsquo; folks. He calls into question the separation made between art and ordinary, everyday life.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRobert Filliou maakte de fotografische reeks \u003cem\u003eHand Show\u003c/em\u003e\u0026nbsp;in samenwerking met de fotograaf Scott Hyde. De reeks bestaat uit 24 prints van foto\u0026#39;s die het duo nam van handen van 24 kunstenaars, Filliou en Hyde zelf inbegrepen. Andere kunstenaars die hun hand lieten fotograferen voor de reeks zijn onder andere Roy Liechtenstein, Pol Bury en Andy Warhol; laatstgenoemde zorgde er bovendien voor dat de reeks voor het eerst werd getoond in de etalageruit van het warenhuis Tiffany\u0026#39;s in New York van 27 maart tot 12 april, een expositie onder de titel: Hand Show - The Key to Art? Met \u003cem\u003eHand Show\u003c/em\u003e\u0026nbsp;onderzoekt Filliou op speelse wijze wat kunstenaars zou kunnen onderscheiden van niet-kunstenaars. \u003cem\u003e\u0026quot;It has occurred to me that the key to art may well consist in learning the significance or meaning of each part, line, marking or shape of the artists\u0026#39; hands. As a group, artists have many things in common that distinguish them from other groups\u0026quot;\u003c/em\u003e, zegt hij in de tekst die bij het werk hoort. Uiteindelijk moet hij echter constateren dat ook al deze handen weinig overeenkomsten vertonen. Hier steekt Filliou de draak met de gedachte dat kunstenaars met hun scheppende krachten anders zouden zijn dan \u0026#39;gewone\u0026#39; mensen. Hij stelt het onderscheidt tussen kunst en het gewone, dagelijkse leven in vraag.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eRobert Filliou a r\u0026eacute;alis\u0026eacute; la s\u0026eacute;rie de photographies \u003cem\u003eHand Show \u003c/em\u003een collaboration avec le photographe Scott Hyde. Elle rassemble 24 clich\u0026eacute;s imprim\u0026eacute;s pris par le duo et repr\u0026eacute;sentant les mains de 24 artistes, dont celles de Filliou et Hyde. Parmi les artistes photographi\u0026eacute;s, on retrouve notamment Roy Liechtenstein, Pol Bury et Andy Warhol. Ce dernier organisa en outre la premi\u0026egrave;re exposition de la s\u0026eacute;rie dans la vitrine du grand magasin Tiffany\u0026rsquo;s \u0026agrave; New York, du 27 mars au 12 avril, intitul\u0026eacute;e \u003cem\u003eHand Show \u0026ndash; The Key to Art\u0026nbsp;?\u003c/em\u003e. Dans \u003cem\u003eHand Show\u003c/em\u003e, Filliou s\u0026rsquo;int\u0026eacute;resse de mani\u0026egrave;re ludique \u0026agrave; ce qui pourrait distinguer les artistes des non-artistes. \u0026laquo;\u0026nbsp;Il m\u0026rsquo;a sembl\u0026eacute; que la cl\u0026eacute; pour saisir l\u0026rsquo;art pourrait se trouver dans l\u0026rsquo;apprentissage de la signification ou du sens de chaque partie, ligne, marque ou forme des mains des artistes. En tant que groupe, les artistes ont beaucoup de caract\u0026eacute;ristiques communes qui les distinguent d\u0026rsquo;autres groupes\u0026nbsp;\u0026raquo;, explique-t-il dans le texte qui accompagne l\u0026rsquo;\u0026oelig;uvre. Finalement, il lui faudra constater que toutes ces mains sont peu semblables. Filliou se moque ainsi de l\u0026rsquo;id\u0026eacute;e selon laquelle les artistes et leurs forces cr\u0026eacute;atrices seraient diff\u0026eacute;rents des personnes \u0026laquo;\u0026nbsp;normales\u0026nbsp;\u0026raquo;. Il s\u0026rsquo;interroge sur la diff\u0026eacute;rence entre l\u0026rsquo;art et la vie normale, quotidienne.\u003c/p\u003e\r\n"}]},{"id":5674,"title":"Project for Sky-Writing (planche n°1)","dimensions":"96.5 x 69 x 4.5 cm","date_begin":"1971-01-01","material":"ink, paper, silkscreen","short_description":"\u003cp\u003eEd. Hartmut Kaminski, D\u0026uuml;sseldorf Part of the series (5 in one portfolio and 5 separate ones). Images of the sky + tekst like Love =U.f.o. and 1666 km/h. Texts that could have been written in the sky by an airplane.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7406_M265","stream_count_app":23,"permalink":"project-for-sky-writing-planche-n-1","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/187/large/Filliou__Robert__Project_for_skywriting_planche_n%C2%B0_1_1666_km_h_1971_foto_A4A_vzw.jpg?1343031176","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5675,"title":"Joker","dimensions":"omslag: 23.7 x 32.7 cm, speelkaart: 11.7 x 17.8 cm","date_begin":"1969-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7411_M269","stream_count_app":27,"permalink":"joker","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/189/large/Filliou__Robert__Joker__1969.jpg?1343031576","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eOn the wallet is written: \u003cstrong\u003e\u0026#39;To who wants to know what I am and what others take me for. From Robert Filliou (as I am and people take me for)\u0026#39;\u003c/strong\u003e. Originally the multiple was edited by Galerie Art Intermedia for the portfolio Kunstlerpost (with artists Alvermann, Beuys, Brecht, Filliou, Nierhoff, Roth, Spoerri, Vostell) that was to be presented.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5676,"title":"Musical Economy N°2","dimensions":"21 x 27.8 cm, 54 x 40.7 cm","date_begin":"1983-01-01","material":"graphics, lithography, tracing paper, 5 colors","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"lithography multiple","publishing_process_id":1,"annotation":"\u003cp\u003eZeefdruk in kleur op kalkpapier, gevouwen in enveloppe in kalkpapier. Ed. Seedorn, Zurich. 150 ex; getekend R. Filliou en genummerd op enveloppe. enveloppe: 21 x 27.8 cm. Papier: 54 x 40.7 cm\u003c/p\u003e\r\n\r\n\u003cp\u003eZeefdruk in kleur op kalkpapier, gevouwen in enveloppe in kalkpapier. Ed. Seedorn, Zurich. 150 ex; getekend R. Filliou en genummerd op enveloppe. enveloppe: 21 x 27.8 cm. Papier: 54 x 40.7 cm bovenaan de tekst: musical economy n\u0026deg;2 (suite) muziekstaanders met daarin woorden: plombier, ma\u0026ccedil;on, agriculte, cuisini\u0026egrave;re, electricien, medi., cosmonaute. Onderaan (\u0026agrave; suivre)\u003c/p\u003e\r\n","date_end":null,"reference":"BK7423_M281","stream_count_app":35,"permalink":"musical-economy-n-2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/190/large/Filliou__0062_Robert__Musical_Economy_n2__enveloppe_1983%282%29.jpg?1343032077","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5681,"title":"Research in Arts and Astrology (Virgo)","dimensions":"69.1 x 43 cm","date_begin":"1972-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOut of portfolio with 12 silkscreens. Ed. Hartmut Kaminski, D\u0026uuml;sseldorf. 50 ex intended but there are practically none left. Ed. Hartmut Kaminski, D\u0026uuml;sseldorf. portfolio: 50 x 75.2 cm , every page 43 x 69.1\u003c/p\u003e\r\n","date_end":null,"reference":"BK7429_M287","stream_count_app":40,"permalink":"research-in-arts-and-astrology-virgo","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/203/large/Filliou__0034_Robert__Research_on_Art_and_Astrology_-_Jungfrau_%28_Virgo_%29___1972_photo_Jan_Kempenaers.jpg?1343034678","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eDeze reeks is het equivalent van een ander werk uit 1971, het bestond uit 12 tekstpanelen (Museum Ludwig, K\u0026ouml;ln) met daarop geboortedatums van personaliteiten, vrienden, belangrijke religieuze figuren zoals God of Boedha. Rangschikking verliep volgens sterrenbeeld. Er worden verbanden gesuggereerd tussen de aardse wereld en de spirituele wereld. Het werk verkrijgt meer intensiteit omdat er ook autobiografische notities\u0026nbsp;worden toegevoegd.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5716,"title":"Modern Video Model","dimensions":"48 x 64 cm","date_begin":"1984-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in kleur en etiket. Ed Griffelkunst, Hamburg. 541ex, getekend R. Filliou\u003c/p\u003e\r\n","date_end":null,"reference":"M00022","stream_count_app":23,"permalink":"modern-video-model","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/286/large/Filliou__0025_Robert__modern_video_model__1984_foto_clinckx.jpg?1343115853","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cpre data-fulltext=\"\" data-placeholder=\"Vertaling\" dir=\"ltr\" id=\"tw-target-text\"\u003e\r\n\u003cspan style=\"font-family:arial,helvetica,sans-serif;\"\u003eIn the 80s, Robert Filliou makes a series of works titled \u003cem\u003eModern Video Model\u003c/em\u003e. They often suggest a screen (TV or monitor). The screen is represented in a box fon paper or canvas. Several signs, icons and symbols refer to the fact that you can look in different directions.\u003c/span\u003e\u003c/pre\u003e\r\n\r\n\u003cp\u003eEd. Griffelkunst, Hamburg,\u0026nbsp;541 ex., signed R. Filliou.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de jaren \u0026#39;80 maakt Robert Filliou een reeks werken getiteld \u003cem\u003eModern Video Model\u003c/em\u003e. Dikwijls stellen ze een scherm voor (tv of monitor). Het scherm wordt in een archiefdoos voorgesteld of op papier of op doek. Er\u0026nbsp;worden tekens,\u0026nbsp;pictogrammen en\u0026nbsp;symbolen\u0026nbsp;gebruikt die verwijzen naar het feit dat je in alle richtingen kan kijken.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Griffelkunst, Hamburg,\u0026nbsp;541 ex., getekend R. Filliou.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans les ann\u0026eacute;es\u0026nbsp;80, Robert Filliou a r\u0026eacute;alis\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres intitul\u0026eacute;e \u003cem\u003eModern Video Model\u003c/em\u003e. Souvent, elles repr\u0026eacute;sentent un \u0026eacute;cran (une t\u0026eacute;l\u0026eacute;vision ou un moniteur). L\u0026rsquo;\u0026eacute;cran est pr\u0026eacute;sent\u0026eacute; dans une bo\u0026icirc;te \u0026agrave; archives, sur papier ou sur tissu. Des signes, pictogrammes et symboles indiquent qu\u0026rsquo;il est possible de regarder dans toutes les directions.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Griffelkunst, Hamburg,\u0026nbsp;541 ex., sign\u0026eacute; R. Filliou.\u003c/p\u003e\r\n"}]},{"id":5702,"title":"Petite histoire un peu sainte","dimensions":"Ø 6 cm","date_begin":"1969-01-01","material":"ink, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Filliou book","publishing_process_id":1,"annotation":"\u003cp\u003ebook in circular form kept together with a metal ring. 96p, Ed. Robert Morel, \u0026#39;Les Petits O\u0026#39; n\u0026deg; 58, Vaucluse, indefinitive number\u003c/p\u003e\r\n","date_end":null,"reference":"M00009","stream_count_app":27,"permalink":"petite-histoire-un-peu-sainte","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/259/large/Filliou__Robert__Petite_histoire_un_pue_sainte__1969.JPG?1343050772","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5699,"title":"Optimistic Box N°1","dimensions":"11 x 11 x 11 cm","date_begin":"1968-01-01","material":"wood (beech), lock, labels, 1 stone","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00006","stream_count_app":73,"permalink":"optimistic-box-n-1","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/251/large/Filliou__0089_Robert__Optimistic_Box_No.1__2.jpg?1343048521","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eOther works and editions that afford an enlightening peek into a world structured by such an anarchic sense of humor are the so-called \u0026ldquo;Optimistic Boxes\u0026rdquo;, the first of which, from the fabled year 1968, contains a pavement stone: an inscription on the outside of \u003cem\u003eOptimistic Box Nr. 1\u003c/em\u003e (1968) reads \u003cem\u003e\u0026ldquo;thank God for modern weapons\u0026rdquo;\u003c/em\u003e, countered by an inscription that states \u003cem\u003e\u0026ldquo;we don\u0026rsquo;t throw stones at each other anymore\u0026rdquo;\u003c/em\u003e \u0026ndash; yet the paving stone was effectively that year\u0026rsquo;s most popular weapon.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOptimistic Box n\u0026deg;2\u003c/em\u003e\u0026nbsp;from 1969 contains Filliou\u0026rsquo;s scathing view of modern marriage; yet another, later work, \u003cem\u003eA More Curious Invention of the Gaga Yogi\u003c/em\u003e\u0026nbsp;(1976) consists of a box containing hundreds of thumbnails inside, and sporting one lonely, hammered nail outside.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOptimistic Box N\u0026deg;3\u003c/em\u003e \u0026quot;So much the better if you can\u0026#39;t play chess\u0026quot; on the outside and \u0026quot;You won\u0026#39;t imitate Marcel Duchamp\u0026quot; on the inside. \u003cem\u003eOptimistic Box N\u0026deg; 4 and 5\u003c/em\u003e is one object, it is about the overall importance of money. The object is a pink piggy bank, on the one side is written \u0026quot;\u003cem\u003eone thing I learned since I was born\u0026quot; on the other side : \u0026quot;that I must die since I was born\u0026quot;.\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVertrekkend vanuit zijn idee dat goed gedaan; slecht gedaan en niet gedaan evenwaardige principes zijn cre\u0026euml;ert Robert Filiou een reeks \u003cem\u003eOptimistic boxes \u003c/em\u003eals nieuwjaarsgeschenken. \u0026laquo;\u0026nbsp;Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F.\u0026rdquo; (Nieuwjaar Voor u en uw vrienden, hernieuw de kunst van het geven. Deze kunstenaars ontwierpen en realiseerden storende, onbeschaamde en barokke geschenken voor u ... Van 30 tot 3000 franc.)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe edities van Robert Filliou bieden vaak een directe toegang tot de denkwereld van de kunstenaar, zoals ook bij de bekende \u003cem\u003eOptimistic Boxes\u003c/em\u003e het geval is. Het gaat om objecten die afwisselend langs binnen en aan de buitenkant kunnen worden gelezen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe buitenkant van \u003cem\u003eOptimistic Box N\u0026deg; 1\u003c/em\u003e zegt bijvoorbeeld \u0026ldquo;laat ons god danken voor moderne wapens\u0026rdquo;, terwijl we aan de binnenkant het volgende kunnen lezen: \u0026ldquo;we werpen geen stenen meer naar elkaar.\u0026rdquo; In de doos zelf bevindt zich een plavuis, van het type dat tijdens de Parijse studentenrevolte van 1968 voor heel andere doeleinden werd gebruikt. \u003cem\u003eOptimistic Box N\u0026deg;2\u003c/em\u003e uit 1969 bezingt langs buiten de lof van het huwelijk, terwijl we langs binnen de schertsende toevoeging met drie kunnen lezen \u0026ndash; het complementerende beeld binnenin is een pornografische prent waarop twee mannen en \u0026eacute;\u0026eacute;n vrouw staan afgebeeld.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003ePartant de l\u0026rsquo;id\u0026eacute;e selon laquelle \u0026laquo;\u0026nbsp;bien fait\u0026nbsp;\u0026raquo;, \u0026laquo;\u0026nbsp;mal fait\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;non-fait\u0026nbsp;\u0026raquo; sont des principes \u0026eacute;quivalents, Robert Filliou a cr\u0026eacute;\u0026eacute; la s\u0026eacute;rie \u003cem\u003eOptimistic Boxes \u003c/em\u003ecomme cadeaux de nouvel an. \u0026laquo;\u0026nbsp;Nouvel an, Pour vous et vos amis, Renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux... inqui\u0026eacute;tants, insolents et baroques... De 30 \u0026agrave; 3000 F.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLes \u0026eacute;ditions de Robert Filliou proposent souvent un acc\u0026egrave;s direct \u0026agrave; l\u0026rsquo;univers de pens\u0026eacute;e de l\u0026rsquo;artiste, comme c\u0026rsquo;est le cas pour les c\u0026eacute;l\u0026egrave;bres \u003cem\u003eOptimistic Boxes\u003c/em\u003e. Il s\u0026rsquo;agit d\u0026rsquo;objets qui peuvent \u0026ecirc;tre lus tant du c\u0026ocirc;t\u0026eacute; int\u0026eacute;rieur que du c\u0026ocirc;t\u0026eacute; ext\u0026eacute;rieur.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLe c\u0026ocirc;t\u0026eacute; ext\u0026eacute;rieur d\u0026rsquo;\u003cem\u003eOptimistic Box N\u0026deg; 1 dit par exemple \u0026laquo;\u0026nbsp;Remercions dieu pour les armes modernes\u0026nbsp;\u0026raquo;, tandis qu\u0026rsquo;\u0026agrave; l\u0026rsquo;int\u0026eacute;rieur, on peut lire \u0026laquo;\u0026nbsp;Nous ne lancerons plus de pav\u0026eacute;s\u0026nbsp;\u0026raquo;. Dans la bo\u0026icirc;te se trouve un carreau semblable \u0026agrave; ceux utilis\u0026eacute;s \u0026agrave; des fins bien diff\u0026eacute;rentes pendant la r\u0026eacute;volte estudiantine de Paris en 1968. Le c\u0026ocirc;t\u0026eacute; ext\u0026eacute;rieur d\u0026rsquo;Optimistic Box N\u0026deg; 2\u003c/em\u003e (1969) loue le mariage, tandis qu\u0026rsquo;\u0026agrave; l\u0026rsquo;int\u0026eacute;rieur, on lit avec humour \u0026laquo;\u0026nbsp;\u0026agrave; trois\u0026nbsp;\u0026raquo; en d\u0026eacute;couvrant une image pornographique repr\u0026eacute;sentant un homme et deux femmes.\u003c/p\u003e\r\n"}]},{"id":5719,"title":"Galerie Légitime","dimensions":"63.8 x 47.8 cm","date_begin":"1968-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003ePoster to be faulded to make a had. Ed. Hansj\u0026ouml;rg Mayer, \u0026#39;Futura 26\u0026#39;, Stuttgart. 1000 ex. Re-edition facsimile by FRAC Champagne-Ardenne and MACBA, Barcelona in 2003\u003c/p\u003e\r\n","date_end":"2003-01-01","reference":"M00025","stream_count_app":29,"permalink":"galerie-legitime--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/290/large/47_f._Galerie_L%C3%A9gitime_poster__1968.jpg?1476275048","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eGalerie L\u0026eacute;gitime\u003c/em\u003e is a poster to be faulded to make a hat. This work is dealing with the relation between artwork and audience. In January 1962 Filliou created his own nomade gallery (inspired by the portable museum of Marcel Duchamp).\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Hansj\u0026ouml;rg Mayer, \u0026#39;Futura 26\u0026#39;, Stuttgart. 1000 ex. Re-edition facsimile by FRAC Champagne-Ardenne and MACBA, Barcelona in 2003.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5679,"title":"Mind","dimensions":"43 x 59 x 3 cm","date_begin":"1969-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Filliou","publishing_process_id":1,"annotation":"\u003cp\u003eOne page out of Kalendar - 1972, Ed. Udo Breger, G\u0026ouml;ttingened. 3/150 + 5 AP, signed and numbered. Color silkscreen. Full title: Mind. A personal message with love from R. Filliou. The work is part of a series of 5 \u0026#39;personal messages\u0026#39; in itself part of a section of works under the title: A Contribution to the Art of Piece, 1969-1970 in the exhibition COMMEMOR.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis work was first edited as a postcard in 1971 - \u0026copy; Angela Flowers - in 1972 it was included in Kalender. A portfolio with prints of Beuys, Demattio, Hagenbach, Page, Schiller, Staeck, Vautier, Vostell\u003c/p\u003e\r\n","date_end":null,"reference":"BK7427_M285","stream_count_app":24,"permalink":"mind","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/196/large/Filliou__0022_Robert__Kalendar_72_MIND__1971__foto_A4A_vzw.jpg?1343033548","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThis edition is also entitled\u0026nbsp;\u003cem\u003eMind. A personal message with love from R. Filliou\u003c/em\u003e\u0026nbsp;and is\u0026nbsp;part of a series of 5 \u003cem\u003e\u0026#39;personal messages\u0026#39;.\u0026nbsp;\u003c/em\u003eThe series in itself is part of a section of works under the title: \u003cem\u003eA Contribution to the Art of Piece\u003c/em\u003e, 1969-1970. All of them were made for the \u003cem\u003eCOMMEMOR\u003c/em\u003e\u0026nbsp;exhibition in 1970 in Aachen.\u0026nbsp;Subsequently in 1971 the work was transformed into a postcard and in 1972 it\u0026nbsp;became part of \u003cem\u003eKalendar\u003c/em\u003e, a portfolio with prints of Beuys, Demattio, Hagenbach, Page, Schiller, Staeck, Vautier and\u0026nbsp;Vostell.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze\u0026nbsp;editie werd ook\u0026nbsp;\u003cem\u003eMind. A personal message with love from R. Filliou\u0026nbsp;\u003c/em\u003egetiteld en is onderdeel van een reeks van 5 persoonlijke berichten die tevens onderdeel zijn van het ensemble \u003cem\u003eA Contribution to the Art of Piece\u003c/em\u003e, 1969-1970.\u0026nbsp;Allen\u0026nbsp;werden ze gemaakt in functie van de \u003cem\u003eCOMMEMOR\u003c/em\u003e tentoonstelling in 1970 in Aken. Nadien in 1971 werd \u003cem\u003eMind\u003c/em\u003e omgevormd tot postkaart en in 1972 werd het onderdeel van \u003cem\u003eKalender\u003c/em\u003e, een map met edities van\u0026nbsp;\u0026nbsp;onder meer\u0026nbsp;Beuys, Demattio, Hagenbach, Page, Schiller, Staeck, Vautier en\u0026nbsp;Vostell.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCette \u0026eacute;dition porte aussi le titre \u003cem\u003eMind. A personal message with love from R. Filliou\u003c/em\u003e \u003cem\u003eet fait partie d\u0026rsquo;une s\u0026eacute;rie de cinq messages personnels composant l\u0026rsquo;ensemble A Contribution to the Art of Piece (1969-70). Les cinq messages ont tous \u0026eacute;t\u0026eacute; cr\u0026eacute;\u0026eacute;s dans le cadre de l\u0026rsquo;exposition COMMEMOR qui s\u0026rsquo;est tenue en 1970 \u0026agrave; Aix-la-Chapelle. Ensuite, en 1971, Mind a \u0026eacute;t\u0026eacute; transform\u0026eacute;e en carte postale avant d\u0026rsquo;\u0026ecirc;tre int\u0026eacute;gr\u0026eacute;e, un an plus tard, \u0026agrave; Kalender, une carte rassemblant des \u0026eacute;ditions sign\u0026eacute;es notamment \u003c/em\u003eBeuys, Demattio, Hagenbach, Page, Schiller, Staeck, Vautier et Vostell.\u003c/p\u003e\r\n"}]},{"id":5701,"title":"Optimistic Box n°3","dimensions":"6 x 12 x 2,9 cm","date_begin":"1969-01-01","material":"wooden box, labels","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00008","stream_count_app":44,"permalink":"optimistic-box-n-3","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eAusgehend von seiner Idee, dass gut gemacht; schlecht gemacht und nicht gemacht gleichwertige Grunds\u0026auml;tze sind, kreiert Robert Filiou eine Reihe Optimistic Boxes als Neujahrsgeschenke. \u0026bdquo;Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F.\u0026ldquo; (Neujahr F\u0026uuml;r Sie und Ihre Freunde, erneuern Sie die Kunst des Schenkens. Diese K\u0026uuml;nstler entwarfen und realisierten st\u0026ouml;rende, unversch\u0026auml;mte und barocke Geschenke f\u0026uuml;r Sie... Von 30 bis 3000 Franc.)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie Ausgaben von Robert Filliou bieten oft einen direkten Zugang zur Gedankenwelt des K\u0026uuml;nstlers, wie es auch bei den bekannten Optimistic Boxes der Fall ist. Es geht um Objekte, die abwechselnd an der Innen- und an der Au\u0026szlig;enseite gelesen werden k\u0026ouml;nnen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDiese dritte \u0026bdquo;Optimistic Box\u0026ldquo; gibt Ihnen die Illusion, ein Dame- oder Schachspiel zu \u0026ouml;ffnen. Dennoch geht es nicht um das Spielen: Filliou, der direkt mit der Person kommuniziert, die das Multiple betrachtet, schreibt auf dem Etikett \u0026bdquo;Tant mieux si vous ne savez pas jouer aux \u0026eacute;checs. / So much better if you can\u0026rsquo;t play chess\u0026rdquo;. Die Schachtel enth\u0026auml;lt keine Schachfiguren, sondern nur die Botschaft \u0026bdquo;Vous n\u0026rsquo;imiterez pas Marcel Duchamp / You won\u0026rsquo;t imitate marcel duchamp\u0026ldquo;.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/257/large/Filliou__0090_Robert__Optimistic_Box_No.3.jpg?1343050053","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eStarting from his idea that well done, badly done and not done are equivalent principles, Robert Filiou has created a series of Optimistic boxes as new year\u0026rsquo;s gifts. \u0026ldquo;\u003cem\u003eNouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F\u003c/em\u003e.\u0026ldquo; (New Year for you and your friends, renew the art of giving. These artists have designed and created disturbing, insolent and baroque presents for you \u0026hellip; from 30 to 3000 Francs.)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe editions of Robert Filliou are often a direct pathway to the artist\u0026#39;s imagination, as is the case with the well-known Optimistic Boxes. These are objects that can be read from both the inside and the outside.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThis third \u0026#39;Optimistic Box\u0026#39; gives you the illusion of opening a game of draughts or chess, but the game is irrelevant: Filliou, who communicates directly to the person looking at the multiple set, writes on the label \u0026ldquo;Tant mieux si vous ne savez pas jouer aux \u0026eacute;checs. / So much the better if you can\u0026rsquo;t play chess\u0026rdquo;. The box contains no chess pieces, but only the message \u0026ldquo;Vous n\u0026rsquo;imiterez pas Marcel Duchamp / You won\u0026rsquo;t copy Marcel Duchamp\u0026rdquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVertrekkend vanuit zijn idee dat goed gedaan; slecht gedaan en niet gedaan evenwaardige principes zijn cre\u0026euml;ert Robert Filiou een reeks Optimistic boxes als nieuwjaarsgeschenken. \u0026laquo; Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F. \u0026gt;\u0026gt; (Nieuwjaar Voor u en uw vrienden, hernieuw de kunst van het geven. Deze kunstenaars ontwierpen en realiseerden storende, onbeschaamde en barokke geschenken voor u ... Van 30 tot 3000 franc.)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe edities van Robert Filliou bieden vaak een directe toegang tot de denkwereld van de kunstenaar, zoals ook bij de bekende Optimistic Boxes het geval is. Het gaat om objecten die afwisselend langs binnen en aan de buitenkant kunnen worden gelezen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDeze derde \u0026lsquo;Optimistic Box\u0026rsquo; geeft je de illusie een dam- of schaakspel te openen. Toch is het geen kwestie van spelen: Filliou, die rechtstreeks communiceert naar de persoon die de multiple bekijkt, schrijft op het etiket \u0026ldquo;Tant mieux si vous ne savez pas jouer aux \u0026eacute;checs. / So much better if you can\u0026rsquo;t play chess\u0026rdquo;. De doos bevat geen schaakstukken, maar uitsluitend de boodschap \u0026ldquo;Vous n\u0026rsquo;imiterez pas Marcel Duchamp / You won\u0026rsquo;t imitate marcel duchamp\u0026rdquo;.\u0026nbsp;Marcel Duchamp had inderdaad plechtig beloofd om geen carri\u0026egrave;re te maken in de kunstwereld en zich volledig te wijden aan het schaakspel. Marcel Duchamp, net als Robert Filliou en de meeste hoofdrolspelers uit Fluxus, heeft dit spel in een kunstvorm gegoten en kort na deze editie werd er hulde gebracht aan de ludieke geest van Filliou.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eEn partant de son id\u0026eacute;e que bien fait, mal fait et non fait sont des principes \u0026eacute;quivalents, Robert Filiou cr\u0026eacute;e une s\u0026eacute;rie d\u0026#39;Optimistic boxes \u0026agrave; titre de cadeaux de Nouvel An. \u0026laquo; Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F.\u0026nbsp;\u0026raquo;. Les \u0026eacute;ditions de Robert Filliou offrent souvent un acc\u0026egrave;s direct au monde de r\u0026eacute;flexion de l\u0026#39;artiste, comme c\u0026#39;est \u0026eacute;galement le cas pour les c\u0026eacute;l\u0026egrave;bres Optimistic Boxes. Il s\u0026#39;agit d\u0026#39;objets qui peuvent \u0026ecirc;tre lus alternativement \u0026agrave; l\u0026#39;int\u0026eacute;rieur et \u0026agrave; l\u0026#39;ext\u0026eacute;rieur.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eCette troisi\u0026egrave;me \u0026lsquo;Optimistic Box\u0026rsquo; vous donne l\u0026#39;illusion d\u0026#39;ouvrir un jeu de dames ou d\u0026#39;\u0026eacute;checs. Cependant, il n\u0026#39;est pas question de jouer ici : Filliou, qui communique directement \u0026agrave; la personne qui regarde le multiple, \u0026eacute;crit sur l\u0026#39;\u0026eacute;tiquette \u0026laquo;\u0026nbsp;Tant mieux si vous ne savez pas jouer aux \u0026eacute;checs. / So much better if you can\u0026rsquo;t play chess\u0026nbsp;\u0026raquo;. La bo\u0026icirc;te ne contient pas de pi\u0026egrave;ces d\u0026#39;\u0026eacute;checs mais exclusivement le message \u0026laquo;\u0026nbsp;Vous n\u0026rsquo;imiterez pas Marcel Duchamp / You won\u0026rsquo;t imitate marcel duchamp\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n"}]},{"id":5693,"title":"Teaching and Learning as Performing Arts Part II - Parts A to E","dimensions":"0:30:00","date_begin":"1979-01-01","material":"laserdisc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Verzamelbox: From Political to Poetical Economy","publishing_process_id":1,"annotation":"","date_end":"1997-01-01","reference":"BK7511_M352_4","stream_count_app":21,"permalink":"teaching-and-learning-as-performing-arts-part-ii-parts-a-to-e","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/228/large/BK7511_M352_Teaching_and_learning_as_still3.jpg?1343045364","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5714,"title":"Standard-Book/Livre-etalon","dimensions":"folded: 4 x 4 cm, unfolded: 4 x 79.6 cm","date_begin":"1981-01-01","material":"paper, leporello, artist book","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collectie M HKA, Antwerpen","cached_tag_list":"multiple","publishing_process_id":1,"annotation":"\u003cp\u003eEd.Dieter Roth, Stuttgart,\u0026nbsp;1000 ex.\u003c/p\u003e\r\n","date_end":null,"reference":"M00019","stream_count_app":35,"permalink":"standard-book-livre-etalon","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/282/large/Filliou__Robert__Livre-Etalon__1982__3.jpg?1476349831","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003eSmall leporello where\u0026nbsp;each page (recto / verso) has a printed\u0026nbsp;number from 1 to 19. On the last page is an explanatory\u0026nbsp;note in French and English. The intervals allow us to evaluate this work of art infallible and objective. Robert Filliou, like many artists of his generation, protested against this assessment of art according to taste or subject.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eKleine\u0026nbsp;bedrukte leporello waar op elke pagina (recto/verso) een groot nummer staat van 1 tot 19. Op de laatste pagina staat een verklarend tekstje in Frans en Engels. De intervallen laten toe een kunstwerk onfeilbaar en objectief te evalueren. Robert Filliou, net als vele kunstenaars van zijn generatie, protesteerde hiermee tegen de beoordeling van kunst volgens smaak of subject.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEd.Dieter Roth, Stuttgart,\u0026nbsp;1000 ex.\u003c/p\u003e\r\n"}]},{"id":5689,"title":"Games at the Cedilla or the Cedilla Takes Off ","dimensions":"20.5 x 14 x 2 cm","date_begin":"1967-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"Filliou ; Brecht","publishing_process_id":1,"annotation":"\u003cp\u003eArtist book, 154 p (not numbered); Ed. Something Else Press, Dick Higgins, New York - Toronto - Frankfurt-am-Main. 1945 ex. Sort of (toilet) book without each page following the previous one. A gathering of esthetiques researches of Filliou and Brecht. A sort of release of their activities at \u0026#39;La Cedille\u0026#39; an international centre for permanent creativity.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7441_M297","stream_count_app":28,"permalink":"games-at-the-cedilla-or-the-cedilla-takes-off","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/212/large/Filliou__0082_Robert__Games_at_Cedilla__or_the_Cedilla_takes_off__1967%281%29.jpg?1343037137","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5704,"title":"Information Box","dimensions":"33 x 25.5 x 7.4 cm","date_begin":"1973-01-01","material":"ectachrome, paper, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"multiple","publishing_process_id":1,"annotation":"\u003cp\u003eArchival box with several editions, 24 slides (24x36) and several documents. Ed. Galerie Buchholz, Munich, 60 ex signed and numbered R. Filliou\u003c/p\u003e\r\n","date_end":null,"reference":"M00011","stream_count_app":26,"permalink":"information-box","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/262/large/Filliou__Robert__Information_Box__1973.JPG?1343051993","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThis archival box was published for the exhibition of Robert Filliou at galerie Buchholz in K\u0026ouml;ln. The box contains 24 slides (listed on a typed paper), copies of invitation cards,\u0026nbsp;press articles, and several books as\u0026nbsp;\u003cem\u003eGames at Cedilla or the Cedilla takes off \u003c/em\u003e- \u003cem\u003ePo\u0026egrave;me Collective\u003c/em\u003e - \u003cem\u003eTeaching and Learning as performing arts\u003c/em\u003e - \u003cem\u003eCOMMEMOR\u003c/em\u003e - \u003cem\u003eRobert Filliou \u003c/em\u003e(Galerie Ren\u0026eacute; Block - A selection from 1000 Basic Japanese Poems - Cat Galerie Buchholz, 1973).\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Galerie Buchholz, Munich, 60 ex., signed and numbered R. Filliou.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEd. Galerie Buchholz, Munich, 60 ex., signed and numbered R. Filliou.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEd. Galerie Buchholz, Munich, 60 ex., signed and numbered R. Filliou.\u003c/p\u003e\r\n"}]},{"id":5711,"title":"The Speed of Art","dimensions":"3 x (15 x 21 cm)","date_begin":"1979-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Filliou fiche","publishing_process_id":1,"annotation":"\u003cp\u003e3 gezeefdrukte fiches, z/w. Ed. Exempla, Firenze \u0026amp;ed. Zona, Lugo. 90 ex genummerd en getekend\u003c/p\u003e\r\n","date_end":null,"reference":"M00016","stream_count_app":19,"permalink":"the-speed-of-art","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/295/large/110._The_Speed_of_Art__1979.jpg?1476274831","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eEd. Exempla, Firenze \u0026amp;ed. Zona, Lugo. 90 ex. numbered \u0026amp; signed\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe relatie tussen kunst en het leven. In 1977 stelde hij verschillende formuleringen voor van de relatie kunst/leven. Een poetische, een esotherische en een mathematische. De poetische: \u003cem\u003eL\u0026#39;ART est une fonction de la VIE plus FICTION, la fiction tendant vers z\u0026eacute;ro\u003c/em\u003e (uit Porta Filliou). Dit werk is de mathematische beschrijving van de functie van kunst waarbij de fictie/verbeelding naar de nulgraad neigt. Op de drie fiches staan de wiskundige formules van deze stelling. Het artistieke speelt zich in dezelfde tijd/ruimte af als het leven. \u003cem\u003eL\u0026#39;Art est ce qui rend la vie plus int\u0026eacute;ressant que l\u0026#39;art\u003c/em\u003e is een uitbreiding van de notie \u0026#39;speed of Art\u0026#39;.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Exempla, Firenze \u0026amp;ed. Zona, Lugo. 90 ex. genummerd \u0026amp; gesigneerd\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEd. Exempla, Firenze \u0026amp;ed. Zona, Lugo. 90 ex.,\u0026nbsp;sign\u0026eacute;s et num\u0026eacute;rot\u0026eacute;s\u003c/p\u003e\r\n"}]},{"id":5708,"title":"Cucumberland - sans voir et sans savoir","dimensions":"76 x 56.5 cm","date_begin":"1976-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"drypoint","publishing_process_id":1,"annotation":"\u003cp\u003eDrypoint. Ed. Leger, Malm\u0026ouml;. 100 ex signed and numbered. Paper: 76 x 56,5 , drypoint: 32 x 49.8 cm. Drawing in drypoint of the inhabitants and the things they need of Cucumberland. The drawing is drawn on a previous drawn grid and drawn with eyes closed.\u003c/p\u003e\r\n\r\n\u003cp\u003eDroge naald.\u003c/p\u003e\r\n","date_end":null,"reference":"M00014","stream_count_app":24,"permalink":"cucumberland-sans-voir-et-sans-savoir","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/273/large/29._Cucumberland__1976.jpg?1476350418","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eRobert Filliou signs with eyes closed - according to the principle \u0026quot;Dessins sans voir et sans savoir\u0026quot; (without seeing or knowing) at a pre-drawn grid. He draws the residents (himself, his wife Marianne, his son Bruce and daughter Marcelle) and the objects that they need to function in \u0026quot;Cucumberland. \u0026quot;Cucumberland \u0026#39;was the piece of land (paradise or as he himself says. \u003cem\u003eThe great republic \u003c/em\u003e(R\u0026eacute;publique G\u0026eacute;niale) where Filliou with his wife and children lived in the south of France, they were trying to combine the artistic life and everyday life, they grew their own vegetables, raised chickens and Marianne made herself goat cheese.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRobert Filliou tekent met de ogen gesloten - volgens het principe \u0026#39;\u003cem\u003eDessins sans voir et sans savoir\u0026#39;\u003c/em\u003e (zonder te zien of te weten) op een vooraf getekende raster. Hij tekent de bewoners (zichzelf, zijn vrouw Marianne, zijn zoon Bruce en dochter Marcelle) en de objecten die ze nodig hebben om te functioneren in \u0026#39;Cucumberland\u0026#39;. \u0026#39;Cucumberland\u0026#39; was het stuk land (paradijs of zoals hij zelf zegt: De \u003cem\u003efantastische republiek\u003c/em\u003e (R\u0026eacute;publique G\u0026eacute;niale) waar Filliou met zijn vrouw en kinderen woonde in het zuiden van Frankrijk. Zij probeerden er het artistieke leven en het dagelijkse leven te combineren, zij verbouwden zelf groenten, hielden kippen en Marianne maakte zelf geitenkaas.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eRobert Filliou dessine les yeux ferm\u0026eacute;s, suivant le principe \u0026laquo;\u0026nbsp;dessins sans voir et sans savoir\u0026nbsp;\u0026raquo;, sur une trame pr\u0026eacute;-dessin\u0026eacute;e. Il repr\u0026eacute;sente les habitants (lui-m\u0026ecirc;me, sa femme Marianne, son fils Bruce et sa fille Marcelle) et les objets dont ils ont besoin pour fonctionner au \u0026laquo;\u0026nbsp;Cucumberland\u0026nbsp;\u0026raquo;. C\u0026rsquo;est sur ce lopin de terre (un paradis que Filliou appelait la \u0026laquo;\u0026nbsp;R\u0026eacute;publique g\u0026eacute;niale\u0026nbsp;\u0026raquo;) que Filliou a habit\u0026eacute; avec sa femme et ses enfants dans le sud de la France. Ils y ont tent\u0026eacute; de combiner la vie artistique et quotidienne, y ont fait pousser des l\u0026eacute;gumes, avaient des poules. Marianne fabriquait son propre fromage de ch\u0026egrave;vre.\u003c/p\u003e\r\n"}]},{"id":5717,"title":"O! Le jeu de Vi(d)e","dimensions":"56 x 42 cm","date_begin":"1984-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eoffset in kleur, Ed. Griffelkunst, Hamburg 551 ex, getekend R. Filliou (lins onder) 56 x42 cm\u003c/p\u003e\r\n","date_end":null,"reference":"M00023","stream_count_app":22,"permalink":"o-le-jeu-de-vi-d-e","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/287/large/Filliou__0024_Robert__Le_jeu_de_vi%28d%29e__1984_foto_clinckx.jpg?1343116073","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eEd. Griffelkunst, Hamburg 551 ex., signed R. Filliou.