RETROSPECTIVE ROBERT FILLIOU ‘Le secret de la création permanente’ 13.10.2016–22.01.2017

Dans les années à venir, le M HKA va dédier une série d’expositions à des figures clés de l’art expérimental de la seconde moitié du XXe siècle dont la présence à Anvers au cours des années 60 et 70 aura été marquante. On commence par le poète, dramaturge, plasticien et penseur français Robert Filliou (1926-1987). Cet automne, le musée monte une rétrospective complète de son œuvre plastique – la première en Belgique – avec plus de cent œuvres originales et multiples provenant de collections privées et publiques à travers l’Europe.

Plus radical, plus fondamentalement provocateur, mais aussi plus subtil et plus discret que la plupart de ses contemporains et pairs, Filliou devrait être un nom connu d’un très large public. À travers cette exposition, le M HKA souhaite démontrer aux visiteurs d’aujourd’hui et de demain que Filliou n’est pas seulement l’un des artistes les plus influents du passé récent, mais qu’il demeure une voix éminemment pertinente pour notre époque, lui qui a abordé l’économie politique et poétique, la curiosité, et qui insistait sur «l’idée que la recherche est le privilège de ceux qui ne savent pas, et non pas le domaine de ceux qui savent»; lui qui parlait de convivialité et de jeu, mais aussi de la solitude comme d’un état productif et désirable.

Filliou est souvent associé au mouvement , mais n’en a jamais fait partie, ni d’aucun autre groupe ou courant, bien qu’il ait travaillé en étroite collaboration avec des amis comme les artistes et , le compositeur et artiste , le poète ou l’architecte et artiste Joachim Pfeufer.

Avec ses collaborateurs – en premier lieu sa femme, Marianne Staffeldt Filliou –, il a inventé bon nombre de concepts, qu’il a aussitôt introduits dans son œuvre, comme «le réseau éternel» (des personnes partageant les mêmes affinités à travers le monde entier); «la République géniale» (dont le territoire ne peut jamais être revendiqué par quiconque); «le Principe d’équivalence» (entre le «bien fait», le «mal fait» et le «pas fait»), une attaque directe de la primauté du jugement esthétique dans la culture occidentale; «Enseigner et apprendre – Arts vivants» (le titre de son livre publié en 1970); et peut-être le concept le plus important: «la Création permanente».

C’est Marianne Staffeldt Filliou qui a un jour affirmé: «Tu es artiste quand tu crées. Mais quand tu t’arrêtes, tu n’es plus artiste.» Filliou avait conscience du besoin de rompre avec la conception conventionnelle de la créativité comme quelque chose d’exclusif, hors du monde. Un de ses multiples porte l’inscription «L’art est ce qui rend la vie plus intéressante que l’art.»

«Le secret de la création permanente: quoique tu penses, pense autre chose. Quoi que tu fasses, fais autre chose. Le secret absolu de la création permanente: ne désire rien, ne décide rien, ne choisis rien, sois conscient de toi-même, reste éveillé, calmement assis et ne fais rien.»

Si cela ressemble à du bouddhisme zen, ce n’est pas une coïncidence. Filliou était un fin connaisseur de l’Extrême-Orient. Il a étudié l’économie politique aux États- Unis après la guerre et a fait partie de l’équipe des Nations unies qui a rédigé en 1953 un «Plan quinquennal pour la reconstruction et le développement de la Corée du Sud», avant d’abandonner sa carrière pour mener la vie précaire d’un esprit créatif. Son décès prématuré a interrompu sa retraite dans un monastère bouddhiste censée durer trois ans, trois mois et trois jours.

«Le secret de la création permanente» n’est pas uniquement un hommage à l’art et à la pensée de Robert Filliou, mais un rappel de sa relation intime avec la Belgique. Il a présenté deux expositions individuelles à la galerie Wide White Space à Anvers, en 1971 et 1972, et a collaboré de longues années avec les éditions d’art Lebeer-Hossmann à Bruxelles. De nombreuses collections privées belges, ainsi que la collection permanente du M HKA possèdent des œuvres de Robert Filliou.

Le catalogue, coédité par le M HKA, Mousse Publishing et les Éditions Lebeer- Hossmann, s’inspire d’une longue interview inédite de Robert Filliou réalisée par Irmeline Lebeer en 1976.

L’exposition est organisée par Anders Kreuger, commissaire d’expositions au M HKA, avec la consultance de Cécile Barrault, commissaire d’expositions indépendante basée à Paris. Le M HKA tient à remercier tous les prêteurs pour leur générosité, en particulier la galerie Peter Freeman à Paris qui administre la succession de l’artiste, la Robert Filliou Estate.

PRESS PREVIEW 13.10.2016 - 11h INAUGURATION 13.10.2016 - 20h30

OEUVRES PRESENTEES DANS CETTE 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 (), 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 , 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 : (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 ENCORE AU M HKA ‘De Broodthaers à Braeckman. La photographie dans les arts plastiques en Belgique’ 6.10.16-5.02.17

L’exposition ‘De Broodthaers à Braeckman. La photographie dans les arts plastiques en Belgique’ présente à la faveur de quelques exemples représentatifs la manière dont le média photographique a fait son entrée dans le domaine des arts plastiques en Belgique et dont il a ensuite évolué en discipline artistique autonome entre les années 60 et 90.

IN SITU: Michèle Matyn ‘Gouffres du souffle' 13.10.16-5.02.17

Michèle Matyn a élaboré une pratique aux aspects multiples, qui inclut la photographie, la sculpture, l’installation et la performance. Son œuvre observe la manière dont les mythes et le folklore voient le jour dans les sociétés, souvent à travers notre perception de la nature et notre interaction avec celle-ci.

M HKA Musée d’Art Contemporain d’Anvers Leuvenstraat 32 2000 Anvers T +32 (0)3 260 99 99 E [email protected] W www.muhka.be

Pour renseignements et photos, consultez : www.muhka.be/fr/about-m-hka/press/27-robert-filliou-le-secret-de-la-cr-ation-permanente, www.muhka.be/pers et www.ensembles.org, vous trouverez d’amples informations et de la documentation sur artistes, oeuvres et expositions au M HKA

Ou contactez : Kathleen Weyts T +32 (0)485 79 53 32 E [email protected] Liesbet Waegemans T +32 (0)486 87 84 81 E [email protected]