ROBERT FILLIOU ‘The Secret of Permanent Creation’ 13.10.2016–22.01.2017
In the coming years, M HKA will dedicate a series of exhibitions to key figures of experimental art in the second half of the twentieth century, all of them also important presences in Antwerp in the 1960s and ’70s. We begin with the French poet, playwright, artist and thinker Robert Filliou (1926–1987). This autumn, we mount the first comprehensive survey of his visual oeuvre in Belgium, with more than 100 original works and multiples from public and private collections across Europe.
More radical, more fundamentally provocative, but also subtler and gentler than most of his contemporaries and peers, Filliou should be a household name for a large audience. With this exhibition we want to show today’s and tomorrow’s viewers that Filliou is not just one of the most influential artists of the recent past. He is a voice for our time, speaking of the political and poetic economy, of curiosity and research as more than ‘a privilege for those who already know’, of conviviality and play but also of loneliness as a productive and even desirable state.
Filliou is often associated with Fluxus but never ‘belonged’ 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.
Together with his collaborators – first among them his wife Marianne Staffeldt Filliou – he coined many concepts and immediately enacted them in his work, among them the Eternal Network (of like-minded people all over the world); the Genial Republic (whose territory can be claimed by anyone at any time); the Principle of Equivalence (a direct attack on the primacy of aesthetic judgment in Western culture: “It doesn’t matter if something is well made, badly made or not made at all”); Teaching and Learning as Performance Arts (the title of a book from 1970) and, perhaps most importantly, Permanent Creation.
It was Marianne who once remarked: “You’re artists when you create. But when you stop, you’re not artists anymore.” Filliou realised the need to break with the conventional understanding of creativity as something exclusive and out-of-this-world. One of his multiples bears the inscription, ‘Art is what makes life more interesting than art.’
“The Secret of Permanent Creation: Whatever you’re thinking; think something else. Whatever you’re doing; do something else. The Absolute Secret of Permanent Creation: Desire nothing, decide nothing, choose nothing, be aware of yourself, stay awake, calmly seated, do nothing.” If this sounds like Zen Buddhism, it is no coincidence. Filliou had first-hand knowledge of the Far East. He trained as a political economist in the US after the war and was part of the UN team that authored ‘A Five-Year Plan for the Reconstruction and Development of South Korea in 1953’, before quitting this career to live the precarious life of the free spirit. And his premature death interrupted a retreat to a Buddhist monastery meant to last three years, three months and three days.
The Secret of Permanent Creation is not just a tribute to Robert Filliou’s art and thinking but also a reminder of his close relations with Belgium. He had two solo exhibitions at Wide White Space Gallery in Antwerp, in 1971 and 1972, and collaborated for many years with Editions Lebeer-Hossmann, an art publishing house in Brussels. His work can be found in several Belgian private collections as well as in the M HKA collection.
The exhibition is organised by Anders Kreuger, Senior Curator at M HKA, in consultation with Paris-based freelance curator Cécile Barrault. M HKA thanks all the lenders for their generosity, not least the Robert Filliou Estate, managed by the Peter Freeman gallery in Paris. The catalogue, co-published by M HKA, Mousse Publishing and Editions Lebeer- Hossmann, is based on a previously unpublished long interview that Irmeline Lebeer made with Robert Filliou in 1976.
PRESS PREVIEW 13.10.2016 - 11 am OPENING 13.10.2016 - 8.30 pm
ARTWORKS IN THIS EXPO
1960s
1. L’Immortelle mort du monde (The Deathless Dying of the World), 1960/1967. Multiple: print on cardboard, 72.5 × 55.8 cm, published by Something Else Press (Dick Higgins), New York. Collection Stiftung Maria und Walter Schnepel, Budapest.
2. I comme dans Poisson (I as in Fish), 1961. Plywood, gear wheel, coat hangers, 147 × 42.5 × 3.2 cm. Collection LWL – Museum für Kunst und Kultur, Westfälisches Landesmuseum, Münster/Foundation Collection Cremer
3. Une bouteille de vin rêvant d’être une bouteille de lait (A Bottle of Wine Dreaming It Is a Bottle of Milk), 1961. Mixed media, 83 × 62 × 13 cm. Collection Mrs D Robelin, France
4. Poï Poï Bottles, 1961–1970. Multiple: wooden case, two beer bottles labelled ‘Poï Poï’ in positive and negative, ruler, roll of paper, elastic bands, 28.5 × 27.5 × 10.5 cm, published by Eat-Art Galerie (Daniel Spoerri), Düsseldorf. Collection Andersch, Neuss