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEd. Griffelkunst, Hamburg 551 ex., getekend R. Filliou.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEd. Griffelkunst, Hamburg 551 ex., sign\u0026eacute;\u0026nbsp;R. Filliou.\u003c/p\u003e\r\n"}]},{"id":5691,"title":"Telepathic Music N°7 - The Principle of Equivalence Carried to a Series","dimensions":"00:16:00","date_begin":"1977-01-01","material":"laserdisc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"Verzamelbox: From Political to Poetical Economy","publishing_process_id":1,"annotation":"","date_end":"1997-01-01","reference":"BK7511_M352_2","stream_count_app":38,"permalink":"telepathic-music-n-7-the-principle-of-equivalence-carried-to-a-series","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/218/large/BK7511_M352_telepatic_music_n7_still1.jpg?1343044136","poster_credits":"(c)video still: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5695,"title":"Teaching and Learning as Performing Arts Part II - Breakfasting Together, If You Wish","dimensions":"00:37:00","date_begin":"1979-01-01","material":"laserdisc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"Verzamelbox: From Political to Poetical Economy","publishing_process_id":1,"annotation":"","date_end":"1997-01-01","reference":"BK7511_M352_6","stream_count_app":31,"permalink":"teaching-and-learning-as-performing-arts-part-ii-breakfasting-together-if-you-wish","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/233/large/BK7511_M352_breakfasting_together_if_you_wish_still1.jpg?1343046331","poster_credits":"(c)video still:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThis action and video follows the same form of presentation as the book \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. Robert Filliou himself announces the title and first chapter. There are two Robert Fillious: the Robert Filliou on screen who gives orders to the other Robert Filliou standing near the monitor, who carries them out (like master and pupil, or master and slave). Pupil Filliou is instructed to write (with chalk on a plank) the titles of various chapters of performances (lessons on making contact with the world). These interludes punctuate the entire tape, which alternates between Robert Filliou talking from the monitor and the film itself.\u003c/p\u003e\r\n\r\n\u003cp\u003ea) Video \u003cem\u003eDinner\u003c/em\u003e. A student is seated, back to the camera, facing a monitor. He dialogues with Robert Filliou who is facing the student, and the spectator, like a television newsreader. The artist questions the student and leads him to examine the world and knowledge (\u0026quot;we drink the same water as the dinosaurs, his brother told him\u0026quot;). He initiates the student in telepathic music. Four dimensional space time continuum. Robert Filliou films the street while giving a voice over commentary on the nature of things: \u0026quot;A bird is incomprehensible. A bourgeois is incomprehensible. A bird eaten by a bourgeois, it\u0026#39;s a meal [\u0026hellip;]. A bourgeois eaten by a bird, it\u0026#39;s a miracle.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003ec) \u003cem\u003eRecycling\u003c/em\u003e. Robert Filliou, seated and wearing feminine attire, is talking. He is surrounded by hats. A woman is singing the story of a woman who has left because nobody could make her happy. Robert Filliou quickly puts on various hats.\u003c/p\u003e\r\n\r\n\u003cp\u003ed) \u003cem\u003eSkeye Analysis\u003c/em\u003e. This consists of a fixed shot on Robert Filliou\u0026rsquo;s face while he looks at the sky with his head tilted back. He talks, confiding his reflections about the position of the artist in relation to the world and about art as a source of energy. Although the sky is not in frame, it is reflected in the artist\u0026rsquo;s glasses.\u003c/p\u003e\r\n\r\n\u003cp\u003ee) Bed time her / his story, sub-titled \u0026quot;The names of some celebrities translated into Japanese\u0026quot;. A Japanese person, filmed in a tight shot, undresses and sits on a bed. There is a switched-off television at the end of the bed. He lies down, takes off his watch and switches on the TV. Robert Filliou appears on the screen. He is reciting the names of artists who have made the history of art, adding \u0026quot;san\u0026quot; (indicating the person in Japanese) to each name. The Japanese person switches off the monitor and goes to sleep.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe last three sequences take the form of a performance:\u003c/p\u003e\r\n\r\n\u003cp\u003e- Video - Univercity, Travelling light - It\u0026#39;s a real dance. Robert Filliou is on stage, facing and addressing an invisible audience. He makes, and comments on, a series of actions, questioning the spectators and inviting them to participate in a collective dream, the creative use of leisure\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e- Video Breakfasting together\u0026hellip; If you wish. Robert Filliou is drinking tea and reading the newspaper. Sitting at the end of the table, facing the screen and the spectator, he calls out (\u0026quot;Hey you\u0026quot;), inviting him to open the newspaper at the same page as himself, commenting the job offers from the point of view of the artist\u0026rsquo;s work. It\u0026rsquo;s a pretext for considering moral and social values, and exalting the artist\u0026rsquo;s role as a \u0026lsquo;shaman\u0026rsquo; and the virtues of un-learning.\u003c/p\u003e\r\n\r\n\u003cp\u003e- Video Breakfasting with Roy Kiyooka. Roy Kiyooka, is sitting at a table, watching Video Breakfasting together... on a monitor that is installed like a guest. He drinks tea, smokes and reads the newspaper, as Robert Filliou has suggested. In turn, he also comments the small ads and Robert Filliou\u0026rsquo;s reflections, adding his own.\u003c/p\u003e\r\n\r\n\u003cp\u003e(Source:Catherine Ouy)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5684,"title":"Project for skywriting, planche n°6 (Love=UFO)","dimensions":"96.5 x 69 x 4.5 cm","date_begin":"1971-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEd. Hartmut Kaminski, D\u0026uuml;sseldorf Part of the series (5 in one portfolio and 5 separate ones). Images of the sky + tekst like Love =U.f.o. and 1666 km/h. Texts that could have been written in the sky by an airplane.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7435_M291","stream_count_app":32,"permalink":"project-for-skywriting-planche-n-6-love-ufo","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/207/large/Filliou__0027_Robert__Project_for_Skywriting_%28planche_N%C2%B0_6___love___ufo%29__1971__foto_A4A_vzw2.jpg?1343035640","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5692,"title":"And So On, End So Soon. Done 3 Times","dimensions":"Total lasersisc: 3:12:00, And so on and so soon: 0:32:00","date_begin":"1977-01-01","material":"laserdisc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Verzamelbox: From Political to Poetical Economy","publishing_process_id":1,"annotation":"","date_end":"1997-01-01","reference":"BK7511_M352_3","stream_count_app":24,"permalink":"and-so-on-end-so-soon-done-3-times","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/221/large/BK7511_M352_And_so_on_end_soon_done_3_times_still1.jpg?1343044654","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eRestauration and new release of de videos made by Filliou when he worked and lived at the Western Front in Vancouver \u003cem\u003e\u0026#39;From Political to Poetical Economy\u003c/em\u003e\u0026#39;.\u003c/p\u003e\r\n\r\n\u003cp\u003eCoordination: Hank Bull, Sharla Sava, Scott Watson;\u003c/p\u003e\r\n\r\n\u003cp\u003eRemasterisation: Robert Kozinuk;\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Morris and Helen Belkin Art Gallery, University of British Columbia and the Western Front, Vancouver\u003c/p\u003e\r\n\r\n\u003cp\u003ePart of Second laserdisc, colour video, sound; camera, sound and light: Kate Craig, production: Western Front, Vancouver, Director: Robert Filliou\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5718,"title":"Longs poèmes courts à terminer chez soi","dimensions":"10 x 15 cm","date_begin":"1984-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"postcard","publishing_process_id":1,"annotation":"\u003cp\u003e16 post cards in a gray cardboard wrapper. Ed. Lebeer Hossmann, Brussel/Hamberg. 500 exem.\u003c/p\u003e\r\n","date_end":null,"reference":"M00024","stream_count_app":22,"permalink":"longs-poemes-courts-a-terminer-chez-soi","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/288/large/Filliou__0074_Robert___Longs_Poemes_Courts_A_Terminer_Chez_Soi%281%29.jpg?1343116314","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eEd. Lebeer Hossmann, Brussel/Hamberg. 500 ex.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eLongs po\u0026egrave;mes courts \u0026agrave; terminer soi\u003c/em\u003e werd opgestart in 1961. Het zijn gedichten die begonnen werden door Filliou maar afgemaakt dienen te worden door \u0026#39;iemand\u0026#39; anders. Voor Filliou is het belangrijker anderen aan te zetten tot expressie dan zelfexpressie. In 1965 werden verschillende van deze gedichten in het tijdschrift \u0026#39;\u003cem\u003ePhantomas\u0026#39;\u003c/em\u003e te Brussel gepubliceerd. In 1968 werd een postkaart versie gemaakt opgedragen aan Addi Kopke (de Deense kunstenaar die voor het eerst de geidchten in 1961 tentoonstelde). In 1969 vertrouwde Filliou aan Robert Morel de maquette van een editie toe die dezelfde naam had en later ook op postkaarten werd gedrukt\u003cem\u003e.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Lebeer Hossmann, Brussel/Hamberg. 500 ex.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe projet \u003cem\u003eLongs po\u0026egrave;mes courts \u0026agrave; terminer soi\u003c/em\u003e a d\u0026eacute;marr\u0026eacute; en 1961. Ces po\u0026egrave;mes entam\u0026eacute;s par Filliou doivent \u0026ecirc;tre termin\u0026eacute;s par \u0026laquo;\u0026nbsp;quelqu\u0026rsquo;un\u0026nbsp;\u0026raquo; d\u0026rsquo;autre. Pour Filliou, il est plus important de pousser les autres \u0026agrave; s\u0026rsquo;exprimer plut\u0026ocirc;t que de s\u0026rsquo;exprimer lui-m\u0026ecirc;me. En 1965, plusieurs de ces po\u0026egrave;mes ont \u0026eacute;t\u0026eacute; publi\u0026eacute;s dans le magazine Phantomas \u0026agrave; Bruxelles. En 1968, une version sous forme de carte postale a \u0026eacute;t\u0026eacute; d\u0026eacute;di\u0026eacute;e \u0026agrave; Addi Kopke (l\u0026rsquo;artiste danois ayant, le premier, expos\u0026eacute; les po\u0026egrave;mes en 1961). En 1969, Filliou a confi\u0026eacute; \u0026agrave; Robert Morel la maquette d\u0026rsquo;une \u0026eacute;dition portant le m\u0026ecirc;me nom et imprim\u0026eacute;e sur des cartes postales.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Lebeer Hossmann, Brussel/Hamberg. 500 ex.\u003c/p\u003e\r\n"}]},{"id":5698,"title":"Poème collectif","dimensions":"13.5 x 11 cm","date_begin":"1968-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Filliou Williams book poem","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00005","stream_count_app":26,"permalink":"poeme-collectif-robert-filliou-et-cie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/244/large/87._Po%C3%A8me_collectif_booklet_cover_front__1968.jpg?1476273522","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eBook with 24 pages and one insert. Ed. Daily-Bul, \u0026quot;Les Poquettes volants\u0026#39;, vol. 21, Andr\u0026eacute; Balthazar and Pol Bury, La louvi\u0026egrave;re. 1000 ex numbered from n\u0026deg; 96 onwards.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit boekje \u0026#39;Collectief gedicht\u0026#39; bevat 16 lege bladzijden , een instructie en een los vel papier. Het werd opgevat als een cadavre exquis ( een gedicht dat door meerdere dichters is geschreven, zonder dat zij op de hoogte zijn van de delen die door de anderen worden geschreven.), een voorbeeld van surrealistische techniek (net als het automatisch schrijven), waarbij geprobeerd wordt kunst te maken vanuit het onderbewuste. Het proced\u0026eacute; is tamelijk eenvoudig, het resultaat niet. De eerste schrijver schrijft een versregel op een stuk papier. Daarna schrijft hij het eerste woord van de tweede regel en vouwt het papier zodanig dat dat de eerste regel bedekt is. De tweede schrijver gaat vervolgens verder met het eerste woord (of het laatste als het rijmen moet). Hij laat zich hierbij leiden (of juist niet) door wat hij, aan de hand van het woord, denkt hoe de eerste regel luidt. Ook hij schrijft een woord voor de derde schrijver en zo voort. De instructies Schrijf op de eerste bladzijde 5 tot 7 dingen (objecten, emoties, gevoelens etc) op die je graag kwijt bent, bijvoorbeeld: een huwelijksfoto, een paar sokken, een brief van 10 jaar geleden of van ....of van de school of het leger, reumatiek. Daarna laat je de andere lege bladzijden invullen door 15 personen naar keuze. Elke nieuwe medewerker mag het collectieve gedicht pas zien nadat hij zijn bijdrage geleverd heeft. Het losse blad dient om de vorige bijdrage te verbergen. Het staat eenieder vrij het blad te signeren. De titel van het collectief gedicht die zo wordt samengesteld komt op de laatste bladzijde. [...] einde wrakken van de mens gedicht van zijn stilleven NB : de eerste versie van dit gedicht werd gerealiseerd (met medewerking van het publiek) tijdens een actie georganiseerd door Emmett Williams en mijzelf voor de finissage van de tentoonstelling \u0026#39;L\u0026#39;Aujourd\u0026#39;hui de demain, mus\u0026eacute;e de la ville d\u0026#39; Arras, juni 1963. Het werd opgedragen aan Rafael Jesus Soto. R.F., handleiding en titel van het gedicht aan het begin en het einde van de editie\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5712,"title":"Musical Economy n°1","dimensions":"54.5 x 40.5 cm","date_begin":"1980-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"multiple","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00017","stream_count_app":23,"permalink":"musical-economy-n-1","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/280/large/Filliou__0060_Robert__Musical_Economy_n2__1983%281%29.jpg?1343114953","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5688,"title":"Monsters are inoffensive, Fluxus Postcards","dimensions":"10.8 x 16 cm","date_begin":"1967-01-01","material":"ink, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"postcard","publishing_process_id":1,"annotation":"\u003cp\u003e22 postcards, B/W on cardboard.\u003c/p\u003e\r\n\r\n\u003cp\u003eOriginally in a transparent plastic box bot mostly presented now in brown envelope.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Fluxus, Division of Implosion, Inc., George Maciunas, New York\u003c/p\u003e\r\n","date_end":null,"reference":"BK7440_M296","stream_count_app":34,"permalink":"monsters-are-inoffensive-fluxus-postcards","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/125/medium_500/Monsters_are_Inoffensive_2.jpg?1694687887","cached_actor_names":"Roland Topor, Robert Filliou, Daniel Spoerri","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/125/large/Monsters_are_Inoffensive_2.jpg?1694687887","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThe title of one of the cards can be understood as a creator statement about the object: \u0026quot;Men call pubic hair pornography but / monsters are innofensive\u0026quot;.\u003c/p\u003e\r\n\r\n\u003cp\u003eOriginally these postcards were presented in a clear plastic box but today they are presented in a dark brown envelope. 3 postcards have the name of one of the three artists; Roland Topor, Daniel Spoerri and Robert Filliou. The other cards are edited images such as a fleetingly drawn portrait into which holes were made where the eyes should be. Fingers were inserted through these and this action was captured and photographed. Another postcard shows drawings over photographic images. The drawings are by Topor, the manipulations of the photographic images by Filliou and Spoerri. Vera Spoerri photographed the final result.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe titel van een van de kaarten kan worden opgevat als een uitspraak van de maker over het object: \u0026quot;Mannen noemen schaamhaar pornografie maar / monsters zijn [niet beledigend of onschadelijk]\u0026quot;.\u003c/p\u003e\r\n\r\n\u003cp\u003eOorspronkelijk werden deze postkaarten gepresenteerd in doorzichtige plastic doos maar vandaag worden ze\u0026nbsp;gepresenteerd in donkerbruine envelop. 3 postkaarten hebben\u0026nbsp;de naam van \u0026eacute;\u0026eacute;n van de drie kunstenaars; Roland Topor, Daniel Spoerri en Robert Filliou. De andere kaarten zijn bewerkte beelden zoals\u0026nbsp;een vluchtig\u0026nbsp;getekend portret waarin gaatjes werden gemaakt waar de ogen horen te zitten.\u0026nbsp;Hierdoorheen werden vingers gestoken en deze actie\u0026nbsp;werd vastgelegd en gefotografeerd. Op een andere\u0026nbsp;postkaart wordt getekend over\u0026nbsp;fotografische beelden.\u0026nbsp;De tekeningen zijn\u0026nbsp;van Topor, de manipulaties van de fotografische beelden van\u0026nbsp;Filliou en Spoerri. Vera Spoerri fotografeerde het eindresultaat.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eMonsters are inoffensive, Fluxus Postcards\u003c/em\u003e\u003c/strong\u003e\u0026nbsp;(Les monstres sont inoffensifs, Fluxus Cartes postales)\u003c/p\u003e\r\n\r\n\u003cp\u003eDans un premier temps, ces cartes postales ont \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;es dans une bo\u0026icirc;te en plastique transparent, mais aujourd\u0026rsquo;hui, elles le sont dans une enveloppe brun fonc\u0026eacute;. Trois cartes postales portent le nom de l\u0026rsquo;un des artistes\u0026nbsp;: Roland Topor, Daniel Spoerri et Robert Filliou. Les autres sont des adaptations d\u0026rsquo;images telles un portrait dessin\u0026eacute; \u0026agrave; la h\u0026acirc;te avec des trous \u0026agrave; la place des yeux. L\u0026rsquo;action a ensuite \u0026eacute;t\u0026eacute; immortalis\u0026eacute;e avec deux doigts ins\u0026eacute;r\u0026eacute;s dans les trous. Sur une autre carte postale, Topor a dessin\u0026eacute; sur des images photographiques manipul\u0026eacute;es par Filliou et Spoerri. Le r\u0026eacute;sultat final a \u0026eacute;t\u0026eacute; photographi\u0026eacute; par Vera Spoerri.\u003c/p\u003e\r\n\r\n\u003cp\u003e22 cartes postales, Ed. Fluxus, Division of Implosion, Inc., George Maciunas, New York.\u003c/p\u003e\r\n"}]},{"id":5697,"title":"14 chansons et 1 charade / 14 songs and 1 riddle / 14 chansons und 1 rätsel","dimensions":"16 x 12 cm, 154 p.","date_begin":"1967-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cem\u003e14 chansons et 1 charade 14 songs and 1 riddle 14 chansons und 1 r\u0026auml;tsel\u003c/em\u003e boek met gezeefdrukte kaft, 154 pp (niet getekend), Ed. Hansj\u0026ouml;rg Mayer, Stuttgart. 500 ex genummerd vanaf 387 tot 500\u003c/p\u003e\r\n","date_end":null,"reference":"M00004","stream_count_app":38,"permalink":"14-chansons-et-1-charade-14-songs-and-1-riddle-14-chansons-und-1-ratsel","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Steve Mc Caffery  , George Brecht, Dick Higgins, Dieter Roth, Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/244/large/Filliou__0072_Robert___14_chansons_et_1_charade__1968%281%29.jpg?1343047288","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e14 Songs and 1 Riddle\u0026nbsp;\u003c/em\u003eis a text originally written in 1963 by Robert Filliou and performed in 1977. The text was translated into English in 1966 by George Brecht and then in German in 1968 by Dieter\u0026nbsp;Roth. During the performance of \u003cem\u003e14 Songs and 1 Riddle,\u003c/em\u003e Allan Kaprow reads the English translation of George Brecht , Vincent Trasov read the German translation of Didier Roth, Steve Mc Caffery reads his own homophonic as well as BP Nichol and Dick Higgins translation, and Robert Filliou reads from the original text.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe original text is a series of bizarre erotic poems , punctuated by repetitions, enumerations, alliteration, assonance and approximate homophones recalling Mallarm\u0026eacute; and Dufr\u0026ecirc;ne. The process of creation represented in the translation and transcription, is also obtained in the reading of the texts. The performing artists read these texts or separately, or simultaneously, or echoing and updating the approximate homophony process \u003cem\u003ele son du sens et le sens du son\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e14 Songs and 1 Riddle\u003c/em\u003e\u0026nbsp;(14 liederen en 1 raadsel) is een tekst, oorspronkelijk in 1963 geschreven door Robert Filliou en uitgevoerd in 1977. De tekst werd in 1968 vertaald naar het Engels in 1966 door George Brecht en vervolgens naar het Duits door Dieter Roth. Tijdens de performance \u003cem\u003e14 Songs and 1 Riddle\u003c/em\u003e\u0026nbsp;las Allan Kaprow de Engelse vertaling van George Brecht, Vincent Trasov las de Duitse vertaling van Dieter Roth, Steve Mc Caffery las zijn eigen homofone versie evenals de vertaling van BP Nichol en Dick Higgins, en Robert Filliou las de oorspronkelijke tekst.\u003c/p\u003e\r\n\r\n\u003cp\u003eDeze oorspronkelijke tekst is een reeks bizarre erotische gedichten, gekenmerkt door herhalingen, opsommingen, alliteratie, assonantie en homofonen met reminiscenties aan Mallarm\u0026eacute; en Dufr\u0026ecirc;ne. Het ontstaansproces vertegenwoordigd in deze vertaling en transcriptie, wordt ook verkregen bij het lezen van de teksten. De uitvoerende artiesten voeren deze teksten of afzonderlijk of gelijktijdig, of in echo op volgens het principe van \u003cem\u003ele son du sens et le sens du son\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eLe texte de 14 Songs And 1 Riddle\u003c/em\u003e\u0026nbsp;(14 chansons et 1 charade) a \u0026eacute;t\u0026eacute; \u0026eacute;crit par Robert Filliou en 1963, puis interpr\u0026eacute;t\u0026eacute; en 1977. Le texte a \u0026eacute;t\u0026eacute; traduit en anglais en 1966 \u0026nbsp;par George Brecht, puis en allemand en 1968 par Dieter Roth. Pendant la performance de \u003cem\u003e14 Songs And 1 Riddle\u003c/em\u003e, Allan Kaprow a lu la traduction anglaise de George Brecht, Vincent Trasov la traduction allemande de Dieter Roth, Steve Mc Caffery sa propre version homophonique ainsi que la traduction de B.P. Nichol et Dick Higgins, et Robert Filliou le texte original.\u003c/p\u003e\r\n\r\n\u003cp\u003eCe dernier est con\u0026ccedil;u comme une s\u0026eacute;rie de po\u0026egrave;mes \u0026eacute;rotiques bizarres, caract\u0026eacute;ris\u0026eacute;s par des r\u0026eacute;p\u0026eacute;titions, \u0026eacute;num\u0026eacute;rations, allit\u0026eacute;rations, assonances et homophonies rappelant Mallarm\u0026eacute; et Dufr\u0026ecirc;ne. Le processus de cr\u0026eacute;ation repr\u0026eacute;sent\u0026eacute; dans cette traduction et cette transcription se retrouve aussi au niveau de la lecture des textes. Les artistes ex\u0026eacute;cutants les interpr\u0026egrave;tent soit s\u0026eacute;par\u0026eacute;ment, soit simultan\u0026eacute;ment, soit en \u0026eacute;cho selon le principe du \u0026laquo;\u0026nbsp;son du sens et du sens du son\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Hansj\u0026ouml;rg Mayer, Stuttgart,\u0026nbsp;500 ex.\u003c/p\u003e\r\n"}]},{"id":5720,"title":"A selection from 1000 basic Japanese Poems/ein Sublimat aus 1000 Gedichte japanisch","dimensions":"21 x 13 cm, 80 p.","date_begin":"1971-01-01","material":"ink, paper","short_description":"\u003cp\u003eBook with\u0026nbsp;80 poems written by Robert Filliou in english between 1961-1963. The poems are based on a\u0026nbsp;little japanese book dedicated to Makoto Ohoka.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00026","stream_count_app":21,"permalink":"a-selection-from-1000-basic-japanese-poems-ein-sublimat-aus-1000gedichte-japanisch","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/772/large/55._A_Selection_from_1000_Basic_Japanese_Poems__1971.jpg?1476266261","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eBook of 80 pages with\u0026nbsp;80 poems written by Robert Filliou in english between 1961-1963, during his stay\u0026nbsp;in Japan. The poems are based on a little japanese book dedicated to Makoto Ohoka. The selection is based on 1000 japanese words (basic) out of a list of \u003cem\u003e\u0026#39;Japanese in a Hurry\u0026#39;\u003c/em\u003e written by Oreste and Enko Vaccari, ed. Tuttle, Tokyo, 1953.\u003c/p\u003e\r\n\r\n\u003cp\u003eGerman translation by Andr\u0026eacute; Thomkins. Calligraphy by Takako Sa\u0026iuml;to.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Galerie der Spiegel, Spiegelschrift n\u0026deg;5, Karl Gerstner, K\u0026ouml;ln,\u0026nbsp;1000 ex.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDuitse vertaling van Andr\u0026eacute; Thomkins. Kalligrafie door Takako Saito.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Galerie der Spiegel, Spiegelschrift n\u0026deg;5, Karl Gerstner, K\u0026ouml;ln,\u0026nbsp;1000 ex.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eTraduction allemand par Andre Tompkins. Calligraphie par Takako Saito.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Galerie der Spiegel, Spiegelschrift n\u0026deg;5, Karl Gerstner, K\u0026ouml;ln,\u0026nbsp;1000 ex.\u003c/p\u003e\r\n"}]},{"id":5690,"title":"Porta Filliou","dimensions":"00:47:00","date_begin":"1977-01-01","material":"laserdisc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003evideo, B/W, sound. Production: Arton Center, Calgary - restaured by V. Tape, Toronto, 1991. Film: Bob Guiny, Maria Broodthaers, Tony Margan - Video: Clive Robertson, Leila Sujir, Marcella Bienvenue - Tekst: Robert Filliou - Production: Arton\u0026#39;s video Production Calgary - Director: Robert Filliou\u003c/p\u003e\r\n\r\n\u003cp\u003eThis tape follows the same form of presentation as the book \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. Robert Filliou himself announces the title and first chapter. There are two Robert Fillious: the Robert Filliou on screen who gives orders to the other Robert Filliou standing near the monitor, who carries them out (like master and pupil, or master and slave). Pupil Filliou is instructed to write (with chalk on a plank) the titles of various chapters of performances (lessons on making contact with the world). These interludes punctuate the entire tape, which alternates between Robert Filliou talking from the monitor and the film itself.\u003c/p\u003e\r\n\r\n\u003cp\u003ea) Video Dinner. A student is seated, back to the camera, facing a monitor. He dialogues with Robert Filliou who is facing the student, and the spectator, like a television newsreader. The artist questions the student and leads him to examine the world and knowledge (\u0026quot;we drink the same water as the dinosaurs, his brother told him\u0026quot;). He initiates the student in telepathic music. Four dimensional space time continuum. Robert Filliou films the street while giving a voice over commentary on the nature of things: \u0026quot;A bird is incomprehensible. A bourgeois is incomprehensible. A bird eaten by a bourgeois, it\u0026#39;s a meal [\u0026hellip;]. A bourgeois eaten by a bird, it\u0026#39;s a miracle.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003ec) Recycling. Robert Filliou, seated and wearing feminine attire, is talking. He is surrounded by hats. A woman is singing the story of a woman who has left because nobody could make her happy. Robert Filliou quickly puts on various hats.\u003c/p\u003e\r\n\r\n\u003cp\u003ed) Skeye Analysis. This consists of a fixed shot on Robert Filliou\u0026rsquo;s face while he looks at the sky with his head tilted back. He talks, confiding his reflections about the position of the artist in relation to the world and about art as a source of energy. Although the sky is not in frame, it is reflected in the artist\u0026rsquo;s glasses.\u003c/p\u003e\r\n\r\n\u003cp\u003ee) Bed time her / his story, sub-titled \u0026quot;The names of some celebrities translated into Japanese\u0026quot;. A Japanese person, filmed in a tight shot, undresses and sits on a bed. There is a switched-off television at the end of the bed. He lies down, takes off his watch and switches on the TV. Robert Filliou appears on the screen. He is reciting the names of artists who have made the history of art, adding \u0026quot;san\u0026quot; (indicating the person in Japanese) to each name. The Japanese person switches off the monitor and goes to sleep. The last three sequences take the form of a performance: - Video - Univercity, Travelling light - It\u0026#39;s a real dance. Robert Filliou is on stage, facing and addressing an invisible audience. He makes, and comments on, a series of actions, questioning the spectators and inviting them to participate in a collective dream, the creative use of leisure\u0026hellip; - Video Breakfasting together\u0026hellip; If you wish. Robert Filliou is drinking tea and reading the newspaper. Sitting at the end of the table, facing the screen and the spectator, he calls out (\u0026quot;Hey you\u0026quot;), inviting him to open the newspaper at the same page as himself, commenting the job offers from the point of view of the artist\u0026rsquo;s work. It\u0026rsquo;s a pretext for considering moral and social values, and exalting the artist\u0026rsquo;s role as a \u0026lsquo;shaman\u0026rsquo; and the virtues of un-learning. - Video Breakfasting with Roy Kiyooka. Roy Kiyooka, is sitting at a table, watching Video Breakfasting together... on a monitor that is installed like a guest. He drinks tea, smokes and reads the newspaper, as Robert Filliou has suggested. In turn, he also comments the small ads and Robert Filliou\u0026rsquo;s reflections, adding his own. Catherine Ouy\u003c/p\u003e\r\n","date_end":"1997-01-01","reference":"BK7511_M352_1","stream_count_app":51,"permalink":"porta-filliou","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/214/large/BK7511_M352_Porta_Filliou_still1.jpg?1343037816","poster_credits":"(c)video still: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eRobert Filliou developed the idea for his series of didactic video works during his time in Canada in the late 1970s. He used the medium of film to record these performances, and to circulate them, so they might be seen by a wider \u0026ndash; not just art-going public. In these videos, Filliou interacts directly with the viewer, offering half-serious/half-ironical explanations about his works, his activities and his general approach to art. \u003cem\u003ePorta Filliou\u003c/em\u003e\u0026nbsp;contains talks and performances that summarize a number of Filliou\u0026rsquo;s works and puts them into context. In \u003cem\u003eAnd So On, End So Soon. Done 3 Times\u003c/em\u003e, Filliou discusses the application in film of his \u003cem\u003ePrinciple of Equivalence\u003c/em\u003e (in life as in art, \u0026lsquo;well made\u0026rsquo;, \u0026lsquo;poorly made\u0026rsquo; and \u0026lsquo;unmade\u0026rsquo;, are three equivalent propositions), after which he demonstrates this principle in \u003cem\u003eTelepathic Music No 7\u003c/em\u003e\u0026nbsp;with a performance example. The two videos from the series \u003cem\u003eTeaching and Learning as Performing Arts Part II\u003c/em\u003e\u0026nbsp;are a continuation of the artistic presentations that appeared in the 1970 publication \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. In this book, artists like Joseph Beuys and John Cage present how to apply techniques drawn from performance art to education. In these videos, where topics are organized into chapters, the Robert Filliou on the screen gives orders to the Robert Filliou standing next to the monitor, like master and pupil (or master and slave!).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRobert Filliou ontwikkelde het idee voor zijn reeks van didactische videowerken tijdens zijn verblijven in Canada in de late jaren \u0026#39;70. Het medium film stelde hem in staat zijn performances vast te leggen en te laten circuleren, zodat ze niet slechts gezien zouden worden door een select publiek. In de video\u0026#39;s geeft Filliou in directe interactie met de kijker half serieus, half ironisch uitleg over zijn werken, zijn activiteiten en zijn benadering tot kunst. \u003cem\u003ePorta Filliou\u003c/em\u003e\u0026nbsp;bevat lezingen en performances die een aantal van Fillious werken samenvatten en contextualiseren. In \u003cem\u003eAnd So On, End So Soon. Done 3 Times\u003c/em\u003e\u0026nbsp;geeft Filliou uitleg over de toepassing van zijn \u003cem\u003ePrincipe van Gelijkwaardigheid\u003c/em\u003e (in het leven en in de kunst zijn \u0026#39;goed gemaakt\u0026#39;, \u0026#39;slecht gemaakt\u0026#39;, en \u0026#39;niet gemaakt\u0026#39; drie gelijkwaardige constateringen) in filmkunst, waarna hij dit principe in \u003cem\u003eTelepathic Music No 7\u003c/em\u003e\u0026nbsp;demonstreert met een performatief voorbeeld. De twee video\u0026#39;s uit de reeks \u003cem\u003eTeaching and Leaning as Performing Arts Part II\u003c/em\u003e\u0026nbsp;zijn een voortzetting van de artistieke voorstellen uit het in 1970 verschenen boek \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. In dat boek deden kunstenaars als Joseph Beuys en John Cage voorstellen om technieken uit de happenings toe te passen in het onderwijs. In deze video\u0026#39;s, die net als een boek bestaan uit verschillende hoofdstukken, geeft de Robert Filliou op het scherm bevelen aan de Robert Filliou die bij de monitor staat, als meester en leerling (of meester en slaaf!).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eC\u0026rsquo;est lors de son s\u0026eacute;jour au Canada, \u0026agrave; la fin des ann\u0026eacute;es septante, que Robert Filliou a imagin\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres vid\u0026eacute;o didactiques. Le support filmique lui permettait d\u0026rsquo;immortaliser ses performances et de les faire circuler, afin qu\u0026rsquo;elles ne soient pas vues uniquement par un public de connaisseurs. Dans ces vid\u0026eacute;os, o\u0026ugrave; il entre en interaction directe avec le spectateur, Filliou donne des explications sur ses \u0026oelig;uvres, ses activit\u0026eacute;s et son approche artistique, \u0026agrave; la fronti\u0026egrave;re entre s\u0026eacute;rieux et ironie. \u003cem\u003ePorta Filliou \u003c/em\u003erassemble conf\u0026eacute;rences et performances qui r\u0026eacute;sument et contextualisent un certain nombre d\u0026rsquo;\u0026oelig;uvres de l\u0026rsquo;artiste. Dans \u003cem\u003eAnd So On, End So Soon. Done 3 Times\u003c/em\u003e, Filliou donne des explications sur l\u0026rsquo;application de son Principe d\u0026rsquo;\u0026eacute;galit\u0026eacute; (dans la vie et dans l\u0026rsquo;art, le \u0026laquo;\u0026nbsp;bien fait\u0026nbsp;\u0026raquo;, le \u0026laquo;\u0026nbsp;mal fait\u0026nbsp;\u0026raquo; et le \u0026laquo;\u0026nbsp;non-fait\u0026nbsp;\u0026raquo; sont trois constatations \u0026eacute;quivalentes) au domaine de l\u0026rsquo;art vid\u0026eacute;o. Ensuite, il fait la d\u0026eacute;monstration de ce principe dans \u003cem\u003eTelepathic Music No. 7 \u003c/em\u003een proposant un exemple performatif. Les deux vid\u0026eacute;os de la s\u0026eacute;rie \u003cem\u003eTeaching and Leaning as Performing Arts Part II\u003c/em\u003e\u0026nbsp;s\u0026rsquo;inscrivent dans le prolongement des propositions artistiques du livre \u003cem\u003eTeaching and Learning as Performing Arts publi\u0026eacute; en 1970. Dans ce dernier, des artistes tels que Joseph Beuys et John Cage ont fait des propositions pour appliquer les techniques des happenings au secteur de l\u0026rsquo;enseignement. Dans ces vid\u0026eacute;os, qui, comme un livre, sont compos\u0026eacute;es de diff\u0026eacute;rents chapitres, le Robert Filliou sur \u0026eacute;cran donne des ordres au Robert Filliou qui se tient \u0026agrave; c\u0026ocirc;t\u0026eacute; du moniteur\u0026hellip; Le ma\u0026icirc;tre et son \u0026eacute;l\u0026egrave;ve (ou le ma\u0026icirc;tre et son esclave\u0026nbsp;!).\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":5700,"title":"Boîte optimiste n°2 - Vive Le Mariage","dimensions":"9 x 12 x 2.5 cm","date_begin":"1969-01-01","material":"wooden box, labels, picture","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00007","stream_count_app":35,"permalink":"boite-optimiste-n-2-vive-le-mariage","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/255/large/Filliou__0078_Robert__Boite_Optimiste_No.2_Vive_Le_Mariage.jpg?1343049457","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eTaking as his starting point the idea that \u0026#39;well done, badly done and not done\u0026#39; are notions of equal value, Robert Filiou creates his series \u003cem\u003eOptimistic Boxes \u003c/em\u003eas New Year\u0026#39;s gifts.\u0026nbsp; \u0026laquo;\u0026nbsp;Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F. \u0026raquo; (New Year for you and your friends, renew the art of giving.\u0026nbsp; For you, these artists have conceived and made these presents... disturbing, insolent and baroque... From 30 to 3000 francs.)\u003c/p\u003e\r\n\r\n\u003cp\u003eOften the editions of Robert Filliou offer direct access to the artist\u0026#39;s mental world, and this is also the case here with his famous \u003cem\u003eOptimistic Boxes\u003c/em\u003e.\u0026nbsp;\u0026nbsp; These are objects that may be alternatively read from inside and from out.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOptimistic Box N\u0026deg;2\u003c/em\u003e from 1969 sings the praises of marriage on the outside, while on the inside is a jocular addition in trio \u0026ndash; the complementary image within is a pornographic picture featuring two men and one woman.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVertrekkend vanuit zijn idee dat goed gedaan; slecht gedaan en niet gedaan evenwaardige principes zijn cre\u0026euml;ert Robert Filiou een reeks\u0026nbsp;\u003cem\u003eOptimistic boxes\u0026nbsp;\u003c/em\u003eals nieuwjaarsgeschenken. \u0026laquo;\u0026nbsp;Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F. \u0026raquo; (Nieuwjaar Voor u en uw vrienden, hernieuw de kunst van het geven. Deze kunstenaars ontwierpen en realiseerden storende, onbeschaamde en barokke geschenken voor u ... Van 30 tot 3000 franc.)