Hi all,
I'd like to pick up on a couple of things Randall mentioned.
For the (1,000,0)50th anniversary of Art's Birthday, following Filliou's dating, Art's Birthday, Wales (of which I am one of the organisers), was fortunate to have Joachim Pfeufer come to Swansea to discuss his work with Filliou.
Their principal project was the Poipoidrome - which is also 50 this year. The 'co-architects' describe the Poipoidrome as 'an artistic proposition for a centre for permanent creation.' At its centre is the Poipoiegg (mentioned in Randall's post).
Joachim described how he introduced the idea of 'poipoi' to Robert, having himself heard about it from anthropologist Herman Hahn, whohimself had heard it from the Dogon tribe of Mali for whom it is a salutation marking an end or renewal of an exchange. Joachim and Robert visited the Dogon while an incarnation of the Poipoidrome was installed in the Pompidou in the late 70s. They wanted to discuss and show images of their project to the Dogon people. Apparently the Dogon described it as 'the house of good weather' or 'the house of weather luck'. Joachim mentioned that Robert often signed off his letters with 'weather luck', but that he only realised relatively recently that this was Robert's translation of the Dogon people's response to the Poipoidrome.
The Poipoidrome very much embodies the principles of Filliou's 'eternal network of permanent creation,' being a place for interaction, discussion, reflection, displaying, storing, accessing and so on.
I was very surprised when Joachim stated that he never used the Poipoidrome as a pedagogical excercise or model during his time as a teacher. For me, the Poipoidrome stood precisely as an alternative model of pedagogy. If I recall correctly, Joachim was/is hesitant about presenting it as something that can be taught. I appreciate and respect his concern, but still hold on to my view that the Poipoidrome embodies an important alternative site and approach to learning. Of additional interest, Joachim, mentioned how he considers their work to address political issues that have yet to emerge.
Picking up on a thread from Ken: I certainly feel that the 'academy' provides a possible space for artforms that are not 'artworld' artforms (i.e. carry no market value). I say 'possible' because it's not about 'isolationist', 'pure' strategies that need totally avoid the artworld or market value. Rather, I am suggesting that the academy legitimates and provides a support - network - (I think someone else brought this topic up too. I forget who. apologies), to say nothing of alternative funding streams, for such practices. Thus, keeping such ideas/practices in play. It also allows many people to feel comfortable being minor artists, producing minor artworks (best perhaps if I claim to be speaking for myself here).
Afterall, one of the key features of 'the network' is its inclusion of the 'little people' - too much superstar activity would sink the ship. No room for masterpieces. And presumably the budget (if there is one) should be spread appropriately, as opposed to disproportionately. It is dialogical, not monological.
And on that note...
