musique telepathique

source: mailartistswordpress

Robert Filliou wurde am 17. Januar 1926 in Sauve geboren. Er war ein französischer Hauptvertreter des Fluxus.

Filliou schloss sich 1943 dem Widerstand gegen die deutschen Besatzer an, der Résistance. 1946 verließ er Frankreich und wanderte in die USA aus, wo er von 1946 bis 1948 zunächst unter anderem für Coca Cola tätig war. 1949 nahm er ein Studium der Wirtschaftswissenschaften an der University of California in Los Angeles auf. Nach dem Erwerb des Masters siedelte er 1951 nach Süd-Korea über und arbeitete dort für das “University of California Extension Program”, woran sich eine Tätigkeit für die “United Nations Korean Reconstruction Agency” (Wiederaufbauagentur der UN für Korea) anschloss.

1954 zog Filliou nach Ägypten, lebte dann von 1955 bis 1957 in Spanien, lernte in Dänemark seine spätere Frau Marianne Staffels kennen und kehrte schließlich im Jahre 1959 zurück nach Frankreich. Robert Fillious künstlerische Entwicklung basierte auf seiner Beschäftigung mit dem Zen-Buddhismus. Nach seiner Rückkehr nach Frankreich lernte er Daniel Spoerri kennen. Im Jahr 1960 entstand sein erstes Kunstwerk Le collage de l’immortelle mort du monde, ein Theaterstück. Seine erste Ausstellung fand 1961 in der Galerie von Arthur Køpcke in Kopenhagen statt. 1962 gründete er die Galerie Légitime und zeigte kleine Ausstellungen eigener Arbeiten und von Kollegen in den Straßen von Paris. Die Galerie bestand aus einer Mütze, die Robert Filliou in Tokio gekauft hatte. Er lernte George Maciunas kennen.

Am 17. Januar des Jahres 1963 proklamierte er den 1.000.000. Geburtstag der Kunst, den Art’s Birthday, der seitdem an diesem Tag weltweit gefeiert wird. Filliou entwickelte das Konzept des Eternal Network, das für die Mail Art sehr wichtig wurde. 1967 lebte er in New York. Ein Jahr später zog er nach Düsseldorf. 1972 war Filliou Teilnehmer der Documenta 5 in Kassel. 1975 war er Stipendiat des DAAD in West-Berlin. In dieser Zeit organisierte Jürgen Schweinebraden in seiner Galerie in Ost-Berlin eine Ausstellungs-Hommage für Filliou, die Filliou selbst besuchte, was Robert Rehfeldt im Super-8-Film festhielt. 1977 lebte Filliou zeitweise in Kanada, wo er einige Videos produzierte.

Von 1980 bis 1984 war er Gastprofessor an der Hamburger Hochschule für Bildende Künste. In seinen Aktionen und Werken entwarf er Gegenwelten, stellte die rationale Logik listenreich infrage und betonte die Autonomie des Individuums. Robert Filliou zog sich 1984 in das buddhistische Kloster Chanteloube bei Les Eyzies-de-Tayac-Sireuil an der Dordogne zurück. Dort starb er am 2. Dezember 1987.
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source: metropolisfree-jazznet

Sauve (France), 1926 – Les Eyzies (France), 1987

In 1943, Robert Filliou joined the Resistance movement organized by the communists and became a member of the French Communist Party during the war (he would later leave it after Tito’s exclusion for the Communist International). In 1947, he went to the United States to meet his father who he had never known. After working as a labourer for Coca Cola in Los Angeles, he began to study (while continuing to do “odd jobs” to earn his living) and achieved a masters in economics.

In 1951, he took dual French-American nationality. As a United Nations advisor, he was sent to Korea for three years to help write the Constitution and take part in the programmes for economic reconstruction of the country. From there, he travelled in the Far East . From 1954 to 1959, he lived in Egypt, Spain and Denmark, where he met Marianne Staffels, the woman with whom he would share his life and his artistic activity.