\u003c/p\u003e\r\n\r\n\u003cp\u003eDe edities van Robert Filliou bieden vaak een directe toegang tot de denkwereld van de kunstenaar, zoals ook bij de bekende\u0026nbsp;\u003cem\u003eOptimistic Boxes\u003c/em\u003e\u0026nbsp;het geval is. Het gaat om objecten die afwisselend langs binnen en aan de buitenkant kunnen worden gelezen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOptimistic Box N\u0026deg;2\u003c/em\u003e\u0026nbsp;uit 1969 bezingt langs buiten de lof van het huwelijk, terwijl we langs binnen de schertsende toevoeging met drie kunnen lezen \u0026ndash; het complementerende beeld binnenin is een pornografische prent waarop twee mannen en \u0026eacute;\u0026eacute;n vrouw staan afgebeeld.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":8545,"title":"Do as you Like","dimensions":"10.5 x 14.5 cm","date_begin":"1976-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of M HKA, Antwerp","cached_tag_list":"Filliou postcard","publishing_process_id":1,"annotation":"","date_end":"2003-01-01","reference":"","stream_count_app":27,"permalink":"do-as-you-like-r-f","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/326/large/Do_as_you_likE__1976.jpg?1476274305","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThis postcard by Robert Filliou was made for the exhibition at the VEC Gallery at the Jan van Eyck Academy in Maastricht. Within this single and only work in the exhibition Robert Filliou invited the audience to an encounter with the artist. M HKA made ​​in 2003 a facsimile for the invitation of the exhibition \u003cem\u003eRobert Filliou - multiples and collaboration avec la collection day people\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze postkaart werd gemaakt voor de tentoonstelling in de V.E.C. Gallery bij de Jan van Eyck Academie in Maastricht. Met dit enig en enige werk in de expositie nodigde Robert Filliou het publiek uit voor een \u0026#39;ontmoeting\u0026#39; met de kunstenaar. M HKA maakte in 2003 een facsimile voor de uitnodiging van de tentoonstelling \u003cem\u003eRobert Filliou - multiples en collaboration avec la collection people day\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCe carton \u0026eacute;tait cr\u0026eacute;e pour une exposition \u0026agrave; la VEC Gallery de la Jan Van Eyck Academy Maastricht du 26 mars au 16 avril 1976. Le carton avec tampon constituait la seule oeuvre de l\u0026#39;exposition puisqu\u0026#39;il s\u0026#39;agissait de prendere rendez-vous avec l\u0026#39;artiste. En 2003 M HKA a fait comme invitation pour l\u0026#39;exposition \u003cem\u003eRobert Filliou - multiples en collaboration avec la collection people day\u003c/em\u003e\u0026nbsp;une r\u0026eacute;\u0026eacute;dition fac-simil\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":4638,"title":"Solitude","dimensions":"760 x 485 mm","date_begin":"1964-01-01","material":"ink, paper, lithography","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"edition lithography multiple Filliou","publishing_process_id":1,"annotation":"\u003cp\u003eColored lithography on \u0026#39;kraft\u0026#39; paper. Ed. Museumsverein M\u0026ouml;nchengladbach, 90 ex, signed and partly numbered R. Filliou\u003c/p\u003e\r\n\r\n\u003cp\u003eThis edition was financed by the association of the museum of M\u0026ouml;nchengladbach. From 1961 onwords Filliou wrote poems in pastel on \u0026#39;kraft\u0026#39; paper, they all ended with the words \u0026#39;\u003cem\u003el\u0026#39;homme est solitaire\u003c/em\u003e\u0026#39;.\u003c/p\u003e\r\n","date_end":"1974-01-01","reference":"BK7422_M280","stream_count_app":38,"permalink":"solitude-la-belette-est-solitaire","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/243/large/Filliou__0007_Robert___La_belette_est_solitaire__1964-74__photo__Kleinefenn.jpg?1333378411","poster_credits":"(c)image: Kleinefenn","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;For the moment, our solitude is unhappy. The best organisation of society is the one that would guarantee everyone a happy solitude: to be happy in solitude.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Museumsverein M\u0026ouml;nchengladbach, 90 ex., signed and partly numbered R. Filliou.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eFragment uit het gesprek tussen Robert Filliou (RF) en Irmeline Lebeer (IL), Flayosc, Frankrijk, augustus 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Op dit moment is onze eenzaamheid ongelukkig. De beste organisatie van de samenleving is degene die iedereen een gelukkige eenzaamheid garandeert. Gelukkig zijn in eenzaamheid.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Museumsverein M\u0026ouml;nchengladbach, 90 ex., gesigneerd en deels genummerd R. Filliou.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExtrait de la conversation entre Robert Filliou (RF) et Irmeline Lebeer (IL) Flayosc, France, en Ao\u0026ucirc;t 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Pour le moment, notre solitude est malheureuse. La meilleure organisation de la soci\u0026eacute;t\u0026eacute; serait celle qui garantit \u0026agrave; tout le monde une solitude heureuse. \u0026Ecirc;tre heureux dans la solitude.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Eacute;d. Mus\u0026eacute;e Verein M\u0026ouml;nchengladbach, 90 ex., Sign\u0026eacute;e et num\u0026eacute;rot\u0026eacute;e en partie R. Filliou.\u003c/p\u003e\r\n"}]},{"id":9278,"title":"Le siège des idées","dimensions":"12.8 x 10.8 x 0.7 cm, 32 p.","date_begin":"1977-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Collection M HKA, Antwerp","cached_tag_list":"book Filliou multiple","publishing_process_id":1,"annotation":"","date_end":null,"reference":"UFO2013_021","stream_count_app":14,"permalink":"le-siege-des-idees","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/773/large/c691b0a_fx0399lesiegedesideesopen.jpg?1470383009","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eLe si\u0026egrave;ge des id\u0026eacute;es\u003c/em\u003e is made in collaboration with\u0026nbsp;mathematician Edwige Regenswetter. Robert Filliou often tried to collaborate with mathematicians or scientists to evaluate and broaden his propositions and ideas.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of\u0026nbsp;the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: Yes. Edwige really belongs to the post-68 generation, as we say in France. They\u0026rsquo;re very generous with their left-wing (or extreme left-wing) ideas. It\u0026rsquo;s people like her who will change the world. And she, certainly, fights men in their own territory. She\u0026rsquo;s teaching students who are mostly older than her, and she\u0026rsquo;s been doing it for two years, at Vincennes, at Sorbonne. She did that already at twenty-five. But we\u0026rsquo;ll see if she can help me.\u0026nbsp;That reminds me that I should give you the little book, so you can show it to Paul. It could be published quite fast and easily, if he agrees. I\u0026rsquo;d be very happy about it, for us and for her.\u003c/p\u003e\r\n\r\n\u003cp\u003e[It was published: in French as Robert Filliou: \u003cem\u003eLe Si\u0026egrave;ge des id\u0026eacute;es. Analyse logique de Edwige Regenwetter\u003c/em\u003e by Editions Lebeer Hossman, Brussels\u0026ndash;Hamburg, 1977, and in English as Robert Filliou: \u003cem\u003eThe Seat of Ideas. A Logical Analysis by Edwige Regenwetter\u003c/em\u003e, by Calgary Press, Calgary, 1978.]\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Lebeer Hossmann, Brussels-Hamburg, 900 ex.,\u0026nbsp;numbered from 26 to 195, the first\u0026nbsp;25 ex. are accompagnied by a pastel on paper (21 x 13 cm, signed)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eLe si\u0026egrave;ge des id\u0026eacute;es\u003c/em\u003e werd gemaakt in samenwerking met de wiskundige Edwige Regenswetter. Robert Filliou ging vaak gelijkaardige samenwerkingen aan met wiskundigen of wetenschappers om zijn eigen werk en ide\u0026euml;en breder te toetsen.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. Lebeer Hossmann, Brussels-Hamburg, 900 ex.,\u0026nbsp;genummerd van 26 tot 195, de eerste\u0026nbsp;25 exemplaren\u0026nbsp;zijn vergezeld van een pasteltekening\u0026nbsp;(21 x 13 cm, gesigeneerd)\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLe si\u0026egrave;ge\u0026nbsp;des Id\u0026eacute;es\u003c/em\u003e\u0026nbsp;a \u0026eacute;t\u0026eacute; faite\u0026nbsp;en collaboration avec la\u0026nbsp;math\u0026eacute;matique\u0026nbsp;Edwige\u0026nbsp;Regenswetter.\u0026nbsp;Robert\u0026nbsp;Filliou\u0026nbsp;\u0026eacute;tait\u0026nbsp;souvent\u0026nbsp;des collaborations\u0026nbsp;similaires\u0026nbsp;avec des math\u0026eacute;maticiens\u0026nbsp;ou des scientifiques\u0026nbsp;pour tester\u0026nbsp;plus\u0026nbsp;son propre travail\u0026nbsp;et des id\u0026eacute;es.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Eacute;d. Lebeer Hossmann, Bruxelles-Hambourg, 900 ex., Num\u0026eacute;rot\u0026eacute;e 26-195, les 25 premiers ex. sont accompagn\u0026eacute;s d\u0026#39;un pastel sur papier (21 x 13 cm, sign\u0026eacute;)\u003c/p\u003e\r\n"}]},{"id":7403,"title":"Projet de toilettes pour le Musée de Mönchengladbach","dimensions":"variable dimensions ","date_begin":"1969-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":42,"permalink":"proposal-for-toilets-in-the-monchengladbach-museum","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/877/large/Filliou__Robert___Project_for_toilets_in_the_new_M%C3%B6nchengladbach_Stadtmuseum__1969-_uitvoering_in_MuHKA_1987_photo_Jan_Kempenaers.JPG?1367486250","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eOriginally, Robert Filliou designed his \u003ci\u003eProjet de toilettes\u003c/i\u003e\u0026nbsp;for a museum in Mönchengladbach. However, because it became realised there, in 1979 the artist donated it to the Gordon Matta-Clark Foundation in Antwerp, and as such it came to be part of the collection that served as basis for the M HKA’s birth. His \u003ci\u003eProjet de toilettes\u003c/i\u003e\u0026nbsp;thus became one of the first works to be realised at M HKA. It consists of three doors that lead to three toilet stalls. The artist invites the visitor to choose a door – marked men, women or artists – and to go inside. Filliou saw an artist in everyone, and each toilet (including the “artist’s toilet”) was free for all to use. With some humor and irony, Filliou wanted to counter the myth of artist as exalted creator of beauty. With something as banal and everyday as a project for toilets, the artist lifts the barrier between art and life. Here, he literally fashions art for everyone.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eOorspronkelijk ontwierp Robert Filliou \u003ci\u003eProjet de toilettes\u003c/i\u003e\u0026nbsp;voor een museum in Mönchengladbach. Omdat het daar echter niet gerealiseerd werd, schonk hij het in 1979 aan de Stichting Gordon Matta-Clark, die mede aan de basis lag voor de geboorte van het M HKA. \u003ci\u003eProjet de toilettes\u003c/i\u003e\u0026nbsp;was daarmee één van de eerste kunstwerken die in het M HKA gerealiseerd werden. Het gaat om drie deuren die leiden naar drie toiletruimtes. De kunstenaar nodigt de bezoeker uit om door de deur van zijn keuze – mannen, vrouwen of kustenaars – naar binnen te gaan. Filliou zag in iedereen een kunstenaar en elk toilet, inclusief het “kunstenaarstoilet” kan dan ook door iedereen vrij gebruikt worden. Met een vleugje humor en ironie weerlegt Filliou hier de mythe van de kunstenaar als verheven schepper van schoonheid. Met iets banaals en alledaags als een toilettenproject heft de kunstenaar de grens tussen de kunst en het leven op. Hij maakt hier letterlijk kunst voor iedereen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eA l'origine, Robert Filliou a conçu le \u003ci\u003eProjet de toilettes\u003c/i\u003e\u0026nbsp;pour un musée de Mönchengladbach. Cependant, étant donné qu'il n'y a pas été réalisé, il l'a offert en 1979 à la Fondation Gordon Matta-Clark, qui a été en partie à la base de la naissance du M HKA. Ainsi, le \u003ci\u003eProjet de toilettes\u003c/i\u003e\u0026nbsp;a été l'une des premières œuvres d'art réalisées au sein du M HKA. Il s'agit de trois portes qui conduisent à trois espaces sanitaires. L'artiste invite le visiteur à entrer par la porte de son choix (hommes, femmes ou artistes). Filliou voyait un artiste en chacun de nous et toutes les toilettes, y compris les «\u0026nbsp;toilettes pour artistes\u0026nbsp;», peuvent être utilisées librement par tout le monde. Avec une pointe d'humour et d'ironie, Filliou réfute ici le mythe de l'artiste en tant que sublime créateur de beauté. Avec quelque chose d'aussi banal et quotidien qu'un projet de toilettes, l'artiste lève la frontière entre l'art et la vie. Ici, il met littéralement l'art à la portée de tout le monde.\u003c/p\u003e"}]},{"id":5715,"title":"Robert Filliou 'Mister Blue from Day-to-Day / Herr Blau von Tag zu Tag'","dimensions":"21 x 29.7 cm, language : English, German, publisher : Lebeer-Hossmann, Hamburg/Brussel","date_begin":"1983-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist book, multiple","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00020 - B 2027/79","stream_count_app":17,"permalink":"mister-bleu-from-day-to-day-herr-blau-von-tag-zu-tag","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/285/large/Filliou__0059_Robert__Mistr_blue__from_Day_to_Day_Ed._Brussel_Hamburg%281%29.jpg?1343115645","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eChildrens book with texts from 1963 originally written in English by Filliou for his children Bruce and Marcelle.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eKinderboek met teksten uit 1963 origineel in het Engels geschreven door Filliou voor zijn kinderen Bruce en Marcelle. In 1968 vertaald in het Duits en in 1981983 ge\u0026iuml;llustreerd door Filliou en Roth en leerlingen van de academie van D\u0026uuml;sseldorf: Stefan Wewerka, Emil Schult, Jan Voss, Andr\u0026eacute; Thomkins. 20 jaar later heeft hij het opgedragen aan zijn kleindochter Eleanor.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":13481,"title":"Faim = Fin de la faim","dimensions":"106 × 268.5 cm","date_begin":"1962-01-01","material":"pastel, glued papers and fabric on canvas with eyelets","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Estate of Robert Filliou \u0026 Galerie Peter Freeman, Paris","cached_tag_list":"photography object","publishing_process_id":1,"annotation":"\u003cp\u003eout of series telegrams\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"faim-fin-de-la-faim","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/571/large/filliou_-_faim_fin_de_la_faim_62.jpg?1468833177","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt\u0026nbsp;of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eR.F:\u003c/strong\u003e Look, this is important. \u003cem\u003eRecherche sur la nuit\u003c/em\u003e. This piece of paper I consider as important as \u003ca href=\"http://ensembles.org/items/recherche-sur-l-origine?locale=en\"\u003e\u003cem\u003eResearch on the Origin\u003c/em\u003e\u003c/a\u003e: everything I think at night.\u0026nbsp;Mon travail se situu quelque part entre \u003cstrong\u003efaim de la fin et fin de la faim\u003c/strong\u003e\u003cem\u003e.\u003c/em\u003e [Untranslatable, but it means: \u0026lsquo;My work is situated somewhere between the hunger for the end and the end of hunger.\u0026rsquo;] It\u0026rsquo;s also in \u003cem\u003eResearch on the Night\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4860,"title":"Optimistic Box n°4 and 5","dimensions":"9.5 x 16.5 x 11 cm","date_begin":"1968-01-01","material":"paper, ceramics","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"edition multiple","publishing_process_id":1,"annotation":"","date_end":"1981-01-01","reference":"M00018","stream_count_app":43,"permalink":"optimistic-box-n-4-and-5","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eAusgehend von seiner Idee, dass gut gemacht; schlecht gemacht und nicht gemacht gleichwertige Grunds\u0026auml;tze sind, kreiert Robert Filiou eine Reihe Optimistic Boxes als Neujahrsgeschenke. \u0026bdquo;Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F.\u0026ldquo; (Neujahr F\u0026uuml;r Sie und Ihre Freunde, erneuern Sie die Kunst des Schenkens. Diese K\u0026uuml;nstler entwarfen und realisierten st\u0026ouml;rende, unversch\u0026auml;mte und barocke Geschenke f\u0026uuml;r Sie... Von 30 bis 3000 Franc.)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie Ausgaben von Robert Filliou bieten oft einen direkten Zugang zur Gedankenwelt des K\u0026uuml;nstlers, wie es auch bei den bekannten Optimistic Boxes der Fall ist. Es geht um Objekte, die abwechselnd an der Innen- und an der Au\u0026szlig;enseite gelesen werden k\u0026ouml;nnen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDer Wert dieses Sparschweins befindet sich nicht etwa im Inneren, wie man es erwarten w\u0026uuml;rde, sondern an der Au\u0026szlig;enseite. Wir m\u0026uuml;ssen es nicht \u0026ouml;ffnen, wie die anderen Schachteln, sondern aufmerksam betrachten. An der Au\u0026szlig;enseite ist eine einfache, ironische Botschaft geschrieben. Die Schachtel, oder das Schweinchen, ist optimistisch, weil es sich seinem eigenen Schicksal bewusst ist. Es h\u0026auml;lt uns damit zum Narren.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/591/large/Filliou__Robert__Optimistic_Box_4-5__1968-81.JPG?1334303898","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eStarting from his idea that well done, badly done and not done are equivalent principles, Robert Filiou has created a series of Optimistic boxes as new year\u0026rsquo;s gifts. \u0026ldquo;\u003cem\u003eNouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F\u003c/em\u003e.\u0026ldquo; (New Year for you and your friends, renew the art of giving. These artists have designed and created disturbing, insolent and baroque presents for you \u0026hellip; from 30 to 3000 Francs.)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe editions of Robert Filliou are often a direct pathway to the artist\u0026#39;s imagination, as is the case with the well-known Optimistic Boxes. These are objects that can be read from both the inside and the outside.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe value of this piggy bank is not inside, as you would expect, but can be found on the outside. There is no need to open it, like the other boxes, but watch it carefully. A simple, ironic message is written on the outside. The box, or the pig, is optimistic because it is aware of its own destiny. It is therefore taking us for a ride.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVertrekkend vanuit zijn idee dat\u003cem\u003e goed gedaan\u003c/em\u003e; \u003cem\u003eslecht gedaan\u003c/em\u003e en\u003cem\u003e niet gedaan\u003c/em\u003e evenwaardige principes zijn cre\u0026euml;ert Robert Filiou een reeks\u0026nbsp;\u003cem\u003eOptimistic Boxes\u0026nbsp;\u003c/em\u003eals nieuwjaarsgeschenken. \u0026laquo;\u0026nbsp;Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F.\u0026rdquo; (Nieuwjaar Voor u en uw vrienden, hernieuw de kunst van het geven. Deze kunstenaars ontwierpen en realiseerden storende, onbeschaamde en barokke geschenken voor u ... Van 30 tot 3000 franc.)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe edities van Robert Filliou bieden vaak een directe toegang tot de denkwereld van de kunstenaar, zoals ook bij de bekende\u0026nbsp;\u003cem\u003eOptimistic Boxes\u003c/em\u003e\u0026nbsp;het geval is. Het gaat om objecten die afwisselend langs binnen en aan de buitenkant kunnen worden gelezen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe waarde van dit spaarvarken zit niet binnenin, zoals men zou verwachten, maar vinden we aan de buitenzijde. We moeten het niet openen, zoals de andere dozen, maar net aandachtig bekijken. Een eenvoudige, ironische boodschap staat aan de buitenzijde geschreven. De doos, of het varkentje, is optimistisch omdat het zich van zijn eigen lot bewust is. Het neemt ons daardoor in het ootje.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eEn partant de son id\u0026eacute;e que bien fait, mal fait et non fait sont des principes \u0026eacute;quivalents, Robert Filiou cr\u0026eacute;e une s\u0026eacute;rie d\u0026#39;Optimistic boxes \u0026agrave; titre de cadeaux de Nouvel An. \u0026laquo; Nouvel an Pour vous et vos amis renouvelez l\u0026#39;art d\u0026#39;offrir. Ces artistes ont con\u0026ccedil;u et r\u0026eacute;alis\u0026eacute; pour vous des cadeaux...inqui\u0026eacute;tants insolents et baroques... De 30 \u0026agrave; 3000 F.\u0026nbsp;\u0026raquo;. Les \u0026eacute;ditions de Robert Filliou offrent souvent un acc\u0026egrave;s direct au monde de r\u0026eacute;flexion de l\u0026#39;artiste, comme c\u0026#39;est \u0026eacute;galement le cas pour les c\u0026eacute;l\u0026egrave;bres Optimistic Boxes. Il s\u0026#39;agit d\u0026#39;objets qui peuvent \u0026ecirc;tre lus alternativement \u0026agrave; l\u0026#39;int\u0026eacute;rieur et \u0026agrave; l\u0026#39;ext\u0026eacute;rieur.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLa valeur de ce cochon-tirelire n\u0026#39;est pas \u0026agrave; l\u0026#39;int\u0026eacute;rieur comme on s\u0026#39;y attendrait mais \u0026agrave; l\u0026#39;ext\u0026eacute;rieur. Nous ne devons pas l\u0026#39;ouvrir, comme les autres bo\u0026icirc;tes, mais le regarder attentivement. Un message simple, ironique, est inscrit \u0026agrave; l\u0026#39;ext\u0026eacute;rieur. La bo\u0026icirc;te, ou le cochon, est optimiste parce qu\u0026#39;il est conscient de son propre sort. Par cons\u0026eacute;quent, il nous fait marcher.\u003c/p\u003e\r\n"}]},{"id":5707,"title":"A Most Curious Invention of the Gaga Yogi","dimensions":"7.4 x 10.6 x 8 cm","date_begin":"1976-01-01","material":"wooden box, nails, plastic box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Filliou box multiple","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00013","stream_count_app":29,"permalink":"a-most-curious-invention-of-the-gaga-yogi","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/272/large/115._A_Most_Curious_Invention_of_the_Gaga_Yogi_open__1976.jpg?1476350691","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5678,"title":"Spaghetti Sandwich","dimensions":"37 x 37 cm","date_begin":"1971-01-01","material":"ink, cotton napkin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA, Antwerpen / Collectie Vlaamse Gemeenschap","cached_tag_list":"Williams Filliou textiles mixed media","publishing_process_id":1,"annotation":"\u003cp\u003enapkin in cotton with shiny print white on white and silkscreened tekst in black. Ed. Ear-Art Gallery Daniel Spoerri, D\u0026uuml;sseldorf. 30 ex + 12 AP signed by Williams and Filliou.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7425_M283","stream_count_app":37,"permalink":"spaghetti-sandwich","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Emmett Williams, Daniel Spoerri, Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/195/large/Filliou__0012_Robert___Spaghetti_Sandwitch_Ed.Eat_Art_Gallery._Edition_de_30__1971_photo___Kleinefenn.jpg?1343033080","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn 1970 Daniel Spoerri opened the Eat-Art Gallery above his own restaurant at the Burgplatz in\u0026nbsp;D\u0026uuml;sseldorf in Germany. The gallery published several collaborational works of Robert Filliou and\u0026nbsp;Emmet Williams as this\u0026nbsp;\u003cem\u003eSpaghetti Sandwich\u003c/em\u003e in 1971.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1970 opende Daniel Spoerri de Eat-Art Gallery boven zijn eigen restaurant op de Burgplatz in D\u0026uuml;sseldorf (Duitsland). De galerie publiceerde verscheidene samenwerkingen tussen Robert Filliou en Emmett Williams waaronder deze\u0026nbsp;\u003cem\u003eSpaghetti Sandwich\u003c/em\u003e in 1971.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn 1970, Daniel Spoerri a ouvert la Galerie Eat-Art au-dessus de son propre restaurant au Burgplatz \u0026agrave; D\u0026uuml;sseldorf (Allemagne). La galerie a publi\u0026eacute; plusieurs de collaborations entre Robert Filliou et Emmett Williams y compris le \u003cem\u003eSpaghetti Sandwich\u003c/em\u003e en 1971.\u003c/p\u003e\r\n"}]},{"id":14164,"title":"A Poem a Day","dimensions":"88 x 150 cm","date_begin":"1979-01-01","material":"fabrics, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Eric Decelle, 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I suggested to V\u0026eacute;ra Spoerri that she should take pictures of me at any time of the day, for one whole day. The title would be\u003cem\u003e I\u0026rsquo;m Dying Too Much.\u003c/em\u003e I suggested many things to V\u0026eacute;ra, but we were too broke, you see.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Another thing I wanted to make, as an autobiography\u0026nbsp;at rue des Rosiers, would have been a series of photos of everyone in the building from the front and behind, and the last ones would be us: Marianne, Marcelle and then me. The title would have been \u003cem\u003eNul n\u0026rsquo;est proph\u0026egrave;te, 36, rue des Rosiers, Paris 4\u003csup\u003e\u0026egrave;me\u003c/sup\u003e \u003c/em\u003e(\u003cem\u003eNobody Is a Prophet\u003c/em\u003e, \u003cem\u003e36, rue des Rosiers, Paris, 4th.\u003c/em\u003e).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I mailed this, without the photos, as an autobiographical note for a catalogue for a thing I did in Aachen in 1964. And just to show you how poor we were, we were wondering who was going to pay for that. Who was going to buy the materials and have it developed? It would have been an interesting document, one of the portable projects. It should have had a photo of Queen Fabiola, the concierge. The first time I met her, the room where she lived was so clean that I gave her this nickname. Since then, we called her Queen Fabiola among ourselves\u0026hellip; She was one of these Parisian ladies, so picturesque, who must have been drinking a lot at the time. Her nose was a bit red. She limped. She had a dog and a cat, Paulette. We got along very well. We\u0026rsquo;d have Queen Fabiola, all the people downstairs who made kosher sausages, our neighbours from Martinique. Marcelle used to say he was the Good Lord. It was the first time she\u0026rsquo;d seen someone black. She was two.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eYes, she also brought poetry into your life.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Genius is in the child\u0026hellip; I still have something in my documents called \u003cem\u003eGood Lord, Dear to Marcelle\u003c/em\u003e. That must still be in the notes, which I\u0026rsquo;ll find again one day\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e As you wish, but I\u0026rsquo;m in favour of mentioning this.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e If it\u0026rsquo;s on tape, I\u0026rsquo;d be happy to include a homage to Queen Fabiola. We\u0026rsquo;ll put it under \u0026lsquo;Aborted Projects\u0026rsquo;, if you want, because that\u0026rsquo;s foreseen: \u003cem\u003eNobody Is a Prophet\u003c/em\u003e, \u003cem\u003e36, rue des Rosiers, Paris, 4th. \u003c/em\u003eI think I still have the stamp I used for the suspense poems. We could put it there also.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; There are other projects that haven\u0026rsquo;t been realised, but this one is worth including. I\u0026rsquo;m exactly like every other artist. My lists are already unrealised projects. Maybe, as we were just saying, it was just a place we liked very much, rue des Rosier. We lived there for three years, in a neighbourhood we loved. That\u0026rsquo;s not bad, maybe. Many things happened. A rather intense creative period.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14185,"title":"Danse-poème collectif (à performer par deux, chacun(e) tournant une roue)","dimensions":"Ø 64 cm","date_begin":"1962-01-01","material":"replica with 2 metal wheels","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Estate Robert Filliou, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"danse-poeme-collectif-a-performer-par-deaux-chacun-e-tournant-une-roue","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/784/large/Danse_poeme1.jpg?1470387145","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eRF:\u003c/b\u003e I consider art or poetry a participation in the collective dream. That\u0026rsquo;s always art with a lower-case. There are as many definitions of art as you want to give. It\u0026rsquo;s a working hypothesis rather than a definition.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14261,"title":"3 Poems","dimensions":"218 x 148 x 5 cm","date_begin":"1961-01-01","material":"collage; ink, wire and other materials on plywood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Stiftung Walter und Maria Schnepel, Budapest","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1971-01-01","reference":"","stream_count_app":9,"permalink":"3-poems","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/579/large/2016_Filliou_4_6.jpg?1476366691","poster_credits":"(c)image: M HKA, Courtesy Collection Stiftung Walter und Maria Schnepel, Budapest.","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14250,"title":"Recherche sur la faim","dimensions":"52 x 66 x 8 cm","date_begin":"1971-01-01","material":"cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1972-01-01","reference":"","stream_count_app":7,"permalink":"recherche-sur-la-faim","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/265/large/Recherche_sur_la_Faim__ca_1971.jpg?1476258488","poster_credits":"Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14248,"title":"To be a Pilgrim","dimensions":"60 x 80 cm","date_begin":"1975-01-01","material":"cardboard, collage (3 original paintings, wax crayon, indian ink)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Fassbender, Berlin/Munich","cached_tag_list":"collage box object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"to-be-a-pilgrim","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/569/large/robert-filliou-to-be-a-pilgrim.jpg?1468832583","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14235,"title":"Research on Filmmaking","dimensions":"65 x 71 x 9 cm","date_begin":"1970-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Koschate, Frankfurt am Main","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"research-on-filmmaking","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/331/large/2016_Filliou__8.jpg?1476360009","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14233,"title":"Time in a Nutshell","dimensions":"35 x 25 x 3 cm","date_begin":"1987-01-01","material":"pencil, pen on paper and nutshells","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Sammlung Wolfgang Feelisch, Remscheid","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"time-in-a-nutshell","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/315/large/FILLIOU_3.jpg?1476352018","poster_credits":"Courtesy Collection Feelisch Remscheid","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eTime in a Nutshell\u003c/em\u003e, from 1987, is known as Filliou\u0026rsquo;s last visual work. It consists of little messages written on paper and sealed in walnut shells.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eTime in a Nutshell \u003c/em\u003euit 1987, waarbij hij boodschappen in walnoten verstopt, is het laatste beeldend werk van Filliou.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eTime in a Nutshell\u003c/em\u003e de 1987, dans laquelle il cache des messages \u0026agrave; sa femme dans des coquilles de noix, est la derni\u0026egrave;re \u0026oelig;uvre plastique de Filliou.\u003c/p\u003e\r\n"}]},{"id":14213,"title":"Telepathic Sculpture","dimensions":"","date_begin":"1975-01-01","material":"ink, paper, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Robert Filliou Estate, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"telepathic-sculpture-rf97-135","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/633/large/telepathic-sculpture-1975.jpg!PinterestLarge.jpg?1469200136","poster_credits":"(c)image: Robert Filliou Estate, Paris","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14196,"title":"Research in Progress","dimensions":"16 x 160 cm","date_begin":"1972-01-01","material":"Felt, ink and soft lead pencil on paper glued onto brown paper, mounted on wood with hooks","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate of Robert Filliou, Galerie Peter Freeman, Paris/New York","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1973-01-01","reference":"","stream_count_app":9,"permalink":"research-in-progress","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/207/large/Researchinprogress.jpg?1476113250","poster_credits":"Estate of Robert Filliou and Galerie Peter Freeman, Paris/New York","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e And \u0026lsquo;Speed of Art\u0026rsquo; is a proposition, as you say?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e No, it\u0026rsquo;s \u0026lsquo;research in progress\u0026rsquo;, as I say. It\u0026rsquo;s part of \u0026lsquo;Research\u0026rsquo;. And what else do we have under \u0026lsquo;V\u0026rsquo;?\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u003cem\u003eVitesse de l\u0026rsquo;art\u003c/em\u003e (\u0026lsquo;The Speed of Art\u0026rsquo;). This is something new I\u0026rsquo;m working on, but I think the hat [\u003cem\u003eFrozen Exhibition\u003c/em\u003e] will help you summarise it. It\u0026rsquo;s research that has been going on for more or less ten years. It\u0026rsquo;s part of a long series, which will pursue me until I break my pencil: \u003ca href=\"http://ensembles.org/items/recherche-sur-l-origine?locale=en\"\u003e\u003cem\u003eResearch on the Origin\u003c/em\u003e\u003c/a\u003e, \u003cem\u003eResearch on Pre-Biology\u003c/em\u003e, and now \u003cem\u003eResearch on the Speed of Art\u003c/em\u003e. I need to work with a mathematician. This time I\u0026rsquo;ll try to do that. I\u0026rsquo;ve made the general and intuitive proposition that art is a function of life + fiction, and that fiction tends towards zero. If there\u0026rsquo;s no fiction at all, art is life. In that case, it should be completely anonymous, so that we don\u0026rsquo;t speak about it. This fits with our conversation where I said: \u0026lsquo;If it\u0026rsquo;s true that everything is art, then we shouldn\u0026rsquo;t say so.\u0026rsquo; From the moment you say it, you make a distinction between art and life.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; OK. Other times, fiction can be more than zero. A painter will represent reality by adding colours that, for the profane, don\u0026rsquo;t exist. For him the moon is blue, to take a typical example. In other cases fiction is negative, it\u0026rsquo;s less than zero. You summarise the whole experience of a life in a film of one hour and a half. Or there\u0026rsquo;s something you believe to be fundamental, like the Dead Man\u0026rsquo;s Game, and you\u0026rsquo;ll do it in a theatre play. Fiction is negative. In two hours Hamlet is finished, from his birth to his death.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Here\u0026rsquo;s the proposition: art is a function of life + fiction. Based on that, if we go into mathematics \u0026ndash; but I\u0026rsquo;m not going to bore you with that \u0026ndash; we may calculate the first derivative of this function using differential calculus, which, by the way, is something we owe to your compatriot Leibniz, and to Newton. It\u0026rsquo;s really one of the great inventions of the human spirit. Why am I saying this? Maybe because the other day we talked about mathematics being so sublime, and you didn\u0026rsquo;t seem to agree\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Not at all! You just seemed to privilege it over other things\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eWell, it was also stupid to call it sublime\u0026hellip; But all this is just to say that certain manifestations of human invention are really unbelievable. The first derivation of a function is speed. That\u0026rsquo;s why I call this \u0026lsquo;the speed of art\u0026rsquo;. It becomes complicated. The temporary conclusions from my calculations have taken me rather far. Just like there was a revolution when we stopped considering Earth the centre of the universe, now, temporarily, I have arrived at the idea that consciousness is not at the centre of the universe. But my reasoning should be much more rigid. The starting point was very simple: the idea about the speed of art. And I understood that if we can say this about art, we can say it about anything. We can, for example, say that life is the universe + fiction, or that the universe is reality (what exists) + fiction (what we say, which changes). This means that the observer, instead of being a constant, is a variable.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; By chance, as I was working on this, I heard on the radio that new sciences are developing, which take science itself as a variable and not as a constant. Once again we see how artists and researchers in a period of great upheaval, like now, are on the same wavelength. Well, for the moment this works, and I have the intention to try to develop it a bit more, if I have the time. I worked a bit with Marcelle\u0026rsquo;s mathematics teacher when she was in fourth grade. The pupils\u0026rsquo; parents came to see the teachers. We met the mathematics teacher, a young man, very pleasant. He told me: \u0026lsquo;Marcelle doesn\u0026rsquo;t have a problem, she\u0026rsquo;s doing well.\u0026rsquo; \u0026lsquo;Maybe \u003cem\u003eshe\u003c/em\u003e doesn\u0026rsquo;t have problems, but I do.\u0026rsquo; \u0026lsquo;What problems?\u0026rsquo; \u0026lsquo;I\u0026rsquo;m trying to calculate the speed of art.\u0026rsquo; \u0026lsquo;What? The speed of what?\u0026rsquo; \u0026lsquo;The speed of art.\u0026rsquo; \u0026lsquo;OK?\u0026rsquo;\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I asked him to look at some things with me. He joined the game. Every Tuesday we met in a caf\u0026eacute;, because we lived in a very small apartment. He made some very interesting suggestions for a more rigorous definition. He started some research on the concept of mathematics itself, which had existed before but is basically fictional. It\u0026rsquo;s part of this fiction. I wanted to continue this year, but he\u0026rsquo;s no longer here. He disappeared, without leaving an address. He must be teaching in another school.