Fluxus Heidelberg Center BLOG

This BLOG is maintained by the FLUXUS HEIDELBERG CENTER. See: WWW.FLUXUSHEIDELBERG.ORG.

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

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.


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October 30, 2012
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Guggenheim Bilbao

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

Guggenheim Bilbao 
Abandoibarra Hiribidea, 2
48009 Bilbao, Spain

www.schiele.guggenheim-bilbao.es
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.
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311 East Broadway
New York, NY 10002, USA
 

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Sunday, June 24, 2012

Fluxus Diner Kopenhagen

Monday, April 23, 2012

GEORGE


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.
Rewards
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

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© Schüppenhauer galerie+projekte
Ohne Titel
1992
Ausstellungsort
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
überlassen.
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

Monday, February 20, 2012

Art of healing



Feb 19, 2012 :
Yoko Ono’s work highlights the importance of imagination, collective thinking, courage and women power, writes Giridhar Khasnis.

Extraordinary : Yoko Ono’s ‘Remember Us’. Photo by Briana Blasko © yoko ono‘Our Beautiful Daughters’ is the title of the first ever solo show in India of Tokyo-born New York-based conceptual artist Yoko Ono. With its multiple installations, video films, and photographic images, the exhibition — on at Vadehra Art Gallery, Delhi (till March 10) — exemplifies some of Ono’s continuing beliefs, wishes and concerns.

“Our beautiful daughters of the planet: each one of us is a being sent to earth to bring peace and happiness for all,” writes Yoko Ono. “Let’s have a clear vision about this. And know that this is the time to heal the world with WOMEN POWER. We can do it, and we will.”

Speaking of her prolific career as a peace activist, musician, performer and multi-media artist, gallerist Arun Vadhera explains how Ono’s fame cuts across generations; and how her work blurs the boundaries between everyday life and art, and between spiritualism, poetry and political action.

“It is metaphysical, ephemeral and conceptual while all the time remaining accessible to the viewer. It invites participation and introspection from the audience and in fact depends wholly on this response for its activation and fruition as an art work... The exhibition highlights the importance of peace, healing, the power of collective thinking, imagination, courage, and of course women power, all of which are at the core of Yoko Ono’s practice.”

The central piece of the exhibit is ‘Remember Us’ (2012), a haunting artwork occupying the space of an entire floor. In the dimly lit interiors, more than a dozen black, coffin-like boxes are neatly laid out. Each box is filled with tiny charcoal briquettes on which lies the cast of a dismembered woman’s body — unclothed and lifelike, frightening and engaging in colour, texture and blatancy.

Ono urges the visitors to touch the bodies ‘and in the process come to terms with their feelings of compassion, love, empathy, identification, aggression, violence, acceptance, vulnerability and power that this acts of touching unleashes in them.’

The truly disturbing piece of art evokes multiple and often conflicting thoughts, even as it demystifies the sexual aura of the human body. Adding to the disquiet, bowls containing ashes are placed at the farther end of the gallery. On one of the walls, Ono has splashed dripping black paint which reads, in one instance ‘Uncurse yourself’; and in the other, ‘I am uncursed’. Colourful odhnis (hand-embroidered by women artisans from Bikaner) hang on the walls of the room, while recorded sounds of Indian streets add to the audio-visual experience.

Among other interactive exhibits is the ‘Wish Tree’, a public art project Ono has been working on for more than a decade in different cities around the world. In this seemingly simple piece, potted plants are placed at different venues and the visitors are encouraged to write their wish, prayer or thought on a paper tag and tie it to the plant.

Several ‘wish trees’ have found their way into public and private spaces in Delhi like schools, hospitals, galleries, and book shops.

In ‘Mend Piece’, the 78-year-old artist has placed shattered ceramic pottery pieces on a table; visitors are told to bring them back to life by taping, and gluing the broken pieces — as a symbolic gesture of mending all those things which are broken up in the world.

Similarly, for the ‘Heal Together’ work, the artist has slashed a large canvas; the audience, once again, are welcomed to stitch paper, cloth and other things on it. Another piece which has invited curious glances of Delhiites is the set of large hoardings with a single word ‘Touch’ inscribed on them.

The parallel exhibition titled ‘The Seeds’ places Ono’s works in context through videos, films and photographs; they include some of her famous performances, installations and artistic collaborations made over the past decades. Featured among them is her well-known ‘Instructions’ series which began in early 1960s and is considered to be one of the pioneering works in conceptual art.

Yoko Ono was born in Tokyo in 1933 and moved to New York when she was 20 and studied music and poetry at Sarah Lawrence College. She became an important member of the avant-garde ‘Fluxus’ movement in the 1960s, establishing herself as a daring, innovative and eccentric artist-performer of her time.

“As one of the founders of the Fluxus movement, Ono helped identify and define the playful, subversive, visionary sensibility that has undergirded experimentation in all the arts ever since,” recalls curator and art critic Peter Frank. “Her poem-like verbal scores, her films, and her staged performances anticipated everything from minimalism to performance art, the furthest reaches of new cinema to the most extreme of Punk-New Wave music...

With her Fluxus colleagues Ono elevated the insubstantial to monumental status, allowing us to contemplate the magic of the ordinary, as well as to comprehend the ordinariness of the seemingly profound. This inversion, along with the inventive puckishness of her game-like concepts and activities, make her work endlessly provocative — at once irksome and inviting, loopy and lovely, teasing and teaching us to appreciate the intimate and elusive phenomena that comprise life.”

