L' Immortelle mort du monde

Robert Filliou


Multiple, 72.5 x 55.8 cm.
Materials: print on cardboard

Collection: Collection M HKA.

Excerpt of the conversation between Robert Filliou (RF) and Irmeline Lebeer (IL), Flayosc, France, August 1976.

RF: Everything happens and everything happens at the same time. We think everything at the same time. That’s the Deathless Dying of the World. Western thinking. We accept that we should only think of one thing at the time. The idea is that when, for example, I’m in Venice (I’ve never been in Venice), then at the same time I think it’s pretty, it’s shit, I don’t care. Why? When? What does it have to do with me? I’ll go back next year. It’s a pity I’m not with some pretty Italian girl. I think about everything at the same time. That’s the Deathless Dying of the World.


RF: Daniel [Spoerri] told me about a theatre play that would be changing. He had developed the concept with Claus Bremer. That interested me very much. I wrote The Deathless Dying of the World, a play that changes all the time. Right until the end of the world, there will always be difference. As soon as I had written it [in 1960] I decided to present it in the form of a poster with the whole text. It’s a very important date, because it was the first visual thing I did. And afterwards I developed in the direction you know.
            My encounter with Daniel was very important. He always was, and still is, a very good friend, but he’s also a great catalyst. It was he who introduced me to practically all the people who became my best friends: Dieter Roth, Emmett Williams, in particular. But also people I like but, with whom I’m less close, like Tinguely. Seeing his first exhibition in 1960 was a revelation. Or Soto, Burri, etc. He took me everywhere. I always think about Daniel with a lot of pleasure. This was really a key encounter for me.

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