Making videos is very amusing; watching them can be very tiresome. -Robert Filliou (1) Another way I have presented Permanent Creation as a practice is what I have called 'work as play' and 'art as thought,' because I consider myself as an entertainer of thoughts, and art works as exchange of foodstuffs.--Robert Filliou (2) The video artworks of Fluxus artist Robert Filliou share a quality with many early time-based works: while exceedingly rough in terms of their technical attributes, they retain a remarkable vividness and spontaneity. Filliou used video as a new, inexpensive, and practical medium for recording monologues, set pieces, performances, and comedic sketches. The temporal immediacy of video and close proximity of idea and realization worked well for the artist: [J]ust turn it on and walk away, Andy Warhol once pithily remarked regarding filmmaking although in Filliou's case, he didn't walk away. Instead, he moved closer, treating the camera eye as that of a fellow human being with whom he carried on conversations that ranged from the intense to the lighthearted. During the late 1970s, Filliou traveled to Canada with the assistance of Arts Council funding and became involved in numerous alternative art scenes of the time, including non-profit galleries, independent publications, mail art initiatives, and a wealth of conceptualist and performance-related practices. Although Filliou spent time in several locations across Canada, the majority of his video works were created with Western Front, a then-recent artist collective from Vancouver, featuring such artists and collaborators as Hank Bull, Kate Craig, and Roy Kiyooka, as well as Filliou's own family. Although these tapes have been exhibited in a variety of contexts, most notably in a survey at. the University of British Columbia in 1996, they are still under-examined, particularly in relation to their significance to Filliou's practice, to Fluxus, and to the experimental art of the period. Born in France, the young Filliou was intellectually curious but, according to childhood friends, he was good for nothing practically speaking. (3) He participated in the French resistance but later rejected any recognition of this activity when he became a pacifist. A one-time communist, Filliou eventually discarded specific ideological allegiances, in favor of a broader interest in social commitment via art and its surrounding dialogues. Filliou trained as an economist--earning his Master's degree from UCLA in 1951 subsequently assisting in the production of World Opinion, an ABC television series on current, political events, and acting as an economic, advisor and negotiator with the United Nations in Egypt, Japan, and Korea. By the early 1950s, however, a very disillusioned and restless Filliou dropped out, only to insinuate himself into the most advanced and experimental art scenes of the era--his own practice most frequently taking the form of performances, happenings, artists' books, concrete poetry, and eventually video. Today, Filliou's video experiments effectively serve as a disarming time warp, a window into an intimate setting by which spectators can be brought closer to one of the most important Fluxus artists. That Filliou's oeuvre was among the most emphatically performative of an utterly performative artists' movement makes his avowed interest in video entirely germane to, and representative of, his practice. Upon initial viewing, his videos may appear disarmingly imperfect, unhurried, and welcoming, but this is only a veneer partially disguising works that are extremely challenging in terms of their philosophical dimensions, their broader implications, and their radically inventive strategies. Moreover, at a time when many artists were exploring the notion of video as a technological signal to be tinkered with, or as a form most amenable to experiments in quavering, pictorial abstraction, Filliou was more interested in the ways in which video could enable and depict reciprocal and responsive dialogues and circuits of information between artists and audiences (the latter frequently consisting of other artists). …
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