In 1959, he returned to France (he visited regularly after that). However, he was not attached to any country (as he himself said: nationality = poet, profession = French). In Paris, in the Contrescarpe area, Daniel Spoerri introduced him to the world of the plastic artists. This was in the middle of the boom of the 1960s, with the return in strength of Duchamp’s ideas, the appearance of Fluxus and the effervescent avant-garde of the Nouveaux Réalistes.

With his training in economics and Buddhist thought, he was not attached to any country in particular: “I am not just interested in art, but in society of which art is one aspect. I am interested in the world as a whole, a whole of which society is one part. I am interested in the universe, of which the world is only one fragment. I am interested primarily in the Constant Creation of which the universe is only one product.” For him, the work of art was a means of direct action on the world. Like the Brahmin who tries to integrate all the acts in life with the religious rites and duties, Filliou attempted to integrate them with artistic duty, “without worrying about whether the works are distributed or not”: “When you make , it is art, when you finish, it is non-art, when you exhibit, it is anti-art.”

In 1960, Robert Filliou designed his first visual work, Le Collage de l’immortelle mort du monde [Collage of the Immortal Death of the World], a transcription of a random theatre play comparable to a chessboard on which all sorts of individual experiences are expressed . In 1961, at the Addi Kôcpke gallery (Copenhagen), his first personal exhibition, Suspens Poems, was organized, made up of poems in the form of postal dispatches.

In 1962, determined to remain outside the exhibition circuit, Robert Filliou carried his gallery in his hat. He became his own exhibition space: “La Galerie Légitime” [The Legitimate Gallery]. His works, gathered together in his beret and stamped “Galerie Légitime Couvre Chef d’Oeuvre” [Legitimate Gallery Masterpiece Hat], circulated in the streets with him (the idea is reminiscent of Marcel Duchamp’s suitcase). He then met George Maciunas, the centralizer of the activities of Fluxus. “La Galerie Légitime” invited several artists to exhibit in it. This was an art made up of attitudes and gestures, rather than saleable works. In 1963, with the architect Joachim Pfeufer, he created the Poïpoïdrome 4 project, a meeting place and centre for “Permanent Creation” located at the crossroads between two currents: action and reflection. There was nothing to “learn” in order to participate: what the users knew was enough.

In 1965, with George Brecht, Robert Filliou founded the gallery “La Cédille qui sourit” [The Smiling Cedilla) in Villefranche-sur-Mer, although it was usually closed because the artists were at the local café: “In my opinion, that’s where you get your best ideas”. They then founded “Eternal Network, La Fête Permanente” [Eternal Network, The Constant Festival]: “The artist must be aware that he is part of a larger social network, part of the “Constant Festival” which surrounds him everywhere and elsewhere in the world.” After the filmographical experiments of “La Cédille qui sourit”, he made Hommage à Méliès [Hommage to Méliès] with George Brecht and Bob Guiny to express their delight in their wonderment at the simplicity of the old silent films and, with Emmett Williams, Double Happening, Contribution for Happening & Fluxus, a performance staged in the women’s toilets at the Dusseldorf Academy of Fine Arts. with the König publishing company in Cologne, he published a “pluri-book”, Teaching and Learning as Performing Arts: happenings, events, action poetry, environments, visual poetry, films, street theatre, non-instrumental music, games, exchanges of letters, etc.

In 1971, he created “la République géniale” [the Republic of Genius]: people enter its territory to develop their genius rather than their talent. Research is no longer the privileged domain of the person who knows, but of the person who does not know.

In Le Petit Robert Filliou, he defined, among other things, the principles of Poetic Economics for which a scale of values had to be worked out. Le Petit Robert Filliou served as the script for a Super 8 film that he made in 1972 with Bob Guiny. Un Eté de Films [A Summer of Films], and then Faites-le vous-même [Do It Yourself] for the first festival of Erotic Film in Copenhagen, are little stories acted out by the artist. His films are above all made of humour, derision and random elements, closely linked to the spirit of Fluxus. On January 17th 1973, with the idea of uniting people of all times, he celebrated the 1,000,010th Anniversary of Art at the Neue Galerie der Stadt in Aachen. “Art must return to the people to which it belongs.” As 10 years had gone by since Filliou had begun his “Histoire chuchotée de l’art” [Whispered History of Art], 1,000,010 years corresponded to the arbitrary date of Man’s appearance on Earth. The artist was working on the search for the origin and proposed a new concept, “The Prebiological Genius”. In 1974, he produced Recherche sur l’origine, a work made of cloth 90 metres long and 3 metres high, inside which the spectator could walk around: “What I wanted to put across was that everyone has their own territory and that we shouldn’t refer to a higher authority in order to form an opinion.”

