Saturday, March 05, 2016
Emmett Williams - Germany
Emmett Williams in memoriam
Seine Performance „Incidental Music for Yo-Yo Ma“ ist hier zum ersten Mal als Installation dokumentiert. Vor der Wand mit einer Serie von Zeichnungen, auf denen sich Linien Blatt für Blatt zu einer chaotischen Partitur verwandeln, erklingt das entsprechende Spiel des bekannten Cellisten Ma. Eine kindliche Neugier und gezielte Leichtigkeit ist dagegen in den grafischen Arbeiten erkennbar, die Williams mit dem japanischen Künstler A-Yo geschaffen hat. Ein anderer Höhepunkt sind seine Papierarbeiten aus den 50er-Jahren. Die Serie „The Book of
O“ zeigt, was Williams am Herzen lag: Hier befreit sich ein Buchstabe aus einem Gedicht von seiner literarischen Funktion, wird zu Form und verbindet sich wieder mit dem Erzählerischen. Williams ging es auch darum, den Humor des Moments festzuhalten, in dem Kunst entsteht.
Wednesday, February 24, 2016
Article by Clive Phillpot - Manifesto I
FLUXUS: MAGAZINES, MANIFESTOS, MULTUM IN PARVOBy Clive Phillpot
Artists's Institute - Manhattan
Monday, December 14, 2015
The Handmade Horns and Drone Music of a Fluxus Composer“The performance is about 70 minutes long,” said 72-year-old composer Yoshi Wada, introducing his iconic “Earth Horns with Electronic Drone” at Soho’s Emily Harvey Foundation, a performance presented by Issue Project Room. Conceived in the early 1970s, Wada’s piece is a variable-duration drone composition written for the titular electronic drone and “earth horns” — lengthy wind instruments handmade with metal pipes. “Some people get bored,” Wada added with a smile, “so you can sleep — or leave quietly.” Several audience members giggled, although in the ensuing hour several also took Wada up on both of his suggestions. Indeed, as the immersive, corporeal tones of the horns and electronics began to replace the urban clatter coming from Broadway into the performance space, some listeners were discomfited: “It’s too physically demanding,” said the woman next to me, walking out after five minutes. Most listeners, however, let their eyes flutter and sank slowly into their seats, into the floor, into — if the piece were to go on longer than 70 minutes, one imagines — the earth’s crust.
Tashi Wada, Yoshi’s son and an accomplished composer in his own right, kickstarted the performance with a mid-frequency hum generated by an organ. After a few minutes, two short, higher-pitched horns entered the mix. The players held the notes interminably, with subtle differences in pitch prompting a rhythmic pattern that felt embedded into the surfaces of the room. Then two larger horns — each roughly 20 feet long, stretching across the floor — entered, one providing an impossibly deep backbone to the existing swirl of sounds, the other punctuating the dense composition with shorter, slightly higher moans. Once each instrument had been introduced, they began to cycle in and out according to Wada’s diagrammatic score, in a way that kept the sound in constant yet nearly negligible flux — wavering and shifting second by second in microscopic increments. Calm but never silent (indeed, often quite loud), Wada and his cohorts breathed — or rather, blew — organic life into calculated minimal music that could, in the hands of lesser musicians, be a bit “boring.”
Wada’s approach to drone music, like that of many of his contemporaries, draws inspiration from, on the one hand, various musical traditions of east and south Asia, and on the other, the post–John Cage American avant-garde. (Wada notably studied Scottish bagpipe music as well.) Born in Japan but based in the United States for nearly 50 years, Wada rose to prominence in the late 1960s as a member of the international art collective Fluxus. By the time he composed “Earth Horns,” drone music had represented the crux of the Fluxus musical practice for several years. The collective’s best-known composer at the time, La Monte Young, proffered a brand of drone based on pitch ratios that, in his view, had been reverberating throughout the cosmos since the beginning of time. As if to drive this notion home, Young called his group the Theatre of Eternal Music. Wada and Young’s Fluxus associations (as well as their mutual kinship with the great Hindustani vocalist Pandit Pran Nath) might suggest that the two composers share similar approaches to drone. But Wada’s performance at Emily Harvey made it clear — if the title, “Earth Horns,” hadn’t already — that he and Young ultimately exist in different realms: one terrestrial, one extra-. Young’s perpetual installation “Dream House,” for example, on display this summer at Dia:Chelsea and otherwise in Tribeca, prods visitors toward transcendence with bright purple lights, images of eastern spiritual leaders, an imperative to take off your shoes because of the carpeted floor, and above all, humming drone music playing from speakers hung near the ceiling.