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; But I\u0026rsquo;ll ask Edwige, before she leaves next week, if this interests her. The other things I could do on my own, but before presenting this\u0026hellip; I really don\u0026rsquo;t know how to present this visually! I need the elements that would allow me to present this visually one day, like \u003cem\u003eResearch on the Origin\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14190,"title":"Research in Child Language (aïe!)","dimensions":"","date_begin":"1970-01-01","material":"ink, gouache, paper, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Robert Filliou Estate, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1971-01-01","reference":"","stream_count_app":7,"permalink":"research-in-child-language-aie","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/635/large/2016_Filliou_4_5.jpg?1476368698","poster_credits":"(c)image: M HKA, Courtesy Robert Filliou Estate, Paris","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14183,"title":"Territory n°0 of the Genial Republique: 9 weeks Research of Futurology","dimensions":"variable dimensions","date_begin":"1971-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Collection LAM, Villeneuve d' Ascq","cached_tag_list":"assemblage mixed media","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"territory-n-0-of-the-genial-republique-9-weeks-research-of-futurology","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/278/large/2016_Filliou_3_20.jpg?1476365106","poster_credits":"(c)image: M HKA, courtesy Collection LAM – Musée d’art moderne, d’art contemporain et d’art brut, Villeneuve-d’Ascq","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eWe were cut in the phrase where you were saying something about calling it \u003cem\u003eResearch in Futurology\u003c/em\u003e, because\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eIt was a constant creation with themes from the future. But also a renewed questioning of the past.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e You said new themes were also appearing, like the \u0026lsquo;Genius Republic\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Like the Genius Republic, which I conceived it in that period. I think it was just a note where I said: \u0026lsquo;Today I spent the day thinking about the Genius Republic.\u0026rsquo; There was also another thing, another day, but that\u0026rsquo;s just a drawing that says: \u0026lsquo;Genius is having followers\u0026rsquo;. It\u0026rsquo;s something I then revisited in \u003cem\u003eResearch on Pre-Biology, \u003c/em\u003ewhich is a work on fabric like \u003ca href=\"http://ensembles.org/items/recherche-sur-l-origine?locale=nl\"\u003e\u003cem\u003eResearch on the Origin\u003c/em\u003e\u003c/a\u003e, but this time small: only 20 metres long\u0026hellip;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14182,"title":"The last time I felt sad","dimensions":"67.2 x 94.8 cm","date_begin":"1970-01-01","material":"mixed media on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MAC, Strasbourg","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"the-last-time-i-felt-sad","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/478/large/2016_Filliou_3_24.jpg?1476365184","poster_credits":"(c)image: M HKA, Courtesy Collection Musée d’Art moderne et contemporain, Strasbourg","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14171,"title":"7 Childlike Uses of Warlike Material","dimensions":"182 x 400 x 92 cm","date_begin":"1970-01-01","material":"wood, metal, broken glass, found objects, tools, clothing","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Centre  Pompidou, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"7-childlike-uses-of-warlike-material-b1567273-8583-458d-9f83-53aa3ade9af2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/267/large/2016_Filliou_2__6.jpg?1476360156","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eWith the years Filliou became more attracted to meditation, Taoism and Buddhism. At the same time, he addresses the themes of violence and innocence, war and peace.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: So there\u0026rsquo;s also \u0026lsquo;Seven Childlike Uses of Warlike Materials.\u0026rsquo; You have that portfolio, I think?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: There are no photos. Kaminski?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: No, I have then in here! I have photos of the originals and photos taken on the banks of the Rhine. So we have \u0026lsquo;Seven Childlike Uses...\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: \u0026hellip;of Warlike Materials\u0026rsquo;. Do we say it\u0026rsquo;s a portfolio?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: I don\u0026rsquo;t want it to look like a thing people can buy. We put nothing, just illustrations. We can say \u0026lsquo;silkscreens made with Kaminski.\u0026rsquo; To give him credit. \u003ca href=\"http://ensembles.org/items/project-for-skywriting-planche-n-6-love-ufo?locale=nl\"\u003eProject for Sky-Writing\u003c/a\u003e, that\u0026rsquo;s 1970 and the other one 1971, or maybe both the same year. It\u0026rsquo;s not important\u0026hellip;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren gaat Filliou zich enerzijds meer en meer richten op meditatie, tao\u0026iuml;sme en boeddhisme en speelt hij anderzijds met de thema\u0026rsquo;s geweld en onschuld, oorlog en vrede.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu fil des ann\u0026eacute;es, Filliou va d\u0026rsquo;une part se consacrer davantage \u0026agrave; la m\u0026eacute;ditation, au tao\u0026iuml;sme et au bouddhisme, et d\u0026rsquo;autre part, jouer avec les th\u0026egrave;mes de la violence et de l\u0026rsquo;innocence.\u003c/p\u003e\r\n"}]},{"id":14220,"title":"La cédille qui sourit","dimensions":"27 x 70 cm","date_begin":"1969-01-01","material":"paint, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Musée d'Art Contemporain, Saint-Etienne","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"92.5.53","stream_count_app":20,"permalink":"la-ceduille-qui-sourit","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/504/large/20120327-RESSOURCES-LO-filliou-la-cedille-qui-sourit-L300.jpg?1466779446","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eThe force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the \u003ca href=\"http://ensembles.org/items/le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e and the \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eSmiling Cedilla\u003c/a\u003e. As an alternative to the notion of the avant-garde, he proposes the \u003ca href=\"http://ensembles.org/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e, also known as \u0026lsquo;La f\u0026ecirc;te permanente\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003e\u0026lsquo;\u0026ldquo;The Smiling Cedilla\u0026rdquo; was a non-shop, because it was only open on demand. This Centre of Permanent Creation, by George Brecht, Marianne Staffeldt, Donna Brewer and myself, opened in Villefranche-sur-Mer in 1965 and lasted three years. Our activities were multiple. They were summarised in the book Games at the Cedilla, or The Cedilla Takes Off. Something Else Press, New York, 1967. When the Smiling Cedilla closed its doors, it announced the birth of the \u0026ldquo;\u003ca href=\"http://ensembles.mhka.be/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e\u0026rdquo;, La F\u0026ecirc;te permanente. See those terms.\u0026rsquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de \u003ca href=\"http://ensembles.org/items/le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e en \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eLa C\u0026eacute;dille qui Sourit\u003c/a\u003e, en stelt voor de historische avant-garde te vervangen door het \u003ca href=\"http://ensembles.org/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme \u003ca href=\"http://ensembles.org/items/le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e et \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eLa C\u0026eacute;dille qui Sourit\u003c/a\u003e, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;\u003ca href=\"http://ensembles.org/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"}]},{"id":14177,"title":"Une bouteille de vin rêvant d' être une bouteille de lait","dimensions":"83 x 62 x 13 cm","date_begin":"1961-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Dominique Robelin, Nîmes","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"une-bouteille-de-vin-revant-d-etre-une-bouteille-de-lait","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/779/large/FILLIOU-bouteille-h260-op.jpg?1470386323","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAdapted from \u003ci\u003eTeaching and Learning as Performing Arts\u003c/i\u003e, pp.193\u0026ndash;197\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Po\u0026iuml;po\u0026iuml;drome (estimated cost 120,000 dollars) is a 24 m\u003csup\u003e2\u003c/sup\u003e building, open to all visitors, and consisting of four main rooms:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n1. THE PO\u0026Iuml;PO\u0026Iuml;: Upon entering this first room, the visitor is confronted with a wheel, 5 m in diameter, ART IS WHAT ARTISTS DO. It will be up to him to inform the machine who he thinks makes art.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n2. THE ANTIPO\u0026Iuml;PO\u0026Iuml;: Nine steps higher, the visitor comes to THE ROOM OF PROVERBS. Proverbs and colloquialisms are translated in visual terms. It becomes apparent that language, in its very platitudes, contains all the imagination of the world.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nRight of the ROOM OF PROVERBS is BRINGING UP TO DATE. There will be one encounter, for instance Shakespeare on a Vespa. Left of it is ASPECTS OF THINGS TO COME, such as the cheese that someone will be eating on the day of the Apocalypse, the stick with which Jesus will chase the Pope from Rome, etc. And also, rising to the ceiling, the PO\u0026Iuml;PO\u0026Iuml; ROCKET.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n3. THE POSTPO\u0026Iuml;PO\u0026Iuml;: Again nine steps to climb before arriving in this room, where the Po\u0026iuml;po\u0026iuml; spirit is applied to the individualisation of several disciplines, such as:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nPSYCHOANALYSIS: nightmares, like this of \u003cstrong\u003ea bottle of wine dreaming it is a bottle of milk\u003c/strong\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBijgewerkte tekst uit \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e, pp.193\u0026ndash;197.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDe Po\u0026iuml;po\u0026iuml;drome (geschatte kost 120000 dollar) is een gebouw van 24 m\u003csup\u003e2\u003c/sup\u003e, is voor iedereen toegankelijk en is opgebouwd rond vier hoofdkamers:\u003c/p\u003e\r\n\r\n\u003cp\u003e1. DE PO\u0026Iuml;PO\u0026Iuml;: Bij het betreden van de eerste ruimte komt de bezoeker tegenover een rad met een diameter van 5m, KUNST IS WAT KUNSTENAARS DOEN. De bezoeker zal de machine kunnen meegeven wie hij denkt dat kunst maakt.\u003c/p\u003e\r\n\r\n\u003cp\u003e2. De ANTIPO\u0026Iuml;PO\u0026Iuml;: Negen trappen hoger komt de bezoeker in DE KAMER DER SPREEKWOORDEN. Spreekwoorden en spreektaal worden visueel vertaald. Het wordt duidelijk dat taal in al haar banaliteit alle verbeelding van de wereld in zich draagt.\u003c/p\u003e\r\n\r\n\u003cp\u003eRechts van de KAMER DER SPREEKWOORDEN ligt ACTUALISATIE. Daar wacht je een ontmoeting, bijvoorbeeld Shakespeare op een Vespa. Links ervan ligt ASPECTEN VAN TOEKOMSTIGE DINGEN, zoals de kaas die iemand zal eten op de dag van de Apocalyps, de stok waarmee Jezus de paus uit Rome zal jagen, enzovoort. En ook, rijzend tot het plafond, de PO\u0026Iuml;PO\u0026Iuml; RAKET.\u003c/p\u003e\r\n\r\n\u003cp\u003e3. DE POSTPO\u0026Iuml;PO\u0026Iuml;: Opnieuw negen trappen te beklimmen om in deze kamer te geraken, waar de geest van de Po\u0026iuml;po\u0026iuml; wordt ingezet om verschillende disciplines te individualiseren, zoals daar zijn:\u003c/p\u003e\r\n\r\n\u003cp\u003ePSYCHOANALYSE: nachtmerries, zoals \u003cstrong\u003eeen fles wijn die droomt dat ze een fles melk is\u003c/strong\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eTexte adapt\u0026eacute; de \u003cem\u003eEnseigner et apprendre,\u0026nbsp;arts vivants \u003c/em\u003e1970/1998, p.212\u0026ndash;219.\u003c/strong\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLe Po\u0026iuml;po\u0026iuml;drome (co\u0026ucirc;t estim\u0026eacute; 120 000 dollars) est un b\u0026acirc;timent de 24 m\u0026egrave;tres de c\u0026ocirc;t\u0026eacute;, ouvert \u0026agrave; tous les publics et comporte quatre salles principales:\u003c/p\u003e\r\n\r\n\u003cp\u003e1. LE PO\u0026Iuml;PO\u0026Iuml;: en p\u0026eacute;n\u0026eacute;trant dans cette premi\u0026egrave;re salle, le visiteur est confront\u0026eacute; \u0026agrave; une roue de 5 m\u0026egrave;tres de diam\u0026egrave;tre. L\u0026rsquo;ART EST CE QUE FONT LES ARTISTES. C\u0026rsquo;est \u0026agrave; lui de dire \u0026agrave; la machine qui, \u0026agrave; son avis, fait de l\u0026rsquo;art.\u003c/p\u003e\r\n\r\n\u003cp\u003e2. L\u0026rsquo;ANTI-PO\u0026Iuml;PO\u0026Iuml;: Neuf marches plus haut, le visiteur arrive dans LA SALLE DES PROVERBES. Des proverbes et des expression famili\u0026egrave;res y sont traduits en termes visuels. Il devient manifeste que le langage, surtout dans ses platitudes, contient toute l\u0026rsquo;imagination du monde.\u003c/p\u003e\r\n\r\n\u003cp\u003eA droite de la SALLE DES PROVERBES se trouve LA MISE A JOUR. On pourra y rencontrer, entre autres, Shakespeare sur une Vespa. A gauche se trouve APER\u0026Ccedil;US DES CHOSES A VENIR telles que: le morceau de fromage que quelqu\u0026rsquo;un mangera le jour de l\u0026rsquo;Apocalypse, le b\u0026acirc;ton avec lequel j\u0026eacute;sus chassera le Papa de Rome, etc. Et aussi, a \u0026eacute;levant jusqu\u0026rsquo;au plafond, la FUS\u0026Eacute;E PO\u0026Iuml;PO\u0026Iuml;.\u003c/p\u003e\r\n\r\n\u003cp\u003e3. LE POST-PO\u0026Iuml;PO\u0026Iuml;: encore neuf marches \u0026agrave; gravir avant d\u0026rsquo;arriver dans cette salle o\u0026ugrave; l\u0026rsquo;esprit Po\u0026iuml;po\u0026iuml; sort \u0026agrave; personnaliser diverses branches du savoir telles que:\u003c/p\u003e\r\n\r\n\u003cp\u003ePSYCHANALYSE: des cauchemars, comme cette \u003cstrong\u003ebouteille de vin r\u0026ecirc;vant qu\u0026rsquo;elle est une bouteille de lait\u003c/strong\u003e.\u003c/p\u003e\r\n"}]},{"id":14172,"title":"Musique Télépathique N°5","dimensions":"variable dimensions","date_begin":"1976-01-01","material":"33 music stands, 32 playing cards double sided, 34 small boxes, metal, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection Centre  Pompidou, Paris","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"","date_end":"1978-01-01","reference":"","stream_count_app":16,"permalink":"musique-telepathique-n-5","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/345/large/2016_Filliou_3_10.jpg?1476364836","poster_credits":"(c)image: M HKA, Courtesy Collection Centre Pompidou, Paris","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: \u0026lsquo;Telepathic Music.\u0026rsquo; I have all the texts. The first one, Telepathic Music No.1, I sent to friends in Canada, but \u003ca href=\"http://ensembles.org/items/telepatische-musik-nr-2?locale=nl\"\u003eTelepathic Music No.2\u003c/a\u003e is the same. It\u0026rsquo;s part of Research on the Eternal Network. We have the text, in German and English, from 1973. Someone translated it. It was on music stands, 50 music stands in a garden, so you could read from both sides. It was already bilingual.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: Is this a work or a performance?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: It\u0026rsquo;s a work. It\u0026rsquo;s in the framework of Research on the Eternal Network, which we already spoke about. It\u0026rsquo;s the thing from ADA in Berlin [in 1973]. There I did Telepathic Music No.2, dedicated to my Canadian friends. And I should say that Charlotte Moorman also did it for her festival, in 1975. She rented a whole sports field. You know they have electronic displays for the scores. She asked me for a text, and I sent her this, in English: \u0026lsquo;Concentrating silently, sending waves of greeting, whether luck, men luck, women luck, to any or all the members of the Eternal Network.\u0026rsquo; And it happened. People who saw it have told me it was very, very good. It was a big thing. Suddenly letters appeared in light. There were probably thousands of people, and this was on the signboards.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; The original thing was on music stands. They\u0026rsquo;re all rusty, because they were outside in a garden. I\u0026rsquo;d like to reproduce this one under \u0026lsquo;Telepathic Music\u0026rsquo;, and I\u0026rsquo;d also like to reproduce some photos of the cards from Telepathic Music No.5, the thing I just made with Gibson. And the exhibtion now, in America, at Dartmouth College. I write down: No.5: photo Gibson. No.2 and No.5.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: Are there other numbers? What are they?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: I don\u0026rsquo;t remember. No.1 is the one I made with the alphabet I invented. I sent it to Ken Friedman and without asking me he gave it as a present to the art school in Vancouver. They were index cards like the ones we use, and it was the same text, but written in my own alphabet. There were about a hundred of those. They had to be deciphered, along with the alphabet. He asked me to send them for a travelling exhibition he was doing and then gave them to the university in Vancouver. Which is fine. They have it now. They sent me a letter to tell me they have the documents. It is too long to remake; there are more than a hundred things. The alphabet is part of the colour of languages, with the little men. It\u0026rsquo;s part of the \u003ca href=\"http://ensembles.org/items/le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14170,"title":"Principe d' equivalence","dimensions":"200 x 1000 cm","date_begin":"1968-01-01","material":"wood, iron, felted wool","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection Centre  Pompidou, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"principe-d-equivalence","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/323/large/2016_Filliou_2__.jpg?1476358077","poster_credits":"(c)image: M HKA, Courtesy Collection Centre Pompidou, Paris","translations":[{"locale":"en","description":"\u003cp\u003eThe Principle of Equivalence, Filliou\u0026rsquo;s very own trinity, is a full frontal attack on the fundaments of Western culture: value and judgment. From an artistic and philosophical point of view, \u0026lsquo;well made\u0026rsquo; may be seen as the canonical ideal of imitating nature and \u0026lsquo;badly made\u0026rsquo; as a space for research and experimentation, while \u0026lsquo;not made\u0026rsquo; is concept, axiom or principle.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: In December 1968, I started to apply the Principle of Equivalence to an object measuring 10 \u0026times; 12 cm: a red sock in a yellow box. Already, the Principle of Equivalence was to be illustrated by the stamp. I made a first version that I called \u0026lsquo;well made\u0026rsquo;, because the dimensions of the red sock matched the dimensions of the box, which was painted yellow with much care. Then there was a version that I called \u0026lsquo;badly made\u0026rsquo;. I no longer worried if the proportions matched or if the paint was well applied. And a third version, \u0026lsquo;not made\u0026rsquo;, was simply a written concept: \u0026lsquo;Red Socks in a Yellow Box\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Later, I took these three elements and stuck them together on a panel: well made, badly made, not made. I repeated these three elements on a panel that became well made. I repeated this once more, badly made. And a third time, not made. The dimensions were tree times larger than the first time. This grouping of three panels I consider well made, for the previous reasons. I repeated it again badly made. The dimensions were again three times larger. This grouping of three panels I considered well made, for the previous reasons. I repeated it again, badly made. I repeated it again, not made. The fifth object I arrived at measured 2 \u0026times; 6 metres. Because of lack of space I stopped there. But I imagined that if I had produced a series of a hundred objects instead of five, the dimension of the one hundredth object would have been five times longer than the circumference of the earth, or a hundred blablablabla... kilometres high, remembering that the speed of light is 80 kilometres per second...\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; It means that he final dimensions would have been 1021 light years, I think. Then I said to myself: isn\u0026rsquo;t it conceivable that the Creator\u0026rsquo;s initial gesture consisted simply in \u0026lsquo;putting a red sock in a yellow box\u0026rsquo;? The Principle of Equivalence has, since then, been responsible for creating the permanence of the universe. That\u0026rsquo;s also why I also titled this exhibition \u0026lsquo;Exhibition for the Third Eye\u0026rsquo;, because I illustrate my procedure, because of my Principle of Equivalence, because the largest part of the exhibition was not made. Between the dimensions of 2 \u0026times; 6 m and 1021 light years, there\u0026rsquo;s a lot of space for the \u0026lsquo;not made\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; So I called this \u0026lsquo;Exhibition for the Third Eye\u0026rsquo;, and I even suggested back then \u0026ndash; I wrote this on the wall of the room they gave me for Documenta in 1972, where the work was shown again \u0026ndash; that this work illustrated the Permanent Creation of the Universe. That\u0026rsquo;s why later, when I was in Berlin in 1974, I applied the Principle of Equivalence to the Permanent Creation of the Universe and titled that work \u003ca href=\"http://ensembles.org/items/recherche-sur-l-origine?locale=en\"\u003e\u003cem\u003eResearch on the Origin\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: It\u0026rsquo;s very good. I just want your opinion about this. People don\u0026rsquo;t understand how I started to apply this thing. What I mean is that I do something once, which is said to be well done, for instance a sock that corresponds well with the box, which itself has been well painted. And then the second one is badly made. I don\u0026rsquo;t worry about that. The third one is simply the concept. Because I\u0026rsquo;ve made these three, I now consider them well made and I do them again, badly made, and once again, not made. And so on. Should we add this?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: Yes.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet Principe van equivalentie, een bekende Drievuldigheid van Filliou, vormt een rechtstreekse aanval op het (waarde)oordeel als fundament van de Westerse cultuur. Vanuit artistiek en filosofisch oogpunt kan \u0026lsquo;goed gemaakt\u0026rsquo; worden gezien als het ideaal model volgens het canon van de natuur; \u0026lsquo;slecht gemaakt\u0026rsquo; als ruimte voor studie en experiment en \u0026lsquo;niet gemaakt\u0026rsquo; als concept, axioma of principe.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe Principe d\u0026rsquo;\u0026eacute;quivalence, la c\u0026eacute;l\u0026egrave;bre Trinit\u0026eacute; de Filliou, constitue une attaque directe du jugement (de valeur) comme fondement de la culture occidentale. D\u0026rsquo;un point de vue artistique et philosophique, \u0026laquo;\u0026nbsp;bien fait\u0026nbsp;\u0026raquo; peut \u0026ecirc;tre consid\u0026eacute;r\u0026eacute; comme le mod\u0026egrave;le id\u0026eacute;al suivant le canon de la nature\u0026nbsp;; \u0026laquo;\u0026nbsp;mal fait\u0026nbsp;\u0026raquo; comme un espace d\u0026rsquo;\u0026eacute;tude et d\u0026rsquo;exp\u0026eacute;rimentation et \u0026laquo;\u0026nbsp;pas fait\u0026nbsp;\u0026raquo; comme un concept, un axiome ou un principe.\u003c/p\u003e\r\n"}]},{"id":14159,"title":"La Carte n'est pas le territoire","dimensions":"25.7 x 18.2 x 5.8 cm","date_begin":"1964-01-01","material":"metal mailbox, plastic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Eric Decelle, Brussels","cached_tag_list":"La Carte n'est pas le territoire Robert Filliou Daniel Spoerri","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"la-carte-n-est-pas-le-territoire-with-daniel-spoerri","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/305/large/2016_Filliou__14.jpg?1476276699","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14168,"title":"L'origine du mot foule","dimensions":"30 x 30 cm","date_begin":"1971-01-01","material":"dry point on copper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Bruno van Lierde, Brussels","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"l-origine-du-mot-foule","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/349/large/2016_Filliou_4_1.jpg?1476366255","poster_credits":"(c)image: M HKA, Courtesy Collection Bruno van Lierde, Brussels","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eFragment of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: What\u0026rsquo;s psychophrene?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: Double personality. No, not double: split. I believe the Germans have analysed it better than anyone. If you want to understand, for example, what\u0026rsquo;s wrong with the United Sates, it\u0026rsquo;s better to read the novels of Faulkner, Hemmingway, Dos Passos, etc., rather than listening to what someone tells you who\u0026rsquo;s been there two weeks or who was a soldier against them. The same with the French, the Germans. It\u0026rsquo;s better to ask them what they think about it. Just read Thomas Mann\u0026rsquo;s Doctor Faustus. Things like that. They know it well. Everything I say has been analysed so much better by them.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: But it\u0026rsquo;s difficult to say: this is Man.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: Man is like that, of course. Man is universal. With some people it can be more pronounced but I\u0026rsquo;m not sure, I think it depends on the period. The French have been a terrible warrior people.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: They\u0026rsquo;ve never been that torn apart.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: Oh la la... The French people itself\u0026hellip; The wars of decolonisation\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: But maybe there\u0026rsquo;s a system of unity that form more easily. It\u0026rsquo;s easier to know who you are when you\u0026rsquo;re French\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: It\u0026rsquo;s difficult to be German, I understand that. We also have every kind. What I\u0026rsquo;m saying is just that we should ask the Germans themselves. They have enough universal spirit, scholars, writers and poets to tell us better than anyone. Like the English, when they speak about themselves\u0026hellip; They\u0026rsquo;re universal spirits, at the same time in their own culture and part of global culture. They interpret their country to others. They don\u0026rsquo;t just speak well about it, on the contrary. They have a tendency to say some very, very, harsh stuff against their compatriots. It\u0026rsquo;s the collective phenomenon is the interesting thing. In Germany it\u0026rsquo;s the character of Hitler himself as the Traumaturg. There are so many interpretations. Plus the economic conditions at the time.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: I\u0026rsquo;ve read in a psychiatric thesis on the liberation of instincts that if you do that on a personal level, then it\u0026rsquo;s creativity, it\u0026rsquo;s blossoming, you become an artist, etc. But if you do it on a collective level, then it doesn\u0026rsquo;t work anymore, because it\u0026rsquo;s the unleashing of violence, brutality, etc.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: This photo we\u0026rsquo;ll reproduce: \u003cem\u003eL\u0026rsquo;Origine du mot foule\u003c/em\u003e (The Origin of The Word Crowd). I\u0026rsquo;ve shown you the picture. A mass forms by adding people one by one but the stupidity of the mass grows 1, 2, 4, 8, 16, 32\u0026hellip; There\u0026rsquo;s something else, from an intuitive point of view, but we\u0026rsquo;d be misunderstood if we said it. In a way we could say that the typical German is Hitler, and the typical Frenchman is general Massu. It\u0026rsquo;s nationalism that\u0026rsquo;s bad. It\u0026rsquo;s considering ourselves in that way.\u0026nbsp;This is what the Americans mean when they say 100% American. George Bernard Shaw said: \u0026lsquo;A 100% American is a 99% idiot.\u0026rsquo; We can apply that to any other country. Besides, you have universal spirits in every country and the Germans have at least as many, if not more, than anyone. It\u0026rsquo;s totally different if we start comparing Hitler to Beethoven\u0026hellip; Not only that. There\u0026rsquo;s Einstein, all the philosophers, and Hegel, who have made enormous contributions.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: But this kind of contempt for the masses is also something embarrassing, no?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: It\u0026rsquo;s embarrassing if you don\u0026rsquo;t consider yourself part of the masses. It\u0026rsquo;s very good you\u0026rsquo;re asking this, because when I speak about the masses, I very often stop to point out that I\u0026rsquo;m speaking about myself. When I say people, I talk about myself as well. When I say artists\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: So you also despise yourself?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: No, but I\u0026rsquo;ve realised that when I\u0026rsquo;m part of a crowd I can be very dangerous. I was once caught in a fire in a cinema. When people start screaming \u0026lsquo;Fire!\u0026rsquo; you see their reaction. The survival instinct comes out and everyone runs to the exit. I\u0026rsquo;m terrified of crowds because of that. I never take part in street manifestations. You might be trampled if something happened. I\u0026rsquo;ve never trampled anybody, but it could have happened.\u0026nbsp;Anyway, you don\u0026rsquo;t know from one moment to the other. It\u0026rsquo;s a phenomenon of fear. I don\u0026rsquo;t think it\u0026rsquo;s despising, I thing it\u0026rsquo;s being aware of the danger. Everybody knows that if you are in a crowd of people and military music is played and someone starts shooting in the air, then you\u0026rsquo;ll do it too. If they start throwing stones at the scapegoat, you\u0026rsquo;ll surprise yourself by doing it as well. That\u0026rsquo;s collective hysteria. Otherwise you\u0026rsquo;ll be trampled. These are well-covered themes that were always been known. Some people avoid this. Even if they\u0026rsquo;re communists or fascists they have mastery over themselves, and that complicates things. The Nazis had their heroes who\u0026rsquo;d sacrifice themselves to save others. It\u0026rsquo;s not a test. Crowd psychology, that\u0026rsquo;s a very different domain. But now we\u0026rsquo;re through with hate, no?\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14163,"title":"Portrait pas fait: pour le 3e oeil","dimensions":"60 x 60 cm","date_begin":"1972-01-01","material":"collage, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Eric Decelle, Brussels","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"portrait-pas-fait-pour-le-3e-oeil-c53fb514-a7e1-4308-9498-b329fea06691","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/205/large/2016_Filliou_4.jpg?1476366205","poster_credits":"(c)image: M HKA, Courtesy Collection Eric Decelle, Brussels","translations":[{"locale":"en","description":"\u003cp\u003eThe Principle of Equivalence, Filliou\u0026rsquo;s very own trinity, is a full frontal attack on the fundaments of Western culture: value and judgment. From an artistic and philosophical point of view, \u0026lsquo;well made\u0026rsquo; may be seen as the canonical ideal of imitating nature and \u0026lsquo;badly made\u0026rsquo; as a space for research and experimentation, while \u0026lsquo;not made\u0026rsquo; is concept, axiom or principle.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e This, again, is the \u003ca href=\"http://ensembles.org/items/principe-d-equivalence?locale=nl\"\u003ePrinciple of Equivalence\u003c/a\u003e\u0026hellip; I\u0026rsquo;ve sometimes used it to explain the Principle of Equivalence as I applied it in works like the red sock in a yellow box and \u003ca href=\"http://ensembles.org/items/recherche-sur-l-origine?locale=nl\"\u003e\u003cem\u003eResearch on the Origin\u003c/em\u003e\u003c/a\u003e, I\u0026rsquo;ve often used the expression \u0026lsquo;Exhibition for the Third Eye\u0026rsquo;. I\u0026rsquo;ve tried to explain that a work like the red sock in a yellow box may simply interest you visually, which I think is the case with most people, but that you can also go deeper into it if you want, to really follow how the Principle of Equivalence develops, and then it becomes an \u0026lsquo;Exhibition for the Third Eye\u0026rsquo;. Again, the largest part of \u003cem\u003eResearch on the Origin\u003c/em\u003e is not made. We can make that reference, to the Third Eye.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet Principe van equivalentie, een bekende Drievuldigheid van Filliou, vormt een rechtstreekse aanval op het (waarde)oordeel als fundament van de Westerse cultuur. Vanuit artistiek en filosofisch oogpunt kan \u0026lsquo;goed gemaakt\u0026rsquo; worden gezien als het ideaal model volgens het canon van de natuur; \u0026lsquo;slecht gemaakt\u0026rsquo; als ruimte voor studie en experiment en \u0026lsquo;niet gemaakt\u0026rsquo; als concept, axioma of principe.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe Principe d\u0026rsquo;\u0026eacute;quivalence, la c\u0026eacute;l\u0026egrave;bre Trinit\u0026eacute; de Filliou, constitue une attaque directe du jugement (de valeur) comme fondement de la culture occidentale. D\u0026rsquo;un point de vue artistique et philosophique, \u0026laquo;\u0026nbsp;bien fait\u0026nbsp;\u0026raquo; peut \u0026ecirc;tre consid\u0026eacute;r\u0026eacute; comme le mod\u0026egrave;le id\u0026eacute;al suivant le canon de la nature\u0026nbsp;; \u0026laquo;\u0026nbsp;mal fait\u0026nbsp;\u0026raquo; comme un espace d\u0026rsquo;\u0026eacute;tude et d\u0026rsquo;exp\u0026eacute;rimentation et \u0026laquo;\u0026nbsp;pas fait\u0026nbsp;\u0026raquo; comme un concept, un axiome ou un principe.\u003c/p\u003e\r\n"}]},{"id":14262,"title":"3 Weapons. Territory of the Genial Republic. Research on Filmmaking","dimensions":"45.5 x 45.5 x 13 cm","date_begin":"1970-01-01","material":"wood, brass knuckles, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Foundation Walter \u0026 Maria Schnepel, Baté (Hungary)","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"3-weapons-territory-of-the-genial-republic-research-on-filmmaking","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/301/large/2016_Filliou__6.jpg?1476276216","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eWith the years Filliou became more attracted to meditation, Taoism and Buddhism. At the same time, he addresses the themes of violence and innocence, war and peace.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren gaat Filliou zich enerzijds meer en meer richten op meditatie, tao\u0026iuml;sme en boeddhisme en speelt hij anderzijds met de thema\u0026rsquo;s geweld en onschuld, oorlog en vrede.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu fil des ann\u0026eacute;es, Filliou va d\u0026rsquo;une part se consacrer davantage \u0026agrave; la m\u0026eacute;ditation, au tao\u0026iuml;sme et au bouddhisme, et d\u0026rsquo;autre part, jouer avec les th\u0026egrave;mes de la violence et de l\u0026rsquo;innocence.\u003c/p\u003e\r\n"}]},{"id":14249,"title":"To be a Pilgrim","dimensions":"36 x (14 x 12 x 4 cm)","date_begin":"1977-01-01","material":"cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Fassbender, Berlin/Munich","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"to-be-a-pilgrim-8072eb8d-33a8-4048-811e-992043386575","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/570/large/robert-filliou-to-be-a-pilgrim.jpg?1468832840","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14251,"title":"A Joint Work with R. Filliou and a Child","dimensions":"28.5 x 27.5 x 11.5 cm","date_begin":"1971-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"a-joint-work-with-r-filliou-and-a-child","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/285/large/72_a._Joint_Work_with_Child__1971.jpg?1476273093","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u0026nbsp;\u003c/strong\u003e\u003cem\u003eCr\u0026eacute;er, c\u0026rsquo;est l\u0026rsquo;enfance de l\u0026rsquo;art \u003c/em\u003e(\u003cem\u003eCreating Is the Childhood of Art\u003c/em\u003e.). Let me show you here\u0026hellip; I just made this box, \u003cem\u003eJoint Work with Filliou and a Child\u003c/em\u003e, where I propose creating the \u0026lsquo;Childhood of Art\u0026rsquo;, and I hope it won\u0026rsquo;t be seen as a mockery.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14179,"title":"Work as Play, Art as a Thought","dimensions":"28 x 196 x 2 cm","date_begin":"1973-01-01","material":"ink, paper, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection MAC, Lyon","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"work-as-play-art-as-a-thought","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/299/large/2016_Filliou__5.jpg?1476275870","poster_credits":"(c)image: M HKA, Courtesy Collection Mac, Lyon","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u0026lsquo;Work as Play.\u0026rsquo; We have two photos. We\u0026rsquo;ve already talked about this under \u0026lsquo;Genius Republic\u0026rsquo; and \u0026lsquo;Principles of Poetical Economy\u0026rsquo;, and I illustrated it with some works. There\u0026rsquo;s one that\u0026rsquo;s almost a classic: \u003ca href=\"http://ensembles.org/items/i-hate-work-which-is-not-play?locale=en\"\u003e\u003cem\u003eI Hate Work Which Is Not Play\u003c/em\u003e\u003c/a\u003e [1970]. I made this construction while playing. And there\u0026rsquo;s another one that I\u0026rsquo;ll also find a photo of: \u003cem\u003eWork As Play, Art As Thought \u003c/em\u003e[1973]. One refers to the other. We spoke about it so much that it\u0026rsquo;s enough to put in references. I pulled out the photo the day before yesterday, but I don\u0026rsquo;t find it now. It\u0026rsquo;s somewhere in this room.