Saturday, May 16, 2015
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.
Sunday, June 24, 2012
Monday, April 23, 2012
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.
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.
Friday, April 20, 2012
On the Road to Fluxus
|Dauer :||15.05. - 30.06.2012|
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.”