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On the Fluxus Ethos and the Origins of Relational Aesthetics Author(S): Martin Patrick Source: Art Journal, Vol Unfinished Filliou: On the Fluxus Ethos and the Origins of Relational Aesthetics Author(s): Martin Patrick Source: Art Journal, Vol. 69, No. 1/2 (SPRING-SUMMER 2010), pp. 44-61 Published by: College Art Association Stable URL: http://www.jstor.org/stable/25676522 Accessed: 09-10-2016 18:22 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms College Art Association, Taylor & Francis, Ltd. are collaborating with JSTOR to digitize, preserve and extend access to Art Journal This content downloaded from 154.59.124.101 on Sun, 09 Oct 2016 18:22:21 UTC All use subject to http://about.jstor.org/terms Robert Filliou, Man Carrying His Own Sun on a String, 1973, cardboard box in two parts with pastel and photograph, closed \73A x 13*A x 2Va in. (45.1 x 33.7 x 5.7 cm) (artwork ? Marianne Filliou; photograph by Florian Kleinefenn, Paris, provided by Galerie Nelson-Freeman, Paris) This content downloaded from 154.59.124.101 on Sun, 09 Oct 2016 18:22:21 UTC All use subject to http://about.jstor.org/terms "Pure foolishness restores." ?Friedrich Nietzsche "There is so little to do and so much time to do it in." ?George Brecht The current essay comprises a discussion of the influential yet underrated work of the French Fluxus artist Robert Filliou (1926-1987) and aspects of his inter woven theory and practice, especially as recorded in his book Teaching and Learning as Martin Patrick Performing Arts and related video works. I intend also to examine the influence of Filliou's work on other contemporary artists and the corresponding use of the critical formulation "relational aesthetics" Unfinished Filliou: (as posited by the French curator and writer Nicolas Bourriaud). In Filliou's 1970 artists book Teaching and Learning as Performing On the Fluxus Ethos Arts, the layout designed by the artist leaves a blank section of each page for the reader to add her own comments, thereby participating and the Origins of interactively in the unfolding of the book itself, which includes Relational Aesthetics interviews with (among others) Joseph Beuys, John Cage, and Allan Kaprow Moreover, it has become increasingly evident that Filliou's methods can be linked by association to examples by several later artists, includ ing RirkritTiravanija, Pierre Huyghe, and Christine Hill, whose works have been cited as exemplary of the relational-aesthetics paradigm, insofar as the impor tance of social relations, relations of exchange, and broader relations with the Earlier drafts of this text were presented at surrounding context outweigh the direct consideration of the aesthetic proper "The Stephen Bann Effect" symposium, ties of the work in question. Significantly, Bourriaud has frequently cited Filliou's University of Bristol, United Kingdom, and at "MIS-PERFORMANCE," Performance Studies comment: "Art is that which makes life more interesting than art."1 International conference #15, Zagreb, Croatia The primary goal of this essay is to offer a provisional attempt to reconsider (both held in June 2009). Thanks also to Massey University's Strategic Research Fund, which Filliou's visionary approach to artmaking in the late 1960s and early 1970s and enabled my participation in those international what it portended for so much "relational" art yet to come. This radically inter events, to multiple audiences and readers for their generous feedback, and to the Belkin Art Gallery disciplinary creative model helped to usher in a drastic shift in the notions for allowing access to Filliou's video works, which underlying many younger artists' works in terms of both theory and practice. aided the development of this essay. With increased historical perspective, the model has become highly relevant to The epigraphs are from Friedrich Nietzsche, the current moment, as witnessed by the debates that have played out recently Twilight of the Idols, trans. Walter Kaufmann in several international magazines and journals.2 (1895) in The Portable Nietzsche (New York: Penguin Books, 1977), 532, and Brecht quoted in While the first major museum retrospective of Filliou's work in over a The Ashgate Research Companion to Experimental decade, entitled Genie sans talent, traveled across Europe in 2003-4, the artist Music, ed. James Saunders (Burlington: Ashgate, 2009), 71. remains a cult figure.3 Although recognized by many experimental artists for the compelling and innovative nature of his work, he is all too rarely discussed by 1. Robert Filliou, quoted in epigraph to Nicolas Bourriaud, Formes de vie: L'art moderne et I'invention the scholarly community.4 Meanwhile, relational aesthetics has become a topic de soi (Paris: Editions Denoel, 1999). My transla for global discussion. Closer examination of Filliou's life and work thus delin tion of the original: "L'art n'est