{"id":5690,"title":"Porta Filliou","dimensions":"00:47:00","date_begin":"1977-01-01","material":"laserdisc","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003evideo, B/W, sound. Production: Arton Center, Calgary - restaured by V. Tape, Toronto, 1991. Film: Bob Guiny, Maria Broodthaers, Tony Margan - Video: Clive Robertson, Leila Sujir, Marcella Bienvenue - Tekst: Robert Filliou - Production: Arton\u0026#39;s video Production Calgary - Director: Robert Filliou\u003c/p\u003e\r\n\r\n\u003cp\u003eThis tape follows the same form of presentation as the book \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. Robert Filliou himself announces the title and first chapter. There are two Robert Fillious: the Robert Filliou on screen who gives orders to the other Robert Filliou standing near the monitor, who carries them out (like master and pupil, or master and slave). Pupil Filliou is instructed to write (with chalk on a plank) the titles of various chapters of performances (lessons on making contact with the world). These interludes punctuate the entire tape, which alternates between Robert Filliou talking from the monitor and the film itself.\u003c/p\u003e\r\n\r\n\u003cp\u003ea) Video Dinner. A student is seated, back to the camera, facing a monitor. He dialogues with Robert Filliou who is facing the student, and the spectator, like a television newsreader. The artist questions the student and leads him to examine the world and knowledge (\u0026quot;we drink the same water as the dinosaurs, his brother told him\u0026quot;). He initiates the student in telepathic music. Four dimensional space time continuum. Robert Filliou films the street while giving a voice over commentary on the nature of things: \u0026quot;A bird is incomprehensible. A bourgeois is incomprehensible. A bird eaten by a bourgeois, it\u0026#39;s a meal [\u0026hellip;]. A bourgeois eaten by a bird, it\u0026#39;s a miracle.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003ec) Recycling. Robert Filliou, seated and wearing feminine attire, is talking. He is surrounded by hats. A woman is singing the story of a woman who has left because nobody could make her happy. Robert Filliou quickly puts on various hats.\u003c/p\u003e\r\n\r\n\u003cp\u003ed) Skeye Analysis. This consists of a fixed shot on Robert Filliou\u0026rsquo;s face while he looks at the sky with his head tilted back. He talks, confiding his reflections about the position of the artist in relation to the world and about art as a source of energy. Although the sky is not in frame, it is reflected in the artist\u0026rsquo;s glasses.\u003c/p\u003e\r\n\r\n\u003cp\u003ee) Bed time her / his story, sub-titled \u0026quot;The names of some celebrities translated into Japanese\u0026quot;. A Japanese person, filmed in a tight shot, undresses and sits on a bed. There is a switched-off television at the end of the bed. He lies down, takes off his watch and switches on the TV. Robert Filliou appears on the screen. He is reciting the names of artists who have made the history of art, adding \u0026quot;san\u0026quot; (indicating the person in Japanese) to each name. The Japanese person switches off the monitor and goes to sleep. The last three sequences take the form of a performance: - Video - Univercity, Travelling light - It\u0026#39;s a real dance. Robert Filliou is on stage, facing and addressing an invisible audience. He makes, and comments on, a series of actions, questioning the spectators and inviting them to participate in a collective dream, the creative use of leisure\u0026hellip; - Video Breakfasting together\u0026hellip; If you wish. Robert Filliou is drinking tea and reading the newspaper. Sitting at the end of the table, facing the screen and the spectator, he calls out (\u0026quot;Hey you\u0026quot;), inviting him to open the newspaper at the same page as himself, commenting the job offers from the point of view of the artist\u0026rsquo;s work. It\u0026rsquo;s a pretext for considering moral and social values, and exalting the artist\u0026rsquo;s role as a \u0026lsquo;shaman\u0026rsquo; and the virtues of un-learning. - Video Breakfasting with Roy Kiyooka. Roy Kiyooka, is sitting at a table, watching Video Breakfasting together... on a monitor that is installed like a guest. He drinks tea, smokes and reads the newspaper, as Robert Filliou has suggested. In turn, he also comments the small ads and Robert Filliou\u0026rsquo;s reflections, adding his own. Catherine Ouy\u003c/p\u003e\r\n","date_end":"1997-01-01","reference":"BK7511_M352_1","stream_count_app":51,"permalink":"porta-filliou","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":true,"category":{"en":"Video","nl":"Video","fr":"Video"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/214/large/BK7511_M352_Porta_Filliou_still1.jpg?1343037816","poster_credits":"(c)video still: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eRobert Filliou developed the idea for his series of didactic video works during his time in Canada in the late 1970s. He used the medium of film to record these performances, and to circulate them, so they might be seen by a wider \u0026ndash; not just art-going public. In these videos, Filliou interacts directly with the viewer, offering half-serious/half-ironical explanations about his works, his activities and his general approach to art. \u003cem\u003ePorta Filliou\u003c/em\u003e\u0026nbsp;contains talks and performances that summarize a number of Filliou\u0026rsquo;s works