1,722,444 research outputs found
Fluxus cc V TRE Fluxus (Fluxus Newspaper No.1)
No full textEdited by George Brecht and Fluxus Editorial Council, New York
Fluxus Edition
4 pages.full vie
Fluxus 1
No full textfull view, seven examples of FLUXUS 1, including a version assembled for the EUROPEAN MAIL-ORDER WAREHOUSE/FLUXSHOP (lower left) and a mailed copy (upper right). The box was intended to serve simultaneously as cover and mailing carton
Natilee Harren: Fluxus Forms of Activation. An invited lecture and a panel discussion organized by SNSF Activating Fluxus within the Research Wednesday seminar series, Bern University of the Arts
No full textFollowing the Fluxus collective’s debut festival in late 1962, leading organizer George Maciunas wrote to Nam June Paik: “One can’t just perform the same single think [sic] over & over & over & over. We try to vary every piece in each performance.” Through their experimental performance and publishing practices, Fluxus artists tested how scores and other conceptual propositions could be interpreted and received in unforeseen ways. In a presentation that expands on arguments presented in her award-winning book Fluxus Forms: Scores, Multiples, and the Eternal Network, Natilee Harren will consider the multitude of ways Fluxus artists and the inheritors of their legacy have activated and remade one another’s works, both in the moment of the collective’s emergence in the 1960s and in more recent decades as Fluxus works have found their way into museum collections, conservation labs, and the hands of the publi
Fluxus Fetish: Fluxus Study Day and public panel
No full text“Fluxus Fetish” is part of a two day Fluxus Study Day hosted by the Archivio. On November 2, we plan an activation of a Fluxus Cabinet, which is closed to the public. On November 3, we are organising a public panel centred around the idea of a Fetish Tisch (English: “Fetish table”), featuring selected objects from the collection and responses from invited speakers: Horst Bredekamp (Humboldt University), Clémentine Deliss (KW Institute) , Ayesha Fuentes (University of Cambridge, and Patrizio Peterlini (Fondazione Bonotto). The panel will be introduced by Hubertus von Amelunxen, director of the Archivio.
Fluxus Fetish
The term “fetish” encompasses a range of meanings depending on the context in which it is being used. It begins with an object believed to possess magic, protective or assisting powers, often regarded with reverence and intense devotion, marked by preoccupation and emotional attachment. In some cases, the term “fetish” has been used to describe intense devotion or veneration of a specific object or idea within a group or cult-like setting. This can involve rituals, ceremonies, or practices centered around the fetish. It also takes on a modern connotation associated with sexual fetish and gratification, representing an object of fixation – a body part, an object, or activity that goes beyond what is considered typically normative. Finally, and in a broader sense, a fetish can refer to any object, idea, or activity to which a person develops an unusually strong and obsessive attachment or devotion. This can manifest in various ways, such as collecting specific items, fixating on certain topics, or engaging in particular behaviours repeatedly
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Editorial: Fluxus perspectives
No full textAlthough the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of its innovations and complexities actively thwarts linear and circumscribed viewpoints. The notion of Fluxus incorporates contradiction in challenging and enduringly generative ways. More than five decades after its emergence, this special issue of OnCurating entitled Fluxus Perspectives seeks to re-examine the influence, roles, and effects of Fluxus via a wide range of scholarly perspectives. The editors asked notable writers from different locations, generations, and viewpoints, all of whom having written about Fluxus before, to offer their thoughts on its significance, particularly in relation to contemporary artmaking and strategies of curating today
Misfits - 30 Years of Fluxus, The
No full textDas Videoportäit einer Künstlergruppe, die seit Anfang der 60er Jahre um eine Revolutionierung des gesamten Kunstbegriffes kämpft. Das Video enthält Interviews mit sechzehn der wichtigsten Fluxus-Künstler, Dokumentationen ihrer Arbeit und Auszüge aus mehr als zehn seltenen FluxusFilmen aus den letzten dreißig Jahren.
Mit: Erle Andersen. Philip Corner, Henry Flynt, Ken Friedman, Jan Hendricks, Dick Higgins, Alison Knowles, Jackson Mac Low, Jonas Mekas. Yoko Ono. Nam June Paik, Ben Patterson, Willem de Ridder, Ben Vautier, Emmett Williams, La Monte Young.