5. 3 Poems, 1961–1971. Collage, ink, wire and other materials on plywood, 218 × 148 × 5 cm. Collection Stiftung Maria und Walter Schnepel, Budapest 6. Eternal Network, 1961–1973. Paper labels on chipboard, 11.9 × 110 cm. Collection Musée d’art moderne et contemporain de Saint-Etienne Métropole
7. Four-Dimensional Space-Time Continuum, 1962. Multiple: poem and layers of newsprint, 30.6 × 20.5 cm, published by KWY, Paris. Collection Stiftung Maria und Walter Schnepel, Budapest
8. Un poète : 22 choses mal faites ou perdues (parmi tant d’autres) de haut (A Poet: 22 Things Badly Made or Lost (Among Many Others) from High Up), 1962. Mixed media on cardboard, 42 × 180 × 13 cm. Collection Museum moderner Kunst Stiftung Ludwig, Vienna, formerly Collection Hahn, Cologne, acquired in 1978
9. Faim = fin de la faim (Hunger = The End of Hunger), 1962/1975/1978. Pastel, glued papers and fabric on canvas with eyelets, 106 × 268.5 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
10. Danse-poème collectif (à performer à deux, chacun(e) tournant une roue) (Collective Dance-Poem (To Be Performed by Two Players, Each Turning One Wheel)), 1962/1994. Replica: 2 metal wheels, diameter 64 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
11. 3 × 13, 1963. Wooden panel, cardboard, plastic numbers, 14.9 × 10.9 × 2.4 cm. Collection Andersch, Neuss
12. Le (ou la) Poïpoïdrome à espace-temps réel, prototype 00 (The Poïpoïdrome in Reeal Space-Time, Prototype 00), with Joachim Pfeufer, 1963–1975. Wooden model, 4.9 × 17.3 × 17.3 cm. Collection Musée d’art contemporain de Lyon
13. La Carte n’est pas le territoire (The Map Is Not the Territory), with Daniel Spoerri, 1964. Mixed media, metal mailbox, 25.7 × 18.2 × 5.8 cm. Collection Eric Decelle, Brussels
14. Ne pas avoir les yeux dans la poche (Not Having Your Eyes in the Pocket), with Daniel Spoerri, 1964–1969. Wooden box with lid, photograph, plastic, mounted on painted wood, 45.5 × 50 × 12 cm. Collection Andersch, Neuss
15. Ample Food for Stupid Thought, 1965. Multiple: 96 postcards in wooden box, each 12.8 × 17.8 cm, published by Something Else Press (Dick Higgins), New York/Cologne/ Paris. Collection Stiftung Maria und Walter Schnepel, Budapest
16. Je disais à Marianne (I Was Telling Marianne), 1965. Multiple: box with postcards, 28.2 × 28.2 × 3.8 cm, published by MAT MOT (Karl Gerstner, Daniel Spoerri), Cologne. Collection Stiftung Maria und Walter Schnepel, Budapest
17. Phantomas No.50, 1965. Journal, 22.2 × 14.5 cm, published by Théodore König, Joseph Noiret, Marcel and Gabriel Piqueray, Brussels. Collection Andersch, Neuss
18. The Pink-Spaghetti Handshake, with Emmett Williams, 1965. Multiple: gouache on paper, 27 × 21 cm, published by the artists. Collection M HKA, Antwerp
19. Non-école de Villefranche (Non-School of Villefranche), with George Brecht and Jean- Pierre Walfard, ca 1965. Letterhead, print on paper, 26.9 × 21 cm. Collection Andersch, Neuss 20. Untitled, 1965–1966. Resin, measuring tapes, 29.5 × 39.5 cm. Collection Karen Moller, Paris
21. Fluxdust, 1966. Multiple: plastic box with dust collected by Filliou, 12 × 9.4 × 1 cm, published by Fluxus (George Macˇiu nas), ̄ New York. Collection Andersch, Neuss
22. 8 Measurement Poems, with Emmett Williams, 1966. 8 wooden sticks of different length with various objects: 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. Private Collection, Brussels
23. Exposition intuitive (Intuitive Exhibition), 1966/2016. 10 photographic enlargements of telegrams, on wooden stretchers, each 65 × 92 cm, some of them with tools. Collection M HKA, Antwerp
24. A Filliou Sampler, 1967. Book, 21 × 14 cm, published by Something Else Press (Dick Higgins), New York. Private collection, Brussels
25. La Cédille qui sourit : offerings inattendus (The Smiling Cedilla: Unexpected Offerings), with George Brecht et al., 1967. Poster for Christmas exhibition at Galerie Jacqueline Ranson, Paris, 74 × 33 cm. Collection Andersch, Neuss
26. Fluxhair, 1967. Multiple: plastic box with human hair collected by Filliou, 12 × 9.3 × 1 cm, published by Fluxus (George Macˇiu nas), ̄ New York. Collection Andersch, Neuss
27. Games at the Cedilla, or the Cedilla Takes Off, with George Brecht, 1967. Book, 20.5 × 14 × 2 cm, published by Something Else Press (Dick Higgins), New York/Toronto/Frankfurt am Main. Collection M HKA, Antwerp
28. Hand Show, 1967. Multiple: 24 black and white screenprints on paper, each 28.2 × 22 cm, in wooden box, 30 × 24.2 × 4 cm, published by SABA-Studio (Brunner Schwer), Villingen. Collection M HKA, Antwerp
29. Monsters Are Inoffensive, with Daniel Spoerri and Roland Topor, 1967. Multiple: 22 postcards, each 11 × 16 cm, published by Fluxus (George Macˇiu ̄nas), New York. Collection M HKA, Antwerp