In 1975, the project Poïpoïdrome à Espace Temps Réel P00 [Real Space Time Poïpoïdrome] was presented at the Palais des Beaux-Arts in Brussels, and then at the Centre Georges Pompidou in Paris in 1978. The Prototype Optimum nø 00 was a 24-m2 matrix version intended for all audiences, a “Centre for permanent creation, of no public usefulness whatsoever”.

In 1977, Robert Filliou was living in Canada, where he made several videos. It was not the medium itself which interested him. The artist, who never worried about creating “works of art”, chose any material as long as it conveyed his ideas and thoughts, and as long as it linked the territories of geniuses one to the other. It was in this sense that he used video, not only to keep a record of his performances as many artists have been doing since the 1960s, but also so that he could circulate his work: “To contact the audience that we want, I think it’s video that will do it”. He imagined a “Video-Universe-City” 6 project as a means of propagating Constant Creation.

With his wife Marianne, Robert Filliou withdrew for 3 years 3 months and 3 days to a Buddhist centre at Les Eyzies in the Dordogne (France). In 1987, he produced his last work, Time is a Nutshell, made up of several walnuts emptied so that they could contain a few words. in December 2nd, Robert Filliou died, like a Buddhist, after seeking enlightenment through the texts of the Veda and through Fluxus.
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source: lespressesdureel

Artiste français, Robert Filliou est né à Sauve (Gard) le 17 janvier 1926 et décédé aux Eyzies de Tayac (Dordogne) le 2 décembre 1987. À l’âge de 17 ans, en 1943, il rejoint la Résistance communiste (FTP). Après la guerre, il part aux États-Unis ; il reste employé chez Coca-Cola pendant deux ans. Il fait alors des études d’économie à l’Université de Californie à Los Angeles, obtenant un MA en 1951. C’est comme économiste qu’il travaille à Séoul (Corée) au service de l’Agence de reconstruction coréenne des Nations Unies, entre 1952 et 1954. Abandonnant alors ses fonctions, il consacre son temps à voyager, séjournant en Égypte et en Espagne. En 1957, il s’installe à Copenhague, où il épouse Marianne Staffeldt. En 1959, il rencontre Daniel Spoerri à Paris qui lui fait connaître l’avant-garde artistique, et l’année suivante Emmett Williams, avec qui il aura une collaboration artistique fructueuse. Il commence à écrire des pièces de théâtre : C’est l’ange, Soumission au possible… Parmi ses première œuvres, l’Étude d’acheminement de poèmes en petite vitesse, qui propose l’envoi par la poste de poèmes-objets, ou La Sémantique Générale, un alphabet illustré, ouvrent sur un territoire original s’étendant entre objets, action et poésie. En juillet 1962, il présente dans les rues de Paris sa Galerie Légitime, contenant des œuvres de Ben Patterson dans une casquette. Après un séjour à New York en 1964, il tient avec George Brecht La Cédille qui sourit à Villefranche-sur-mer, près de Nice, entre juillet 1965 et mars 1968 ; il s’agit pour lui de la première incarnation d’un « Centre international de création permanente ». Si sa participation à Fluxus fut limitée, son œuvre ultérieure en incarne tout l’esprit. De l’Autrisme (« quoi que tu fasses, fais autre chose ») au Principe d’équivalence (entre le « Bien-fait », le « Mal-fait » et le « Pas-fait »), de la Création Permanente au Territoire de la République Géniale, l’art est pour lui l’instrument d’une utopie sociale, valorisant la création dans la vie quotidienne. En 1985, il se retire dans un monastère bouddhiste en Dordogne.