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

Wednesday, October 31, 2007

Ken Friedman - 52 events..Fluxus

Only 25 uk pounds each for

52 Events

Friedman,Ken52 Events
Edinburgh, Show and Tell Editions

Ken Friedman's events are a classic example of the subtle, multivalent art form known as intermedia.
Friedman's projects began as "things without names, things that jumped over the boundaries between ideas and actions, between the manufacture of objects and books, between philosophy and literature."
This edition documents Ken Friedman's contribution to the early days of intermedia and conceptual art. The original Fluxus edition of Friedman's Events was planned in 1966 for publication in the spring of 1967. Edited and designed by George Maciunas, the 1967 Fluxus edition waited on a large-scale printing order that never materialized. While waiting for the Fluxus edition, Friedman began exhibiting his event scores and circulating them in small editions of various kinds.
In 1973, the University of California at Davis organized an exhibition exclusively composed of Friedman's events. This exhibition marked the first time that a Fluxus artist presented an exhibition comprised solely of text-based events. The exhibition toured the world in the 1970s, with editions of scores appearing in English and in translation. When the premature death of George Maciunas ended the Fluxus publishing program, Friedman continued to work with the event structure, adding to the corpus of events in a continuing series.
Show and Tell Editions of Edinburgh has gathered a selection of 52 events for a calendar diary for the year 2002. This 140 x 158 mm artist's book and diary was developed and designed by Paul Robertson. The book is comprised of 118 pages plus card wrappers and a dust jacket. The book includes 9 pages of detailed notes by the artist. These historically important notes by the youngest member of the classical Fluxus group shed fascinating light on the events and on Fluxus.


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Yes Yoko Ono

Yes Yoko Ono

Yes Yoko Ono
By Alexandra Munroe with Jon Hendricks. Contributions by Kristine Stiles
and Edward M. Gomez '79. Abrams. 352 pages. $60

Duke art and art history professor Stiles and art critic-writer-designer Gomez are two of the major contributors to this thick, lushly produced catalogue for the Japan Society exhibition. Yes Yoko Ono celebrates the prolific and eclectic forty-year career of the Japanese artist. Ono has been in the forefront of the avant-garde for decades, from the Fluxus movement and Conceptual art to work in film and activism. The book, which includes an anthology of Ono's writings, an illustrated chronology, and a CD of new music by Ono, is the first comprehensive art book devoted to her challenging and influential work.