and puts them into context. In \u003cem\u003eAnd So On, End So Soon. Done 3 Times\u003c/em\u003e, Filliou discusses the application in film of his \u003cem\u003ePrinciple of Equivalence\u003c/em\u003e (in life as in art, \u0026lsquo;well made\u0026rsquo;, \u0026lsquo;poorly made\u0026rsquo; and \u0026lsquo;unmade\u0026rsquo;, are three equivalent propositions), after which he demonstrates this principle in \u003cem\u003eTelepathic Music No 7\u003c/em\u003e\u0026nbsp;with a performance example. The two videos from the series \u003cem\u003eTeaching and Learning as Performing Arts Part II\u003c/em\u003e\u0026nbsp;are a continuation of the artistic presentations that appeared in the 1970 publication \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. In this book, artists like Joseph Beuys and John Cage present how to apply techniques drawn from performance art to education. In these videos, where topics are organized into chapters, the Robert Filliou on the screen gives orders to the Robert Filliou standing next to the monitor, like master and pupil (or master and slave!).\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eRobert Filliou ontwikkelde het idee voor zijn reeks van didactische videowerken tijdens zijn verblijven in Canada in de late jaren \u0026#39;70. Het medium film stelde hem in staat zijn performances vast te leggen en te laten circuleren, zodat ze niet slechts gezien zouden worden door een select publiek. In de video\u0026#39;s geeft Filliou in directe interactie met de kijker half serieus, half ironisch uitleg over zijn werken, zijn activiteiten en zijn benadering tot kunst. \u003cem\u003ePorta Filliou\u003c/em\u003e\u0026nbsp;bevat lezingen en performances die een aantal van Fillious werken samenvatten en contextualiseren. In \u003cem\u003eAnd So On, End So Soon. Done 3 Times\u003c/em\u003e\u0026nbsp;geeft Filliou uitleg over de toepassing van zijn \u003cem\u003ePrincipe van Gelijkwaardigheid\u003c/em\u003e (in het leven en in de kunst zijn \u0026#39;goed gemaakt\u0026#39;, \u0026#39;slecht gemaakt\u0026#39;, en \u0026#39;niet gemaakt\u0026#39; drie gelijkwaardige constateringen) in filmkunst, waarna hij dit principe in \u003cem\u003eTelepathic Music No 7\u003c/em\u003e\u0026nbsp;demonstreert met een performatief voorbeeld. De twee video\u0026#39;s uit de reeks \u003cem\u003eTeaching and Leaning as Performing Arts Part II\u003c/em\u003e\u0026nbsp;zijn een voortzetting van de artistieke voorstellen uit het in 1970 verschenen boek \u003cem\u003eTeaching and Learning as Performing Arts\u003c/em\u003e. In dat boek deden kunstenaars als Joseph Beuys en John Cage voorstellen om technieken uit de happenings toe te passen in het onderwijs. In deze video\u0026#39;s, die net als een boek bestaan uit verschillende hoofdstukken, geeft de Robert Filliou op het scherm bevelen aan de Robert Filliou die bij de monitor staat, als meester en leerling (of meester en slaaf!).\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eC\u0026rsquo;est lors de son s\u0026eacute;jour au Canada, \u0026agrave; la fin des ann\u0026eacute;es septante, que Robert Filliou a imagin\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres vid\u0026eacute;o didactiques. Le support filmique lui permettait d\u0026rsquo;immortaliser ses performances et de les faire circuler, afin qu\u0026rsquo;elles ne soient pas vues uniquement par un public de connaisseurs. Dans ces vid\u0026eacute;os, o\u0026ugrave; il entre en interaction directe avec le spectateur, Filliou donne des explications sur ses \u0026oelig;uvres, ses activit\u0026eacute;s et son approche artistique, \u0026agrave; la fronti\u0026egrave;re entre s\u0026eacute;rieux et ironie. \u003cem\u003ePorta Filliou \u003c/em\u003erassemble conf\u0026eacute;rences et performances qui r\u0026eacute;sument et contextualisent un certain nombre d\u0026rsquo;\u0026oelig;uvres de l\u0026rsquo;artiste. Dans \u003cem\u003eAnd So On, End So Soon. Done 3 Times\u003c/em\u003e, Filliou donne des explications sur l\u0026rsquo;application de son Principe d\u0026rsquo;\u0026eacute;galit\u0026eacute; (dans la vie et dans l\u0026rsquo;art, le \u0026laquo;\u0026nbsp;bien fait\u0026nbsp;\u0026raquo;, le \u0026laquo;\u0026nbsp;mal fait\u0026nbsp;\u0026raquo; et le \u0026laquo;\u0026nbsp;non-fait\u0026nbsp;\u0026raquo; sont trois constatations \u0026eacute;quivalentes) au domaine de l\u0026rsquo;art vid\u0026eacute;o. Ensuite, il fait la d\u0026eacute;monstration de ce principe dans \u003cem\u003eTelepathic Music No. 7 \u003c/em\u003een proposant un exemple performatif. Les deux vid\u0026eacute;os de la s\u0026eacute;rie \u003cem\u003eTeaching and Leaning as Performing Arts Part II\u003c/em\u003e\u0026nbsp;s\u0026rsquo;inscrivent dans le prolongement des propositions artistiques du livre \u003cem\u003eTeaching and Learning as Performing Arts publi\u0026eacute; en 1970. Dans ce dernier, des artistes tels que Joseph Beuys et John Cage ont fait des propositions pour appliquer les techniques des happenings au secteur de l\u0026rsquo;enseignement. Dans ces vid\u0026eacute;os, qui, comme un livre, sont compos\u0026eacute;es de diff\u0026eacute;rents chapitres, le Robert Filliou sur \u0026eacute;cran donne des ordres au Robert Filliou qui se tient \u0026agrave; c\u0026ocirc;t\u0026eacute; du moniteur\u0026hellip; Le ma\u0026icirc;tre et son \u0026eacute;l\u0026egrave;ve (ou le ma\u0026icirc;tre et son esclave\u0026nbsp;!).\u003c/em\u003e\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"}}]}