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e No, I say we\u0026rsquo;ll just make a reference. I\u0026rsquo;ve made so many games. There are two sides to the games: there\u0026rsquo;s the method, \u0026lsquo;Work as Play\u0026rsquo;, that you find throughout my activities. Lambert has written a whole book about ludic activities, his book about \u003cem\u003earteurs\u003c/em\u003e [\u0026lsquo;artors\u0026rsquo;]. He has a whole chapter about my work. In \u003cem\u003ePrinciples of Poetical Economy\u003c/em\u003e you also find \u0026lsquo;Work as Play\u0026rsquo;.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; There\u0026rsquo;s that side. But then there\u0026rsquo;s also the side of really making games. \u003cem\u003eLe Jeu du moi \u003c/em\u003e(\u003cem\u003eThe Game of Me\u003c/em\u003e), for example, is a game with dice. I think I might have made it with [Karl] Gerstner, in 1960 or 1961. There are five dice. On each face of the dice, however one throws them, it says \u003cem\u003eje = moi\u003c/em\u003e [\u0026lsquo;I = Me\u0026rsquo;, or \u0026lsquo;Game = Me\u0026rsquo;]. Because it\u0026rsquo;s the same letters on all the faces, it\u0026rsquo;s simple. You can throw me any which way: backwards, sideways, I\u0026lsquo;m always always \u003cem\u003eL\u0026rsquo;Idiot de passage \u003c/em\u003e[\u0026lsquo;The Idiot of Passing\u0026rsquo;, a name Filliou sometimes used for himself]. One of the last games I\u0026lsquo;ve published is \u003ca href=\"http://ensembles.org/items/leeds?locale=en\"\u003e\u003cem\u003eLeeds\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14263,"title":"République Géniale. Research on Filmmaking","dimensions":"46 x 45.5 x 13 cm","date_begin":"1970-01-01","material":"wood, metal sheer","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Foundation Walter \u0026 Maria Schnepel, Baté (Hungary)","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"republique-geniale-research-on-filmmaking","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/769/large/98._Republique_G%C3%A9niale_Resarch_on_Filmmaking__1970.jpg?1485170226","poster_credits":"Courtesy of the artist ","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Well, we are at \u0026lsquo;Filmmaking\u0026rsquo;. There are two things: the films I made and \u003cem\u003eProjects for Filmmaking\u003c/em\u003e, which are objects. What I can do for the films is to make a list, which I\u0026rsquo;ll take from the Documenta catalogue: with George Brecht. \u003cem\u003eCinema Reinvented\u003c/em\u003e\u0026hellip; Or do we try to get a photo? [Robert] Guigny might have one, taken while filming, like in real cinema. I have the photos of \u003cem\u003eProjects for Filmmaking\u003c/em\u003e. We bring them out later.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14231,"title":"A Joint Work with Time","dimensions":"44 x 44 x 13 cm.","date_begin":"1971-01-01","material":"cardboard, nails, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Sammlung Wolfgang Feelisch, Remscheid","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"a-joint-work-with-time","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/213/large/Joint_work_with_time.jpg?1476171327","poster_credits":"(c)image: M HKA, Courtesy Collection Feelisch, Remscheid","translations":[{"locale":"en","description":"\u003cp style=\"margin-left:6.0pt;\"\u003eWhat Filliou calls \u0026lsquo;joint works\u0026rsquo; are ideas created and visualised in close collaboration with words (both French and English ones), physical materials (including all kinds of found objects) or \u0026ndash; most importantly \u0026ndash; other people.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14258,"title":"Création Permanente","dimensions":"79 x 53 x 2 cm","date_begin":"1969-01-01","material":"wood, playing cards, b/w photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MUMOK, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B413/0","stream_count_app":13,"permalink":"creation-permanente","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/574/large/2016_Filliou__9.jpg?1476279011","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eWith the phrase \u0026lsquo;art is what makes life more interesting than art\u0026rsquo;, Filliou continues the idea of the Dada movement, in the early twentieth century, that \u0026lsquo;art is more interesting than life\u0026rsquo;. The force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the Po\u0026iuml;po\u0026iuml;drome and the Smiling Cedilla. As an alternative to the notion of the avant-garde, he proposes the Eternal Network, also known as \u0026lsquo;La f\u0026ecirc;te permanente\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt\u0026nbsp;of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e So, \u003cem\u003eCr\u0026eacute;ation permanente. \u003c/em\u003e\u0026lsquo;Permanent Creation.\u0026rsquo; We have different sub-sections. First: \u0026lsquo;Term used by Filliou to characterise his activity.\u0026rsquo; Second: \u0026lsquo;Centre of Permanent Creation, see \u0026ldquo;\u003ca href=\"http://ensembles.mhka.be/items/me-poipodrome-ambulante?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e\u0026rdquo;, see \u0026ldquo;\u003ca href=\"http://ensembles.mhka.be/items/la-ceduille-qui-sourit?locale=nl\"\u003eThe Smiling Cedilla\u003c/a\u003e\u0026rdquo;.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u0026lsquo;See above\u0026rsquo;, as we say in English, because we were just talking about the Cedilla. Maybe it will follow.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Third: \u0026lsquo;Spirit presiding over The Smiling Cedilla\u0026rsquo;. Fourth: \u0026lsquo;See \u0026ldquo;\u003ca href=\"http://ensembles.mhka.be/items/tool-box-n-2-permanent-creation?locale=nl\"\u003eToolbox for Permanent Creation\u003c/a\u003e\u0026rdquo;.\u0026rsquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eMet de uitdrukking\u003cem\u003e \u003c/em\u003e\u0026ldquo;kunst is wat het leven interessanter maakt dan kunst\u0026rdquo; bouwt Filliou voort op het idee van de dada\u0026iuml;sten aan het begin van de 20\u003csup\u003ee\u003c/sup\u003e eeuw, die stelden dat \u0026ldquo;het leven interessanter is dan kunst.\u0026rdquo; De drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de Po\u0026iuml;po\u0026iuml;drome en La C\u0026eacute;dille qui Sourit, en stelt voor de historische avant-garde te vervangen door het Eternal Network, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAvec l\u0026rsquo;expression \u0026laquo;\u0026nbsp;l\u0026rsquo;art est ce qui rend la vie plus int\u0026eacute;ressante que l\u0026rsquo;art\u0026nbsp;\u0026raquo;, Filliou poursuit l\u0026rsquo;id\u0026eacute;e des dada\u0026iuml;stes au d\u0026eacute;but du XX\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle, qui affirmaient que \u0026laquo;\u0026nbsp;la vie est plus int\u0026eacute;ressante que l\u0026rsquo;art\u0026nbsp;\u0026raquo;. La force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme Po\u0026iuml;po\u0026iuml;drome et La C\u0026eacute;dille qui Sourit, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;Eternal Network, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"}]},{"id":14178,"title":"Le (ou la) Poïpoïdrome à espace-temps Réel, prototype 00","dimensions":"4.9 x 17.3 x 17.3 cm ","date_begin":"1963-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Musée d’art contemporain de Lyon","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"","date_end":"1975-01-01","reference":"","stream_count_app":19,"permalink":"le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/356/large/2016_Filliou_4_14.jpg?1476370815","poster_credits":"(c)image: M HKA, Courtesy Collection Musée d’art contemporain de Lyon.","translations":[{"locale":"en","description":"\u003cp\u003eThe force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the Po\u0026iuml;po\u0026iuml;drome and the \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eSmiling Cedilla\u003c/a\u003e. As an alternative to the notion of the avant-garde, he proposes the \u003ca href=\"http://ensembles.org/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e, also known as \u0026lsquo;La f\u0026ecirc;te permanente\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u0026lsquo;P\u0026rsquo;. Now, that should be easy: \u0026lsquo;Po\u0026iuml;po\u0026iuml;drome\u0026rsquo;. Because we have two fundamental documents about it: the inception of the project, as described in \u003cem\u003e\u003ca href=\"http://ensembles.org/items/teaching-and-learning-as-performing-arts-lehren-und-lernen-als-aufdrfuhrungkunste?locale=nl\"\u003eTeaching and Learning as Performing Arts\u003c/a\u003e, \u003c/em\u003ewith the whole project of the optimal Po\u0026iuml;po\u0026iuml;drome, and the catalogue of the prototype, which you also have. From those we could take enough material.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; So there should be three entries: the first would be the optimum Po\u0026iuml;po\u0026iuml;drome from 1963, taken directly from \u003cem\u003eTeaching and Learning\u003c/em\u003e \u003cem\u003eas Performance Arts\u003c/em\u003e. The second would be \u003cem\u003ePo\u0026iuml;po\u0026iuml;drome \u003c/em\u003e\u003cem\u003e\u0026agrave;\u003c/em\u003e\u003cem\u003e espace-temps r\u003c/em\u003e\u003cem\u003e\u0026eacute;\u003c/em\u003e\u003cem\u003eel, prototype 00 \u003c/em\u003e(\u003cem\u003ePo\u003c/em\u003e\u003cem\u003e\u0026iuml;po\u0026iuml;drome in Real Space-Time, Prototype 00\u003c/em\u003e) in Brussels in 1975, with some photos. The third would be documentation from Budapest [in 1976]. That\u0026rsquo;s be interesting, because there it will be \u003cem\u003ePo\u0026iuml;po\u0026iuml;drome \u003c/em\u003e\u003cem\u003e\u0026agrave;\u003c/em\u003e\u003cem\u003e espace-temps r\u003c/em\u003e\u003cem\u003e\u0026eacute;\u003c/em\u003e\u003cem\u003eel n\u003csup\u003eo \u003c/sup\u003e1 \u003c/em\u003e(\u003cem\u003ePo\u0026iuml;po\u0026iuml;drome in Real Space-Time No.1\u003c/em\u003e)\u003cem\u003e. \u003c/em\u003eIt will no longer be the prototype. We have documentation for all these.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eWhy do you call it optimum?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eYes, we call it \u0026lsquo;optimum\u0026rsquo;. It means it\u0026rsquo;s the real one, while the others are in real space-time.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de Po\u0026iuml;po\u0026iuml;drome en \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eLa C\u0026eacute;dille qui Sourit\u003c/a\u003e, en stelt voor de historische avant-garde te vervangen door het \u003ca href=\"http://ensembles.org/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme Po\u0026iuml;po\u0026iuml;drome et \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eLa C\u0026eacute;dille qui Sourit\u003c/a\u003e, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;\u003ca href=\"http://ensembles.org/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"}]},{"id":14180,"title":"Recherche sur l'origine","dimensions":"280 x 8900 cm","date_begin":"1974-01-01","material":"oil, pastel on canvas, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection MAC, Lyon","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"recherche-sur-l-origine","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/321/large/2016_Filliou_2_.jpg?1476357956","poster_credits":"(c)image: M HKA, Courtesy Collection MAC, Lyon","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Later it was shown again at Documenta. And then you took up this principle again in \u003cem\u003eResearch on the Origin\u003c/em\u003e. We make an arrow: \u0026lsquo;Research on the Origin.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eYes, and under \u0026lsquo;Research on the Origin\u0026rsquo; we\u0026rsquo;ll explain how I did it. It\u0026rsquo;s very complicated to write a condensed version, but it\u0026rsquo;s the only thing we can do. You\u0026rsquo;ll integrate it there. I\u0026rsquo;ve simply added there, in the middle and at the end, what the title refers to\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e When I did this I hadn\u0026rsquo;t understood. It was too difficult for me. I had to use texts as a basis. I hate that. It\u0026rsquo;s the first time that I see myself doing something that isn\u0026rsquo;t clear.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e We should say it\u0026rsquo;s difficult. It was published by \u003cem\u003eOpus\u003c/em\u003e, each time with pictures. There\u0026rsquo;s one with me and Marcel Broodthaers. They changed the texts I gave them. It was also shown in Aachen. Now it\u0026rsquo;s in the museum in M\u0026uuml;nster.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eIs it on display already?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I don\u0026rsquo;t know. They never told me. They have the crate, that\u0026rsquo;s all I know. They bought it after Documenta. They mixed up the sentences in the text. I pointed it out to them, during \u003cem\u003eOpus\u003c/em\u003e. That\u0026rsquo;s normal. Lambert, in his book, uses the same thing. I pointed out to him that the text wasn\u0026rsquo;t readable. He made a mistake. That means it was always very badly explained, until \u003cem\u003eResearch on the Origin\u003c/em\u003e and the text [J\u0026uuml;rgen] Harten [Director of St\u0026auml;dtische Kunsthalle D\u0026uuml;sseldorf] wrote and the one Jean-Christophe Ammann wrote for the exhibition in Luzern. When we want to explain it, it becomes too long. We must accept presenting it like that.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; It\u0026rsquo;s not that it\u0026rsquo;s that difficult to understand, but I understand the problem you encountered at the time. We talked about many things and we didn\u0026rsquo;t know each other yet. It\u0026rsquo;s easy to understand when the work is there in front of you, but it\u0026rsquo;s difficult to summarise, even with \u003cem\u003eResearch on the Origin\u003c/em\u003e. I begin by trying to explain it, but people find it difficult to understand.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eBut here you just explained it very clearly. Great. So it\u0026rsquo;s done. Let\u0026rsquo;s move on to \u0026lsquo;\u003ca href=\"http://ensembles.org/items/eternal-network?locale=en\"\u003eEternal Networ\u003c/a\u003ek\u0026rsquo;\u003cem\u003e.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e For \u0026lsquo;O\u0026rsquo; we have \u0026lsquo;Research on the Origin\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e There are many documents. There\u0026lsquo;s the catalogue.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eWell, I have the small blue notebook. I don\u0026rsquo;t have the roll.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I\u0026rsquo;ll give you one. It\u0026rsquo;s so complicated that the best is maybe to s ay that it\u0026rsquo;s a work I made in 1974 in Berlin when I had the DAAD. I have some very good pictures of myself working on it, and I\u0026#39;ll give them to you. The best is to reproduce the beginning of the roll. Because I explain the method, the Principle of Equivalence, and how it applies. What\u0026rsquo;s important is that the work is approximately 3 \u0026times; 90 metres on fabric, but in the catalogue it was reduced to a scale of 1/10. All the elements of this work are in the catalogue, which allowed me to mail it to many places. We made 450 copies, 50 of them for me.\u003cbr /\u003e\r\nI sent them to friends in Poland who exhibited it. I was told it was exhibited in a factory in Budapest. In Budapest it\u0026rsquo;s L\u0026aacute;szl\u0026oacute; Beke, in Poland [Andrzej] Partum, who has something he call the Poetry Office [in Warsaw]. And in Portugal it\u0026rsquo;s Ernesto da Sousa, who tells me he also showed it in a factory, and in places for youngsters. I forgot to tell you that I also exhibited the catalogue in East Berlin in J\u0026uuml;rgen Schweinebraden\u0026rsquo;s gallery, in a group exhibition with Robert Rehfeldt and\u0026hellip; What\u0026rsquo;s the name of the only well-known artist in East Germany?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Penck?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Penck. And some others. I brought the catalogue and exhibited it the evening before the exhibition of the actual work on fabric, in West Berlin. That was interesting.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e So you exhibited \u003cem\u003eResearch on the Origin\u003c/em\u003e in West Berlin?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I exhibited it at the Kunsthalle in D\u0026uuml;sseldorf, in Berlin, and then in Lucerne, at the Art Academy. You have the catalogue from Lucerne, no? I must give you that.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I apply the Principle of Equivalence to the physical origin of the universe. The books I used for the documentation are just popular science books. I provide the references to them, so that everyone can look them up. And I believed I had found a relation between the traditional teachings of Tao and nuclear astrophysics, but I apply the \u003ca href=\"http://ensembles.org/items/principe-d-equivalence?locale=en\"\u003e\u003cem\u003ePrinciple of Equivalence\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14226,"title":"4644cm3 de territoir extéreur de la République genial avec message intèrieur","dimensions":"46 x 37 x 3.5 cm","date_begin":"1973-01-01","material":"cardboard box, two photographs, ink ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Museum Kunst Palast, Düsseldorf","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"4644cm2-de-territoir-extereur-de-la-republique-genial-avec-message-interieur","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/215/large/4644cm3.jpg?1476173219","poster_credits":"(c)image: M HKA, Courtesy Collection Museum Kunstpalast, Düsseldorf","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eLa R\u0026eacute;publique G\u0026eacute;niale\u003c/em\u003e (which might be rendered as The Republic of Genius) starts from the insight that everyone has genius of a particular kind. This is Filliou\u0026rsquo;s way of \u0026lsquo;de-hiearchising\u0026rsquo; a core feature of Western culture. He called himself \u0026lsquo;a genius without talent\u0026rsquo;. Each Republic of Genius has its own territory, which can be mobile.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14225,"title":"COMMEMOR","dimensions":"70 x 100 x 1.5 cm","date_begin":"1970-01-01","material":"ink, paper, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection Museum Kunst Palast, Düsseldorf","cached_tag_list":"multiple","publishing_process_id":1,"annotation":"","date_end":"2003-01-01","reference":"","stream_count_app":17,"permalink":"commemor","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/332/large/2016_Filliou_2__1_.jpg?1476360608","poster_credits":"(c)image: M HKA, Courtesy Collection Museum Kunstpalast, Düsseldorf","translations":[{"locale":"en","description":"\u003cp\u003eWith the years Filliou became more attracted to meditation, Taoism and Buddhism. At the same time, he addresses the themes of violence and innocence, war and peace.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u0026nbsp;\u003c/strong\u003eI have the text for COMMEMOR, but I have to find it. But read to me what you have.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e \u0026lsquo;Mixed Commission of Exchanges of Monuments to the Fallen. Created in July 1970 at the Neue Galerie, Aachen, with the goal of solemnly offering the European peoples the possibility to exchange their respective monuments to the fallen. Concerning the countries that think of war in our days, they could exchange their monuments to the previously fallen instead of fighting each other.\u0026rsquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren gaat Filliou zich enerzijds meer en meer richten op meditatie, tao\u0026iuml;sme en boeddhisme en speelt hij anderzijds met de thema\u0026rsquo;s geweld en onschuld, oorlog en vrede.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu fil des ann\u0026eacute;es, Filliou va d\u0026rsquo;une part se consacrer davantage \u0026agrave; la m\u0026eacute;ditation, au tao\u0026iuml;sme et au bouddhisme, et d\u0026rsquo;autre part, jouer avec les th\u0026egrave;mes de la violence et de l\u0026rsquo;innocence.\u003c/p\u003e\r\n"}]},{"id":14161,"title":"I Hate Work Which Is Not Play","dimensions":"58 x 76 x 5 cm","date_begin":"1970-01-01","material":"felt pen on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Eric Decelle, Brussels","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"i-hate-work-which-is-not-play","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/632/large/2016_Filliou_2__14.jpg?1476359031","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: \u0026lsquo;Work as Play.\u0026rsquo; We have two photos. We\u0026rsquo;ve already talked about this under \u0026lsquo;Genius Republic\u0026rsquo; and \u0026lsquo;Principles of Poetical Economy\u0026rsquo;, and I illustrated it with some works. There\u0026rsquo;s one that\u0026rsquo;s almost a classic\u003cem\u003e: I Hate Work Which Is Not Play\u003c/em\u003e [1970]. I made this construction while playing. And there\u0026rsquo;s another one that I\u0026rsquo;ll also find a photo of: \u003ca href=\"http://ensembles.org/items/work-as-play-art-as-a-thought?locale=en\"\u003e\u003cem\u003eWork As Play, Art As Thought\u003c/em\u003e\u003c/a\u003e\u0026nbsp;(1973). One refers to the other. We spoke about it so much that it\u0026rsquo;s enough to put in references. I pulled out the photo the day before yesterday, but I don\u0026rsquo;t find it now. It\u0026rsquo;s somewhere in this room.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14252,"title":"Hommage to the Düsseldorf Film Group","dimensions":"21.8 x 30 x 21 cm","date_begin":"1972-01-01","material":"wood, mirror, ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"hommage-to-the-dusseldorf-film-group","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/240/large/43._Homage_to_the_D%C3%BCsseldorf_Film_Group_front__1972.jpg?1476195852","poster_credits":"(c)image: M HKA, Courtesy Collection Andersch, Neuss","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14234,"title":"The Kingdom of Arts is Inside You","dimensions":"125 x 175 x 6 cm","date_begin":"1974-01-01","material":"felt pen on anathomical plance mounted on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Kaminski, Düsseldorf","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"the-kingdom-of-art-is-inside-you","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/304/large/2016_Filliou__13.jpg?1476276635","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eWe\u0026rsquo;d have to look for an answer in science. When I say exterior and interior I\u0026rsquo;m probably wrong. In fact, there\u0026rsquo;s no difference between exterior and interior. It\u0026rsquo;s just a manner of speaking. The interior is in me. That\u0026rsquo;s part of the \u003ca href=\"http://ensembles.org/items/me-poipodrome-ambulante?locale=en\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e: \u0026lsquo;The kingdom of arts is inside you.\u0026rsquo;\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; We compare notes. It\u0026rsquo;s like when George says: \u0026lsquo;I\u0026rsquo;m a medium.\u0026rsquo; He said it to me, and maybe to you. He certainly is. But it\u0026rsquo;s just a manner of speaking: he wouldn\u0026rsquo;t say that to someone who wouldn\u0026rsquo;t understand. I took as my example something I once told George I: \u0026lsquo;Do you think I should say things like that? Should I, for example, tell anecdotes like \u0026ldquo;the word is water\u0026rdquo;?\u0026rsquo; He understands what this means. He said: \u0026lsquo;Yes. It doesn\u0026rsquo;t matter if he knows.\u0026rsquo; It\u0026rsquo;s very difficult. We must make ourselves available and not present ourselves as special, because it happens to everyone.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14193,"title":"Built-In versus Built-Upon","dimensions":"","date_begin":"1968-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Robert Filliou Estate, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1978-01-01","reference":"RF97 42","stream_count_app":10,"permalink":"built-in-versus-built-upon","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/795/large/RF97_42.jpg?1470388824","poster_credits":"(c)image: Estate Robert Filliou, Paris","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Marianne is my guru, as you know. It\u0026rsquo;s possible that in a few years the Genius Republic will exist but no one will know, and I myself will probably have forgotten about it. Like in that thing: \u0026lsquo;He who lives it does not remember it.\u0026rsquo; What I think is valuable in the concept of the Genius Republic is the idea of research, and the most important is the concept \u0026lsquo;\u003cstrong\u003eBuilt-In Versus Built-Upon\u003c/strong\u003e\u0026rsquo;. All this is developed in my letter to Documenta.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14189,"title":"A Joint Work of RF and Suns","dimensions":"67.2 x 43 x 10 cm","date_begin":"1973-01-01","material":"pastel, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Robert Filliou Estate, Paris","cached_tag_list":"collage box object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"a-joint-work-of-rf-and-suns","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/572/large/a-joint-work-of-robert-filliou-and-suns-1973.jpg!Large.jpg?1468833408","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"margin-left:6.0pt;\"\u003eWhat Filliou calls \u0026lsquo;joint works\u0026rsquo; are ideas created and visualised in close collaboration with words (both French and English ones), physical materials (including all kinds of found objects) or \u0026ndash; most importantly \u0026ndash; other people.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14186,"title":"Input/Output Analysis","dimensions":"","date_begin":"1973-01-01","material":"b/w photo, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Robert Filliou Estate, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"input-output-analysis","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/352/large/2016_Filliou_4_9.jpg?1476369245","poster_credits":"(c)image: M HKA, Courtesy Robert Filliou Estate, Paris.","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e You were speaking about \u003cem\u003eInput\u0026ndash;Output Analysis\u003c/em\u003e. You have made other works with \u0026lsquo;Analysis\u0026rsquo;, right?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e With \u0026rsquo;Analysis\u0026rsquo;, I\u0026rsquo;ve made\u0026hellip; I\u0026rsquo;d like to do that again; it\u0026rsquo;s a little bit like \u003ca href=\"http://ensembles.org/items/that-spiritual-nedd?locale=nl\"\u003e\u003cem\u003eThat Spiritual Need\u003c/em\u003e\u003c/a\u003e. But I can\u0026rsquo;t find photos here\u0026hellip; I asked the people around \u003ca href=\"http://ensembles.org/actors/dick-higgins?locale=nl\"\u003eDick Higgins\u003c/a\u003e \u0026ndash; including himself, and also myself, of course \u0026ndash; to photographically define the relationship each one has with the other person. For example: in a photo, I show the relationship I have with you. And then you\u0026rsquo;re asked to show the relationship you have with me in a photo. First, on a panel, there\u0026rsquo;s for example Irmeline, and the names of all the persons to whom you show your relationship through a photo. And so it continues. There are seven panels like that and you put all the pictures together. If you read horizontally, you see the relationship of Irmeline with Robert, Paul, Pierre, etc. from her point of view. But when you look vertically, you see her relationship with the people, but from their point of view.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I call that \u003cem\u003eInput \u0026ndash;Output Analysis.\u003c/em\u003e This work still belongs to me. It consists of seven panels, way too large. Maybe I shouldn\u0026rsquo;t have glued the photos on the wood. I had it at ADA. The wooden panels are 1.50 \u0026times; 1.50 metres. This is the relation between me and with Marika. And she, from her point of view, puts a different photo. Anne Braso, a photographer, took the pictures, except for the ones of her. They all have this size. I have the intention to do this again. It filled the whole summer there in Vermont. That gave given us an incredible complex of activities. We\u0026rsquo;re very often naked in these photos, because we went swimming in a lake near Higgins\u0026rsquo;s house. It was the easiest moment for everyone to be together after work and take photos.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; There are many photos of us naked. And because of that, the contrast is less marked in the relations. My relationship of me with you and of you with me would already be different if we\u0026rsquo;re both naked by a lake. Those who weren\u0026rsquo;t used to performances thought about it for weeks. They said: \u0026lsquo;I\u0026rsquo;m not ready yet to take a photo.\u0026rsquo; Especially before getting somewhere, right? It\u0026rsquo;s not easy and it\u0026rsquo;s also a dangerous game. This happened in a group that was about to disintegrate. Sexual partnerships were about to change. Higgins was going to close Something Else Press. It\u0026rsquo;s curious, that when I look back now, knowing what happened, I understand why this or that gesture was made to illustrate this or that relation. People who live together but turn their backs on each other, for example. That was revealing.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; At first I had foreseen working with all the people there who were into art. In the end there were seven of us, because some didn\u0026rsquo;t want to do it. Higgins\u0026rsquo;s secretary, for example, first said yes but then she didn\u0026rsquo;t want to do it. There are fantastic things. Dick Higgins and Perry shouting at each other\u0026rsquo;s faces. Or Marika and me smoking. \u003ca href=\"http://ensembles.org/actors/emmett-williams?locale=nl\"\u003eEmmett Williams\u003c/a\u003e\u0026rsquo;s son, Eugene, kicking my ass. That\u0026rsquo;s a very beautiful contrast, because is this photo I\u0026rsquo;m about to hug Eugene, saying \u0026lsquo;My son and my brother\u0026rsquo;, and he just kicks my ass. That\u0026rsquo;s very beautiful. And when you know the sexual relationships between those people, then you\u0026rsquo;ll understand the reasons for a certain rivalry. I\u0026rsquo;m very happy with this work. Practically no one knows it. Only those who saw it at ADA. I need to have it. It\u0026rsquo;s at Di Maggio\u0026rsquo;s but it\u0026rsquo;s mine. When we went [to Milan] the last time, I couldn\u0026rsquo;t take it in our car.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eThe photos are from America?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Yes, this was part of \u003cem\u003eResearch on the Eternal Network.\u003c/em\u003e In that project, I had \u003cem\u003e\u003ca href=\"http://ensembles.org/items/musique-telepathique-n-5?locale=nl\"\u003eTelepathic Music\u003c/a\u003e. \u003c/em\u003eIt\u0026rsquo;s the Network in general. I proposed to replace the concept of avant-garde by that of the Eternal Network. I presented \u003cem\u003eInput\u0026ndash;Output Analysis\u003c/em\u003e, the thing from Vermont. I put together all the copies of \u003cem\u003eFile Magazine\u003c/em\u003e, the magazine published by General Idea in Toronto. I called that \u003cem\u003eResearch on the Dynamics of the Eternal Network. \u003c/em\u003eI offered 100 subscriptions to those who wanted \u003cem\u003eFile Magazine\u003c/em\u003e. That way, all interested people gave their name and address. I put the names on a piece of paper, Marcelle drew by chance to decide the winners and I paid for 101 subscriptions.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; They wrote to me that they never had so many subscriptions. The most subscriptions they had were in Germany but they weren\u0026rsquo;t all Germans, even if most were. Among the Germans, not all were Berliners. Since it was a group exhibition, many people came to see it. I remember Lourdes Castro was among the names drawn. There were Japanese, Americans.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Why \u003cem\u003eInput\u0026ndash;Output\u003c/em\u003e? Is it an economics term?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e It\u0026rsquo;s an extremely well known analysis due to Leontieff. It\u0026rsquo;s very complicated mathematics: the relation between what you put in it and what you take out. It\u0026rsquo;s what you use in computers. \u0026lsquo;Input\u0026rsquo; is what you put in. \u0026lsquo;Output\u0026rsquo; is what you take out. I\u0026rsquo;d need a doctoral student in mathematics to understand it exactly. I called it that, because I liked the phrase: everyone puts something in, and see here what comes out. What comes out is the large panel with all the pictures. While no one thinks he\u0026rsquo;s contributing to something, he\u0026rsquo;s part of all that comes out of it.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e I though you meant what happens in every human relation, that what you put in is what you take out\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cstrong\u003eRF:\u003c/strong\u003e Yes: on the big panel it\u0026rsquo;s a visual thing. You have all the relations together, although everyone only contributed one thing, they are all part of the total output. When you look at it, it\u0026rsquo;s moving. It means it\u0026rsquo;s dynamic. As a performance, it was fantastic. They all said they\u0026rsquo;d spent a fantastic summer. Instead of simply going for a swim in the lake, they had something to do every day, to think about. Sometimes we took photos that didn\u0026rsquo;t work. We remade them, discussed them. We had to develop them. Look, this comes from Anne, the photographer: Robert and Anne in the dark. We let people guess. That was very enriching but diffiicult to do. What if I decided to do it here in Flayosc, suddenly? It\u0026rsquo;s very difficult to do. I\u0026rsquo;ve thought of other things for it\u0026hellip; But I have time. It\u0026rsquo;s not urgent.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14188,"title":"Research in Child Language","dimensions":"","date_begin":"1973-01-01","material":"object, ink, paper, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Robert Filliou Estate, Paris","cached_tag_list":"object box","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"research-in-child-language","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/786/large/2016_Filliou_4_4.jpg?1476368805","poster_credits":"(c)image: M HKA, Courtesy Robert Filliou Estate, Paris","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14267,"title":"L'Immortelle mort du monde","dimensions":"72.5 x 55.8 cm","date_begin":"1960-01-01","material":"print on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/p\u003e\u003cp\u003eRF: Everything happens and everything happens at the same time. We think everything at the same time. That’s the Deathless Dying\u0026nbsp;of the World. Western thinking. We accept that we should only think of one thing at the time. The idea\u0026nbsp;is that when, for example, I’m in Venice (I’ve never been in Venice), then at the same time I think it’s pretty, it’s shit, I don’t care. Why? When? What does it have to do with me? I’ll go back next year. It’s a pity I’m not with some pretty Italian girl. I think about everything at the same time. That’s the Deathless Dying\u0026nbsp;of the World.\u003c/p\u003e\u003cp\u003e[...]\u003c/p\u003e\u003cp\u003eRF: Daniel [Spoerri] told me about a theatre play that would be changing. He had developed the concept with Claus Bremer. That interested me very much. I wrote The Deathless Dying\u0026nbsp;of the World, a play that changes all the time. Right until the end of the world, there will always be difference. As soon as I had written it [in 1960] I decided to present it in the form of a poster with the whole text. It’s a very important date, because it was the first visual thing I did. And afterwards I developed in the direction you know.\u003cbr\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;My encounter with Daniel was very important. He always was, and still is, a very good friend, but he’s also a great catalyst. It was he who introduced me to practically all the people who became my best friends: Dieter Roth, Emmett Williams, in particular. But also people I like but, with whom I’m less close, like Tinguely. Seeing his first exhibition in 1960 was a revelation. Or Soto, Burri, etc.\u0026nbsp;He took me everywhere. I always think about Daniel with a lot of pleasure. This was really a key encounter for me.\u003c/p\u003e","date_end":"1967-01-01","reference":"","stream_count_app":37,"permalink":"l-immortelle-mort-du-monde","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/999/medium_500/2026__Doorgaan_CP_F028.jpeg?1781271147","cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/999/large/2026__Doorgaan_CP_F028.jpeg?1781271147","poster_credits":"© Estate of Robert Filliou \u0026 Peter Freeman Inc., Paris/New York — image: M HKA, 2026","translations":[{"locale":"en","description":"\u003cblockquote\u003e\u003cp\u003e‘Everything happens and everything happens at the same time. We think everything at the same time. That’s the Deathless Dying of the World. Western thinking. We accept that we should only think of one thing at the time. The idea is that when, for example, I’m in Venice (I’ve never been in Venice), then at the same time I think it’s pretty, it’s shit, I don’t care. Why? When? What does it have to do with me? I’ll go back next year. It’s a pity I’m not with some pretty Italian girl. I think about everything at the same time. That’s the Deathless Dying of the World. I wrote The Deathless Dying of the World, a play that changes all the time. Right until the end of the world, there will always be difference. As soon as I had written it [in 1960] I decided to present it in the form of a poster with the whole text. It’s a very important date, because it was the first visual thing I did. And afterwards I developed in the direction you know.’