30. 14 chansons et une charade/14 songs and a riddle/14 chansons und 1 rätsel, 1968. Book, 16 × 12 cm, published by Hansjörg Mayer, Stuttgart. Collection M HKA, Antwerp
31. Banqueroute (Bankruptcy), with George Brecht, 1968. Poster, 49.8 × 32.2 cm, published by the artists. Collection M HKA, Antwerp
32. Galerie Légitime, 1968. Poster, 63.8 × 47.8 cm, published by Hansjörg Mayer, Stuttgart. Collection M HKA, Antwerp
33. Galerie Légitime, 1968-2003. Poster, 63.8 × 47.8 cm, folded into hat, reproduced by M HKA in collaboration with the artist François Curlet. Collection M HKA, Antwerp
34. Galerie Légitime – Place de la Concorde, 1968. Photograph and ink on cardboard, 46 × 37 × 1.5 cm. Collection Musée d’Art moderne de la Ville de Paris 35. Galerie Légitime – Place de l’Étoile; Île de la Cité, 1968. 2 photographs and ink on cardboard, each 60 × 42 cm × 1.5 cm. Collection Feelisch, Remscheid
36. Optimistic Box No.1, 1968. Multiple: wooden box, paper, stone, clasp, 11 × 11 × 11 cm, published by VICE-Versand (Wolfgang Feelisch), Remscheid. Collection M HKA, Antwerp
37. Optimistic Box No.2, 1968. Multiple: recycled wooden box, paper, photograph, clasp, 12 × 9 × 2.5 cm, published by VICE-Versand (Wolfgang Feelisch), Remscheid. Collection M HKA, Antwerp
38. Poème collectif (Collective Poem), 1968. Booklet, 13.5 × 11 cm, published by Daily-Bul (André Balthazar, Pol Bury), La Louvière. Collection M HKA, Antwerp
39. Principe d’équivalence (Principle of Equivalence), 1968. Wood, iron, felted wool, 200 × 1000 cm. Collection Centre Pompidou, Musée national d’art moderne/Centre de création industrielle, Paris. Donation from Mrs Barbara Dobermann, 1998
40. The Upside-Down World, 1968. Cardboard, paper, 33 × 25.6 cm. Collection Andersch, Neuss
41. Galerie Légitime, 1968–1970. Transparent green plexiglass, white velvet, printed matter, 48 × 68 × 58 cm. Collection Musée d’Art moderne et contemporain, Strasbourg
42. Built-In Versus Built-Upon, 1968–1978. Paintbrush, sock, bottle, photograph and text on painted wood, 35 × 35 × 9 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/ Paris
43. Optimistic Box No.4–5, 1968–1981. Multiple: ceramic piggy-bank, paper, published by VICE- Versand (Wolfgang Feelisch), Remscheid, 9.5 × 16.5 × 11 cm. Collection M HKA, Antwerp
44. Pour pêcher à deux la lune (Moon-Fishing for a Couple), 1968–1984. Wood, twine, nail, hook, coloured pencil, felt and stamp on paper, ca 185 × 50 × 50 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
45. A Ladder (You Can Climb), 1969. Wooden ladder, paper, plastic, metal plaque, 235 × 68 cm. Collection Andersch, Neuss
46. La Cédille qui sourit (The Smiling Cedilla), with George Brecht, 1969. Wood painted on both sides, 27 × 70 × 2.4 cm. Collection Musée d’art moderne et contemporain de Saint- Etienne Métropole
47. La Cédille qui sourit (The Smiling Cedilla), with George Brecht, 1969. Multiple: exhibition catalogue for, enlarged matchbox containing real matchbox, 16.3 × 20.6 × 2 cm, published by Städtisches Museum, Mönchengladbach. Collection M HKA, Antwerp
48. Création permanente (Permanent Creation), 1969. Wooden lath with 3 wooden panels, hooks, playing cards, photographs, 79 × 53 × 2 cm. Collection Museum moderner Kunst Stiftung Ludwig, Vienna, formerly Collection Hahn, Cologne, acquired in 1978 49. Everything Looks Beautiful Provided You Put Your Heart In, 1969. Espadrilles, wood, 48× 21 × 5 cm. Collection Van Lierde, Brussels
50. Filliou Proposes: That Mad Feeling, 1969. Wood, small radio, attached notes and writing, 65 × 74 cm. Collection Karen Moller, Paris
51. For Duchamp, 1969. Wooden box with silver surface, pencil, bicycle fork, 149 × 79 × 91 cm. Collection Museum moderner Kunst Stiftung Ludwig, Vienna, acquired in 1985
52. La Joconde est dans les escaliers (Mona Lisa Is in the Stairs), 1969. Multiple: cardboard, oil pastel on both sides, 32.9 × 10.9 cm, published by Tangente, Heidelberg. Collection Andersch, Neuss
53. Joker, 1969. Multiple: 2 oversized playing cards in plastic envelope, 32.5 × 23.5 cm, published by Galerie Art Intermedia, Cologne. Collection M HKA, Antwerp
54. MIND, 1969. Multiple: screenprint, 41.5 × 46.5 cm, published by Udo Breger, Göttingen. Collection M HKA, Antwerp
55. Object without Object, 1969. Wood, paper, screws, 230 × 14 × 4 cm. Collection Feelisch, Remscheid
56. Optimistic Box No.3, 1969. Multiple: recycled wooden chess box, paper, clasp, 3 × 12 × 6 cm, published by VICE-Versand (Wolfgang Feelisch), Remscheid. Collection M HKA, Antwerp
57. Petite histoire un peu sainte (Little Story, a Bit Holy), 1969. Circular book, diameter 6 cm., published by les petits O (Robert Morel), Vaucluse. Collection M HKA, Antwerp
58. Project for Toilets in the New Mönchengladbach Stadtmuseum, 1969. Pencil and felt pen on canvas, 142 × 159 cm. Collection Museum Abteiberg, Mönchengladbach
