Poï Poï Bottles

Robert Filliou


Multiple, 28.5 × 27.5 × 10.5 cm.
Materials: wooden case, two beer bottles labelled ‘Poï Poï’ in positive and negative, ruler, roll of paper, elastic bands

Collection: Collection Andersch, Neuss.

The force that drives Filliou’s work and thought is Permanent Creation. He helps to establish various Centres of Permanent Creation, such as the Poïpoïdrome and the Smiling Cedilla. As an alternative to the notion of the avant-garde, he proposes the Eternal Network, also known as ‘La fête permanente’.

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

RF: Yes. We already have the text of the first invitation for the Køpcke exhibition. I’ll give you this catalogue, and one day when I visit you I might give you a small Measurement… We only put this text: ‘A Note on Mummification’. It’s from my first catalogue, June 1961 at Galerie Køpcke.
            Just to recapitulate: Daniel [Spoerri] introduced me to Køpcke. Addi gave me my first exhibition, as he did for many people – also for himself, because he’s an important artist. He helped me a lot; it was he who came up with this concept for the catalogue. He used it often for catalogues. It’s really hand-made. He also made the design for the Poïpoï beer bottle. Ha also used it for his own catalogues.
            Many things happened in Addi’s gallery. I believe Dieter Roth had his first exhibition there. Emmett Williams. Maybe Manzoni. We have to ask him. Me certainly. Spoerri had one of his very first exhibitions, where he transformed Galerie Køpcke into a grocery shop with all these things saying ‘Attention, work of art’. Nikki de Saint-Phalle and Tinguely fired canons in there. There were a lot of activities and Addi also exhibited himself, of course.
            It was with Addi Køpcke that I performed what I gave a French title Le Père Lachaise n° 1. Emptying the Poïpoï suitcase, with Addi as my partner. The 53 kg Poem. In the original title there was ‘Lille Kirkestræde 1’. That was the address of the gallery. Now Addi’s role is recognised in Scandinavia, but is wasn’t easy for him… And then maybe we’ll find photos.

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