Japan Society Gallery
333 East 47th Street
New York, NY 10017

Oct 20, 2000-Jan 14, 2001

Public May Call:
(212) 832-1155
For Information

News release from Japan Society, June 29, 2000:
New York - YES YOKO ONO, the first American retrospective of the work of pioneering avant-garde artist Yoko Ono, opens at Japan Society Gallery on October 18, 2000 and runs through January 14, 2001. In her prolific 40-year career Ono has embraced a wide range of media, defying traditional boundaries and creating new forms of artistic expression. The exhibition features approximately 150 works from 1960 to the present, with a focus on her early period, and includes objects and installations; language works, such as instruction pieces and scores; film and video; music; and performance art.
After its premiere in New York, YES travels to several venues in the United States, including the Walker Art Center, Minneapolis (March 10-June 17,2001); the Contemporary Arts Museum, Houston (July 13-September 16, 2001); the MIT-LIST Visual Arts Center, Cambridge (October 18- January 6, 2002); the Art Gallery of Ontario, Toronto (February 22-May 20, 2002); the San Francisco Museum of Modern Art (June 22-September 8, 2002); and elsewhere in North America and Asia.
The exhibition offers the first comprehensive reevaluation of Ono's work, exploring her position within the postwar international avant-garde, and her critical and influential role in originating forms of avant-garde art, music, film and performance.
YES examines her early and central role in Fluxus, an avant-garde movement that developed in New York in the early 1960s; her important contributions to Conceptual Art in New York, London and Tokyo; her concerts; experimental films; vocal recordings; public art, including works made with John Lennon; and recent works, including interactive installations and site-specific art. Such avant-garde figures as John Cage, George Maciunas, Nam June Paik, Charlotte Moorman, Andy Warhol and Ornette Coleman collaborated with Ono, and work from these collaborations is also represented.
Accompanying the exhibition will be the book, YES YOKO ONO, the first major art publication surveying Ono's artistic career, co-published by Japan Society and Harry N. Abrams, Inc. A musical CD of new works by the artist will also be included.
"Yoko Ono's contribution is not specific to any genre; rather, it is her capacity to make forms beyond and between genres - to crossover from high to low, underground to pop - that distinguishes her extraordinary creation," says Alexandra Munroe, Director Of Japan Society Gallery and exhibition curator. "Her use of chance and minimalism, and her investigation of everyday life have played a key role in the transmission of Asian thought to the international art world."
The exhibition title, YES YOKO ONO, refers to the interactive object known as Ceiling Painting, an important work shown at Ono's historic 1966 Indica Gallery show in London. The viewer is invited to climb a white ladder, where at the top a magnifying glass, attached by a chain, hangs from a frame on the ceiling. The viewer uses the reading glass to discover a block letter "instruction" beneath the framed sheet of glass - it says "YES." It was through this work that Ono met her future husband and longtime collaborator, John Lennon.
Born in Tokyo in 1933 into a prominent banking family, part of Japan's social and intellectual elite, Ono received rigorous training in classical music, German lieder and Italian opera. She attended an exclusive school where her schoolmates included Japan's present emperor, Akihito, and Yukio Mishima, destined to become a world-renowned novelist who committed ritual seppuku to protest Japan's Westernization. Ono, raised partly in America, witnessed Japan's devastation in World War II, and by the time she entered Gakushuin University in 1952 as its first female philosophy student, she was swept up by the intellectual climate of the postwar Japanese avant-garde. This movement was characterized by a spirit of rebellion against all orthodoxy, a yearning for individual self-expression, and a desire for spiritual freedom in a landscape reduced to absolute nothingness by the ravages of warfare.
Disillusioned with academic philosophy, Ono left Japan to join her family in New York, where her father was an executive of the Bank of Tokyo, America. Attending Sarah Lawrence College in Bronxville, New York, she soon gravitated to the vibrant art community of lower Manhattan. At the time, non-Western cultures, especially those of China and Japan, were inspiring new forms of artistic expression. Ono was welcomed as a representative of that Eastern sensibility that found beauty and art in everyday existence and chance events, and favored artistic expression and thought through interactive participation.
A loose association of these artists was eventually formed under the name of Fluxus. The group experimented with mixing poetry, music and the visual arts, through a wide spectrum of activities, including concerts and exhibitions. As a member of Fluxus, Ono presented her early works, launching a career that would take her back to Japan, where she became an active member of the Tokyo avant-garde, and again to New York, and then to London, where the 1966 Indica Gallery show, that inlcuded Ceiling Painting took place.
In the decades since the Indica Gallery show, Ono has continued to enlarge the boundaries of her art in diverse media. After her marriage to John Lennon in 1969, she collaborated with him on a number of projects in music, creating a bridge between avant-garde and rock in such releases as Unfinished Music for Two Virgins (1968), Wedding Album (1969), and Double Fantasy (1980). Their happenings, Bed-Ins For Peace and the billboard campaign, War is Over! If You Want It were landmark projects created to promote world peace, a continuing theme in their work together.
During the 1980s, influenced by the rampant materialism of the decade, Ono revisted some of her 1960s objects, transforming works that were originally light and transparent into bronze, symbolizing a shift from what she calls "the Sixties sky" to the new "age of commodity and solidity." In the 1990s Ono's prolific output of interactive installations, site-specific works, Internet projects, concerts and recording have been widely represented in numerous venues across Europe, America, Japan and Australia.
More Japan Society Gallery Information:
YES YOKO ONO Exhibition Themes
Facts About the Accompanying Book

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Tuesday, October 30, 2007

Is democracy merry? Joseph Beuys, George Maciunas, and Fluxus interrogate modernity

Harvard Univercity

Joseph Beuys (German, 1921-1986), 'Art = CAPITAL,' 1979. Banknote, inscribed.
All photos courtesy of Photographic Services © President and Fellows of Harvard College

Is democracy merry?
Joseph Beuys, George Maciunas, and Fluxus interrogate modernity
By Ken Gewertz
Harvard News Office

An enlarged news photo, flaunting its rough pattern of halftone dots, shows a man in jeans, a military overcoat, and a fedora striding toward the camera. Judging by his wide grin he seems to be enjoying himself hugely, but his downcast eyes convey that it is a private enjoyment, not shared by the uniformed police who stand stiffly on either side. Across the photo, in a black scrawl, are the words “Demokratie ist lustig” — “democracy is merry.”