59. Werkzeugkreutz (Tool Cross), 1969. Wood, various tools, 110 × 50 × 12 cm. Collection Feelisch, Remscheid
60. Sketch for Permanent Creation Toolbox, ca 1969. Ink on paper, 20.9 × 18.2 cm. Collection Feelisch, Remscheid
61. Permanent Creation Toolbox, 1969 (interactive exhibition copy). Wooden blocks with hooks and eyes in metal toolbox, 20 × 25 × 44 cm. Collection Eric Decelle, Brussels 62. Spontaneity Is Fed by Non-Competence, 1969–1970. Wooden panel, pain boxes, letters, 55.7 × 57.3 cm. Collection Andersch, Neuss
1970s
63. 7 Childlike of Warlike Material, 1970. Wood, metal, broken glass, found objects, clothing, 182 × 400 × 90 cm. Collection Centre Pompidou, Musée national d’art moderne/ Centre de création industrielle, Paris, acquired in 1988 64. COMMEMOR, 1970. Exhibition poster, 83.7 × 59.8 cm, published by Neue Galerie im Alten Kurhaus, Aachen. Collection M HKA, Antwerp
65. Dieu (God), 1970. Round mirror, diameter 14.3 cm. Collection Andersch, Neuss
66. L’Être humain est multiple (The Human Being Is Multiple), ca 1970. Cardboard box in 2 parts, ink and pastel over glued paper, 35.4 × 28 × 4.8 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
67. I Hate Work Which Is Not Play, 1970. Crayon on wood, 58 × 76 × 5 cm. Collection Eric Decelle, Brussels
68. It Would Give Me Joy to Give Joy, 1970. 7 drawings mounted on metal stand, 140 × 93 cm. Collection Museum moderner Kunst Stiftung Ludwig, Vienna, donation by Oswald Oberhuber, 1979
69. Joint Work of R Filliou and Drunkenness, 1970. Marker on paper, cardboard, 45 × 62 × 1 cm. Private collection, Antwerp
70. The Last Time I Felt Sad, 1970. Mixed media on cardboard, 67.2 × 94.8 cm. Collection Musée d’Art moderne et contemporain, Strasbourg
71. République géniale: Research on Filmmaking, 1970. Wooden dice, painted metal sheer, mounted on wood hooks, 46 × 45.5 × 13 cm. Collection Stiftung Maria und Walter Schnepel, Budapest
72. Research on Filmmaking, 1970. Cardboard on suspension parts, mounted over harmonica in case, paper card, 65 × 71 × 9 cm. Collection Koschate, Frankfurt am Main
73. September 23 to October 6: Calendar, 1970. Red felt pen on cardboard with iron wire, mirrors and photographs, 32.2 × 25 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
o 74. Territoire n 0 de la République géniale – 25 Looking for 26 (Territory No.0 of the Genial Republic: 25 Looking for 26), 1970. Music stand, rope, wood, photography, collage, metal, 118 × 40 × 35 cm. Collection Stiftung Maria und Walter Schnepel, Budapest 75. Territory of the Genial Republic, Research on Filmmaking: 3 Weapons, 1970. Wood, brass knuckles and paper mounted on wood, hooks, 45.5 × 45.5 × 13 cm. Collection Stiftung Maria und Walter Schnepel, Budapest
76. Tentative de dédramatisation du drame profond que vit tout artiste, son rôle et sa place dans la société (Attempt at De-Dramatising the Profound Drama That Every Artist Experiences, His Role and Place in Society), ca 1970. 25 photocopies, each labelled and signed and attached to a sheet of cardboard with paper clip, 34 × 54 × 7 cm. Collection Koschate, Frankfurt am Main
77. Research in Child Language (aïe!), 1970–1971. Pastel and blue gelatine on cardboard box in two parts, glued paper, 54.8 × 35.4 × 8 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
78. COMMEMOR, 1970/2003. 4 photomontages mounted on particle board, each 70 × 100 cm. Collection Museum Kunstpalast, Düsseldorf
79. 7 Childlike Uses of Warlike Material, 1971. Multiple: portfolio of 7 screenprints on paper, each 49.5 × 69.5 cm, published by Hartmut Kaminski, Düsseldorf. Collection M HKA, Antwerp
80. A Joint Work with Robert Filliou and a Child, 1971. Wood, glass, musical box, book, stamp, handwritten text, hooks, 28.5 × 27.5 × 11.5 cm. Collection Andersch, Neuss
81. A Joint Work with Time, 1971. Wooden panel, nails, cardboard, inscription, stamp, 44 × 44 × 13 cm. Collection Feelisch, Remscheid
82. A Selection from 1000 Basic Japanese Poems/Ein Sublimat aus 1000 Gedichte japanisch, 1971. Book, 21 × 13 cm, published by Galerie der Spiegel (Karl Gerstner), Cologne. Collection M HKA, Antwerp
83. L’Origine du mot foule (The Origin of the Word Crowd), 1971. Dry point on copper, 30 × 30 cm. Collection Van Lierde, Brussels
84. L’Origine du mot foule – impression (The Origin of the Word Crowd: Print), 1971. Print on paper, 56.6 × 81 cm (framed size). Collection Van Lierde, Brussels
85. Projects for Sky-Writing, 1971. Multiple: 2 sheets from portfolio of 10 screenprints on paper, each 62.5 × 90 cm, published by Hartmut Kaminski, Düsseldorf. Collection M HKA, Antwerp
86. Spaghetti Sandwich, with Emmett Williams, 1971. Multiple: screenprint on paper napkin, 37 × 37 cm, published by Eat-Art Gallery (Daniel Spoerri), Düsseldorf. Collection M HKA, Antwerp