\u003cbr\u003e- Robert Filliou\u003c/p\u003e\u003c/blockquote\u003e"},{"locale":"nl","description":"\u003cblockquote\u003e\u003cp\u003e‘Alles gebeurt en alles gebeurt tegelijk. We denken aan alles tegelijk. Dat is het Onsterfelijke sterven van de wereld. Westers denken. We accepteren dat we maar aan één ding tegelijk mogen denken. Het idee is dat wanneer ik bijvoorbeeld in Venetië ben (ik ben nog nooit in Venetië geweest), ik tegelijkertijd denk: het is mooi, het is waardeloos, het kan me niet schelen. Waarom? Wanneer? Wat heeft het met mij te maken? Ik ga volgend jaar terug. Jammer dat ik niet met een of ander mooi Italiaans meisje ben. Ik denk aan alles tegelijk. Dat is het Onsterfelijke Sterven van de Wereld. Ik schreef 'Het onsterfelijke sterven van de wereld', een toneelstuk dat voortdurend verandert. Tot het einde der tijden zal er altijd verschil zijn. Zodra ik het had geschreven [in 1960] besloot ik het te presenteren in de vorm van een poster met de volledige tekst. Het is een heel belangrijke datum, want het was het eerste visuele werk dat ik maakte. En daarna ontwikkelde ik me in de richting die je kent.’\u003cbr\u003e- Robert Filliou\u003c/p\u003e\u003c/blockquote\u003e"},{"locale":"fr","description":"\u003cblockquote\u003e\u003cp\u003e« Tout arrive et tout se passe en même temps. Nous pensons tout en même temps. C’est “l’Immortelle mort du monde”. La pensée occidentale. Nous acceptons que nous ne devrions penser qu’à une seule chose à la fois. L’idée est que lorsque je suis à Venise, par exemple (je ne suis jamais allé à Venise), je trouve ça en même temps joli, merdique, et sans intérêt. Pourquoi ? Quand ? Qu’est-ce que ça a à voir avec moi ? J’y retournerai l’année prochaine. Dommage que je ne sois pas avec l’une ou l’autre jolie Italienne. Je pense à tout en même temps. C’est ça, “L’Immortelle mort du monde”. J’ai écrit L’Immortelle mort du monde, une pièce qui change tout le temps. Jusqu’à la fin du monde, il y aura toujours de la différence. Dès que je l’ai écrite [en 1960], j’ai décidé de la présenter sous forme d’affiche avec le texte intégral. C’est une date très importante, car c’était la première œuvre visuelle que j’ai réalisée. Et par la suite, j’ai évolué dans la direction que vous connaissez. »\u003cbr\u003e- Robert Filliou\u003c/p\u003e\u003c/blockquote\u003e"}]},{"id":14266,"title":"Everybody Is Perfect. Including Me? How About a Science of Perfectology?","dimensions":"118 x 40 x 35 cm","date_begin":"1977-01-01","material":"notestand, photo, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Foundation Walter \u0026 Maria Schnepel, Baté (Hungary)","cached_tag_list":"photography collage","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"everybody-is-perfect-including-me-how-about-science-of-perfectology","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/302/large/Robert_Filliou__Everybody_is_perfect_including_me_how_about_1977.jpg?1476276284","poster_credits":"Collection Stiftung Maria und Walter Schnepel, Budapest","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14284,"title":"La Joconde est dans les escaliers/ Bin in zehn Minuten Zurück. Mona Lisa","dimensions":"variable dimensions","date_begin":"1969-01-01","material":"installation featuring a bucket, mop, brush and cardboard sign","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA/ Collection Flemish Community","cached_tag_list":"multiple","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK009136","stream_count_app":20,"permalink":"la-joconde-est-dans-les-escaliers","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/599/medium_500/2016_Filliou_4_2.jpg?1476366355","cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/599/large/2016_Filliou_4_2.jpg?1476366355","poster_credits":"© Estate of Robert Filliou \u0026 Peter Freeman Inc., Paris/New York — image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe work of playwright, poet, artist and thinker Robert Filliou is radical and provocative, yet at the same time subtle and playful. \u003ci\u003eLa Joconde est dans les escaliers/ Bin in zehn Minuten Zurück. Mona Lisa\u003c/i\u003e seeks to debunk the myth surrounding the world’s most famous work of art. It forms part of Filliou’s relentless quest to bring art and life closer together.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHet werk van toneelschrijver, dichter, kunstenaar en denker Robert Filliou is radicaal en provocerend, maar tegelijk subtiel en speels. \u003ci\u003eLa Joconde est dans les escaliers/ Bin in zehn Minuten Zurück. Mona Lisa\u003c/i\u003e probeert de mythe rond het bekendste kunstwerk ter wereld te doorprikken. Het past binnen de niet aflatende zoektocht van Filliou om kunst en leven dichter bij elkaar te brengen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL'œuvre de Robert Filliou, dramaturge, poète, artiste et penseur, est à la fois radicale et provocante, mais aussi subtile et ludique. \u003ci\u003eLa Joconde est dans les escaliers/ Bin in zehn Minuten Zurück. Mona Lisa\u003c/i\u003e tente de démystifier le mythe qui entoure l'œuvre d'art la plus célèbre au monde. Elle s'inscrit dans la quête incessante de Filliou visant à rapprocher l'art et la vie.\u003c/p\u003e"}]},{"id":14280,"title":"That Spiritual Need","dimensions":"55.5 x 68.5 x 7 cm","date_begin":"1972-01-01","material":"wood, nails, screws, b/w photograph, tabor, bank card, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Richard Saltoun Gallery, London","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"that-spiritual-need","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/596/large/Robert-Filliou-That-Spiritual-Need-1972.jpg?1468856849","poster_credits":"(c)image: Courtesy Richard Saltoun Gallery, London. Photo FXP Photography - Estate of Robert Filliou \u0026 Peter Freeman Inc., New York/Paris ","translations":[{"locale":"en","description":"\u003cp\u003eWith the years Filliou became more attracted to meditation, Taoism and Buddhism. At the same time, he addresses the themes of violence and innocence, war and peace.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eDo you have a definition for \u003cem\u003eThat Spiritual Need\u003c/em\u003e, maybe?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e It\u0026rsquo;s quite simple. These are works to be used in a bodily way. For example a thing you shake or hold in front of yourself. The goal is to have a spiritual liberation, if you need it. Therefore the title: \u003cem\u003eThat Spiritual Need.\u003c/em\u003e\u0026nbsp;I don\u0026rsquo;t know how many times Mr Azagouri, an architect from Casablanca who acquired this work, will hold this in front of him at arm\u0026rsquo;s length, as Marcelle is doing. That depends on his needs. Maybe after a while it will be enough for him, like it is for me, to leave it in a corner and to know that we can use it when we need it.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e What does it say?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I can\u0026rsquo;t really read it now: \u0026lsquo;Hold at arm\u0026rsquo;s length and concentrate on something.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e And the thing itself is in colour?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Yes, the photo should be in colour. There\u0026rsquo;s maybe some green fabric glued on it. That I think is sticky tape. Something is written on it.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e But could it have been any object? It\u0026rsquo;s not specially conceived\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e No, it couldn\u0026rsquo;t have been just anything: it has the quality you give it as the user. In that sense I agree that whatever object would do the job. But the work is this particular thing, not some other one.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e I suppose there are Zen painters who have painted forms that help\u0026hellip; You also use circles, for example.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eIt\u0026rsquo;s the physical use of an object that responds to a spiritual need. We can imagine it\u0026rsquo;s a cane. That often represents a physical need, and in certain cases it could correspond to a spiritual need. I made only very few of these: two or three maybe. I\u0026rsquo;ve brought out the photos so that you have them, because that helps \u0026lsquo;That Spiritual Need\u0026rsquo;\u0026hellip;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren gaat Filliou zich enerzijds meer en meer richten op meditatie, tao\u0026iuml;sme en boeddhisme en speelt hij anderzijds met de thema\u0026rsquo;s geweld en onschuld, oorlog en vrede.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu fil des ann\u0026eacute;es, Filliou va d\u0026rsquo;une part se consacrer davantage \u0026agrave; la m\u0026eacute;ditation, au tao\u0026iuml;sme et au bouddhisme, et d\u0026rsquo;autre part, jouer avec les th\u0026egrave;mes de la violence et de l\u0026rsquo;innocence.\u003c/p\u003e\r\n"}]},{"id":14272,"title":"Research in Dynamics and Comperlative Statistics","dimensions":"32 x 49.6 x 12.6 cm","date_begin":"1972-01-01","material":"wood, ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Foundation Walter \u0026 Maria Schnepel, Baté (Hungary)","cached_tag_list":"multiple","publishing_process_id":1,"annotation":"","date_end":"1973-01-01","reference":"","stream_count_app":13,"permalink":"research-in-dynamics-and-comperlative-statistics","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/206/large/2016_Filliou_4_8.jpg?1476369252","poster_credits":"(c)image: M HKA, Courtesy Stiftung Maria und Walter Schnepel, Budapest","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Can you explain the term \u0026lsquo;\u003cstrong\u003eResearch in Dynamics and Comparative Statics\u003c/strong\u003e\u0026rsquo;?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e It\u0026rsquo;s explained in the Suitcase. I had the intention to use the money to do the \u003cem\u003eDing-Dong Territory of the Genius Republic\u003c/em\u003e. Very generously, you agreed to it. But it hasn\u0026rsquo;t worked well, I must say. That\u0026rsquo;s the dynamic side, no? That something created in the past is published now. And the Comparative Statics? It\u0026rsquo;s still static, but it would have been different to see in 1960 or 1963, for example, rather than publishing it ten years later. And it\u0026rsquo;s used with a dynamic goal.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I use scientific terms in my own way. You have statics, comparative statics and dynamics. Everyone can understand a little bit what it is. If you have an immobile object, you can study it from a static point of view. If it starts to stir, you can see where it went and compare that to where it came from, and that\u0026rsquo;s comparative statics. The actual movement between the two points, that\u0026rsquo;s the dynamic. We do this very often when we speak about human beings: we immobilise them. It becomes comparative statics. Quite often, we become impatient. We say: \u0026lsquo;We can\u0026rsquo;t do this. The world is dynamic.\u0026rsquo; While we\u0026rsquo;re talking, for instance, the relations between men and women are changing. I don\u0026rsquo;t know how many people are being born this very second. And others, who have lived in the old system, have disappeared or will be put on the bench, because they don\u0026rsquo;t count anymore.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14271,"title":"The Frozen Exhibition","dimensions":"20.5 x 31.5 x 0.5 cm","date_begin":"1972-01-01","material":"felt stamped on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Foundation Walter \u0026 Maria Schnepel, Baté (Hungary)","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"the-frozen-exhibition","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/588/large/Frozen-Exhibition-1972.jpg?1468854336","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u0026lsquo;\u003c/strong\u003eFrozen Exhibition\u0026rsquo;\u003cem\u003e?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eDidn\u0026rsquo;t we put \u0026lsquo;See \u003ca href=\"http://ensembles.org/items/galerie-legitime-866afcc4-f4be-4416-9917-350c8d2043cc?locale=nl\"\u003e\u003cem\u003eGalerie L\u003c/em\u003e\u003cem\u003e\u0026eacute;\u003c/em\u003e\u003cem\u003egitime\u003c/em\u003e\u003c/a\u003e\u0026rsquo;?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eYes.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Yes, because then you come there immediately. For \u003ca href=\"http://ensembles.org/items/galerie-legitime-866afcc4-f4be-4416-9917-350c8d2043cc?locale=nl\"\u003e\u003cem\u003eGalerie L\u003c/em\u003e\u003cem\u003e\u0026eacute;\u003c/em\u003e\u003cem\u003egitime\u003c/em\u003e\u003c/a\u003e everything is basically documented in the hat of the \u003cem\u003eFrozen Exhibition\u003c/em\u003e, because I\u0026rsquo;ve summarised it all there. You have the hat, no? What do you have as text here?\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u003cem\u003eVitesse de l\u0026rsquo;art\u003c/em\u003e (\u0026lsquo;The Speed of Art\u0026rsquo;). This is something new I\u0026rsquo;m working on, but I think the hat [\u003cem\u003eFrozen Exhibition\u003c/em\u003e] will help you summarise it. It\u0026rsquo;s research that has been going on for more or less ten years. It\u0026rsquo;s part of a long series, which will pursue me until I break my pencil: \u003ca href=\"http://ensembles.org/items/recherche-sur-l-origine?locale=nl\"\u003e\u003cem\u003eResearch on the Origin\u003c/em\u003e\u003c/a\u003e, \u003cem\u003eResearch on Pre-Biology\u003c/em\u003e, and now \u003cem\u003eResearch on the Speed of Art\u003c/em\u003e. I need to work with a mathematician. This time I\u0026rsquo;ll try to do that. I\u0026rsquo;ve made the general and intuitive proposition that art is a function of life + fiction, and that fiction tends towards zero. If there\u0026rsquo;s no fiction at all, art is life. In that case, it should be completely anonymous, so that we don\u0026rsquo;t speak about it. This fits with our conversation where I said: \u0026lsquo;If it\u0026rsquo;s true that everything is art, then we shouldn\u0026rsquo;t say so.\u0026rsquo; From the moment you say it, you make a distinction between art and life.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14269,"title":"Je disais à Marianne","dimensions":"28.2 x 28.2 x 3.8 cm","date_begin":"1965-01-01","material":"postcards","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Stiftung Maria und Walter Schnepel, Budapest","cached_tag_list":"Je disais à Marianne Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"je-disais-a-marianne","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/586/large/medium.jpg?1468853756","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eAnd \u003cem\u003eJe disais \u0026agrave; Marianne \u003c/em\u003e(\u003cem\u003eI Was Telling Marianne\u003c/em\u003e)?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eNo, I don\u0026rsquo;t consider it\u0026hellip; Or, yes, it\u0026rsquo;s also a game! Under \u0026lsquo;J\u0026rsquo;, in any case. It\u0026rsquo;s good to have something under \u0026lsquo;J\u0026rsquo;. Also because it will be published now in the form of a game, by a friend here. Instead of having a text on the back, there will be nothing. Just a few cards illustrating how to use it. That could be the cover of the game. There could be, let\u0026rsquo;s say, sixteen cards that show the title. And the game itself could be called \u003cem\u003eJe disais \u003c/em\u003e\u003cem\u003e\u0026agrave;\u003c/em\u003e [I Said to\u0026hellip;] and then you put the name you want. There are the drawings and you interpret them as you like.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14268,"title":"Four-Dimensional Space-Time Continuum","dimensions":"30.6 x 20.5 cm","date_begin":"1962-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Stiftung Maria und Walter Schnepel, Budapest","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"four-dimensional-space-time-continuum","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/584/large/0463e.jpg?1468837539","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eCurated by the artist for review \u0026quot;KWY\u0026quot; No. 10, No.\u0026nbsp;\u003ca href=\"http://www.fondazionebonotto.org/fluxus/collective/periodical/fxc0352.html?from=645\"\u003eFXC0352\u003c/a\u003e\u003cbr /\u003e\r\nNumbered 300 copies and signed\u0026nbsp;\u003cbr /\u003e\r\nTwo sheets:\u0026nbsp;\u003cbr /\u003e\r\n- Poem\u0026nbsp;\u003cbr /\u003e\r\n- One page with 8 cut and shaped sheets of newspaper\u0026nbsp;\u003cbr /\u003e\r\n30.5 x 41 cm.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14281,"title":"The Paper Brain for 103 Days","dimensions":"46 x 66.5 x 7.5 cm","date_begin":"1972-01-01","material":"cardboard box, b/w photograph, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Richard Saltoun Gallery, London","cached_tag_list":"collage box object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"the-paper-brain-for-103-days","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/597/large/paper_brain.jpg?1468857070","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIL: In the Stedelijk thing there was also a connection to the Third Eye.\u003c/p\u003e\r\n\r\n\u003cp\u003eRF: Yes, my God, I was about to forget! Ah no, that\u0026rsquo;s \u0026lsquo;The Paper Brain\u0026rsquo;. That\u0026rsquo;s something else\u003c/p\u003e\r\n\r\n\u003cp\u003eIL: You also had a panel there with something about the Third Eye\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003eRF: It was probably on the thing with the stamp of the Principle of Equivalence. I\u0026rsquo;ll find it again, because when we get top \u0026lsquo;Research\u0026rsquo;, which is very soon, I\u0026rsquo;ll bring out the catalogue for \u0026lsquo;Research at the Stedelijk\u0026rsquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14283,"title":"Grace à Fourier","dimensions":"34 x 55 x 5.5 cm","date_begin":"1974-01-01","material":"cardboard box, b/w photograph, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Richard Saltoun Gallery, London","cached_tag_list":"collage box object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"grace-a-fourier","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/598/large/1456159148_ROF026.jpg?1468857351","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eRobert Filliou may be regarded as an activist who wants to substitute a poetical economy for the political economy, but also as an entrepreneur (who hardly made any money), a pedagogue (in theory and practice) and a mystic (whose last project was to be a three years, three months and three days long meditation retreat in a Buddhist monastery in Dordogne).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Through my experience of art, rather early in the 1960s (no later than in 1963), I began to talk about the Principles of Poetical Economy. I developed this little by little, remembering that all economic theories, like Marx\u0026rsquo;s, start with developing a new theory of value. I told myself I should do for our times what Marx had done for his. That was \u0026lsquo;tongue-in-cheek\u0026rsquo;. And above all, Fourier had done it already. Therefore the small publications that I\u0026#39;m preparing right now \u0026ndash; \u003ca href=\"http://ensembles.org/items/principles-of-poetical-economy?locale=nl\"\u003e\u003cem\u003ePrincipes d\u0026rsquo;\u0026eacute;conomie po\u0026eacute;tique \u003c/em\u003e(\u003cem\u003ePrinciples of Poetical Economy\u003c/em\u003e)\u003c/a\u003e, \u003cem\u003eDessins sans voir \u0026ndash; Desseins sans savoir \u003c/em\u003e(\u003cem\u003eDrawings without Seeing: Designs without Knowing\u003c/em\u003e) \u0026ndash; are all dedicated to Fourier. \u003cem\u003eGr\u0026acirc;ce \u0026agrave; Fourier\u003c/em\u003e (\u003cem\u003eThanks to Fourier\u003c/em\u003e), that\u0026rsquo;s the first page. I moved from the poetical economy to researching a new theory of value and practice. These are theoretical points of view that I don\u0026rsquo;t even know how to apply myself.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRobert Filliou kan gezien worden als een activist die de politieke economie wil vervangen door een po\u0026euml;tische economie, maar evengoed als een ondernemer (die nauwelijks geld verdient), een pedagoog (in theorie en in praktijk) of een mysticus (die als laatste project drie jaren, drie maanden en drie dagen wil mediteren in een boeddhistisch klooster in de Dordogne).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eOn peut\u0026nbsp;consid\u0026eacute;rer Robert Filliou comme un militant qui veut remplacer l\u0026rsquo;\u0026eacute;conomie politique par une \u0026eacute;conomie po\u0026eacute;tique, mais tout autant comme un entrepreneur (qui gagne \u0026agrave; peine de l\u0026rsquo;argent), un p\u0026eacute;dagogue (de la th\u0026eacute;orie et de la pratique) ou un mystique (dont le dernier projet a consist\u0026eacute; \u0026agrave; vouloir se retirer trois ans, trois mois et trois jours dans un temple bouddhiste en Dordogne pour y m\u0026eacute;diter).\u003c/p\u003e\r\n"}]},{"id":14538,"title":"Portrait pas fait : Joseph Beuys","dimensions":"55 × 38 × 2 cm","date_begin":"1972-01-01","material":"Ink, pencil and felt pen on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Galerie Emmanuel Hervé, Paris","cached_tag_list":"Portrait pas fait : Joseph Beuys","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"portrait-pas-fait-joseph-beuys","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/204/large/2016_Filliou_2__13.jpg?1476359020","poster_credits":"(c)image: M HKA, Courtesy Galerie Emmanuel Hervé, Paris","translations":[{"locale":"en","description":"\u003cp\u003eThe Principle of Equivalence, Filliou\u0026rsquo;s very own trinity, is a full frontal attack on the fundaments of Western culture: value and judgment. From an artistic and philosophical point of view, \u0026lsquo;well made\u0026rsquo; may be seen as the canonical ideal of imitating nature and \u0026lsquo;badly made\u0026rsquo; as a space for research and experimentation, while \u0026lsquo;not made\u0026rsquo; is concept, axiom or principle.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of\u0026nbsp;the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e \u0026lsquo;N\u0026rsquo;: \u0026lsquo;Not-Made Portraits.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Do you want us to put some photos? I have them. No text, since we\u0026rsquo;ve already explained \u0026lsquo;\u003ca href=\"http://ensembles.org/items/principe-d-equivalence?locale=nl\"\u003ePrinciple of Equivalence\u003c/a\u003e\u0026rsquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet Principe van equivalentie, een bekende Drievuldigheid van Filliou, vormt een rechtstreekse aanval op het (waarde)oordeel als fundament van de Westerse cultuur. Vanuit artistiek en filosofisch oogpunt kan \u0026lsquo;goed gemaakt\u0026rsquo; worden gezien als het ideaal model volgens het canon van de natuur; \u0026lsquo;slecht gemaakt\u0026rsquo; als ruimte voor studie en experiment en \u0026lsquo;niet gemaakt\u0026rsquo; als concept, axioma of principe.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe Principe d\u0026rsquo;\u0026eacute;quivalence, la c\u0026eacute;l\u0026egrave;bre Trinit\u0026eacute; de Filliou, constitue une attaque directe du jugement (de valeur) comme fondement de la culture occidentale. D\u0026rsquo;un point de vue artistique et philosophique, \u0026laquo;\u0026nbsp;bien fait\u0026nbsp;\u0026raquo; peut \u0026ecirc;tre consid\u0026eacute;r\u0026eacute; comme le mod\u0026egrave;le id\u0026eacute;al suivant le canon de la nature\u0026nbsp;; \u0026laquo;\u0026nbsp;mal fait\u0026nbsp;\u0026raquo; comme un espace d\u0026rsquo;\u0026eacute;tude et d\u0026rsquo;exp\u0026eacute;rimentation et \u0026laquo;\u0026nbsp;pas fait\u0026nbsp;\u0026raquo; comme un concept, un axiome ou un principe.\u003c/p\u003e\r\n"}]},{"id":14508,"title":"Fluxdust","dimensions":"12 × 9.4 × 1 cm","date_begin":"1966-01-01","material":"Plastic box with dust ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Fluxdust Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"fluxdust","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/306/large/Filliou_2_2_PhotoMHKAcc.jpg?1476276828","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eFilliou is often associated with Fluxus but never \u0026lsquo;belonged\u0026rsquo; to this or any other movement or group, although he worked closely with friends such as the artists Daniel Spoerri and Dieter Roth, the composer and artist George Brecht, the poet Emmett Williams or the architect and artist Joachim Pfeufer.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou wordt vaak geassocieerd met Fluxus, maar \u0026#39;behoorde\u0026#39; nooit tot deze of enige andere beweging of groep, hoewel hij nauw samenwerkte met vrienden zoals kunstenaars Daniel Spoerri en Dieter Roth, componist en kunstenaar George Brecht, dichter Emmett Williams of architect en kunstenaar Joachim Pfeufer.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou est souvent associ\u0026eacute; au mouvement Fluxus, mais n\u0026rsquo;en a jamais fait partie, ni d\u0026rsquo;aucun autre groupe ou courant, bien qu\u0026rsquo;il ait travaill\u0026eacute; en \u0026eacute;troite collaboration avec des amis comme les artistes Daniel Spoerri et Dieter Roth, le compositeur et artiste George Brecht, le po\u0026egrave;te Emmett Williams ou l\u0026rsquo;architecte et artiste Joachim Pfeufer.\u003c/p\u003e\r\n"}]},{"id":14542,"title":"Telepathische Musik Nr. 2 ","dimensions":"30.3 × 21.5 cm","date_begin":"1973-01-01","material":"print on paper, on rusty music stand","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Telepatische Musik Nr. 2","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"telepatische-musik-nr-2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/209/large/2016_Filliou_3_8.jpg?1476364697","poster_credits":"(c)image: M HKA, Courtesy Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of\u0026nbsp;the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u0026lsquo;Telepathic Music.\u0026rsquo; I have all the texts. The first one, \u003cem\u003eTelepathic Music No.1\u003c/em\u003e, I sent to friends in Canada, but \u003cem\u003eTelepathic Music No.2\u003c/em\u003e is the same. It\u0026rsquo;s part of \u003cem\u003eResearch on the Eternal Network\u003c/em\u003e. We have the text, in German and English, from 1973. Someone translated it. It was on music stands, 50 music stands in a garden, so you could read from both sides. It was already bilingual.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Is this a work or a performance?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e It\u0026rsquo;s a work. It\u0026rsquo;s in the framework of \u003cem\u003eResearch on the Eternal Network\u003c/em\u003e, which we already spoke about. It\u0026rsquo;s the thing from ADA in Berlin [in 1973]. There I did \u003cem\u003eTelepathic Music No.2\u003c/em\u003e, dedicated to my Canadian friends. And I should say that Charlotte Moorman also did it for her festival, in 1975. She rented a whole sports field. You know they have electronic displays for the scores. She asked me for a text, and I sent her this, in English: \u0026lsquo;Concentrating silently, sending waves of greeting, whether luck, men luck, women luck, to any or all the members of the Eternal Network.\u0026rsquo; And it happened. People who saw it have told me it was very, very good. It was a big thing. Suddenly letters appeared in light. There were probably thousands of people, and this was on the signboards.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14554,"title":"Futile Box","dimensions":"8 × 7.6 × 7.6 cm","date_begin":"1977-01-01","material":"Wooden box, rubber ball","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Futile Box","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"futile-box","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/281/large/60_a._Futile_Box__1977.jpg?1476266636","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of\u0026nbsp;the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e There\u0026rsquo;s also \u003cem\u003eFutile Box\u003c/em\u003e, which is lost. It\u0026rsquo;s in the Cedilla thing. A box that you open, and there\u0026rsquo;s a ball inside. When you close the box the ball falls. I gave it to Hans Mayer in D\u0026uuml;sseldorf to make multiples of it. He lost it. That was years ago already. Every time someone proposes an edition, I should tell him: \u0026lsquo;Why don\u0026rsquo;t you do it?\u0026rsquo; I\u0026rsquo;ve designed them, but they\u0026rsquo;ve never been produced. There are all kinds of games, all are described in \u003ca href=\"http://ensembles.org/items/teaching-and-learning-as-performing-arts-lehren-und-lernen-als-aufdrfuhrungkunste?locale=nl\"\u003e\u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e\u003c/a\u003e. We don\u0026rsquo;t necessarily have to repeat that.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14502,"title":"Poï Poï Bottles","dimensions":"28.5 × 27.5 × 10.5 cm","date_begin":"1961-01-01","material":"wooden case, two beer bottles labelled ‘Poï Poï’ in positive and negative, ruler, roll of paper, elastic bands","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1970-01-01","reference":"","stream_count_app":21,"permalink":"poi-poi-bottles","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/149/large/Filliou_1_1_PhotoMHKAcc.jpg?1475843778","poster_credits":"(c)image: M HKA, Courtesy Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003eThe force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the Po\u0026iuml;po\u0026iuml;drome and the Smiling Cedilla. As an alternative to the notion of the avant-garde, he proposes the Eternal Network, also known as \u0026lsquo;La f\u0026ecirc;te permanente\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Yes. We already have the text of the first invitation for the K\u0026oslash;pcke exhibition. I\u0026rsquo;ll give you this catalogue, and one day when I visit you I might give you a small \u003cem\u003eMeasurement\u003c/em\u003e\u0026hellip; We only put this text: \u0026lsquo;A Note on Mummification\u0026rsquo;. It\u0026rsquo;s from my first catalogue, June 1961 at Galerie K\u0026oslash;pcke.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Just to recapitulate: \u003ca href=\"http://ensembles.org/actors/daniel-spoerri?locale=en\"\u003eDaniel [Spoerri]\u003c/a\u003e introduced me to K\u0026oslash;pcke. Addi gave me my first exhibition, as he did for many people \u0026ndash; also for himself, because he\u0026rsquo;s an important artist. He helped me a lot; it was he who came up with this concept for the catalogue. He used it often for catalogues. It\u0026rsquo;s really hand-made. He also made the design for the \u003cstrong\u003ePo\u0026iuml;po\u0026iuml; beer bottle\u003c/strong\u003e. Ha also used it for his own catalogues.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Many things happened in Addi\u0026rsquo;s gallery. I believe Dieter Roth had his first exhibition there. \u003ca href=\"http://ensembles.org/actors/emmett-williams?locale=en\"\u003eEmmett Williams\u003c/a\u003e. Maybe \u003ca href=\"http://ensembles.org/actors/piero-manzoni?locale=en\"\u003eManzoni\u003c/a\u003e. We have to ask him. Me certainly. Spoerri had one of his very first exhibitions, where he transformed Galerie K\u0026oslash;pcke into a grocery shop with all these things saying \u0026lsquo;Attention, work of art\u0026rsquo;. Nikki de Saint-Phalle and \u003ca href=\"http://ensembles.org/actors/jean-tinguely?locale=en\"\u003eTinguely\u003c/a\u003e fired canons in there. There were a lot of activities and Addi also exhibited himself, of course.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; It was with Addi K\u0026oslash;pcke that I performed what I gave a French title \u003cem\u003eLe P\u0026egrave;re Lachaise n\u0026deg; 1. \u003c/em\u003eEmptying the Po\u0026iuml;po\u0026iuml; suitcase, with Addi as my partner. \u003cem\u003eThe 53 kg Poem\u003c/em\u003e. In the original title there was \u0026lsquo;Lille Kirkestr\u0026aelig;de 1\u0026rsquo;. That was the address of the gallery. Now Addi\u0026rsquo;s role is recognised in Scandinavia, but is wasn\u0026rsquo;t easy for him\u0026hellip; And then maybe we\u0026rsquo;ll find photos.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de Po\u0026iuml;po\u0026iuml;drome en La C\u0026eacute;dille qui Sourit, en stelt voor de historische avant-garde te vervangen door het Eternal Network, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme Po\u0026iuml;po\u0026iuml;drome et La C\u0026eacute;dille qui Sourit, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;Eternal Network, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"}]},{"id":14528,"title":"COMMEMOR","dimensions":"83.7 × 59.8 cm","date_begin":"1970-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"COMMEMOR","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"commemor-212d6995-ac3d-4281-b23f-e0e7500433c7","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/237/large/19._COMMEMOR_poster__Aachen_1970.jpg?1476262590","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eWith the years Filliou became more attracted to meditation, Taoism and Buddhism. At the same time, he addresses the themes of violence and innocence, war and peace.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren gaat Filliou zich enerzijds meer en meer richten op meditatie, tao\u0026iuml;sme en boeddhisme en speelt hij anderzijds met de thema\u0026rsquo;s geweld en onschuld, oorlog en vrede.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu fil des ann\u0026eacute;es, Filliou va d\u0026rsquo;une part se consacrer davantage \u0026agrave; la m\u0026eacute;ditation, au tao\u0026iuml;sme et au bouddhisme, et d\u0026rsquo;autre part, jouer avec les th\u0026egrave;mes de la violence et de l\u0026rsquo;innocence.\u003c/p\u003e\r\n"}]},{"id":14526,"title":"Spontaneity Is Fed by Non-Competence","dimensions":"55.7 × 57.3 cm","date_begin":"1969-01-01","material":"wooden panel, pain boxes, letters","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Spontaneity Is Fed by Non-Competence","publishing_process_id":1,"annotation":"","date_end":"1970-01-01","reference":"","stream_count_app":9,"permalink":"spontaneity-is-fed-by-non-competence","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/263/large/Spontaneity_Is_Fed_by_Non-Competence__1969-1970.jpg?1476257135","poster_credits":"(c)image: M HKA, Courtesy Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14509,"title":"8 Measurement Poems","dimensions":"191 × 7.5 × 3.5 cm; 180.5 × 5 × 8 cm; 182 × 6 × 3 cm; 181 × 4.5 × 3.5 cm; 175 × 4.5 × 4.5 cm; 92 × 4.5 × 8 cm; 77.5 × 6 × 5.5 cm; 79.5 × 5 × 6.5 cm","date_begin":"1966-01-01","material":"8 wooden sticks of different length with various objects","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Brussels","cached_tag_list":"8 Measurement Poems Robert Filliou Emmett Williams","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"8-measurement-poems","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/176/large/2016_Filliou_4_12.jpg?1476367378","poster_credits":"(c)image: M HKA, Courtesy Private Collection, Brussels.","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSome of the objects are due to mere measurement. I thought of measuring things according to the criterion of the moment. For example, my height is of sixty-odd tomatoes, and I am 111,225 Copenhagen\u0026ndash;Paris train trips old. The metric system itself, of course, can contribute to this identification.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14511,"title":"A Filliou Sampler","dimensions":"21 x 14 cm","date_begin":"1967-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection, Brussels","cached_tag_list":"A Filliou Sampler Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"a-filliou-sampler","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/183/large/Filliou_sampler.jpg?1475845605","poster_credits":"Courtesy Private Collection, Brussels","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14513,"title":"Fluxhair","dimensions":"12 × 9.3 × 1 cm","date_begin":"1967-01-01","material":"Plastic box with human hair","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Fluxhair Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"fluxhair","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/212/large/fluxhair.jpg?1476170720","poster_credits":"Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003eFilliou is often associated with Fluxus but never \u0026lsquo;belonged\u0026rsquo; to this or any other movement or group, although he worked closely with friends such as the artists Daniel Spoerri and Dieter Roth, the composer and artist George Brecht, the poet Emmett Williams or the architect and artist Joachim Pfeufer.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou wordt vaak geassocieerd met Fluxus, maar \u0026#39;behoorde\u0026#39; nooit tot deze of enige andere beweging of groep, hoewel hij nauw samenwerkte met vrienden zoals kunstenaars Daniel Spoerri en Dieter Roth, componist en kunstenaar George Brecht, dichter Emmett Williams of architect en kunstenaar Joachim Pfeufer.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou est souvent associ\u0026eacute; au mouvement Fluxus, mais n\u0026rsquo;en a jamais fait partie, ni d\u0026rsquo;aucun autre groupe ou courant, bien qu\u0026rsquo;il ait travaill\u0026eacute; en \u0026eacute;troite collaboration avec des amis comme les artistes Daniel Spoerri et Dieter Roth, le compositeur et artiste George Brecht, le po\u0026egrave;te Emmett Williams ou l\u0026rsquo;architecte et artiste Joachim Pfeufer.\u003c/p\u003e\r\n"}]},{"id":14503,"title":"3 × 13","dimensions":"14.9 × 10.9 × 2.4 cm","date_begin":"1963-01-01","material":"wooden panel, cardboard, plastic numbers","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"3 × 13 Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"3-x-13","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/266/large/3_x_13__1963_colour.jpg?1476260846","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14276,"title":"Leeds","dimensions":"33 x 37 x 6.6 cm","date_begin":"1976-01-01","material":"wood,  playcards","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Foundation Walter \u0026 Maria Schnepel, Baté (Hungary)","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"leeds","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/590/large/Leeds.jpg?1468855576","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u0026lsquo;Games.\u0026rsquo; I\u0026rsquo;ve conceived many games. I already talk about that in \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. I\u0026rsquo;ve already found tens of games to illustrate the Bible, for instance, which Joe Pfeufer\u0026rsquo;s father asked me to do. The latest one to be published is \u003cem\u003eLeeds\u003c/em\u003e. Maybe, because there\u0026rsquo;s so much stuff, we could make a reference to \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e, \u0026lsquo;Doing It Ourselves\u0026rsquo;, and then maybe, under \u0026lsquo;Games\u0026rsquo;, have a picture of \u003cem\u003eLeeds\u003c/em\u003e or something like that.