The man is the German artist Joseph Beuys (1921-1986), and the photo records the moment in 1972 when he was escorted from the Art Academy of Düsseldorf after being dismissed from his faculty position for opening his classes to anyone who wanted to attend. It was Beuys himself who transformed the news photo into a work of art, simply by designating it as such.

“Demokratie ist lustig” is one of nearly 200 works in a new exhibition at the Busch-Reisinger Museum, “Multiple Strategies: Beuys, Maciunas, Fluxus.” The exhibition, organized by Jacob Proctor, the Ruth V.S. Lauer Curatorial Assistant, draws on the Busch-Reisinger’s Willy and Charlotte Reber Collection of Beuys multiples and the Fogg Art Museum’s Barbara and Peter Moore Fluxus Collection.

Claes Oldenburg (American, b. 1929), 'False Food Selection,' 1966. Wooden box, printed label, plastic imitation foods.

As Proctor describes it, the question that underlies these varied and provocative works is “how to bring art and life together, to erase the difference between them? Beuys and the Fluxus group were concerned with making the artist a relevant and productive member of society, rather than someone who creates rarified objects for aesthetic contemplation.”

One important method these artists used to achieve their revolutionary goals was the creation of multiples, iterations of a particular concept that had the look of a manufactured commodity rather than a handcrafted product of the studio.

Beuys could take the notion of multiples to humorous extremes. One of his works is a voting slip from the 1980 Bundestag election, in which Beuys himself ran, marked by his inimitable scrawl in a way that mocks the tradition of the signed limited edition etching or engraving: “Number 60 of 12,374,314.” Other works consist of actual commercial products, most of them somberly packaged East German foodstuffs, to which Beuys signed his name, adding the phrase “one unit of economic value.”

Joseph Beuys (German, 1921-1986), 'New York Subway Poster,' 1983. Lithograph and screen print

While many of his works seem comical and even trivial, the intention behind them was serious in the extreme. Beuys played multiple roles during his career — teacher, political activist, healer, shaman — but in each case there was a sincere, if naïve, desire to redeem society. A follower of Rudolf Steiner, the Austrian philosopher and founder of anthroposophy, Beuys was one of the founders of the Green Party and often used his position as a well-known artist to organize public discussions of important social, political, and environmental issues.

Beuys’ contemporary, the Lithuanian-born George Maciunas, and the loosely organized group of artists who presented their works under the name Fluxus pursued a parallel agenda of transforming society through the power of art, although their efforts are often marked by irony and absurdity

Beuys, 'Evervess II 1,' 1968. Two bottles of soda water, felt, wooden box with printed cover.

Many of their works, offered for sale at modest prices at the Fluxshop on New York’s Canal Street, took the form of deranged gadgets or kits, lunatic games without rules or discernable patterns, and leaflets with paradoxical instructions and exhortations. Many of these works invite the viewer to participate. Maciunas’ “Burglary Fluxkit” is a plastic box containing an assortment of rusted keys. Viewers of Yoko Ono’s “A Box of Smile” open the lid to find a small mirror reflecting their own (hopefully) smiling face.

Animating much of this art was an incendiary critique of the art of the past and of elitist art in general. Ben Vautier’s “Total Art Match Box” asks the viewer to use the enclosed matches to burn down all museums and art libraries, then “keep last match for this match.” A printed card by Robert Watts contains a brief poem:

of all art
is art too
please tear
this up

Sharing the counterculture’s hostility to tradition and authority, its tendency toward radical pronouncements and anarchic demonstrations, Beuys and the Fluxus artists became adept at using the media to bring attention to their agenda, however perplexing their intentions might have been to the uninitiated

Beuys, 'The Silence,' 1973. Five reels of 35 mm film, galvanized

In “Fluxmanifesto” Maciunas asserted: “To establish artist’s nonprofessional, nonparasitic, nonelite status in society, he must demonstrate own dispensibility, he must demonstrate self-sufficiency of the audience, he must demonstrate that anything can substitute art and anyone can do it. Therefore, this substitute art-amusement must be simple, amusing, concerned with insignificances, have no commodity or institutional value. It must be unlimited, obtainable by all and eventually produced by all.”