87. Territory No.0 of the Genial Republic: 9 Weeks of Research on Futurology, 1971. 4 horizontal panels and 3 vertical panels with various objects, each panel ca 230 × 130 × 5 cm; 1 table, 1 shelf. Collection LaM, Lille Métropole, Musée d’art moderne, d’art contemporain et d’art brut, Villeneuve-d’Ascq
88. Territory No.0 of the Genial Republic: 9 Weeks of Research on Futurology, 1971. Multiple: 2 cassettes with 8 photographs, each 17 × 24 cm. Collection Stiftung Maria und Walter Schnepel, Budapest
89. That Spiritual Need, 1971. Wood, paper, nails, marker, photograph, 38 × 45.5 × 14 cm. Private Collection, Antwerp
90. That Spiritual Need, 1971. Wood, nail, screws, black and white photograph and tabor with bank card on wooden panel, 55.5 × 68.5 × 5 cm. Courtesy Richard Saltoun Gallery, London
91. Recherche sur la faim (Research on Hunger), 1971–1972. Cardboard box in 2 parts, fabric, pastel, stamp, 52 × 66 × 8 cm. Collection Andersch, Neuss
92. Shadow, 1971–1972. Collage with drawing mounted on wooden panel, 64.7 × 84.7 × 4.4 cm. Collection Stiftung Maria und Walter Schnepel, Budapest 93. AA Revue No.46. Journal published by Centre d’Orientation et d’Information Théâtrales (Richard Tialans), Liège, 1972. Typescript of One- Minute Scenarios, with George Brecht, in French translation. Paper, 22 × 28 cm. Collection Andersch, Neuss
94. Boîte à manifeste + bouchon (Manifesto Box + Cork), 1972. Box, paper, cork, 30 × 22 × 7.5 cm. Private collection, Brussels
95. Concept Not Conceived, 1972. Ink, wax, various materials on paper, 70 × 50 × 3.5 cm. Collection Feelisch, Remscheid
96. The Frozen Exhibition, 1972. Multiple: felt on stamped cardboard, 20.5 × 31.5 × 0.5 cm, published by VICE-Versand (Wolfgang Feelisch), Remscheid. Collection Stiftung Maria und Walter Schnepel, Budapest
97. Homage to the Düsseldorf Film Group, 1972. Wooden box, handwritten text on mirror shards and on paper, 21.8 × 30 × 21 cm. Collection Andersch, Neuss
98. Jackpot, 1972. Soft lead pencil and ink on graph paper mounted on cardboard, 3 photographs, 41.3 × 61.2 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/ Paris
99. Je suis le rêve de quel sale papillon ? (Which Bloody Butterfly’s Dream Am I?), 1972. Cardboard box with drawing and typed text, 32 × 43× 6 cm (closed). Private collection, Brussels
100. The Paper Brain for 103 Days, 1972. Cardboard box in two parts: black and white photograph and paper label, 103 black marking dots, 46 × 66.5 × 7.5 cm. Courtesy Richard Saltoun Gallery, London
101. Portrait of the Artist Jenny, 1972. Photographs and collage on cardboard box, 36 × 43 × 3 cm. Collection Andersch, Neuss
102. Portrait pas fait : Joseph Beuys (Not Made Portrait: Joseph Beuys), 1972. Ink, pencil and felt pen on canvas, 55 × 38 × 2 cm. Courtesy Galerie Emmanuel Hervé, Paris
ème 103. Portrait pas fait : pour le 3 œil (Not Made Portrait: For the 3rd Eye), 1972. Collage on canvas, 60 × 60 cm. Collection Eric Decelle, Brussels
104. Research in Arts and Astrology, 1972. Multiple: portfolio of 12 screenprints on paper, each 43 × 69.1 cm, published by Hartmut Kaminski, Düsseldorf. Collection M HKA, Antwerp (5 prints); collection Van Lierde, Brussel, in deposition at Musée d’art contemporain de Lyon (7 prints)
105. Solitude, 1972. Multiple: screenprint on paper, 76 × 49 cm, published by Museumsverein, Mönchengladbach. Collection M HKA, Antwerp
106. Territoire légitime de la République géniale (Legitimate Territory of the Genial Republic), 1972. Cardboard, staples, paper, photographs, ink, blue felt, 25.5 × 46 × 5 cm. Collection Musée d’art moderne et contemporain de Saint-Etienne Métropole 107. The Turtle: A Green Contribution to Ecology, 1972. Cardboard box, ink, 68.3 × 39 × 5.6 cm. Courtesy Galerie Papillon, Paris
108. Research in Dynamics and Comparative Statics, 1972–1973. Multiple: wooden case containing printed matter, 32 × 49.6 × 12.6 cm, published by Editions Lebeer Hossmann (Paul Lebeer, Irmeline Hossmann Lebeer), Brussels/Hamburg. Collection Stiftung Maria und Walter Schnepel, Budapest
109. Research in Progress, 1972–1973. Felt and ink on pink paper, 2 photographs; felt, ink and soft lead pencil on paper glued onto brown paper, mounted on wood with hooks, 16 × 160 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
110. With Love from Cromagnon, 1972–1973. Cardboard box in two parts: black and white photograph and pencil drawing on tracing paper on inside base; crayon on paper on inside lid, 54.8 × 70.8 × 8 cm. Courtesy Richard Saltoun Gallery, London
111. 1.000.010. Geburtstag der Kunst (Art’s 1,000,010th Birthday), 1973. Poster for event, 83.7 × 59.8 cm, published by Neue Galerie im Alten Kurhaus, Aachen. Collection Andersch, Neuss
112. A Joint Work of RF and Suns, 1973. Pastel on Cardboard box in two parts, glued paper, 67.2 × 43 × 10 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