\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eIf they were published. Maybe a few were actually published. I don\u0026rsquo;t remember, really. What\u0026rsquo;s sure is that they were never released for the market they were intended for: children. Children have never been able to use them. Even the \u003cem\u003eLeeds\u003c/em\u003e game was released in just 100 copies. Most of them remained unique titles and some have been lost.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14505,"title":"Ample Food for Stupid Thought","dimensions":"12.8 × 17.8 cm","date_begin":"1965-01-01","material":"96 postcards in wooden box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Stiftung Maria und Walter Schnepel, Budapest","cached_tag_list":"Ample Food for Stupid Thought Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"ample-food-for-stupid-thought-4b63f0ef-31f7-4291-998a-bbe7dc47f730","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/165/large/Ample_Food_for_Stupid_Thought.jpg?1475842845","poster_credits":"(c)image: M HKA, Courtesy Collection Stiftung Maria und Walter Schnepel, Budapest","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14541,"title":"1.000.010. Geburtstag der Kunst","dimensions":"83.7 × 59.8 cm","date_begin":"1973-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"1.000.010. Geburtstag der Kunst","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"1-000-010-geburtstag-der-kunst","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/195/large/7._1.000.010._Geburtstag_der_Kunst_poster__Aachen_1973.jpg?1475847608","poster_credits":"(c)image: M HKA, Courtesy Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of\u0026nbsp;the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003e\u0026lsquo;When, in 1963, on top of the morning, I improvised the \u003cem\u003eWhispered Art History\u003c/em\u003e, I began: \u0026ldquo;It all started a 17th of January, one million years ago\u0026hellip;\u0026rdquo;\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eI don\u0026rsquo;t think there\u0026rsquo;s any reason to change it. I don\u0026rsquo;t see what you have in mind.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eWell, since we\u0026rsquo;re making a dictionary, we could\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eWe won\u0026rsquo;t begin with that. We begin the dictionary like this: \u0026lsquo;Art\u0026rsquo;s Birthday.\u0026rsquo; We have that straight away, and then this, and then that. We don\u0026rsquo;t put only the letter. We put everything. That\u0026rsquo;s \u0026lsquo;Art\u0026rsquo;s Birthday\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eSo: \u0026lsquo;\u0026ldquo;Art\u0026rsquo;s Birthday\u0026rdquo;, first celebrated time in Aachen in 1973\u0026hellip;\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eSee, here we could have the poster for instance. We write \u0026lsquo;first celebrated\u0026rsquo; because I also want to mention that it was celebrated in many other places. In 1974 in Canada and in 1974\u0026ndash;1976 Robin Crozier celebrated it every year, in Sunderland in England. Each time he sends me documents. I have boxes filled to the brim with the papers he sends me. It was also celebrated in Portugal. But I\u0026rsquo;ll talk about all that some other time. I\u0026rsquo;ll try to find a few photos, but the text is good.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14510,"title":"Exposition intuitive","dimensions":"65 × 92 cm","date_begin":"1966-01-01","material":"10 photographic enlargements of telegrams, on wooden stretchers","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exposition intuitive Robert Filliou","publishing_process_id":1,"annotation":"\u003cp\u003eFilliou neemt een centrale plaats in binnen de collectie van het M HKA. Oorspronkelijk ontwierp Robert Filliou \u003cem\u003eProjets de toilettes\u003c/em\u003e voor een museum in M\u0026uuml;nchengladbach. Omdat het daar echter niet gerealiseerd werd, schonk hij het in 1979 aan de Stichting Gordon Matta-Clark. In 2002 en 2003 kocht het M HKA een honderdtal edities en multiples aan van Filliou. De edities van Robert Filliou bieden vaak een directe toegang tot de denkwereld van de kunstenaar.\u003c/p\u003e\r\n\r\n\u003cp\u003eRobert Filliou heeft heel zijn leven gezocht naar een universeel begrijpbare taal. Met zijn kunst wou hij de wereld verbeteren en maatschappelijk relevant zijn. Bovendien trachtte hij kunst te democratiseren en toegankelijk te maken voor iedereen. Filliou is ongetwijfeld een van de belangrijkste vernieuwers van de conceptuele kunst in de jaren \u0026lsquo;60, \u0026lsquo;70 en \u0026rsquo;80, die niet alleen een enorme invloed uitoefende op zijn tijdgenoten, maar nog steeds als referentie geldt voor kunstenaars van jongere generaties.\u003c/p\u003e\r\n\r\n\u003cp\u003eOmstreeks 1959, na een tijd van verzet tegen de Nazi\u0026rsquo;s , studies in de VS, reizen naar het Oosten, keert Filliou terug naar Frankrijk, om een carri\u0026egrave;re als kunstenaar uit te bouwen. Vrij snel komt Filliou in contact met de \u003cstrong\u003eFluxus-beweging\u003c/strong\u003e,\u0026nbsp; een los georganiseerde groep van kunstenaars die zich door middel van \u0026lsquo;levende kunst\u0026rsquo;, vooral happenings, wilden afzetten tegen de artistieke traditie. Ze dreven de spot met de professionele kunstbeoefening en met de bourgeoismentaliteit. Dit sloot aan bij Fillious opvattingen over kunst. Volgens hem was iedereen een kunstenaar en was het de taak van kunstenaars om dit aan te tonen.\u003c/p\u003e\r\n\r\n\u003cp\u003eZijn fascinatie voor het beeldende aspect van taal leidde tot een visuele po\u0026euml;zie. Met een grote eenvoud visualiseerde hij zijn gedachten, intenties en voorstellen. Hij transformeerde alledaagse objecten en gaf ze een po\u0026euml;tisch karakter. Het po\u0026euml;tische was volgens hem een middel om \u003cstrong\u003ede grens tussen kunst en leven op te heffen\u003c/strong\u003e. Om de kunst te redden van de bourgeoisie die haar enkel als een object beschouwt, gebruikte hij vaak arme materialen zoals touw, spijkers en houten plankjes in slecht uitgevoerde composities\u003c/p\u003e\r\n\r\n\u003cp\u003eDe telegrammen kunnen in twee groepen opgesplitst worden. Een eerste groep heet: \u0026#39;Zonder materialen, bijna\u0026#39;.\u0026nbsp; Het enige gebruikte materiaal is het telegram zelf, uitvergroot en gemonteerd op hout. Het materiaal zijn de zinnen zelf: \u0026#39; de nacht, gezien vanuit de nacht, is dag,\u0026nbsp; \u0026#39;Alles gebeurt en alles gebeurt tegelijkertijd\u0026rsquo;,\u0026nbsp; \u0026lsquo;je bent een voorafspiegeling van jezelf, je weerspiegelt jezelf, je bent een bespiegeling van jezelf\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe tweede groep telegrammen is \u0026#39;Met materialen\u0026#39;, telkens is een object bevestigd aan het telegram: bijvoorbeeld een zaag met een rood handvat. Op alle telegrammen staat de tekst: \u0026#39;ergens, op een of andere manier, is dit een rode vogel\u0026rsquo;, behalve op een, daarop staat een foto van Robert Filliou en de tekst: \u0026#39;Ergens, op een of andere manier, ben ik dit.\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003eBij het maken van \u0026#39;Intu\u0026iuml;tieve Exhibition\u0026#39; (de telegrammen) wilde Filliou voorbij de erfenis van Duchamp gaan, voorbij het inzicht dat elk object, zoals bijvoorbeeld bovengenoemde zaag, op twee verschillende manieren kan gezien worden: als een functioneel voorwerp en als een ready- made. Voor Filliou betekent Duchamps adagio dat de vondst op zich, de uitvinding, de compositie heeft vervangen. Voor Filliou is dit een totaal Westerse kijk op de dingen, en gaat ze voorbij aan de\u0026nbsp; symbolische betekenis die objecten zouden kunnen hebben in een andere maatschappelijke context. Voor Filliou is de compositie, de samenstelling, de intu\u0026iuml;tie veel belangrijker. Filliou wil weg van het autonome kunstwerk ten voordele van een maatschappelijk commentaar.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDe telegrammen worden aangekocht op eigen budget voor 35\u0026nbsp;000 euro en moeten nog gerestaureerd.\u003c/p\u003e\r\n\r\n\u003cp\u003eFilliou neemt een centrale plaats in binnen de collectie van het M HKA. Oorspronkelijk ontwierp Robert Filliou \u003cem\u003eProjets de toilettes\u003c/em\u003e voor een museum in M\u0026uuml;nchengladbach. Omdat het daar echter niet gerealiseerd werd, schonk hij het in 1979 aan de Stichting Gordon Matta-Clark. In 2002 en 2003 kocht het M HKA een honderdtal edities en multiples aan van Filliou. De edities van Robert Filliou bieden vaak een directe toegang tot de denkwereld van de kunstenaar.\u003c/p\u003e\r\n\r\n\u003cp\u003eRobert Filliou heeft heel zijn leven gezocht naar een universeel begrijpbare taal. Met zijn kunst wou hij de wereld verbeteren en maatschappelijk relevant zijn. Bovendien trachtte hij kunst te democratiseren en toegankelijk te maken voor iedereen. Filliou is ongetwijfeld een van de belangrijkste vernieuwers van de conceptuele kunst in de jaren \u0026lsquo;60, \u0026lsquo;70 en \u0026rsquo;80, die niet alleen een enorme invloed uitoefende op zijn tijdgenoten, maar nog steeds als referentie geldt voor kunstenaars van jongere generaties.\u003c/p\u003e\r\n\r\n\u003cp\u003eOmstreeks 1959, na een tijd van verzet tegen de Nazi\u0026rsquo;s , studies in de VS, reizen naar het Oosten, keert Filliou terug naar Frankrijk, om een carri\u0026egrave;re als kunstenaar uit te bouwen. Vrij snel komt Filliou in contact met de \u003cstrong\u003eFluxus-beweging\u003c/strong\u003e,\u0026nbsp; een los georganiseerde groep van kunstenaars die zich door middel van \u0026lsquo;levende kunst\u0026rsquo;, vooral happenings, wilden afzetten tegen de artistieke traditie. Ze dreven de spot met de professionele kunstbeoefening en met de bourgeoismentaliteit. Dit sloot aan bij Fillious opvattingen over kunst. Volgens hem was iedereen een kunstenaar en was het de taak van kunstenaars om dit aan te tonen.\u003c/p\u003e\r\n\r\n\u003cp\u003eZijn fascinatie voor het beeldende aspect van taal leidde tot een visuele po\u0026euml;zie. Met een grote eenvoud visualiseerde hij zijn gedachten, intenties en voorstellen. Hij transformeerde alledaagse objecten en gaf ze een po\u0026euml;tisch karakter. Het po\u0026euml;tische was volgens hem een middel om \u003cstrong\u003ede grens tussen kunst en leven op te heffen\u003c/strong\u003e. Om de kunst te redden van de bourgeoisie die haar enkel als een object beschouwt, gebruikte hij vaak arme materialen zoals touw, spijkers en houten plankjes in slecht uitgevoerde composities\u003c/p\u003e\r\n\r\n\u003cp\u003eDe telegrammen kunnen in twee groepen opgesplitst worden. Een eerste groep heet: \u0026#39;Zonder materialen, bijna\u0026#39;.\u0026nbsp; Het enige gebruikte materiaal is het telegram zelf, uitvergroot en gemonteerd op hout. Het materiaal zijn de zinnen zelf: \u0026#39; de nacht, gezien vanuit de nacht, is dag,\u0026nbsp; \u0026#39;Alles gebeurt en alles gebeurt tegelijkertijd\u0026rsquo;,\u0026nbsp; \u0026lsquo;je bent een voorafspiegeling van jezelf, je weerspiegelt jezelf, je bent een bespiegeling van jezelf\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe tweede groep telegrammen is \u0026#39;Met materialen\u0026#39;, telkens is een object bevestigd aan het telegram: bijvoorbeeld een zaag met een rood handvat. Op alle telegrammen staat de tekst: \u0026#39;ergens, op een of andere manier, is dit een rode vogel\u0026rsquo;, behalve op een, daarop staat een foto van Robert Filliou en de tekst: \u0026#39;Ergens, op een of andere manier, ben ik dit.\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003eBij het maken van \u0026#39;Intu\u0026iuml;tieve Exhibition\u0026#39; (de telegrammen) wilde Filliou voorbij de erfenis van Duchamp gaan, voorbij het inzicht dat elk object, zoals bijvoorbeeld bovengenoemde zaag, op twee verschillende manieren kan gezien worden: als een functioneel voorwerp en als een ready- made. Voor Filliou betekent Duchamps adagio dat de vondst op zich, de uitvinding, de compositie heeft vervangen. Voor Filliou is dit een totaal Westerse kijk op de dingen, en gaat ze voorbij aan de\u0026nbsp; symbolische betekenis die objecten zouden kunnen hebben in een andere maatschappelijke context. Voor Filliou is de compositie, de samenstelling, de intu\u0026iuml;tie veel belangrijker. Filliou wil weg van het autonome kunstwerk ten voordele van een maatschappelijk commentaar.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDe telegrammen worden aangekocht op eigen budget voor 35\u0026nbsp;000 euro en moeten nog gerestaureerd.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":27,"permalink":"exposition-intuitive","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/188/large/2016_Filliou_2__3_.jpg?1476360345","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u0026lsquo;\u003cstrong\u003eIntuitive Exhibition\u003c/strong\u003e.\u0026rsquo; That\u0026rsquo;s the telegrams. In this exhibition, there were the telegrams and the anticipated relics. It was my first exhibition in France, ten years ago, in 1966. I prepared and conceived the \u003cem\u003eTelegrams\u003c/em\u003e when George and I had the Cedilla. We have photos for that. \u003cem\u003eAnticipated Relics\u003c/em\u003e was a projection of slides against the wall.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; In the telegrams there are two parts. The first one is \u0026lsquo;Without Materials, Almost\u0026rsquo;. It means that the only material is the telegram, enlarged and mounted on wood. Just things like: \u0026lsquo;The night, seen from night, is day. \u0026lsquo;Everything happens and everything happens at the same time.\u0026rsquo; \u0026lsquo;You precede yourself, reflect yourself, follow yourself.\u0026rsquo; Things like that. But the second part is \u0026lsquo;With Materials\u0026rsquo;. It means that an object is hanging on the telegram each time: a saw, for example, with a red handle. And each time there\u0026rsquo;s this text: \u0026lsquo;Somewhere, somehow, this is a red bird.\u0026rsquo; I kept the theme of the bird for almost everything, except for the last one, which is a picture of me and says: \u0026lsquo;Somewhere, somehow, this is me.\u0026rsquo;\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; When I was making \u0026lsquo;Intuitive Exhibition\u0026rsquo; I wanted to go beyond the heritage of Duchamp, who taught us once and for all that any object, like the saw I was talking about, may be considered from at least two points of view: by its function or as a ready-made work of art. For me, this is a totally Western view of things. In another continent this saw could already be a symbol of power. It could be a taboo object. If we go into space, we could encounter animals who are exactly like this saw. A red bird, for example. There\u0026rsquo;s that reference. I called it \u0026lsquo;Intuitive Exhibition\u0026rsquo; in the sense that until now, through our great predecessors like Duchamp, invention has replaced composition. Many modern artists are more attached to invention. But I propose \u0026ndash; and practice \u0026ndash; that intuition should replace invention.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14512,"title":"La Cédille qui sourit : offerings inattendus","dimensions":"74 × 33 cm","date_begin":"1967-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"La Cédille qui sourit : offerings inattendus Robert Filliou George Brecht","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"la-cedille-qui-sourit-offerings-inattendus","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/190/large/13._La_C%C3%A9dille_qui_sourit_new_year's_poster_front__1967.jpg?1476262183","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de Po\u0026iuml;po\u0026iuml;drome en La C\u0026eacute;dille qui Sourit, en stelt voor de historische avant-garde te vervangen door het Eternal Network, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de Po\u0026iuml;po\u0026iuml;drome en La C\u0026eacute;dille qui Sourit, en stelt voor de historische avant-garde te vervangen door het Eternal Network, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme Po\u0026iuml;po\u0026iuml;drome et La C\u0026eacute;dille qui Sourit, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;Eternal Network, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"}]},{"id":14544,"title":"Research on the Origin","dimensions":"32 × 10 × 9.3 cm","date_begin":null,"material":"offset print on blue graph paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Stiftung Maria und Walter Schnepel, Budapest","cached_tag_list":"Research on the Origin","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"research-on-the-origin","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/208/large/Filliou__Robert__Recherche_Sur_L'origine__1974__1.jpg?1476113571","poster_credits":"(c)image: Collection Stiftung Maria und Walter Schnepel, Budapest","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eRF:\u003c/b\u003e When the work was shown, we should have taken pictures. I\u0026rsquo;d have liked to make a catalogue, as for \u003ci\u003e\u003ca href=\"http://ensembles.org/items/recherche-sur-l-origine?locale=nl\"\u003eResearch on the Origin\u003c/a\u003e. \u003c/i\u003eSo few people have seen \u003ci\u003eResearch on the Origin\u003c/i\u003e, but since I made the catalogue like this I\u0026rsquo;ve been able to distribute it.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14529,"title":"Dieu","dimensions":"diameter 14.3 cm","date_begin":"1970-01-01","material":"mirror","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Dieu Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"dieu","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/329/large/2016_Filliou_2__12.jpg?1476358928","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14521,"title":"A Ladder (You Can Climb)","dimensions":"235 × 68 cm","date_begin":"1969-01-01","material":"Wooden ladder, paper, plastic, metal plaque","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"A Ladder (You Can Climb)","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"a-ladder-you-can-climb","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/262/large/A_Ladder_%28You_Can_Climb%29__1969.jpg?1476256601","poster_credits":"(c)Image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14516,"title":"Galerie Légitime – Place de l’Étoile; Île de la Cité","dimensions":"60 × 42 cm × 1.5 cm","date_begin":"1968-01-01","material":"Photographs and ink on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Wolfgang Feelisch, Remscheid","cached_tag_list":"Galerie Légitime – Place de l’Étoile; Île de la Cité Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"galerie-legitime-place-de-l-etoile-ile-de-la-cite","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/350/large/Legitime.JPG?1476366969","poster_credits":"(c)image: M HKA, Courtesy Collection Wolfgang Feelisch, Remscheid.","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: Yes, because then you come there immediately. For Galerie L\u0026eacute;gitime everything is basically documented in the hat of the \u003ca href=\"http://ensembles.org/items/the-frozen-exhibition?locale=nl\"\u003eFrozen Exhibition\u003c/a\u003e, because I\u0026rsquo;ve summarised it all there. You have the hat, no? What do you have as text here?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: I wrote an article about it\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: I remember the article. Very good. We should put it all in. Under Galerie L\u0026eacute;gitime, as a kind of quote. Maybe we should put in a little hat. I like your references a lot and it\u0026rsquo;s very well done. We talk about the friends who collaborated. An evening with Eric Andersen, with Niki de Saint-Phalle\u0026hellip; No? I think everything is in. We just need a photo of the hat, or this photo where I\u0026rsquo;m wearing it. Just write on your sheet: \u0026lsquo;more photos\u0026rsquo;. I find the information excellent. I\u0026rsquo;ll re-read it later. I don\u0026rsquo;t read everything now, because we want to move on fast. Since it\u0026rsquo;s your text, you can modify or cut it. Otherwise it\u0026rsquo;s very good. There\u0026rsquo;s nothing else to say about Galerie L\u0026eacute;gitime. I remember you\u0026rsquo;re making a reference to [Daniel Spoerri\u0026rsquo;s book] \u003cem\u003eTopographie anecdot\u0026eacute;e du hasard\u003c/em\u003e, where you find the complete story of how \u003cem\u003eGalerie L\u0026eacute;gitime\u003c/em\u003e was conceived. You should just put a reference to the English edition as well. It was published by Something Else Press. It\u0026rsquo;s an excellent documentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14515,"title":"Galerie Légitime – Place de la Concorde","dimensions":"46 × 37 × 1.5 cm","date_begin":"1968-01-01","material":"Photograph and ink on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Musée d’Art moderne de la Ville de Paris","cached_tag_list":"Galerie Légitime – Place de la Concorde Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"galerie-legitime-place-de-la-concorde","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/351/large/Knipsel5452.JPG?1476367065","poster_credits":"(c)image: M HKA, Courtesy Collection Musée d’Art moderne de la Ville de Paris.","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: Yes, because then you come there immediately. For Galerie L\u0026eacute;gitime everything is basically documented in the hat of the \u003ca href=\"http://ensembles.org/items/the-frozen-exhibition?locale=nl\"\u003eFrozen Exhibition\u003c/a\u003e, because I\u0026rsquo;ve summarised it all there. You have the hat, no? What do you have as text here?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: I wrote an article about it\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: I remember the article. Very good. We should put it all in. Under Galerie L\u0026eacute;gitime, as a kind of quote. Maybe we should put in a little hat. I like your references a lot and it\u0026rsquo;s very well done. We talk about the friends who collaborated. An evening with Eric Andersen, with Niki de Saint-Phalle\u0026hellip; No? I think everything is in. We just need a photo of the hat, or this photo where I\u0026rsquo;m wearing it. Just write on your sheet: \u0026lsquo;more photos\u0026rsquo;. I find the information excellent. I\u0026rsquo;ll re-read it later. I don\u0026rsquo;t read everything now, because we want to move on fast. Since it\u0026rsquo;s your text, you can modify or cut it. Otherwise it\u0026rsquo;s very good. There\u0026rsquo;s nothing else to say about Galerie L\u0026eacute;gitime. I remember you\u0026rsquo;re making a reference to [Daniel Spoerri\u0026rsquo;s book] \u003cem\u003eTopographie anecdot\u0026eacute;e du hasard\u003c/em\u003e, where you find the complete story of how \u003cem\u003eGalerie L\u0026eacute;gitime\u003c/em\u003e was conceived. You should just put a reference to the English edition as well. It was published by Something Else Press. It\u0026rsquo;s an excellent documentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14504,"title":"Ne pas avoir les yeux dans la poche","dimensions":"45.5 × 50 × 12 cm","date_begin":"1964-01-01","material":"wooden box with lid, photograph, plastic, mounted on painted wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Ne pas avoir les yeux dans la poche Robert Filliou Daniel Spoerri","publishing_process_id":1,"annotation":"","date_end":"1969-01-01","reference":"","stream_count_app":12,"permalink":"ne-pas-avoir-les-yeux-dans-la-poche","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/355/large/2016_Filliou_4_13.jpg?1476370102","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14535,"title":"AA Revue No.46","dimensions":"22 × 28 cm","date_begin":"1972-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"AA Revue No.46","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"aa-revue-no-46","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/283/large/64._AA_Revue__1972.jpg?1476267147","poster_credits":"(c)scan: M HKA, Courtesy Collection Andersch Neuss","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e And then there are all Richard Tialans\u0026rsquo;s publications. He published all my theatre plays in French in 80 copies, in the \u003cstrong\u003e\u003cem\u003eAA Revue\u003c/em\u003e\u003c/strong\u003e [in Li\u0026egrave;ge]. He published \u003cem\u003eLe Jeu de l\u0026rsquo;homme\u003c/em\u003e (\u003cem\u003eThe Game of Man\u003c/em\u003e), \u003cem\u003eBerger r\u003c/em\u003e\u003cem\u003e\u0026ecirc;\u003c/em\u003e\u003cem\u003evant qu\u0026rsquo;il \u003c/em\u003e\u003cem\u003e\u0026eacute;\u003c/em\u003e\u003cem\u003etait roi\u003c/em\u003e (\u003cem\u003eThe Shepherd Dreaming He Was King\u003c/em\u003e), \u003cem\u003eC\u0026rsquo;est l\u0026rsquo;ange \u003c/em\u003e(\u003cem\u003eIt\u0026rsquo;s the Angel\u003c/em\u003e), \u003cem\u003eL\u0026rsquo;Anniversaire d\u0026rsquo;une mouette\u003c/em\u003e (\u003cem\u003eA Seagull\u0026rsquo;s Birthday\u003c/em\u003e), \u003cem\u003e\u0026Agrave;\u003c/em\u003e\u003cem\u003e propos d\u0026rsquo;un tas de t\u003c/em\u003e\u003cem\u003e\u0026acirc;\u003c/em\u003e\u003cem\u003eche bleu\u003c/em\u003e (\u003cem\u003eConcerning a Bunch of Blue Stains\u003c/em\u003e), \u003cem\u003eComment profiter de la cr\u003c/em\u003e\u003cem\u003e\u0026eacute;\u003c/em\u003e\u003cem\u003edulit\u003c/em\u003e\u003cem\u003e\u0026eacute;\u003c/em\u003e\u003cem\u003e des futurs cosmonautes\u003c/em\u003e (\u003cem\u003eHow to Take Advantage of the Credulousness of Future Cosmonauts\u003c/em\u003e)\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e\u003cem\u003e L\u0026rsquo;Esclave F\u003c/em\u003e (\u003cem\u003eThe Slave F\u003c/em\u003e), also?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Yes. He published practically everything.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14533,"title":"Territory No.0 of the Genial Republic: 9 Weeks of Research on Futurology","dimensions":"17 × 24 cm","date_begin":"1971-01-01","material":"2 cassettes with 8 photographs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Collection Stiftung Maria und Walter Schnepel, Budapest","cached_tag_list":"Territory No.0 of the Genial Republic: 9 Weeks of Research on Futurology","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"territory-no-0-of-the-genial-republic-9-weeks-of-research-on-futurology","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/357/large/2016_Filliou_3_14.jpg?1476371009","poster_credits":"(c)image: M HKA, Courtesy Stiftung Maria und Walter Schnepel, Budapest.","translations":[{"locale":"en","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"}]},{"id":14523,"title":"Project for Toilets in the New Mönchengladbach Stadtmuseum","dimensions":"142 × 159 cm","date_begin":null,"material":"Pencil and felt pen on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Museum Abteiberg, Mönchengladbach","cached_tag_list":"Project for Toilets in the New Mönchengladbach Stadtmuseum","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"project-for-toilets-in-the-new-monchengladbach-stadtmuseum","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/216/large/8226_-_Robert_Filliou_-_Project_for_the_Toilets_in_the_new_M%C3%B6nchengladbach_Stadtmuseum.jpg?1476173614","poster_credits":"Collection Museum Abteiberg, Mönchengladbach","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":288,"title":"The Pink-Spaghetti Handshake","dimensions":"27 x 21 cm","date_begin":"1965-01-01","material":"gouache, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collectie M HKA, Antwerpen / Collectie Vlaamse Gemeenschap","cached_tag_list":"edition The Pink-Spaghetti Handshake Robert Filliou Emmett Williams","publishing_process_id":1,"annotation":"\u003cp\u003eGouache on paper. Ed. des artistes, Paris, 20 may 1965. 30 ex signed and dated, one side R; Filliou, the other side E. Williams.\u003c/p\u003e\r\n\r\n\u003cp\u003eplakaatverf op papier\u003c/p\u003e\r\n\r\n\u003cp\u003eLa poign\u0026eacute;e de main aux spaghetti\u003c/p\u003e\r\n","date_end":null,"reference":"BK7426_M284","stream_count_app":41,"permalink":"the-pink-spaghetti-handshake","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Emmett Williams, Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/455/large/Filliou,%200066%20Robert,%20The%20Spagetti%20Handshake,%20%201965.JPG?1301059528","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eRobert Filliou and Emmet Williams were friends, they made a lot of collaborational inventions. The first was the \u003cem\u003ePink Spaghetti Handshake\u003c/em\u003e. During a performance in 1965\u0026nbsp;the artists took a handful of spaghetti and shook hands. This edition is the imprint of this handshake.\u0026nbsp;The second collaboration\u0026nbsp;was in 1971 with\u0026nbsp;\u003cem\u003eSpaghetti Sandwich\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. des artistes, Paris, 20 may 1965. 30 ex. signed and dated, one side R; Filliou, the other side E. Williams\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRobert Filliou en Emmett Williams waren vrienden. Uit hun vriendshap ontsproten diverse uitvindingen en samenwerkingen. De eerste was de \u003cem\u003ePink Spaghetti Handshake\u003c/em\u003e. Tijdens een performance in 1965 namen de kunstenaars een handvol spaghetti en schudden elkaar de hand. Deze editie is de afdruk van deze handdruk. De tweede samenwerking vond plaats in 1971 met \u003cem\u003eSpaghetti Sandwich\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. van de kunstenaars, Parijs, 20 mei 1965. 30 ex. gesigneerd en gedateerd, de ene kant R; Filliou, aan de andere kant E. Williams\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026rsquo;amiti\u0026eacute; entre Robert Filliou et Emmett Williams a donn\u0026eacute; lieu \u0026agrave; diverses inventions et collaborations. La premi\u0026egrave;re d\u0026rsquo;entre elles s\u0026rsquo;intitule \u003cem\u003ePink Spaghetti Handshake\u003c/em\u003e. Lors d\u0026rsquo;une performance en 1965, les artistes se sont serr\u0026eacute; la main en tenant chacun une poign\u0026eacute;e de spaghettis. Cette \u0026eacute;dition est la version imprim\u0026eacute;e de cette poign\u0026eacute;e de main. La deuxi\u0026egrave;me collaboration a eu lieu en 1971 avec \u003cem\u003eSpaghetti Sandwich\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Eacute;d. des Artistes, Paris, 20 mai 1965. 30 ex. sign\u0026eacute; et dat\u0026eacute;, un c\u0026ocirc;t\u0026eacute; R; Filliou, l\u0026#39;otherside E. Williams\u003c/p\u003e\r\n"}]},{"id":14519,"title":"The Upside-Down World","dimensions":"33 × 25.6 cm","date_begin":"1968-01-01","material":"Cardboard, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"The Upside-Down World Robert Filliou","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"the-upside-down-world","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/353/large/Filliou_1_1_PhotoMHKAcc.jpg?1476369715","poster_credits":"(c)image: M HKA, Courtesy Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e \u003cem\u003eUpside-Down World\u003c/em\u003e is a series \u0026ndash; a truncated series \u0026ndash; that I started in 1968, for an exhibition with Hansj\u0026ouml;rg Meyer. I was alone in \u003ca href=\"http://ensembles.org/actors/dieter-roth?locale=nl\"\u003eDieter Roth\u003c/a\u003e\u0026rsquo;s flat in D\u0026uuml;sseldorf while he was in Iceland. It\u0026rsquo;s simply a visual representation of an expression I often used at the time, with many people: \u0026lsquo;It\u0026rsquo;s the upside-down world.\u0026rsquo; I was reading yesterday in the journal \u003cem\u003ePour\u003c/em\u003e, which came from Brussels, about the storming of the Tel al-Zataar camp. We often say this. When Christians, for example, massacre people in the name of their principles. I illustrated it with people with their heads down. I wrote \u0026lsquo;Innocence and Imagination\u0026rsquo;, but you couldn\u0026rsquo;t really see it. You should put yourself in their position to be able to read it. Maybe \u0026ndash; maybe \u0026ndash; we have moments when we do that, and then we can read, and then we fall back.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; That theatre play I wrote in the beginning of the 1960s, \u003cem\u003eLe Jeu de l\u0026rsquo;homme mort \u003c/em\u003e(\u003cem\u003eThe Dead Man\u0026rsquo;s Game\u003c/em\u003e)\u003cem\u003e, \u003c/em\u003eis based on the same thing, a little bit. The last song in this play is: \u0026lsquo;Your liberator, you have married him. Your liberator, you have put him in chains\u0026hellip;\u0026rsquo; That was people sitting in a caf\u0026eacute; in Spain. I saw it years later. A guy passes by, reminding all of them of an extremely true emotion. These people start reviving their passion. They knock on the table, drum with their spoons. And once they\u0026rsquo;re a bit cleansed, they recapture their innocence and their imagination. They start singing and dancing.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; There\u0026rsquo;s a song, saying: \u003cem\u003eJ\u0026rsquo;ai quitt\u0026eacute; mon domain pour celui d\u0026rsquo;autres qui n\u0026rsquo;en ont pas.\u003c/em\u003e (\u0026lsquo;I left my domain for that of others who don\u0026rsquo;t have one.\u0026rsquo;) They show such generosity towards women, towards the world. Suddenly, we hear a gunshot. It\u0026rsquo;s theatre, so they\u0026rsquo;re on stage. What\u0026rsquo;s happening? The guy who passed by, outside, just committed suicide. We never see the Dead Man. After a moment of wonder, they relapse into their own thing. There\u0026rsquo;s one who says \u0026lsquo;I have to go\u0026rsquo;, a girl who says \u0026lsquo;Will you come to the cinema with me this evening?\u0026rsquo; All during this song, which is danced more and more frantically. \u0026lsquo;Your liberator\u0026rsquo;, etc. Basically I don\u0026rsquo;t know what it is. In the beginning, there\u0026rsquo;s another song: \u003cem\u003eVoyez-vous cet homme qui pase dans la rue\u0026nbsp;? Demain il pleurera, en attendant, il rit. Voyez-vous cet homme dans la rue ? \u003c/em\u003e\u003cem\u003eDemain il mourira, en attendant il vit.\u003c/em\u003e (\u0026lsquo;Do you see this man passing in the street? Tomorrow he will cry but for now he laughs. Do you see this man in the street? Tomorrow he will die, but for now he lives.\u0026rsquo;)\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; There\u0026rsquo;s an enormous amount of songs. That\u0026rsquo;s where my important message to Paul Lebeer was taken from. I was finishing the first act of this play in Copenhagen. To make a bit of money I gave French lessons. A woman enters. She used to come from six to seven. I stopped working. She says to me: \u0026lsquo;Did you hear the news? Camus is dead.\u0026rsquo; That gives me the date: January 1960. I gave my class, then went on with my play. I ended with a song: \u003cem\u003eUn homme est mort, le frond bris\u0026eacute;. \u003c/em\u003e\u003cem\u003eLe Christ des pays froids est mort de froid.\u003c/em\u003e (\u0026lsquo;A man is dead, his forehead broken. The Christ of the cold lands died of cold.\u0026rsquo;) In the play someone says: \u0026lsquo;Who was Camus? \u0026lsquo;Oh, a writer, a French writer.\u0026rsquo; \u0026lsquo;He\u0026rsquo;ll see God.\u0026rsquo; \u0026lsquo;Oh God, God\u0026hellip;\u0026rsquo; And then there was the final song I talked about: \u003cem\u003ePour un soupir, Hitler verra Dieu, ce sera un pet de Dieu. \u003c/em\u003e\u003cem\u003ePour un regret, Franco verra Dieu, ce serra un merde de Dieu.\u003c/em\u003e (\u0026lsquo;For a sigh, Hitler will see God, he will be a fart of a God. For a regret, Franco will see God, he will be a turd of a God.\u0026rsquo;) And so on. Everyone will see God. That\u0026rsquo;s how it ends. I had no idea; it just came to me like that. That\u0026rsquo;s the end of the first act, after they liberate themselves from their passions. They relive them. It\u0026rsquo;s very brutal, violent. And in the third act they find their innocence and their imagination.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e What\u0026rsquo;s the song? \u0026lsquo;Your liberator\u0026rsquo;?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e They are songs that repeat themselves. What has prevented it from being staged it is that it needs actors who can also sing and play an instrument, at least the guitar. We start doing a few songs, and we say we\u0026rsquo;re more interested in the spirit in which things are done than in the form they take. I just gave you an example. This would be a \u0026lsquo;Joint Work between Filliou 1968 and Filliou 1960\u0026rsquo;. It doesn\u0026rsquo;t matter if I use the theatre for \u003cem\u003eThe Dead Man\u0026rsquo;s Game\u003c/em\u003e or a fast, visual method like \u003cem\u003eThe Upside-Down World\u003c/em\u003e, because I realise that the spirit is the same. When we speak about intensity, it applies to all instances of life, ideally.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14181,"title":"Galerie Légitime","dimensions":"48 x 68 x 58 cm","date_begin":"1968-01-01","material":"plexiglas translucent green, stamped and signed, white velvet","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MAC, Strasbourg","cached_tag_list":"object box","publishing_process_id":1,"annotation":"","date_end":"1970-01-01","reference":"","stream_count_app":14,"permalink":"galerie-legitime-866afcc4-f4be-4416-9917-350c8d2043cc","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/226/large/Galerie_l%C3%A9gitime__1968-70.jpg?1476193013","poster_credits":"(c)image: M HKA, Courtesy Collection Musée d’Art moderne et contemporain, Strasbourg","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: Yes, because then you come there immediately. For Galerie L\u0026eacute;gitime everything is basically documented in the hat of the \u003ca href=\"http://ensembles.org/items/the-frozen-exhibition?locale=nl\"\u003eFrozen Exhibition\u003c/a\u003e, because I\u0026rsquo;ve summarised it all there. You have the hat, no? What do you have as text here?