Beuys, 'Economic Value Seltzer,' 1982, from the series 'Economic Values' (1977-1983). Bottle of seltzer water, printed label, inscribed in red fiber-tip ink, glazed wooden box.

Maciunas and the Fluxus artists’ effort to dethrone art from its elite status and Beuys’ campaign to transform the most ordinary of objects and actions into art may have ultimately failed, and yet these artists did have a profound impact on how artists see their role, an impact that is felt to this day. Many of today’s performance artists, installation artists, and others pushing the boundaries of what art can be, clearly owe a debt to Beuys, Maciunas, and Fluxus.

“This is the moment when art shifts from being about objects to being about experiences,” Proctor said.

It may also be a moment that bears re-examination, Proctor believes, something he hopes the current exhibition will accomplish. This is particularly true of Beuys, a self-mythologizing and polarizing figure whose supporters and detractors both tend toward extremes.

“One of my objectives is to encourage critics to start treating Beuys like other artists,” said Proctor, “to separate the work from the biography. Beuys has been treated monolithically, either with adulation or debunking. I think it’s time to look at his works more critically. Some of them are more successful than others. It’s time to bring him into comparison with his peers.”

Various artists (George Maciunas, editor and designer), 'Flux Year Box 2,' late 1960s. Wooden box with title screen-printed on lid, containing numerous Fluxus editions.

'Multiple Strategies: Beuys, Maciunas, Fluxus' stages a dialogue between the work of German artist Joseph Beuys and that of the loose international collective known as Fluxus, and, in particular, its principal organizer George Maciunas. At the Busch-Reisinger Museum through June 10.

Copyright 2007 by the President and Fellows of Harvard College
Published: March 8, 2007

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Don't Cry, scream a bold poem - vp by LS

I cant scream and cry so loud as I want to
& Nobody knows that
Fluxlist Europe
Fluxus Heidelberg Center

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Monday, October 29, 2007

Jonas Mekas Visual Arts Center's (JMVAC) Inaugural Exhibition Opens in Vilnius, Lithuania the World's New Capital of the Avant-Garde and Fluxus

Avant-Garde and Fluxus in the 21st Century

Information for the Fluxus Heidelberg Center Blog visitors and the Fluxus artists & contributors of Fluxlist Europe Blog

The Jonas Mekas Visual Arts Center (JMVAC) in Vilnius, Lithuania proudly announces its premier exhibition, The Avant-Garde: From Futurism to Fluxus, which opens to the public on November 5, 2007 and runs through February 3, 2008. The exhibition highlights the history of the avant-garde through some of its most pivotal figures and a wide array of mediums including film, film stills, installation, Fluxus objects and documents, sculpture, video, and poetry, which cooperatively stimulated new ways of thinking about art, culture, and society. Furthermore, the exhibition represents a celebratory homecoming for two of Lithuania's most prolific artists: pioneering avant-garde filmmaker Jonas Mekas and George Maciunas, the impresario and "Chairman" of the 1960's international art movement Fluxus.

Kazys Binkis, the Futurist poet and writer whose literary activity awakened Lithuania to avant-garde philosophy and aesthetics holds an honorary place in the program.

Jonas Mekas "The Godfather of American Avant-Garde Cinema" presents new installations in which the still and moving image conjoin in a spectacular multimedia presentation. His Collection of 40 Short Films is shown on monitors and wall projections together with 40 film stills extracted from this riveting series demonstrating Mekas' formal innovations as well as his importance as a documentarian. Among the well known personalities who appear in his films are: John Lennon, Salvador Dali, George Maciunas, Richard Serra, Nam June Paik, Andy Warhol, and Allen Ginsberg, reminding us that Mekas' films represent some of the best historical footage of the avant-garde in existence from the 1960's to the present. Also featured will be Zefiro Torna: Scenes From the Life of George Maciunas (1992), Mekas' cinematic homage to his longtime friend and collaborator. Complementing the film are 40 film stills that Mekas crafted specially for the exhibition.

"With this exhibition, Vilnius has taken another very important step towards becoming the world's new capital of the avant-garde and Fluxus in the 21st Century", stated Arturas Zuokas, the Chairman of the Board of the Jonas Mekas Visual Arts Center.