In 1969, Ono married John Lennon (1940 – 1980), the legendary singer-songwriter and one of the founding members of The Beatles. Together, they were actively involved in numerous campaigns supporting world peace and anti-war issues. Even after the tragic death of Lennon in 1980, Ono continued to communicate her message of love and peace through her music and performances. She gave stirring speeches appealing, among others, for the abolition of nuclear weapons.

Winner of many international awards and honours, Ono has, over the decades, regularly set up her exhibitions and performances across the globe. She was awarded the Golden Lion for Lifetime Achievement from the Venice Biennale in 2009.

Ono has always pleaded for love, compassion and understanding. “Peace is here now,” she says. “It’s just that we don’t recognise it. About 98 per cent of people in the world are wanting peace. The two per cent is really trying to mess it up.”

In 2011, she received the 8th Hiroshima Art Prize for her contributions to world peace through contemporary art and for “the substantial role her activities have in transmitting the message of the ‘Spirit of Hiroshima’ throughout the entire world.”
source:http://www.deccanherald.com/content/228234/art-healing.html

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Sunday, February 19, 2012

Happy Birthday, John Cage / Happy Birthday, Fluxus

Foyer Großes Haus

musik-theater-werkstatt
Happy Birthday, John Cage / Happy Birthday, Fluxus
Szenisches Konzert
Ein Abend mit Texten und Musik von John Cage (1912-1992)




Montag, 30.04.2012, 19.30 Uhr
LeitungErnst August Klötzke
Mit Mitgliedern des Hessischen Staatstheaters Wiesbaden und der Kammermusikvereinigung des Hessischen Staatsorchesters

,Das Leben ist ein Kunstwerk, und das Kunstwerk ist Leben.‘ (Emmett Williams)

In diesem Jahr wäre der amerikanische Komponist John Cage 100 Jahre alt geworden, gleichzeitig feiert die ,Fluxus-Bewegung‘ ihren 50. Geburtstag. Beides ist Anlass genug, John Cage diesen Abend zu widmen und seine Kunst mit dem Gedanken an Fluxus zu interpretieren.

Cage war der sanfte Revolutionär der Neuen Musik. Sein Gedanke des Nicht-Intendierten veränderte die Wahrnehmung von Musik und die Diskussion um den Werkbegriff wie kein anderer Komponist. In den 60er Jahren, als seine Kunst schon eine breite Akzeptanz gefunden hatte, entstand in Wiesbaden eine Strömung, die mit den Konzerten ,Wiesbadener Festspiele Neuester Musik‘ im September 1962 in die öffentliche Diskussion geworfen wurde. Auch hier wurde das Kunsterlebnis radikal verändert. Der Prozess der materiellen Dekonstruktion als Reaktionen auf ein etabliertes bürgerliches Konzertpublikum wurde zum Programm.

Cage mag als ein Wegbereiter von Fluxus gelten, wenngleich die Gemeinsamkeiten beider Strömungen nur an der Oberfläche liegen. Ihnen gemeinsam ist, bei aller Ernsthaftigkeit des Vorhabens, immer ein gewisses humorvolles Augenzwinkern, das sich auch an diesem Abend mit Sicherheit beim Publikum einstellen wird.

John Cage erlernte als Kind das Klavierspiel und studierte ab 1928 Literatur. Nach verschiedenen musikfernen Tätigkeiten begann Cage ein Kompositionsstudium bei Richard Bühlig und ergänzte ab 1934 seine Studien bei Arnold Schönberg. 1937 bekleidete er die Stelle des Komponisten der Ballettklasse an der Cornish School in Seattle/Washington. Hier begegnete er auch seinem späteren engsten Freund und Lebensgefährten, Merce Cunningham, dem er bei Aufbau und musikalischer Begleitung der Merce Cunningham Dance Company half.

Neben seinem kompositorischen Schaffen ging er auch stets außermusikalischen Aktivitäten nach – er war leidenschaftlicher Schachspieler, Koch und Pilzforscher. John Cage erlitt am 11. August 1992 in New York einen schweren Schlaganfall, an dessen Folgen er einen Tag darauf starb.

Fluxus ist die radikalste, experimentellste Kunstbewegung des 20. Jahrhunderts. Fluxus ist die Wiederaufnahme von Dada zu Beginn der 60er Jahre. Fluxus wurde von einem Künstlerkollektiv getragen. Die Gründung der Gruppe (1962) und der Begriff (1960) stammen von dem Litauer George Maciunas (1931-1978), der mit seinen Eltern 1944 zuerst nach Bad Nauheim flieht und dann 1948 in die USA geht. Der Begriff ,Fluxus‘ entstammt der Medizin und bezeichnet eine ,fließende Darmentleerung‘. Der Begriff entspricht der Weltsicht des Dadaisten Hans Arp, der die dadaistische Kunst als Antikunst sah, die ,...unmittelbar den Gedärmen des Dichters entspringt.‘ Fluxus ist eng mit Musik, Aktion und Happening verbunden: Collageartig komponierte Aktionsabläufe, die auf Grund des Zusammentreffens von akustisch-musikalischen und choreografischen Ausdrucksformen als ,Konzert‘ bezeichnet und oft von mehreren Künstlern im Kollektiv aufgeführt wurden. Zumeist gab es eine strikte Trennung von Künstler und Publikum (Aktion), im Unterschied zum Happening.

Fluxus ist Spaß und Bewusstseinserweiterung, Fug und Unfug

source: http://maifestspiele.de/?page=spielplan_detail&refererPage=konzerte&eventDateId=10542258

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