113. And Life Begins Right Away (Je suis libre d’être libre) (I’m Free to Be Free), ca 1973. Pastel on cardboard box and glued paper, 68 × 43 × 5 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
114. Information Box, 1973. Multiple: cardboard box with printed matter with collage on top, 33 × 25 × 7.5 cm, published by Galerie Buchholz, Munich. Collection Stiftung Maria und Walter Schnepel, Budapest
115. Input/Output Analysis, 1973. Photographs and text on 7 chipboard panels, each 150 × 150 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
116. Man Carrying His Own Sun on a String, 1973. Cardboard box in two parts, photograph and pastel, 50.5 × 73 × 9.5 cm. Private collection, Paris
2 117. 4644 cm de territoire extérieur de la République géniale avec message intérieur 2 (4644 cm of Exterior Territory of the Genial Republic with Interior Message), ca 1973. Cardboard box in 2 parts, 2 photographs and ink on glued cardboard, 46 × 37 × 3.5 cm. Collection Museum Kunstpalast, Düsseldorf
118. Not so Empty Box with String, ca 1973. Cardboard box in two parts with glued paper, soft lead pencil and string, 34 × 24 × 4.8 cm (closed). Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
119. Research in Child Language, ca 1973. Cardboard box in 2 parts, paper, wooden box, fabric, chalk and pastel, 75.5 × 45.2 × 6 cm. Estate of Robert Filliou, Galerie Peter Freeman, Paris 120. Réserve d’Antoine (Reserve Antoine), 1973. Multiple: wine label with text, 9.5 × 11 cm. Collection Stiftung Maria und Walter Schnepel, Budapest
121. Telepatische Musik Nr. 2 (Telepathic Music No.2), 1973. Print on paper, 30.3 × 21.5 cm, on rusty music stand. Collection Andersch, Neuss
122. Work as Play, Art as Thought, 1973. Wood, paper, mixed media, 28 × 196 × 2 cm. Collection Musée d’art contemporain de Lyon
123. A World of False Fingerprints, 1974. Multiple: drawing and collage, offset print, 42.5 × 42.5 cm, in wooden box, 16 × 16 × 5 cm, published by René Block, Berlin. Collection Stiftung Maria und Walter Schnepel, Budapest
124. Grâce à Fourier (Thanks to Fourier), 1974. Cardboard box in two parts: black and white photograph fixed to inside base; paper with inscriptions fixed to inside lid, 34 × 55 × 5.5 cm. Courtesy Richard Saltoun Gallery, London
125. The Kingdom of Arts Is Inside You, 1974. Felt-tip pen, anatomical map on paper, mounted on wood, 125 × 175 × 6 cm. Collection Elke Kaminski, Düsseldorf
126. Recherche sur l’origine (Research on the Origin), 1974. Pastel drawing on cloth, wood, 8,900 × 271 × 85 cm. Collection Musée d’art contemporain de Lyon
127. Research on the Origin, 1974. Multiple: offset print on blue graph paper, 32 × 10 × 9.3 cm, published by Kunsthalle Düsseldorf. Collection Stiftung Maria und Walter Schnepel, Budapest
128. 1/2 + 1/2 = Filliou/Pfeufer, with Joachim Pfeufer, 1975. Booklet included in the catalogue for the exhibition ‘12 × 1, Une certaine actualité de l’art contemporain en France’ as part of Europalia France, 29.5 × 21 cm, published by Palais des Beaux- Arts, Brussels. Private collection, Brussels
129. Autobiographical Fragment No.7, 1975. Cardboard box, glued paper, 56 × 73 × 9 cm. Collection Koschate, Frankfurt am Main
130. Le Poïpoïdrome ambulant 00 (The Ambulating Poïpoïdrome 00), with Joachim Pfeufer, 1975. Newsprint, 4 pages, each 29 × 36 cm, published by Pour, Brussels. Collection Musée d’art moderne et contemporain de Saint-Etienne Métropole
131. Le Poïpoïdrome proprement dit (The Poïpoïdrome Properly Speaking), with Joachim Pfeufer, 1975. Glassed poster, 70 × 50 × 1 cm. Collection Andersch, Neuss
132. Telepathic Sculpture, ca 1975. Pastel on paper, 37 × 45 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
133. Telepathic Sculpture, ca 1975. Pastel on paper, 45 × 60 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
134. To Be a Pilgrim, 1975. Collage, pastel and ink on cardboard, 60 × 80 cm. Private collection, Germany 135. La Vérité m’écrase (Reality Crushes Me), 1975. Cardboard box, 45.5 × 32.5 × 4 cm. Private collection, Brussels
136. Multiple à exemplaire unique : en l’occurence chaque seconde qui passe (Unique Copy of Multiple: At the Occasion of Each Second That Passes), 1975– 1978. Soft lead pencil on glued paper and stamp on cardboard box, 18.5 × 22 × 7.5 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
137. A Joint Work of Marceline and Daddy, 1976. Stamp and drawing on paper, 21 × 29.7 cm. Collection Van Lierde, Brussels
138. A Most Curious Invention of the Gaga Yogi, 1976. Multiple: wooden box with nails, transparent plastic box with one nail, published by Armin Hundertmark, Cologne, 7.4 × 10.6 × 8 cm. Collection M HKA, Antwerp ] 139. Cucumberland, 1976. Multiple: dry point on paper, 76 × 56.5 cm, published by Galerie Leger, Malmö. Collection M HKA, Antwerp
140. Fest-Stuhl (Festive Chair), 1976. Camping chair, cardboard, paper, ceramics, string, 52 × 50 × 75 cm. Collection Andersch, Neuss
