{"id":14180,"title":"Recherche sur l'origine","dimensions":"280 x 8900 cm","date_begin":"1974-01-01","material":"oil, pastel on canvas, wood","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection MAC, Lyon","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"recherche-sur-l-origine","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Mixed Media","nl":"Mixed Media","fr":"Mixed Media"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/321/large/2016_Filliou_2_.jpg?1476357956","poster_credits":"(c)image: M HKA, Courtesy Collection MAC, Lyon","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eFilliou proposes that \u0026lsquo;research is not the privilege of those who know, but the domain of those who don\u0026rsquo;t know\u0026rsquo;. He sees research in general, and artistic research in particular, as our best chance to live our lives in a spirit of curiosity and experimentation.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExcerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Later it was shown again at Documenta. And then you took up this principle again in \u003cem\u003eResearch on the Origin\u003c/em\u003e. We make an arrow: \u0026lsquo;Research on the Origin.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF: \u003c/strong\u003eYes, and under \u0026lsquo;Research on the Origin\u0026rsquo; we\u0026rsquo;ll explain how I did it. It\u0026rsquo;s very complicated to write a condensed version, but it\u0026rsquo;s the only thing we can do. You\u0026rsquo;ll integrate it there. I\u0026rsquo;ve simply added there, in the middle and at the end, what the title refers to\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e When I did this I hadn\u0026rsquo;t understood. It was too difficult for me. I had to use texts as a basis. I hate that. It\u0026rsquo;s the first time that I see myself doing something that isn\u0026rsquo;t clear.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e We should say it\u0026rsquo;s difficult. It was published by \u003cem\u003eOpus\u003c/em\u003e, each time with pictures. There\u0026rsquo;s one with me and Marcel Broodthaers. They changed the texts I gave them. It was also shown in Aachen. Now it\u0026rsquo;s in the museum in M\u0026uuml;nster.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eIs it on display already?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I don\u0026rsquo;t know. They never told me. They have the crate, that\u0026rsquo;s all I know. They bought it after Documenta. They mixed up the sentences in the text. I pointed it out to them, during \u003cem\u003eOpus\u003c/em\u003e. That\u0026rsquo;s normal. Lambert, in his book, uses the same thing. I pointed out to him that the text wasn\u0026rsquo;t readable. He made a mistake. That means it was always very badly explained, until \u003cem\u003eResearch on the Origin\u003c/em\u003e and the text [J\u0026uuml;rgen] Harten [Director of St\u0026auml;dtische Kunsthalle D\u0026uuml;sseldorf] wrote and the one Jean-Christophe Ammann wrote for the exhibition in Luzern. When we want to explain it, it becomes too long. We must accept presenting it like that.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; It\u0026rsquo;s not that it\u0026rsquo;s that difficult to understand, but I understand the problem you encountered at the time. We talked about many things and we didn\u0026rsquo;t know each other yet. It\u0026rsquo;s easy to understand when the work is there in front of you, but it\u0026rsquo;s difficult to summarise, even with \u003cem\u003eResearch on the Origin\u003c/em\u003e. I begin by trying to explain it, but people find it difficult to understand.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eBut here you just explained it very clearly. Great. So it\u0026rsquo;s done. Let\u0026rsquo;s move on to \u0026lsquo;\u003ca href=\"http://ensembles.org/items/eternal-network?locale=en\"\u003eEternal Networ\u003c/a\u003ek\u0026rsquo;\u003cem\u003e.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e For \u0026lsquo;O\u0026rsquo; we have \u0026lsquo;Research on the Origin\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e There are many documents. There\u0026lsquo;s the catalogue.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL: \u003c/strong\u003eWell, I have the small blue notebook. I don\u0026rsquo;t have the roll.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I\u0026rsquo;ll give you one. It\u0026rsquo;s so complicated that the best is maybe to s ay that it\u0026rsquo;s a work I made in 1974 in Berlin when I had the DAAD. I have some very good pictures of myself working on it, and I\u0026#39;ll give them to you. The best is to reproduce the beginning of the roll. Because I explain the method, the Principle of Equivalence, and how it applies. What\u0026rsquo;s important is that the work is approximately 3 \u0026times; 90 metres on fabric, but in the catalogue it was reduced to a scale of 1/10. All the elements of this work are in the catalogue, which allowed me to mail it to many places. We made 450 copies, 50 of them for me.\u003cbr /\u003e\r\nI sent them to friends in Poland who exhibited it. I was told it was exhibited in a factory in Budapest. In Budapest it\u0026rsquo;s L\u0026aacute;szl\u0026oacute; Beke, in Poland [Andrzej] Partum, who has something he call the Poetry Office [in Warsaw]. And in Portugal it\u0026rsquo;s Ernesto da Sousa, who tells me he also showed it in a factory, and in places for youngsters. I forgot to tell you that I also exhibited the catalogue in East Berlin in J\u0026uuml;rgen Schweinebraden\u0026rsquo;s gallery, in a group exhibition with Robert Rehfeldt and\u0026hellip; What\u0026rsquo;s the name of the only well-known artist in East Germany?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e Penck?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e Penck. And some others. I brought the catalogue and exhibited it the evening before the exhibition of the actual work on fabric, in West Berlin. That was interesting.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIL:\u003c/strong\u003e So you exhibited \u003cem\u003eResearch on the Origin\u003c/em\u003e in West Berlin?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRF:\u003c/strong\u003e I exhibited it at the Kunsthalle in D\u0026uuml;sseldorf, in Berlin, and then in Lucerne, at the Art Academy. You have the catalogue from Lucerne, no? I must give you that.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; I apply the Principle of Equivalence to the physical origin of the universe. The books I used for the documentation are just popular science books. I provide the references to them, so that everyone can look them up. And I believed I had found a relation between the traditional teachings of Tao and nuclear astrophysics, but I apply the \u003ca href=\"http://ensembles.org/items/principe-d-equivalence?locale=en\"\u003e\u003cem\u003ePrinciple of Equivalence\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eFilliou stelt dat \u0026ldquo;onderzoek niet het privilege is van zij die weten, maar het domein van zij die niet weten.\u0026rdquo; Hij ziet onderzoek in het algemeen en artistiek onderzoek in het bijzonder als de beste manier om ons leven in te richten in een geest van nieuwsgierigheid en experiment.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eFilliou affirme que \u0026laquo;\u0026nbsp;la recherche n\u0026rsquo;est pas le privil\u0026egrave;ge de ceux qui savent, mais plut\u0026ocirc;t le domaine de ceux qui ne savent pas.\u0026nbsp;\u0026raquo; Il consid\u0026egrave;re la recherche en g\u0026eacute;n\u0026eacute;ral et la recherche artistique en particulier comme la meilleure mani\u0026egrave;re d\u0026rsquo;am\u0026eacute;nager la vie dans un esprit de curiosit\u0026eacute; et d\u0026rsquo;exp\u0026eacute;rimentation.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":52,"name":"Robert Filliou","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}