Engels presented himself not as an artist but as the director of the firm: Simon Es, his alterego, a fictive sales manager.
Functional objects were deconstructed and 'repaired' in a dysfunctional way, creating something never seen before. He applied the principle of destruction also to the art world (EPO is a striking example), and sometimes he pushed it against the public - for example when he performed in a space full of philatelists cutting the most precious stamps.
Even though his work shows a clear influence by the Fluxus' irreverence, Engels always kept an independent position. The exhibition focuses on historical works made between 1963 and 1969.
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