philosophy

The works created by the artist Stephan Fillitz are born out of a holistic philosophy and encompass projects in both design and architecture. Its diversity notwithstanding, his oeuvre, from the iron sculptures floating in space to the light installations, reveals a clear, linear development. Placing the idea of SPACE at the centre of his artistic endeavors, Stephan Fillitz is committed to emphasizing the spiritual idealistic value of art, thus dissolving it and freeing it from its material aspect.

This artistic vision is also expressed in Stephan Fillitz’s writings; however, his texts are not conceived as an explanation or expansion of his work, but are intended to be on an equal footing with his other creative activities. The writings reveal his thoughts on art history – in particular the development of geometric Art since the beginning of the 20th century – as well as his critical observation of the social, cultural, economic and political situation of his time.

The holistic view of the world guides Fillitz’s approach and is therefore always at the forefront of his activities. It is the result of years of detailed study of philosophical theory, in particular the ZEN way of thinking originating in Asia. These themes and ideas manifest themselves in Stephan Fillitz’s work, helping him to express his convictions with even greater clarity.

The NOTHINGNESS, the emptiness – the disappearing which is expressed
in the artist’s light installation is also suggested in his graphic works. In its direct
examination of the composer John Cage, the latest cycle of Fillitz’slight paintings –
the Laser Cutts (2007–2013) – reveals his continuing searchfor dissolution and for
the Nowhere from whence we came and into whichwe return.

Despite its radical nature, Stephan Fillitz’s body of work remains a suggestion,
a hint and a challenge to humanty to view world in a certain way. How much of this
is taken on board and how much is ignored is, however, entirely at the discretion of
the recepients and their thoughts and emotions; it is EVERYTHING and NOTHING
that they can lay claim to.

Luisa Fillitz | Vienna, October 2013     

critic  critic no critic

haus konstruktiv

Haus Konstruktiv is the only museum in Switzerland dedicated to the presentation and promotion of concrete, constructivist art, and is one of the world’s leading institutions of its kind. Its location in Zurich is no coincidence; it was here, in the 1930s, that the four most important Swiss exponents of concrete art joined together to form the internationally-renowned group known as the Zurich Concretists (Zürcher Konkreten) – Max Bill, Camille Graeser, Verena Loewensberg and Richard Paul Lohse. We do not merely focus on the origins of concrete art, however; an important part of our overall concept is to show the influence this art genre has had on later movements.

The development of the fundamental features of concrete art – the artistic focus on clarity, reduction and a systematic approach - can be observed in minimal art, conceptual art, radical painting, and right up to contemporary art. This is the purpose of the temporary exhibitions at Haus Konstruktiv, of which we hold around 4 to 6 each year and which place artistic positions of the present day in dialogue with the seminal works of classic concrete art.

Our Visionary Collection (Visionäre Sammlung) exhibition series implements our concept of an ideal collection in which the association between our concrete-constructivist heritage and the latest art developments can be observed. Volume 6 of this exhibition series is called ‘Passage Tradition’. Besides works from the early phase of Swiss concrete art, we will also present, among other things, a conceptual work by the Italian artist Arcangelo Sassolino that has been part of our collection since 2007 as a permanent loan.

We would also like to implement the design of an accessible light space, as developed by Stephan Fillitz. We are convinced that this minimalist yet spectacular installation will fit seamlessly into the overall context of our exhibition, and form a fascinating appendage to the themes explored. The clarity and poetic power of Stephan Fillitz’s light
spaces will, I am sure, resonate deeply with our visitors.

Dr. Britta Schröder

Research Associate Haus Konstruktiv, 2008

critic  critic no critic

The oeuvre of Stephan Fillitz reflects interests and abilities that in many respects, are considered characteristic of developments in the art and product design of our present age. I find it important that the starting point for his activities is firmly grounded in creative potential. Certainly, technical skills and details are important aspects, but the essential concern is the search for something fundamental that, by transcending the confines of utility, offers artistic, sculptural, and spiritual enrichment of the lives who use his creations, his impact as a sculptor is beyond
dispute. His force of expression compellingly communicates itself through his engagement in product development and design. This felicitous and also powerful union has, in my view, a truly exemplary quality, and differs considerably from the smooth and slick, even trite creations of so-called “designers”, which are too often the products of routine. It is hoped and desired that Fillitz will continue to pursue with enthusiasm the direction he has chosen. Thus, one might expect that the seemingly polar purposes between sculpture and product design will complement each other to further new modes of the artist’s expression.

DI. Carl Auböck 1996

statements  no think | no word

text 1

Reality should not be reproduced, but rather first produced – art of an inner order, of a transcendental, omnipresent force.

Inner order cannot found in the one-dimensional sense of appearance. Where exact construction meets content, expression arises in the work. For becoming conscious through dismantling – being reduced to the individual – a pictorial consciousness becomes a whole.

On the foundations of constructivist and geometric laws, truth and conviction arise from their authority – here is where art is anchored.

Art is the expression of inner transcendental structures, and not merely speculation with forms!

Form as an aim in itself is formalism, and is to be rejected – form in itself does not exist. There are no problems of form – there are only problems of expression. To invent interesting forms is easy – great effort, however, is required to work through and give concrete shape to the idea and make an object out of it.

A house is designed merely to shelter us from the rain, just like food is supposed to prevent us from starving. There is also intellectual starvation. Using few walls, open glass structures of the outer sides – to be sheltered from the rain in nature – I build my house. Its empty space, its nothingness is what gives it value – the nothingness is fullness.

System in the system of all systems – space in the space of all spaces – being in the being of all being – here is the beginning and the dimension of a long path into an intellectual world.

Cogito ergo sum (I think, therefore I am). Or should one turn the wording around – am I because I think?

Only through transcendence is my work completed.

Stephan Fillitz, 2017

statements  no think | no word

text 2

art is not representation/is without representation/form in light.

art is not aesthetics/is content.

art is not contentless, empty formalism/is fullness and nothingness.

art is not architectural space/is abstract.

space concept is not individual painting, sculpture, etc./is an installed vision in an abstract space.

art is not pictures, sculptures, drawings, etc./is the visualisation of an approach.

art is not existentialism/is contemplation in infinite space.

art has no value/is free of all materialism – is idea and content.

art is not zeitgeist, populism/is without time and fashion – acute.

art is not (re)narration, interpretation, explanation/is independent, intellectual examination – concrete.

art is not for everyone/is for everyone who is willing.

art is not for the general public/is elitist.

art is not state art/is for the individual.

art is not national/is international – global.

art is not for needs/arises from need, is moral responsibility – duty.

art is not ignorance/is fullness in nothingness.

Stephan Fillitz, 1999