qu'un moyen pour rendre la vie plus interessante que l'art." eates an important case study in the integrity of art practice as a holistic activity, 2. See Nicolas Bourriaud, Relational Aesthetics, situated in an entirely different context and rooted in vastly different expecta trans. Simon Pleasance and Fronza Woods with tions than those promulgated within today's art world/ Mathieu Copeland (Dijon: Les Presses du reel, 2004), and Claire Bishop's essays "Antagonism and Relational Aesthetics" October I 10 (Fall 2004): 51-79, and "The Social Turn: Collaboration and Fil[l]liou's Background: A Sort of Introduction Its Discontents," Artforum, February 2006, 179 185, as well as Liam Gillick, "Contingent Factors: When does a work of art begin its existence? How can one evaluate its impor A Response to Claire Bishop's Antagonism and Relational Aesthetics'" October I 15 (Winter tance? How does a work of art made with peripheral and tangential relation 2006): 95-106. to the art market have determined worth? When is a "creative action" to be 45 artjournal This content downloaded from 154.59.124.101 on Sun, 09 Oct 2016 18:22:21 UTC All use subject to http://about.jstor.org/terms considered a performance, a happening, or a simple life occurrence? When does simply "doing nothing" spawn creativity? When do the terms "art," "research," and "leisure" become equivalents? These are the sort of challenging questions that emerge from even a cursory acquaintance with the art of Filliou, later Fillliou, as he intentionally inserted an L between the two already present in his surname?likely a gesture that infuriated numerous copyeditors. The bilin gual artist who used "Franglish" puns especially in the context of his writings and performative works also became enamored of the near-rhyme word pairing "feel you [Filliou]." Contradictions played major roles in the artist's work, as in his life, which is not to treat them as mutually exclusive realms, however, because Filliou was an integral figure in blurring such boundary distinctions. Today, this has become a commonplace of (often altogether more lucrative) performative and interdisci plinary approaches. Yet from the 1960s to the 1980s Filliou's concepts, driven by a hyperactive, inquisitive intellect and the determining belief that art was the most genuine route to personal freedom, were extraordinarily provocative in their interrogation of contemporary art practice. Raised in France and the recipient of a scholarship to secondary school? though often less than a model student, due to his wandering interests?he was intellectually curious but according to one childhood friend, "with a pen, he was the king, but in manual tasks, he was a nothing," an interesting foreshadow ing of Filliou's dedication to the mere basic and skeletal rather than overly pol ished craftsmanship.6 Filliou became a young member of the French Resistance but later notably rejected any medals, accolades, and status as he became increas ingly dedicated throughout his life to pacifism. A onetime Communist, he also discarded specific ideological and political involvements, as time went on, in favor of a broader interest in social commitment via the apparatus of art and its 3. See Sylvie Jouval et al., Robert Filliou: Genie Sans surrounding dialogues. Talent, exh. cat. (Villeneuve d'Ascq: Musee d'art moderne Lille Metropole, 2003). The exhibition, We can see his views on nonviolence and pacifism evidenced on several organized by Sylvie Jouval, first traveled to occasions, such as in the multiple Optimistic Box no. 1, which carries the phrase: Barcelona and Dusseldorf. "Thank god for modern weapons/we don't throw stones at each other any 4. Major exceptions are the contributions of Fluxus scholars, including Hannah Higgins and more." On a larger scale, Seven Childlike Uses of Warlike Material (1970) is a sculptural Chris Thompson. See the final chapter of Higgins's installation of modest materials brought together with various textual inscrip book Fluxus Experience (Berkeley: University of California Press, 2002), which addresses Filliou's tions. Planks of wood state "Could be guns"; on a rectangular frame appears work as a pedagogical model, and Thompson's "Could be outer space"; on an overturned chair, "Could be Mountains"; on a essay "Responsible Idiocy and Fluxus Ethics: Robert Filliou and Emmanuel Levinas," a-r-c 5 (July bottle, "Could be a Bonfire"; on a coat, "Could be Uniforms"; on a bucket: 2001). "Could be stars"; and on several cards, "Could be Flags and Bureaucratic Docu 5. Premiers mouvements-fragile correspondences, ments." It is a subtle, yet terrifying piece, as it depicts "warlike materials" with the 2002 inaugural exhibition of the FRAC lle-de France gallery Le Plateau, enlisted contemporary great candor and simplicity as a bunch of grouped-together, ordinary object-toys works to pay homage to Filliou.
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