Saturday, May 16, 2015
Yoko Ono at MoMa - NY
Blogger and Facebook
For the coming months we will also be activiating this blog again with some publications since the archiving of blogs is easier then finding things back on faecbook
Saturday, October 12, 2013
Performa Arts : Fluxus Weekend
In the spirit of Fluxus, Performa will produce an intensive 52-hour program across New York City, collaborating with members of the Performa Consortium. A five-part program will be presented in several key Fluxus forms, honoring the history and prompting the making of new Fluxus actions, objects, music, film, and ideas for the twenty-first century. The projects, ranging in size from large events to small-scale gestures, will be concentrated in downtown Manhattan in tribute to Fluxus history, and to George Maciunas and the Fluxus pioneers who lived and worked there.
Fluxus in Britannica
The name Fluxus, meant to suggest both “flow” and “effluent,” was coined by Fluxus founder George Maciunas (1931–78), a Lithuanian American designer and “cultural entrepreneur.” Maciunas used the word fluxus to describe a wide range of his activities, from a published call for a common front of artists against culture to a New York artists’ housing association, as well as a publishing concern that produced ephemeral interactive multiples and staged live events called Happenings that were precursors to performance art, video art, and other progressive art forms.
In its early years, from 1962 to 1966, Fluxus fused conceptual art, minimalism, new music, poetry, and chance-based work into an intermedia phenomenon, identifiable more through its irreverent attitude toward art than through the use of any distinct style. Utilizing humour—in the spirit of Dada—and everyday materials and experiences, Fluxus created original and often surprising objects and events. The Fluxus event, sometimes a minimal live gesture initially presented as part of a concert or a poetry reading, was researched and developed in part from ideas collected by the American experimental musician La Monte Young and published by him and the American poet and playwright Jackson Mac Low in 1963 as An Anthology of Chance Operations…. This publication—which collected “chance operations, concept art, anti-art, indeterminacy, plans of action, diagrams, music, dance constructions, improvisation, meaningless work, natural disasters, compositions, mathematics, essays, [and] poetry”—was designed by Maciunas and formed much of the material for his “Festum Fluxorum,” a European tour of 1962–63 during which Fluxus became an official movement and its international character was confirmed.
From 1964 Maciunas designed, produced, and promoted hundreds of multiples: a remarkable range of objects from tiny books of compositions to uniquely altered attaché cases with compartments full of games in small plastic boxes, plus films, records, jokes, miniature environments, posters, and charts using imagery publicly available from the New York Public Library. All Fluxus production was driven by a utilitarian philosophy in which colour, scale, material, and font were secondary to affordability and available space—a format that brought coherence to the otherwise heterogeneous Fluxus style. More than 30 individuals, from Christo to Yoko Ono, collaborated with Maciunas, who interpreted their ideas, whether for a chess set or for an apron, into multiple forms. Produced on demand by hand, using volunteer labour and the cheapest material, these provocative and amusing items were deliberately ephemeral, inexpensive, and intended for use rather than display.
Tuesday, October 30, 2012
Claes Oldenburg in Guggenheim.
October 30, 2012
Claes Oldenburg: The Sixties
October 30, 2012–February 17, 2013
Abandoibarra Hiribidea, 2
48009 Bilbao, Spain
Curated by Achim Hodchdörfer, Curator of the Museum Moderner Kunst Stiftung Ludwig Wien (mumok).
Co-organized by mumok Vienna and the Guggenheim Museum Bilbao, Claes Oldenburg: The Sixties is the largest show to date dedicated to the path-breaking, emblematic, early work of the 1960s by Claes Oldenburg (Stockholm, Sweden, 1929), one of the most influential artists since the 1950s. The presentation in Bilbao has been made possible thanks to the generous sponsorship of Fundación BBVA, and with support from the Terra Foundation for American Art.
With his ironic and sharp witted representations of everyday objects from the 1960s, Oldenburg made a huge contribution to renovating the North American art scene, and is a major figure in performance art, installation art and Pop Art. However, his multifaceted body of work goes much further. He has also had a profound influence on art in public spaces with his monumental large-scale projects in numerous major cities worldwide, created in partnership with Coosje van Bruggen.
One central point of reference in Oldenburg's oeuvre is the industrially produced object—the object as commodity, which in ever new metamorphoses of media and form becomes a conveyer of culture and symbol of the imagination, desires, and obsessions of the capitalist world.
The Guggenheim Museum Bilbao will showcase a magnificent selection of nearly 300 works on Museum's second floor galleries. The exhibition will begin with the installation The Street and its graffiti-inspired depictions of modern life in the big city, and continue to the famous consumer articles of The Store and to the spectacular everyday objects of the "modern home."
The exhibition also dedicates a section to Oldenburg's early designs for public spaces around the world and to his emblematic Mouse Museum, a walk-in miniature museum in the form of a Geometric Mouse, for which Oldenburg has collected 381 objects since the late 1950s.
Lastly, owing to the Claes Oldenburg's close collaboration on the project, the exhibit will also include a series of works that have rarely or never before been seen: drawings, photographs and films by the artist himself, and especially notebook pages that offer unique insights into the witty thought processes of the artist.
Sponsored by Fundación BBVA.