141. Leeds, 1976. Multiple: wooden box with playing cards, 33 × 37 × 6.6 cm, published by ARROCARIA, Antibes. Collection Stiftung Maria und Walter Schnepel, Budapest
142. Le Siège des idées (The Seat of Ideas), 1976. Metal frame of collapsible chair, pastel on cardboard, string, ca 74 × 40 × 40 cm. Private collection, Brussels
o 143. Musique télépathique N 5 (Telepathic Music No.5), 1976–1978. 33 musical stands, 32 double-sided playing cards, 34 small boxes with text in French, dimensions variable, height 142 cm. Collection Centre Pompidou, Musée national d’art moderne/ Centre de création industrielle, Paris, acquired in 1979
144. do as you likE, 1976/2003. Multiple: stamp on cardboard, 9.8 × 14.9 cm, originally published by the Jan Van Eyck Academie, Maastricht, republished by M HKA, in collaboration with the artist François Curlet. Collection M HKA, Antwerp
145. Eternal Hai Ku, 1977. 13 canvasses hung from a wooden pole, ca 25 × 230 cm. Private collection, Germany
146. Everybody Is Perfect. Including Me? How About a Science of Perfectology?, 1977. Music stands, photographs, collage, 118 × 40 × 35 cm. Collection Stiftung Maria und Walter Schnepel, Budapest
147. Futile Box, 1977. Multiple: wooden box, rubber ball, 8 × 7.6 × 7.6 cm, published by Bengt Adlers, Malmö. Collection Andersch, Neuss
148. Porta Filliou, 1977. Video, 47', b/w, sound, produced by Arton Center, Calgary. Collection M HKA, Antwerp 149. Poussière de poussière de l’effet Cimabue (La Vierge aux anges) (Dust to Dust with Cimabue Effect (Madonna and Angels)), 1977. Multiple: cardboard box, duster, polaroid, 12.5 × 16.5 × 6.5 cm, published by La Boutique aberrante (Daniel Spoerri), Paris. Collection Andersch, Neuss
150. Poussière de poussière de l’effet Fra Angelico (Dust to Dust with Fra Angelico Effect), 1977. Multiple: cardboard box, duster, polaroid, 12.5 × 16.5 × 6.5 cm, published by La Boutique aberrante (Daniel Spoerri), Paris. Collection Andersch, Neuss
151. Poussière de poussière de l’effet Frans Hals (La Bohémienne) (Dust to Dust with Frans Hals Effect (The Bohemian)), 1977. Multiple: cardboard box, duster, polaroid, 12.5 × 16.5 × 6.5 cm, published by La Boutique aberrante (Daniel Spoerri), Paris. Collection Andersch, Neuss
152. Poussière de poussière de l’effet Klee (Hafen mit Segelschiffen) (Dust to Dust with Klee Effect (Harbour with Tall Ships)), 1977. Multiple: cardboard box, duster, polaroid, 12.5 × 16.5 × 6.5 cm, published by La Boutique aberrante (Daniel Spoerri), Paris. Collection Andersch, Neuss
153. Poussière de poussière de l’effet Pevsner (Dust to Dust with Pevsner Effect), 1977. Multiple: cardboard box, duster, polaroid, 12.5 × 16.5 × 6.5 cm, published by La Boutique aberrante (Daniel Spoerri), Paris. Private collection, Brussels
154. Poussière de poussière de l’effet Soutine (Le Groom) (Dust to Dust with Soutine Effect (The Groom)), 1977. Multiple: cardboard box, duster, polaroid, 12.5 × 16.5 × 6.5 cm, published by La Boutique aberrante (Daniel Spoerri), Paris. Collection M HKA, Antwerp
155. Le Siège des idées : analyse logique de Edwige Regenwetter, 1977. Book, 21 × 13 cm, published by Editions Lebeer Hossmann (Paul Lebeer, Irmeline Hossmann Lebeer), Brussels/Hamburg. Private collection, Antwerp
156. Telepathic Music No.7: The Principle of Equivalence Carried to a Series of 5, 1977. Video, 15'30", colour, sound, produced by Western Front, Vancouver. Collection M HKA, Antwerp
157. To Be a Pilgrim, 1977. 36 halves of cardboard boxes with original drawings, monogrammed and dated, each 14 × 12 × 4 cm. Private Collection, Germany
158. La Fondation Poïpoï présente : Hommage aux Dogons et aux Rimbauds (The Poïpoï Foundation Presents: Homage to the Dogons and the Rimbauds), with Joachim Pfeufer, 1978. Newsprint, 8 pages, each 31 × 44 cm, published by Centre Georges Pompidou, Paris. Collection Musée d’art moderne et contemporain de Saint-Etienne Métropole
159. Projet de multiples (Multiples Project), 1978. Mixed media on wood, 111 × 24 cm. Collection A M and M Robelin, France
160. 13 boîtes sans couvercles (13 Boxes without Covers), 1979. Crayon on paper, mounted on cardboard and panel, 25 × 195 cm. Collection Les Abattoirs, FRAC Midi- Pyrénées, Toulouse
161. A Poem a Day, 1979. Mixed media on fabric, wood, 85 × 150 cm. Collection Eric Decelle, Brussels 162. The Speed of Art, 1979. Multiple: 3 screenprints, each 15 × 21 cm, published by Exempla, Florence and Zona, Lugo. Collection M HKA, Antwerp
163. Teaching and Learning as Performing Arts: Part II: Video-Universecity with Kate Craig/Part II: Video Breakfasting Together If You Wish (To Be Continued), 1979. Video, 82', colour, sound, produced by Western Front, Vancouver. Collection M HKA, Antwerp
