Fluxus Heidelberg Center BLOG


This FHC BLOG will contain an overview of all news we find and get in connection to Fluxus. Articles, publications, events, celebrations, Biographies, you name it. Every month the collection of the blog will be published on the FHC website as a digital archive

Monday, December 14, 2015


The Handmade Horns and Drone Music of a Fluxus Composer

Yoshi Wada introducing “Earth Horns with Electronic Drone” at the Emily Harvey Foundation (photo by @thehouseofdis/Instagram)

Yoshi Wada introducing “Earth Horns with Electronic Drone” at the Emily Harvey
Foundation (photo by @thehouseofdis/Instagram)
“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.

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Happy 2016

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Saturday, May 16, 2015

Yoko Ono at MoMa - NY

Yoko Ono was about to burn a painting.
Standing alongside curators and conservators in an unused gallery at the Museum of Modern Art this spring, the 82-year-old superstar wanted to copy a cigarette hole that John Cage, the avant-garde composer, had burned into another blank canvas of hers half a century earlier. For the remake, she had asked for the French cigarettes that Cage would have used but ended up settling for one from Nat Sherman. Lighting up in a museum that had not smelled of tobacco for decades, she reached out and, with a sure artist’s touch, scorched a tidy round hole. Velazquez painting the Spanish king could not have been watched more closely than Ms. Ono was — though it was hard to know whether these courtiers were crowding around to witness creation or to prevent conflagration.

Yoko Ono: One Woman Show, 1960-1971,” opening on May 17 in one of MoMA’s prestigious sixth-floor galleries, is a major event of the museum’s summer season. On display will be more than 100 vintage works — and in a few cases, as with the burned canvas, facsimiles — that represent the heyday of Ms. Ono’s first career in art, long overshadowed by her better-known image as pop-culture icon and widow of John Lennon. A great deal is riding on the event — for Ms. Ono, for the museum and also for Klaus Biesenbach, chief curator at large at MoMA and a co-organizer of her show. The exhibition could recalibrate the reputations of all three.


An album cover of Ms. Ono and John Lennon’s “Unfinished Music No. 2: Life With the Lions” (1969) Credit via Museum of Modern Art, New York

“Yoko Ono in the ’60s was a historically important, groundbreaking, influential artist, working in London and Tokyo and New York,” explained Mr. Biesenbach, sitting in a MoMA boardroom, his platinum hair slicked back above one of his trademark skinny suits. Ms. Ono’s achievement as an artist, he said, “is nearly hidden by her fame; we want to uncover it.”
As for Mr. Biesenbach, the show may help counteract the drubbing that he has taken for “Björk,” his celebration of the Icelandic pop star that is now filling MoMA’s atrium. One critic said it had “laid a colossal egg”; another called for his resignation. Working with Ms. Ono satisfies the curator’s well-known love of celebrities, but the artist’s early, conceptual work has an undeniable heft and rigor that may help earn back Mr. Biesenbach’s credentials as someone sober and substantial.

source:  http://www.nytimes.com/2015/05/10/arts/design/yoko-onos-1971-moma-show-finally-opens.html?_r=3

Blogger and Facebook

Since a lot of people are currently also on Facebook, we published a lot of information there on the special group made at:


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

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.

source: http://11.performa-arts.org/performa-presents/fluxus-weekend

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Fluxus in Britannica

Fluxus, a loose international group of artists, poets, and musicians whose only shared impulse was to integrate life into art through the use of found events, sounds, and materials, thereby bringing about social and economic change in the art world. More than 50 artists were associated with Fluxus, many producing a periodical anthologizing the latest experiments across the world in art and antiart, music and antimusic, and poetry and antipoetry and many taking part for the sheer collaboration opportunities and the built-in audience. Fluxus involved artists from around the world, including the Americans Dick Higgins and Alison Knowles, the Frenchman Ben Vautrier, the Korean artist Nam June Paik, and the German artist Wolf Vostell.
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.

source: http://www.britannica.com/EBchecked/topic/1345511/Fluxus

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Tuesday, October 30, 2012

Claes Oldenburg in Guggenheim.

October 30, 2012

Guggenheim Bilbao

Claes Oldenburg: The Sixties
October 30, 2012–February 17, 2013

Guggenheim Bilbao 
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.
311 East Broadway
New York, NY 10002, USA

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Sunday, June 24, 2012

Fluxus Diner Kopenhagen

Monday, April 23, 2012


The project
In 2010, while on a walk through SoHo, I realized the idea to make a feature length film/video portrait of George Maciunas, the founder and impresario of Fluxus. George Maciunas (1931-1978) was a Lithuanian born artist, art-historian, graphic designer, architect, urban planner, composer and contractor. Through his tireless efforts, Maciunas has influenced and shaped the course of contemporary art. He is also known for creating the first 15 artist run co-op buildings in SoHo. This documentary film portrait will provide insight into the life of a visionary revolutionary artist.