Außerdem sind zu sehen: Ay-O, Joseph Beuys, John Cage, Geoffrey Hendricks, George Maciunas, Larry Miller, Charlotte Moorman, a.o.(s. englischer Text; d. Übers.)
The Misfits 30 Years of Fluxus enthält Material aus: >Flux ConcertFlux ConcertBen Ecrit Sur Murs1965 Gestes Des RuesRegardez AilleursAttache De Ben 1963Zefiro TornaFilm No. OneFilm No. FourIn Memorian George MaciunasFootage with Joseph BeuysFluxus in WiesbadenGeorge Maciunas: On Making Flux SoxesInterview with George MaciunasNachtschalter: 20 Jahre Kunstbewegung FluxusA Tribute to John CageEn Cigarets TidAn Anthology<, 1963, herausgegeben von La Monte Young, reproduziert mit freundlicher Genehmigung von La Monte Young. DBA Just Eternal Music, administriert von Editions Farneth International, N.Y.. und Jackson Mac Low
Fluxus Experience
No full textProviding phenomenological accounts of specific artworks and events, Higgins situtates Fluxus in an holistic framework based in embodied knowledge and experience in order to better suit its reception and counter misconceptions of the movement. Higgins also traces the pluralistic reception of Fluxus in Europe and gauges its close relations with Pop and Conceptual art. The author proposes her new reading of Fluxus as a positive model for future pedagogy. Index. List of illustrations. Circa 400 bibl. ref
Fluxus-Concert / Zaj-Concert
No full textThis article offers the first comprehensive reconstruction of two concert evenings in 1966 that brought Fluxus and Zaj together for the first time to perform at the renowned Galerie Block in Berlin, thanks to Wolf Vostell’s mediation. Drawing on research from major archives—including Archive Sohm (Staatsgalerie Stuttgart) and Archivo Happening Vostell (Museo Vostell Malpartida, Spain)—as well as interviews with some of its key performers, this paper reconstructs the programs of both concerts, highlighting the major performers: Dick Higgins and Alison Knowles on the Fluxus side, and Juan Hidalgo and Tomás Marco on the Zaj side. Additionally, the paper examines Wolf Vostell’s role as mediator and its significance.Embajada de España en BerlínDanish Arts Council -- Committee for International Visual ArtsEmbajada de Noruega en BerlínGoethe-InstitutDepto. de Historia del ArteFac. de Geografía e HistoriaTRUEpu
What Has Fluxus Created?
No full textA brief survey of current Fluxus-based practices and their relation to historical Fluxus opens an essay that examines current Fluxus-based practice. The author focuses on artists active in Fluxlist, an Internet discussion list that serves as a central locus of current Fluxus activity. Klefstad moves on to discuss the contentious problem of canonicity in Fluxus, reflecting on the changing role of the art canon in an era of artistic innovation. In such a time, the author contends, critical categories can no longer be the basis of canon construction. Instead, collectors and arts institutions create the canon and the rise in economic value of selected artifacts determines their canonical status. At the same time, the exclusive — and exclusionary — nature of the canon helps to establish and reinforce economic value. A complex network of economic and political dynamics points to a central question that asks how such anti-canonical groups such as Fluxus can relate to the possibility of such a canon. Klefstad concludes by proposing that the continuing spirit of Fluxus is found in the actions of those excluded from the canon
Teaching and Learning about Fluxus
No full textFluxus embraces a rich network of directions and implications. This essay suggests that it is impossible to understand some aspects of Fluxus by using traditional history as the only approach. Understanding the complex qualities of Fluxus as more than a relation of documents and dates requires a different approach. The author states that direct participation in Fluxus activities must supplement other forms of inquiry for deep understanding. The typical Fluxus work is a conceptualization of art and artistic processes. They are rooted in direct participatory engagement. We find this argument in the writings of the Fluxus artists when they call for what Dick Higgins labels exemplativist practice. Fluxus implies — even demands — creative and playful interaction in which the viewer moves from a passive to an active role. In this shift, the viewer becomes the co-producer of works, creating new objects, manifestations and experiences
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