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL\u003c/strong\u003e: I wrote an article about it\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF\u003c/strong\u003e: I remember the article. Very good. We should put it all in. Under Galerie L\u0026eacute;gitime, as a kind of quote. Maybe we should put in a little hat. I like your references a lot and it\u0026rsquo;s very well done. We talk about the friends who collaborated. An evening with Eric Andersen, with Niki de Saint-Phalle\u0026hellip; No? I think everything is in. We just need a photo of the hat, or this photo where I\u0026rsquo;m wearing it. Just write on your sheet: \u0026lsquo;more photos\u0026rsquo;. I find the information excellent. I\u0026rsquo;ll re-read it later. I don\u0026rsquo;t read everything now, because we want to move on fast. Since it\u0026rsquo;s your text, you can modify or cut it. Otherwise it\u0026rsquo;s very good. There\u0026rsquo;s nothing else to say about Galerie L\u0026eacute;gitime. I remember you\u0026rsquo;re making a reference to [Daniel Spoerri\u0026rsquo;s book] \u003cem\u003eTopographie anecdot\u0026eacute;e du hasard\u003c/em\u003e, where you find the complete story of how \u003cem\u003eGalerie L\u0026eacute;gitime\u003c/em\u003e was conceived. You should just put a reference to the English edition as well. It was published by Something Else Press. It\u0026rsquo;s an excellent documentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14522,"title":"La Cédille qui sourit","dimensions":"16.3 × 20.6 × 2 cm","date_begin":"1969-01-01","material":"enlarged matchbox containing real matchbox","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"La Cédille qui sourit","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7431_M289","stream_count_app":19,"permalink":"la-cedille-qui-sourit","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/310/large/RF__La_Cedille_Qui_Sourit__1969_photoA4Avzw.jpg?1476288604","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eThe force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the Po\u0026iuml;po\u0026iuml;drome and the Smiling Cedilla. As an alternative to the notion of the avant-garde, he proposes the Eternal Network, also known as \u0026lsquo;La f\u0026ecirc;te permanente\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe choice of the dimensions of this box was part of the St\u0026auml;dtisches Museum catalogue editing policy and the idea\u0026nbsp;of the matchbox\u0026nbsp;extra large came from the director of the museum Johannes Cladders. The box contains a text by Johannes Cladders, a list of works by Filliou and Brecht from before their collaboration,\u0026nbsp;a list of their works made during their stay in Villefranche and the workingspot \u0026#39;La C\u0026eacute;dille qui sourit\u0026#39; (1965-1968) and some iconogeaphic cards with the headmark of \u0026#39;La C\u0026eacute;dille qui sourit\u0026#39; and some invitations to participate in the making of an anthology of jokes by returning postcards.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. St\u0026auml;dtisches Museum, M\u0026ouml;nchengladbach, 440 ex., numbered\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de Po\u0026iuml;po\u0026iuml;drome en La C\u0026eacute;dille qui Sourit, en stelt voor de historische avant-garde te vervangen door het Eternal Network, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. St\u0026auml;dtisches Museum, M\u0026ouml;nchengladbach, 440 ex., genummerd\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme Po\u0026iuml;po\u0026iuml;drome et La C\u0026eacute;dille qui Sourit, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;Eternal Network, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n\r\n\u003cp\u003eEd. St\u0026auml;dtisches Museum, M\u0026ouml;nchengladbach, 440 ex.,\u0026nbsp;num\u0026eacute;rot\u0026eacute;e\u003c/p\u003e\r\n"}]},{"id":14563,"title":"13 boîtes sans couvercles ","dimensions":"25 × 195 cm","date_begin":"1979-01-01","material":"crayon on paper, mounted on cardboard and panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection FRAC Midi-Pyrénées, Toulouse","cached_tag_list":"13 boîtes sans couvercles","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"13-boites-sans-couvercles","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/348/large/2016_Filliou_3_25.jpg?1476365215","poster_credits":"(c)image: M HKA, Courtesy Collection FRAC Midi-Pyrénées, Toulouse","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14560,"title":"Poussière de poussière de l’effet Soutine (Le Groom)","dimensions":"12.5 × 16.5 × 6.5 cm","date_begin":"1977-01-01","material":"cardboard box, duster, polaroid","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Poussière de poussière de l’effet Soutine (Le Groom)","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"poussiere-de-poussiere-de-l-effet-soutine-le-groom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/211/large/Possi%C3%A8redepoussi%C3%A8reLegroom.jpg?1476170359","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eNot all dust is equal.\u003c/em\u003e Robert Filliou demonstrates this, presenting in 100 simple cardboard boxes the residues dusted on paintings and sculptures of masters like Cimabue, FransHals or Paul Klee ... \u0026nbsp;The artist underscores the works\u0026rsquo; ultimate immateriality; emphasizing the spirit of the gesture over the object of art; while all material objects must perish (museums and their collections are not exempt), the ideas and creative energies they embody are immutable.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14559,"title":"Poussière de poussière de l’effet Pevsner","dimensions":"12.5 × 16.5 × 6.5 cm","date_begin":"1977-01-01","material":"cardboard box, duster, polaroid","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Brussels","cached_tag_list":"Poussière de poussière de l’effet Pevsner","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"poussiere-de-poussiere-de-l-effet-pevsner","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/307/large/2016_Filliou_2__8_.jpg?1476361030","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eNot all dust is equal.\u003c/em\u003e Robert Filliou demonstrates this, presenting in 100 simple cardboard boxes the residues dusted on paintings and sculptures of masters like Cimabue, FransHals or Paul Klee ... \u0026nbsp;The artist underscores the works\u0026rsquo; ultimate immateriality; emphasizing the spirit of the gesture over the object of art; while all material objects must perish (museums and their collections are not exempt), the ideas and creative energies they embody are immutable.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14558,"title":"Poussière de poussière de l’effet Klee","dimensions":"12.5 × 16.5 × 6.5 cm","date_begin":"1977-01-01","material":"cardboard box, duster, polaroid","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Poussière de poussière de l’effet Klee","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"poussiere-de-poussiere-de-l-effet-klee","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/334/large/2016_Filliou_2__7_.jpg?1476360890","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eNot all dust is equal.\u003c/em\u003e Robert Filliou demonstrates this, presenting in 100 simple cardboard boxes the residues dusted on paintings and sculptures of masters like Cimabue, FransHals or Paul Klee ... \u0026nbsp;The artist underscores the works\u0026rsquo; ultimate immateriality; emphasizing the spirit of the gesture over the object of art; while all material objects must perish (museums and their collections are not exempt), the ideas and creative energies they embody are immutable.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14557,"title":"Poussière de poussière de l’effet Frans Hals (La Bohémienne)","dimensions":"12.5 × 16.5 × 6.5 cm","date_begin":"1979-01-01","material":"cardboard box, duster, polaroid","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Poussière de poussière de l’effet Frans Hals (La Bohémienne)","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"poussiere-de-poussiere-de-l-effet-frans-hals-la-bohemienne","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/335/large/2016_Filliou_2__9_.jpg?1476361151","poster_credits":"(c)image: M HKA, Courtesy Collection Andersch, Neuss","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eNot all dust is equal.\u003c/em\u003e Robert Filliou demonstrates this, presenting in 100 simple cardboard boxes the residues dusted on paintings and sculptures of masters like Cimabue, FransHals or Paul Klee ... \u0026nbsp;The artist underscores the works\u0026rsquo; ultimate immateriality; emphasizing the spirit of the gesture over the object of art; while all material objects must perish (museums and their collections are not exempt), the ideas and creative energies they embody are immutable.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14565,"title":"Le petit li(b)vre blanc","dimensions":"14 × 9.5 × 1.5 cm","date_begin":"1970-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private collection, Brussels","cached_tag_list":"Le petit li(b)vre blanc","publishing_process_id":1,"annotation":"","date_end":"1979-01-01","reference":"","stream_count_app":9,"permalink":"le-petit-li-b-vre-blanc","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/287/large/72_c._Le_petit_li%28b%29vre_blanc_de_Robert_Filliou_titlr_page.jpg?1476273311","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14564,"title":"À la lisière","dimensions":"9 × 15 × 3 cm","date_begin":"1970-01-01","material":"acrylic on transparent plastic paint box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Brussels","cached_tag_list":"À la lisière","publishing_process_id":1,"annotation":"","date_end":"1979-01-01","reference":"","stream_count_app":8,"permalink":"a-la-lisiere","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/326/large/2016_Filliou_2__4_.jpg?1476358644","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e[On the Edge]\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14566,"title":"A New Way to Blow Out Matches","dimensions":"7.2 × 10.7 × 4.8 cm","date_begin":"1980-01-01","material":"Wooden box with prnted label, altered spinning top and matchbox","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private collection, Brussels","cached_tag_list":"A New Way to Blow Out Matches","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"a-new-way-to-blow-out-matches","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/328/large/2016_Filliou_2__11.jpg?1476358837","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14567,"title":"Principles of Poetical Economy","dimensions":"95 × 140 cm","date_begin":"1980-01-01","material":"soft lead pencil on 22 paper cards, stamp, hooks, string, installation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Michel Jolivet, Lyon","cached_tag_list":"Principles of Poetical Economy","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"principles-of-poetical-economy","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/333/large/2016_Filliou_2__2_.jpg?1476360720","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eRobert Filliou may be regarded as an activist who wants to substitute a poetical economy for the political economy, but also as an entrepreneur (who hardly made any money), a pedagogue (in theory and practice) and a mystic (whose last project was to be a three years, three months and three days long meditation retreat in a Buddhist monastery in Dordogne).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of\u0026nbsp;the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eRF:\u003c/b\u003e Through my experience of art, rather early in the 1960s (no later than in 1963), I began to talk about the Principles of Poetical Economy. I developed this little by little, remembering that all economic theories, like Marx\u0026rsquo;s, start with developing a new theory of value. I told myself I should do for our times what Marx had done for his. That was \u0026lsquo;tongue-in-cheek\u0026rsquo;. And above all, Fourier had done it already. Therefore the small publications that I\u0026#39;m preparing right now \u0026ndash; \u003cstrong\u003e\u003ci\u003ePrincipes d\u0026rsquo;\u0026eacute;conomie po\u0026eacute;tique \u003c/i\u003e(\u003ci\u003ePrinciples of Poetical Economy\u003c/i\u003e)\u003c/strong\u003e, \u003ci\u003eDessins sans voir \u0026ndash; Desseins sans savoir \u003c/i\u003e(\u003ci\u003eDrawings without Seeing: Designs without Knowing\u003c/i\u003e) \u0026ndash; are all dedicated to Fourier. \u003ca href=\"http://ensembles.org/items/grace-a-fourier?locale=nl\"\u003e\u003ci\u003eGr\u0026acirc;ce \u0026agrave; Fourier\u003c/i\u003e \u003c/a\u003e(\u003ci\u003eThanks to Fourier\u003c/i\u003e), that\u0026rsquo;s the first page. I moved from the poetical economy to researching a new theory of value and practice. These are theoretical points of view that I don\u0026rsquo;t even know how to apply myself.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I speak about the idea of \u0026lsquo;Work as Play, Work as Reward\u0026rsquo; already in \u003ci\u003e\u003ca href=\"http://ensembles.org/items/teaching-and-learning-as-performing-arts-lehren-und-lernen-als-aufdrfuhrungkunste?locale=nl\"\u003eTeaching and Learning as Performing Arts\u003c/a\u003e.\u003c/i\u003e I must say I haven\u0026rsquo;t made much progress since. This is a kind of research that should be subsidised. I remember that in 1973, when Allan Kaprow and I were in Berlin at the time of ADA, we visited East Berlin for the first time. While we were walking, he said to me: \u0026lsquo;When I go back to the United States, I\u0026rsquo;ll try to propose the creation of an Institute of Futurology. That way, we wouldn\u0026rsquo;t need to bother with art galleries, schools and universities. We\u0026rsquo;d be a group of artists working and being paid like normal researchers.\u0026rsquo; But even Allan, who has good organisational skills, couldn\u0026rsquo;t do it in the US. I leave it to others to do this kind of thing, which I talk about in \u003ci\u003eTeaching and Learning as Performing Arts\u003c/i\u003e. I make them available to others, because I can\u0026rsquo;t do them myself. We should have teams. We need to live. We should be paid. This continues in the stage of \u0026lsquo;Art Fiction\u0026rsquo; or \u0026lsquo;Life Fiction\u0026rsquo;. This, I think, is the relation between the two.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRobert Filliou kan gezien worden als een activist die de politieke economie wil vervangen door een po\u0026euml;tische economie, maar evengoed als een ondernemer (die nauwelijks geld verdient), een pedagoog (in theorie en in praktijk) of een mysticus (die als laatste project drie jaren, drie maanden en drie dagen wil mediteren in een boeddhistisch klooster in de Dordogne).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eOn peut consid\u0026eacute;rer Robert Filliou comme un militant qui veut remplacer l\u0026rsquo;\u0026eacute;conomie politique par une \u0026eacute;conomie po\u0026eacute;tique, mais tout autant comme un entrepreneur (qui gagne \u0026agrave; peine de l\u0026rsquo;argent), un p\u0026eacute;dagogue (de la th\u0026eacute;orie et de la pratique) ou un mystique (dont le dernier projet a consist\u0026eacute; \u0026agrave; vouloir se retirer trois ans, trois mois et trois jours dans un temple bouddhiste en Dordogne pour y m\u0026eacute;diter).\u003c/p\u003e\r\n"}]},{"id":14569,"title":"Musique télépathique","dimensions":"21.7 × 11 × 3 cm","date_begin":"1981-01-01","material":"brick, paper, print, ink pot, feather","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Musique télépathique","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"musique-telepathique","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/290/large/104_a._Musique_t%C3%A9l%C3%A9pathique__1981.jpg?1476273877","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14571,"title":"Dear Skywatcher: Art Is What Makes Life More Interesting Than Art","dimensions":"48 × 32 cm","date_begin":"1984-01-01","material":"print on paper, envelope","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Van Lierde, Brussels - in deposition at Musée d’art contemporain de Lyon, Lyon","cached_tag_list":"Dear Skywatcher: Art Is What Makes Life More Interesting Than Art","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"dear-skywatcher-art-is-what-makes-life-more-interesting-than-art-fc12e5f5-e2ee-47ff-9c39-37da3a510d04","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/292/large/Art_Is_What_Makes_Life_More_Interesting_Than_Art__1984.jpg?1476274527","poster_credits":"(c)image: M HKA, Courtesy Collection Van Lierde, Brussels - in deposition at Musée d’art contemporain de Lyon, Lyon","translations":[{"locale":"en","description":"\u003cp\u003eWith the phrase \u0026lsquo;art is what makes life more interesting than art\u0026rsquo;, Filliou continues the idea of the Dada movement, in the early twentieth century, that \u0026lsquo;art is more interesting than life\u0026rsquo;. The force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14570,"title":"L’Héritage de Lascaux ","dimensions":"250 × 250 × 40 cm","date_begin":"1983-01-01","material":"bricks, cardboard, paper, crayon, electric cord","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection FRAC Languedoc-Roussillon, Montpellier","cached_tag_list":"L’Héritage de Lascaux","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"l-heritage-de-lascaux","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/300/large/2016_Filliou_3_9.jpg?1476369583","poster_credits":"(c)image: M HKA, Courtesy Collection FRAC Languedoc-Roussillon, Montpellier","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14572,"title":"A Peace Smile","dimensions":"14.7 × 10.5 cm","date_begin":"1984-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"A Peace Smile","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"a-peace-smile","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/260/large/5_a._Peace_Smile__1980s.jpg?1476261455","poster_credits":"(c)Photo: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eWith the years Filliou became more attracted to meditation, Taoism and Buddhism. At the same time, he addresses the themes of violence and innocence, war and peace.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren gaat Filliou zich enerzijds meer en meer richten op meditatie, tao\u0026iuml;sme en boeddhisme en speelt hij anderzijds met de thema\u0026rsquo;s geweld en onschuld, oorlog en vrede.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu fil des ann\u0026eacute;es, Filliou va d\u0026rsquo;une part se consacrer davantage \u0026agrave; la m\u0026eacute;ditation, au tao\u0026iuml;sme et au bouddhisme, et d\u0026rsquo;autre part, jouer avec les th\u0026egrave;mes de la violence et de l\u0026rsquo;innocence.\u003c/p\u003e\r\n"}]},{"id":14590,"title":"That Spiritual Need","dimensions":"","date_begin":"1971-01-01","material":"ink, paper, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"that-spiritual-nedd","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/291/large/2016_Filliou__11.jpg?1476274229","poster_credits":"(c)image: M HKA, Courtesy Private Collection, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eWith the years Filliou became more attracted to meditation, Taoism and Buddhism. At the same time, he addresses the themes of violence and innocence, war and peace.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eDo you have a definition for \u003cem\u003eThat Spiritual Need\u003c/em\u003e, maybe?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e It\u0026rsquo;s quite simple. These are works to be used in a bodily way. For example a thing you shake or hold in front of yourself. The goal is to have a spiritual liberation, if you need it. Therefore the title: \u003cem\u003eThat Spiritual Need.\u003c/em\u003e\u0026nbsp;I don\u0026rsquo;t know how many times Mr Azagouri, an architect from Casablanca who acquired this work, will hold this in front of him at arm\u0026rsquo;s length, as Marcelle is doing. That depends on his needs. Maybe after a while it will be enough for him, like it is for me, to leave it in a corner and to know that we can use it when we need it.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e What does it say?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I can\u0026rsquo;t really read it now: \u0026lsquo;Hold at arm\u0026rsquo;s length and concentrate on something.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e And the thing itself is in colour?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Yes, the photo should be in colour. There\u0026rsquo;s maybe some green fabric glued on it. That I think is sticky tape. Something is written on it.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e But could it have been any object? It\u0026rsquo;s not specially conceived\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e No, it couldn\u0026rsquo;t have been just anything: it has the quality you give it as the user. In that sense I agree that whatever object would do the job. But the work is this particular thing, not some other one.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e I suppose there are Zen painters who have painted forms that help\u0026hellip; You also use circles, for example.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eIt\u0026rsquo;s the physical use of an object that responds to a spiritual need. We can imagine it\u0026rsquo;s a cane. That often represents a physical need, and in certain cases it could correspond to a spiritual need. I made only very few of these: two or three maybe. I\u0026rsquo;ve brought out the photos so that you have them, because that helps \u0026lsquo;That Spiritual Need\u0026rsquo;\u0026hellip;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren gaat Filliou zich enerzijds meer en meer richten op meditatie, tao\u0026iuml;sme en boeddhisme en speelt hij anderzijds met de thema\u0026rsquo;s geweld en onschuld, oorlog en vrede.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu fil des ann\u0026eacute;es, Filliou va d\u0026rsquo;une part se consacrer davantage \u0026agrave; la m\u0026eacute;ditation, au tao\u0026iuml;sme et au bouddhisme, et d\u0026rsquo;autre part, jouer avec les th\u0026egrave;mes de la violence et de l\u0026rsquo;innocence.\u003c/p\u003e\r\n"}]},{"id":14514,"title":"Banqueroute","dimensions":"49.8 × 32.2 cm","date_begin":"1968-01-01","material":"Poster ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA","cached_tag_list":"Banqueroute Robert Filliou George Brecht","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"banqueroute","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou, George Brecht","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/234/large/16._The_Eternal_Network_poster__1968.jpg?1476195229","poster_credits":"Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the Po\u0026iuml;po\u0026iuml;drome and the Smiling Cedilla. As an alternative to the notion of the avant-garde, he proposes the Eternal Network, also known as \u0026lsquo;La f\u0026ecirc;te permanente\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u0026nbsp;\u003c/strong\u003eWhen the Smiling Cedilla closed its doors, it announced the birth of the \u0026ldquo;\u003ca href=\"http://ensembles.mhka.be/items/eternal-network?locale=nl\"\u003eEternal Network\u003c/a\u003e\u0026rdquo;, La F\u0026ecirc;te permanente. See those terms.\u0026rsquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de Po\u0026iuml;po\u0026iuml;drome en La C\u0026eacute;dille qui Sourit, en stelt voor de historische avant-garde te vervangen door het Eternal Network, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme Po\u0026iuml;po\u0026iuml;drome et La C\u0026eacute;dille qui Sourit, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;Eternal Network, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"}]},{"id":14507,"title":"Non-école de Villefranche","dimensions":"26.9 × 21 cm","date_begin":"1965-01-01","material":"Letterhead, print on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andersch, Neuss","cached_tag_list":"Non-école de Villefranche Robert Filliou George Brecht Jean-Pierre  Walfard","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"non-ecole-de-villefranche","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/169/large/75._Non-%C3%A9cole_de_Villefranche__1965-67.jpg?1476196550","poster_credits":"(c)Image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e And the letterhead is enough, then?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Yes, in the end that\u0026rsquo;s all there is. \u0026lsquo;\u0026quot;\u003cstrong\u003eNon\u0026ndash;School of Villefranche\u003c/strong\u003e\u0026rdquo;: conceived for all useful and useless purposes at \u0026ldquo;\u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=en\"\u003eThe Smiling Cedilla\u003c/a\u003e\u0026rdquo;.\u0026rsquo; You have that on page 199 in \u003ca href=\"http://ensembles.org/items/teaching-and-learning-as-performing-arts-lehren-und-lernen-als-aufdrfuhrungkunste?locale=en\"\u003e\u003cem\u003eTeaching and Learning as performing arts\u003c/em\u003e\u003c/a\u003e. To reproduce it, maybe you\u0026rsquo;ll prefer what is in the catalogue of The Cedilla, the smaller one. That could be the format we use.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16738,"title":"À 4 pattes dans les Carpates","dimensions":"","date_begin":"1964-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"a-4-pattes-dans-les-carpates","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/815/large/RF_A4pattes.jpg?1506078096","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eAuthor: Edward S. Aarons\u003c/p\u003e\r\n\r\n\u003cp\u003eTranslated by\u0026nbsp;Robert Filliou\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAuteur: Edward S. Aarons\u003c/p\u003e\r\n\r\n\u003cp\u003eVertaling: Robert Filliou\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14860,"title":"Robert Filliou - The Secret of Permanent Creation","dimensions":"24 x 19 cm, 200 p., language : English, publisher : Museum van Hedendaagse Kunst Antwerpen (M HKA), ISBN : 9789072828569","date_begin":"2016-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/331","stream_count_app":12,"permalink":"robert-filliou-the-secret-of-permanent-creation","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/985/large/photo_M_HKA.jpg?1479371021","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eEditor : Anders Kreuger, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts by Anders Kreuger \u0026amp; Irmeline Lebeer. Conversations between Irmeline Lebeer \u0026amp; Robert Filliou.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditor : Anders Kreuger, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts by Anders Kreuger \u0026amp; Irmeline Lebeer. Conversations between Irmeline Lebeer \u0026amp; Robert Filliou.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEditor : Anders Kreuger, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts by Anders Kreuger \u0026amp; Irmeline Lebeer. Conversations between Irmeline Lebeer \u0026amp; Robert Filliou.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":17037,"title":"Robert Filliou - The Secret of Permanent Creation","dimensions":"24 x 19 cm, 320 p., language : English, publisher : Museum van Hedendaagse Kunst Antwerpen/Éditions Lebeer Hossmann, Bruxelles/Mousse Publishing, Milano, ISBN : 978-88-6749-261-9","date_begin":"2017-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/542","stream_count_app":8,"permalink":"robert-filliou-the-secret-of-permanent-creation-a6fa304f-d006-436b-b823-67138a89954b","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/823/large/20171025145055768_0004.jpg?1508936646","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor : Anders Kreuger, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts by Anders Kreuger \u0026amp; Irmeline Lebeer. Conversations between Irmeline Lebeer \u0026amp; Robert Filliou.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14219,"title":"Eternal Network","dimensions":"11.9 x 110 cm","date_begin":"1961-01-01","material":"paper labels on chipboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection Musée d’art moderne et contemporain de Saint-Etienne Métropole, Saint-Etienne Métropole","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1973-01-01","reference":"92.9.75","stream_count_app":40,"permalink":"eternal-network","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/505/large/2016_Filliou__10.jpg?1476279072","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe force that drives Filliou\u0026rsquo;s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the \u003ca href=\"http://ensembles.org/items/le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e and the \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eSmiling Cedilla\u003c/a\u003e. As an alternative to the notion of the avant-garde, he proposes the Eternal Network, also known as \u0026lsquo;La f\u0026ecirc;te permanente\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e This is very important. There\u0026rsquo;s a reference to \u0026lsquo;\u003ca href=\"http://ensembles.mhka.be/items/la-ceduille-qui-sourit?locale=nl\"\u003eThe Smiling Cedilla\u003c/a\u003e\u0026rsquo;. Under\u003cem\u003e \u0026lsquo;\u003c/em\u003e\u003cstrong\u003eEternal Network\u003c/strong\u003e\u0026rsquo;, since this is a dictionary, I think we should begin with the definition that George and I gave it. By the way, we then decided also to reuse it at the exhibition in Paris. \u0026lsquo;There is always someone asleep, someone awake.\u0026rsquo; We leave that in English. \u0026lsquo;See \u0026ldquo;The Smiling Cedilla\u0026rdquo;\u003cem\u003e.\u003c/em\u003e\u0026rsquo; There will be the poster. There will be \u0026lsquo;\u003ca href=\"http://ensembles.org/actors/george-brecht?locale=nl\"\u003eGeorge Brecht\u003c/a\u003e and Robert Filliou\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:34.0pt;\"\u003eTHERE IS ALWAYS SOMEONE ASLEEP AND SOMEONE AWAKE\u003cbr /\u003e\r\nSOMEONE DREAMING ASLEEP SOMEONE DREAMING AWAKE\u003cbr /\u003e\r\nSOMEONE EATING SOMEONE HUNGRY\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:34.0pt;\"\u003eSOMEONE FIGHTING SOMEONE LOVING\u003cbr /\u003e\r\nSOMEONE MAKING MONEY SOMEONE BROKE\u003cbr /\u003e\r\nSOMEONE TRAVELLING SOMEONE STAYING PUT\u003cbr /\u003e\r\nSOMEONE HELPING SOMEONE HINDERING\u003cbr /\u003e\r\nSOMEONE ENJOYING SOMEONE SUFFERING SOMEONE INDIFFERENT\u003cbr /\u003e\r\nSOMEONE STARTING SOMEONE STOPPING\u003cbr /\u003e\r\nTHE NETWORK IS EVERLASTING.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n[\u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e, p.205]\u003c/p\u003e\r\n\r\n\u003cp\u003eThen I would add, if you think it\u0026rsquo;s good, that we noticed a few years later that people, young artists we didn\u0026rsquo;t know, mainly in Canada, groups like the Imagebank in Vancouver and General Idea in Toronto and WORKS in Calgary, etc., were considering their activities manifestations of the Eternal Network. In 1973 I decided to go visit these Canadians, whom I\u0026rsquo;d been corresponding with.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I went to Canada. I met them, and when I returned, my presentation on the occasion of ADA [Aktionen der Avantgarde] in Berlin [in 1973] was \u003cem\u003eResearch on the Eternal Network\u003c/em\u003e. I presented a bunch of documents about the activities of those groups, those people I\u0026rsquo;d met. In particular, I proposed that the Eternal Network could effectively replace the concept of the avant-garde, which we considered obsolete, dated.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; We can then have the text about \u003ca href=\"http://ensembles.org/items/eternal-network/assets/33153?locale=en\"\u003ePoincar\u0026eacute;\u003c/a\u003e, etc. I\u0026rsquo;ll give it to you before you leave. I have to find it. I have the catalogue; I have everything for \u0026lsquo;Research on the Eternal Network\u0026rsquo;\u003cem\u003e. \u003c/em\u003eThere were many other things as well. Others will appear, for example under \u0026lsquo;\u003ca href=\"http://ensembles.org/items/musique-telepathique-n-5?locale=en\"\u003eTelepathic Music\u003c/a\u003e\u0026rsquo;. We\u0026rsquo;ll see about that. You know the first text for \u0026lsquo;Research on the Eternal Network\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e In the beginning, in 1968, when you wrote this short text, was it only a concept?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e See, we realised people were using it. Now it\u0026rsquo;s already used so much in the whole world, without exclusivity of course, and mainly by people in Canada or the United States, various groups. I just received mail from Toronto, where there\u0026rsquo;s even a publishing house called The Eternal Network.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Both George and are reusing the concept. George, for his part, uses the concept of Eternal Network whenever he feels like it or has the opportunity. For example by writing \u0026lsquo;The Eternal Network Presents\u0026hellip;\u0026rsquo; when he presents one of his illustrations of the Gibbs paradoxes. And also on his latest postcards. Me too, on my latest invitation in Paris. We decided to use it like that. We\u0026rsquo;re working on a second volume on the Cedilla, because it goes on even if it doesn\u0026rsquo;t have its seat in Villefranche. We\u0026rsquo;ve already decided that the title would be \u003cem\u003eThe Eternal Network Presents: The Cedilla Flies Over\u003c/em\u003e. We consider our own activities part of the Eternal Network\u003cem\u003e.\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; For the youngsters in Canada, certain things like Fluxus have been important. Like Ray Johnson\u0026rsquo;s New York Correspondence School, which they referred to very often. They considered that part of the activities of the Network. When they celebrated Art\u0026rsquo;s Birthday, they also presented themselves that way, on 2 February 1974. I must find one of these publications by this publishing house to show you. Under \u0026lsquo;\u003ca href=\"http://ensembles.org/items/1-000-010-geburtstag-der-kunst?locale=en\"\u003eArt\u0026rsquo;s Birthday\u003c/a\u003e\u0026rsquo; and\u003cem\u003e \u0026lsquo;\u003c/em\u003eEternal Network\u0026rsquo;\u003cem\u003e.\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe drijvende kracht achter het werk en het denken van Filliou is de Permanente creatie. Filliou helpt bij het oprichten van verschillende centra voor permanente creatie, zoals de \u003ca href=\"http://ensembles.org/items/le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e en \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eLa C\u0026eacute;dille qui Sourit\u003c/a\u003e, en stelt voor de historische avant-garde te vervangen door het Eternal Network, ook bekend onder de naam F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa force motrice derri\u0026egrave;re l\u0026rsquo;\u0026oelig;uvre et la pens\u0026eacute;e de Filliou est la Cr\u0026eacute;ation permanente. Filliou a fond\u0026eacute; diff\u0026eacute;rents centres de cr\u0026eacute;ation permanente, comme \u003ca href=\"http://ensembles.org/items/le-ou-la-poipoidrome-a-espace-temps-reel-prototype-00?locale=nl\"\u003ePo\u0026iuml;po\u0026iuml;drome\u003c/a\u003e et \u003ca href=\"http://ensembles.org/items/la-ceduille-qui-sourit?locale=nl\"\u003eLa C\u0026eacute;dille qui Sourit\u003c/a\u003e, et a propos\u0026eacute; de remplacer l\u0026rsquo;avant-garde historique par l\u0026rsquo;Eternal Network, \u0026eacute;galement connu sous le nom de F\u0026ecirc;te permanente.\u003c/p\u003e\r\n"}]},{"id":29319,"title":"Fifty-Fifty Flyer Genial Republic","dimensions":"A3/ 42x30 cm","date_begin":"1992-01-01","material":"paper, ink (printing) pen","short_description":"\u003cp\u003eMailing with theme 'Genial Republic' (permanent creation - for fifty-fifty activities, among others the 'Decentralized Worldwide Networker Congrss' call by Charles François and Guy Bleus, Liège/Maaqtricht\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":84,"category_id":216,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"Mail Art Graphic art correspondance invitation","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"fifty-fifty-flyer-genial-republic","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eZending met thema 'Geniale Republiek' (permanente creatie - en fifty-fifty activiteiten, o.a. de \"Decentralized Worldwide Networker Congrss' oproep van Charles François en Guy Bleus - Luik/Maastricht\u003c/p\u003e","short_description_fr":"\u003cp\u003e(deatail de) Correspondence fifty-fifty avec invitation au Congrès international Networker \"Decentralized Worldwide Networker Congress 1992\" à Liège (B) et Maastricht (NL) - expositions (Filliou au Cirque Divers, archives AA et Maison des Artistes, Liège) Congrès et promenade en bateau jusqu'à Maastricht, retour à Liège en train . Instigué par Charles François, promu par Giy Bleus...\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/066/974/medium_500/JL524sc022.jpg?1607854348","cached_actor_names":"Robert Filliou, Guy Bleus, Jef Lambrecht","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/066/974/large/JL524sc022.jpg?1607854348","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eMailing with theme 'Genial Republic' (permanent creation - for fifty-fifty activities, among others the 'Decentralized Worldwide Networker Congrss' call by Charles François and Guy Bleus, Liège/Maaqtricht\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eZending met thema 'Geniale Republiek' (permanente creatie - en fifty-fifty activiteiten, o.a. de \"Decentralized Worldwide Networker Congrss' oproep van Charles François en Guy Bleus - Luik/Maastricht\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eCorrespondence fifty-fifty avec invitation au Congrès international Networker \"Decentralized Worldwide Networker Congress 1992\" à Liège (B) et Maastricht (NL) - expositions (Filliou au Cirque Divers, archives AA et Maison des Artistes, Liège) Congrès et promenade en bateau jusqu'à Maastricht, retour à Liège en train . Instigué par Charles François, promu par Giy Bleus... avec AVAU métallique, Michael Fox, Guy Stuckens, le Peintre NATO, Mad Math, Volker Hamann,\u0026nbsp; Gilberto Prado\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":36860,"title":"Research in Arts and Astrology","dimensions":"","date_begin":"1972-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":38,"permalink":"research-in-arts-and-astrology","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/094/482/medium_500/BK007429_F001.jpg?1753193605","cached_actor_names":"Robert Filliou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/094/482/large/BK007429_F001.jpg?1753193605","poster_credits":"©M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(26,24,18);\"\u003ePortfolio of 12 silkscreens\u003c/span\u003e\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]