How was I introduced to Fluxus?
In 1963, in Tokyo when I was in the U.S. military, I met Yoko Ono by chance and she introduced me to Fluxus. Previous to the military service in Japan, I had been an art student in NYC, however, the providential meeting with Yoko gave me an entirely new direction to my thinking and practice as an artist. In 1966 in NYC, Yoko introduced me to George on a visit to his apartment at that time in Soho. I was working with Yoko on projects related to exhibitions in NY, some of which were projects for Fluxus events that George organized. I made a film for the First Fluxus Film Festival, called "Shout," and I was also the cameraman for Yoko’s film “The Bottoms Movie,” AKA "Fluxus Film #4." Meeting and working with George & Yoko was a very influential period of my life as a young artist.
Why am I making this film? 
I conceived the idea for this film on George as a unique portrait. However I knew that when I reached the Fluxus domain it was going to become a very complex story because Fluxus is a large and spreading compendium of many different artists, all contributing individual creative works, ideas and projects to the larger Fluxus envelope that George created and cultivated for his entire adult life.
This film will be made from the voices of all the persons who I have interviewed over the past 2 1/2 years. These are persons who knew and worked with George. I am very grateful that they have been willing to contribute their memories of George as well as works that they made for Fluxus. The story of George Maciunas is an incredibly adventurous one because of his unique character; my goal is to create a portrait of how he realized the body of Fluxus and its very unconventional character. The timing of this film is perfectly set in this year 2012 as it is the 50th anniversary of the birth of Fluxus in 1962. In addition to that, I realized that there had not been a feature length documentary film portrait of George. The voices in this film were inspired by their meetings, works and adventures with George and I am making this film for the same reason. He is an unforgettable image in our minds. George Maciunas tried to change the world. As Joe Jones said "he did the best that he could." And he did. And so do I.

Why are we fundraising?
I am an independent film maker, working from my apartment, without any outside funding sources. The entire production has been paid from my own limited personal resources, which has reached a point where I now need to ask for support of other persons. For the last two years I have been traveling around Europe, America and Japan, to film around 44 interviews with friends, family, scholars and professional associates of George Maciunas and Fluxus. I, along with the generous help of dedicated interns, have compiled a wide selection of photographs, letters, audio recordings, archival film and Fluxus work from the most important Fluxus collections in the world, including the Jean Brown Archive at The Getty Research Institute, The Sohm Archive at the Staatsgalerie Stuttgart, The Netherlands Fotomuseum, MoMA, and private sources.
We are now at the stage where in order to complete the film we are in much need of financial support. It is our mission to honor the legacy of George Maciunas which future generations can enjoy, learn and become inspired by. Our goal is to raise $20,000, all of which will go towards production costs: pre-editing, editing, acquisition of additional media, including still photographs and archival footage and the list goes on.
To show my gratitude for your generous support I offer a selection of films and pieces from my personal Fluxus collection.  I have reached out to my Fluxus friends, who have donated a piece especially for this Kickstarter. Artists who have donated these works: Philip Corner, Simone Forti, Henry Flynt, Geoff Hendricks, Peter Frank, Alison Knowles, Eric Andersen, Yoshi Wada, Christian Xatrec, Fred Lieberman, Jessica Higgins, Ben Vautier, Takako Saito, Jeff Perkins. Please have a look a the rewards section for more details.
Interviews for the documentary completed to date:
Billie Maciunas, Nijole Valaitis, Jonas Mekas, Vytautas Landsbergis, Philip Corner, Ben Patterson, Eric Andersen, Alison Knowles, Yoko Ono, Shigeko Kubota, Takako Saito, Jon Hendricks, Geoff Hendricks, Henry Flynt, Carla Liss, Jean-Jacques Lebel, Jean Dupuy, Olga Adorno, Nam June Paik, Yoshi Wada, Midori Yoshimoto, Ben Vautier, Bernard Heidseick, Paul Armand Gette, Mary Beth Edelson, Astrit Schmidt-Burkhardt, Simone Forti, Harry Ruhe, Vyt Bakaitis, Peter Frank, Milan Knizak, Nijole Salcius, Peter Salcius, Frederick Lieberman, Willem de Ridder, Ay-O, Estera Milman, Kevin Harrison, Jed Curtis, Charles Dreyfus, Hollis Melton, Richard Foreman, Olivier Mosset, Jessica Higgins, Shael Shapiro.
Thank you for your support.
Jeffrey Perkins & Perkins Productions