164. Telepathic Music No: From Madness to Nomad- Ness, 1979. Colour chalk and charcoal on canvas, eyelets, 300 × 271 cm. Collection Centre Pompidou, Musée national d’art moderne/Centre de création industrielle, Paris, acquired in 1988
165. À la lisière (At the Edge of the Forest), 1970s. Acrylic on transparent plastic paint box, 9 × 15 × 3 cm. Private collection, Brussels
166. Le petit li(b)vre blanc (The Little White Free/ Book)‚ 1970s. Book, separate red plastic book cover, 14 × 9.5 × 1.5 cm. Private collection, Brussels
1980s
167. A New Way to Blow Out Matches, 1980. Multiple: wooden box with printed label, altered spinning top and matchbox, 7.2 × 10.7 × 4.8 cm, published by Bengt Adlers, Malmö. Private collection, Brussels
168. Musical Economy No.1, 1980. Multiple: screenprint on paper, published by Exempla, Florence and Exit, Lugo, 54.5 × 40.5 cm. Collection M HKA, Antwerp
169. Principles of Poetical Economy, 1980. Soft lead pencil on 22 paper cards, stamp, hooks, string, installation ca 95 × 140 cm. Private collection, Lyon
170. Video Games, 1980–1982. Cardboard box, brick, mixed media, 42.5 × 39.8 × 20 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
171. Video jour – video nuit (Video Day: Video Night), 1980–1982. Cardboard boxes, lipstick on mirror, ink and pastel on paper, cardboard, mixed media, installation ca 46 × 120 cm. Estate of Robert Filliou & Peter Freeman Inc., New York/Paris
172. Livre étalon (Standard-Book), 1981. Multiple: printed book, accordion plaited, 4 × 79.6 cm, published by o.O (Dieter Roth), Düsseldorf. Collection M HKA, Antwerp
173. Musique télépathique (Telepathic Music), 1981. Brick, paper, print, ink pot, feather, 21.7 × 11 × 3 cm. Collection Andersch, Neuss
174. Un Filliou d’il y a long (37) temps (JOB) (A Filliou from a Long (37) Time Ago (JOB)), 1981. Mixed media on brick, 22 × 11 × 5 cm. Collection Eric Decelle, Brussels
175. Autobiographical, 1983. Wood, bricks, mirror, paper, 78 × 28 × 10.4 cm. Collection A M and M Robelin, France 176. L’Héritage de Lascaux (The Lascaux Heritage), 1983. Bricks, cardboard, paper, crayon, electric cord, 250 × 250 × 40 cm. Collection FRAC Languedoc- Roussillon, Montpellier
177. Modern Video Model, 1983. Brick, string, metal, plastic, ink, 11.5 × 53 × 46 cm. Collection Musée d’art moderne et contemporain de Saint-Etienne Métropole
178. Musical Economy No.2, 1983. Multiple: screenprint on transparent paper, published by Seedorn, Zurich, 54 × 40.7 cm. Collection M HKA, Antwerp
179. Dear Skywatcher: Art Is What Makes Life More Interesting Than Art, 1984. Multiple: print on paper, envelope, 48 × 32 cm, published by Griffelkunst, Hamburg. Collection Van Lierde, Brussels, in deposition at Musée d’art contemporain de Lyon
180. Eins, Un, One, 1984. Painted wooden dice of different colours and sizes, dimensions variable. Collection Mamco, Geneva
181. Modern Video Model, 1984. Print, 48 × 64 cm, published by Griffelkunst, Hamburg. Collection M HKA, Antwerp
182. Longs poèmes courts à terminer chez soi (Long Short Poems to Finish at Home), 1984. Multiple: postcards, each 10 × 15 cm, published by Editions Lebeer Hossmann, Brussels/Hamburg. Collection M HKA, Antwerp
183. O! LE JEU DE VID(E) (OH! THE GAME OF LIFE/EMPTINESS), 1984. Multiple: poster, 56 × 42 cm, published by Griffelkunst, Hamburg. Collection M HKA, Antwerp
184. A Peace Smile, ca 1984. Postcard, 14.7 × 10.5 cm, published by Artists-on-Space/ Art-of- Peace-Biennale Study Group, Hamburg. Collection Andersch, Neuss
185. Time in a Nutshell, 1987. Walnuts, pencil paper, elastic bands, string, dimensions of frame 35 × 25 × 3 cm. Collection Feelisch, Remscheid
OTHER EXHIBITIONS AT M HKA
IN SITU: Michèle Matyn ‘Breathing holes’ 13.10.16-5.02.17
Michèle Matyn has developed a multifaceted practice that incorporates photography, sculpture, installation and performance. Her work looks at the ways myths and folklore are created in societies, often through our perception of and interaction with nature. ‘From Broodthaers to Braeckman. Photography in the Visual Arts in Belgium’ 6.10.16-5.02.17
Through representative examples ‘From Broodthaers to Braeckman. Photography in the Visual Arts in Belgium’ shows how the medium of photography entered the field of visual arts in Belgium and how it evolved into an independent artistic medium between 1960 and 1990.
M HKA Museum of Contemporary Art Antwerp Leuvenstraat 32 2000 Antwerp T +32 (0)3 260 99 99 E [email protected] W www.muhka.be
For more information and photos, please visit: http://www.muhka.be/nl/about-m-hka/press/27-robert-filliou-het-geheim-van-de-permanente-creatie, www.muhka.be/pers and www.ensembles.org, there you will find more information and documentation on artists, artworks and exhibitions in M HKA
Or contact: Kathleen Weyts T +32 (0)485 79 53 32 E [email protected] Liesbet Waegemans T +32 (0)486 87 84 81 E [email protected]