Friday, April 20, 2012

On the Road to Fluxus

Prä-Fluxus international


© Schüppenhauer galerie+projekte
Ohne Titel
Galerie Schüppenhauer
50939 Köln
Dauer : 15.05. - 30.06.2012
Beschreibung :
Eine Ausstellung der Schüppenhauer Galerie +
Projekte in Zusammenarbeit mit der Kunstagentin,
kuratiert von Christel Schüppenhauer.
Vernissage: 15. Mai 2012, 19 Uhr mit
Performances von Fluxus-Künstlern
Ausstellungsort: Die Kunstagentin,
Maastrichter Str. 26, 50672 Köln
Ausstellungsdauer: 15.05. - 30.06.2012

Im 50. Jahr von Fluxus und zum 100.
Geburtstag von John Cage begeben wir
uns mit der Kölner Ausstellung „On
the road to FLUXUS“. Der Aufbruch
begann Ende der 50er Jahre als sich
begabte junge Leute rund um den Globus –
Künstler, Musiker, Dichter oder auch
Wissenschaftler – auf den Weg machten,
um in einer freien Welt neue Wege des
künstlerischen Schaffens zu beschreiten.

Nach den Wirren der Kriege, der
Zerstörung und dem Wiederaufbau
ging es jungen Künstlern aller Sparten
und Nationalitäten darum, sich von
festgefahrenen Denkweisen und
Traditionen zu lösen, um eine neue
Welt zu schaffen, in der eine grenzenlose,
von allen Zwängen befreite künstlerische
Kreativität möglich werden sollte.
Dieses Bedürfnis nach Freiheit
wurde zu einer der Grundlagen
der späteren Bewegung „Fluxus“,
die alle kreativen Medien einschloss,
 sich aber nie in einer bestimmten
Ausdrucksform manifestierte. Alles
war und ist im Fluss und folgt der
spielerischen Intuition des
individuellen Künstlers. Was ist
also Fluxus? Diese Frage zu
beantworten gelingt noch nicht
einmal den teilnehmenden Künstlern.
So bleibt dies künftig den nachfolgenden
Generationen von Kunsthistorikern
Diese Ausstellung ist der Versuch
einer Annäherung an diese kreative
Zeit, die zu Fluxus führte. Anhand
von Werken, Dokumentationen und
vielen Besonderheiten geben wir einen
Einblick in wichtige Stationen der Prä-
Fluxus-Reise der späten 50er Jahre bis
1962, ohne jedoch den Anspruch auf
Vollständigkeit zu erheben. Schwerpunkt
legen wir auf die Aktivitäten in Köln,
wo Stockhausens Studio für Neue
Musik beim WDR eine wichtige
Rolle spielte, auf das Atelier Mary
Bauermeister sowie die Galerien 22
in Düsseldorf und Parnass in Wuppertal.
Darüber hinaus werden Filme und Videos,
z.B. über die Aktionen von Ben Vautier
in Nizza Ende der 50er Jahre, die
Ausstellung vervollständigen.

Neben Arbeiten und Dokumentationen
aus der Vor-Fluxus-Zeit werden wir
auch Werke der Künstler zeigen, die
nach 1962 entstanden sind, wie von
Mary Bauermeister, Michael von Biel,
Sylvano Bussotti, John Cage,
Cornelius Cardew, George Brecht,
Christo, Robert Filliou, Al Hansen,
H.G.Helms, Geoffrey Hendricks,
Dick Higgins, Ray Johnson, Joe Jones,
Allan Kaprow, Alison Knowles,
Haro Lauhus, Heinz-Klaus Metzger,
Georg Maciunas, Nam June Paik,
Ben Patterson, Daniel Spoerri,
K.H. Stockhausen, André Thomkins,
Ben Vautier, Wolf Vostell,
Stefan Wewerka, Emmett Williams
und Andere.

Ende Juni wird Fluxus-Künstler
Michael von Biel 75 Jahre alt.
Ihm zu Ehren zeigen wir im Obergeschoß
eine Auswahl seiner Zeichnungen.

In der Schüppenhauer Galerie +
Projekte findet parallel dazu die
Ausstellung „Poetry in Motion“
mit Werken des Fluxus-Künstler-Paares
Ann Noel und Emmett Williams
(1925 - 2007) statt. Eröffnung ist
am 23. Mai 2012, 19-22 Uhr
(bis 14. Juli 2012).

Die Ausstellung läuft vom 15. Mai
bis zum 30. Juni 2012.
Öffnungszeiten: Di bis Fr 12-20h,
Sa 14-18h und nach Vereinbarung.
© Schüppenhauer galerie+projekte
Öffnungszeiten :
Di-Fr 14-18.30 Uhr u.n.V.
Sa 11-14 Uhr

(c) 2006-2010 by Fluxus Heidelberg Center