Essential works have been selected from the Center's recently acquired Fluxus collection. Maciunas' readymade sign No Smoking (1963/1973), his collaborative work with George Brecht realized through Iced Dice (1964), and Yoko Ono's Do It Yourself (1966) demonstrate the movement's emphasis on humor and desire to construct art from everyday objects and actions. The 80 Wooster Street documents describe Maciunas' vision to convert the industrial buildings of New York's downtown SoHo neighborhood into the legendary Fluxhouse Artist Cooperatives earning him the title of "Father of SoHo." Also on view will be Nam June Paik's conceptual video installation Real Plant/Live Plant (1978). Showing will be key documentary films including Larry Miller's Some Fluxus (1991), Shigeko Kubota's Fluxus Soho Tour (1994), and Lars Movin's The Misfits: 30 Years of Fluxus (1993) giving insight to the Fluxus movement as a whole, as well as its charismatic "Chairman." Maciunas' comprehensive production Fluxfilm Anthology (1962-70) encapsulates the group's critical yet playful engagement with film tradition.

Jonas Mekas specifically curates a roster of films by visionaries of avant-garde cinema. So honored are Luis Bunuel's Un Chien Andalou (1929) written in collaboration with Salvador Dali, Marcel Duchamp's Anemic Cinema (1926), Hans Richter's Rhythmus 21 (1921), Fernand Leger's Ballet Mecanique (1924), and Peter Kubelka's Arnulf Rainer (1960).

Jonas Mekas congratulates the opening of the JMVAC: "Thanks to Arturas Zuokas and Kristijonas Kucinskas! I feel it's important today to make a detour from the daily realities, to change the direction, to move towards other realities, other realities, other realities ---"

This landmark exhibition culminates in the historic moment when Lithuania assumes the esteemed position of European Capital of Culture in 2009. Such international recognition attests to the fact that a vibrant new period in Lithuanian culture has already emerged.

Looking ahead, JMVAC is exploring a feasibility of joining with other leading arts institutions to develop a larger cultural institution in Vilnius, Lithuania. Preparations for the proposed institution include a competition between internationally renowned architects Zaha Hadid, Massimiliano Fuksas, and Daniel Libeskind.

The exhibition will be accompanied with a full-page color catalogue with essays by R. Bruce Elder, P. Adams Sitney, Amy Taubin, Mari Dumett, Julia Robinson, Carolina Carrasco, Astrit Schmidt-Burkhardt, and Hollis Melton

Maya Stendhal Gallery is one of the curators of the exhibition.

Web site: http://www.mekas.lt/

Maya Stendhal Gallery

Copyright © 2007 PR Newswire.

All rights reserved.

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Die Eröffnungsausstellung des Jonas Mekas Visual Arts Center (JMVAC) findet im litauischen Vilnius statt, der neuen Welthauptstadt von Avantgarde &

Fluxus im 21. Jahrhundert

M25.10.2007 04:06 Uhr, Maya Stendhal Gallery

Das Jonas Mekas Visual Arts Center (JMVAC) in Vilnius, Litauen,
ist stolz auf seine erste Ausstellung mit dem Namen "The Avant-Garde:
From Futurism to Fluxus", die vom 5. November 2007 bis zum 3. Februar
2008 für den Publikumsverkehr geöffnet sein wird. Die Ausstellung
widmet sich der Geschichte der Avantgarde und einigen ihrer
schillerndsten Vertreter als auch einem breiten Spektrum an Medien
wie Filmen, Film-Stills (Standfotos von Filmen), Installationen,
Fluxus-Objekten und -dokumenten, Skulpturen, Videos und Gedichten,
die sich alle dadurch auszeichnen, dass sie eine neue Art des
Nachdenkens über Kunst, Kultur und Gesellschaft inspiriert haben.
Darüber hinaus zelebriert die Ausstellung die Rückkehr von zwei der
produktivsten Künstler Litauens: den fortschrittlichen
Avantgarde-Filmemacher Jonas Mekas und George Maciunas, Impresario
und "Chairman" der internationalen Fluxus-Kunstbewegung der 60er

Dem futuristischen Dichter und Schriftsteller Kazys Binkis, der
mit seinen literarischen Aktivitäten Litauen mit der Philosophie und
Ästhetik der Avantgarde bekannt machte, ist ein Ehrenplatz im
Programm gewidmet.

Jonas Mekas präsentiert als "Pate des amerikanischen
Avantgarde-Kinos" neue Installationen, in denen Standbilder und
bewegte Bilder in einer spektakulären Multimedia-Präsentation
miteinander kombiniert werden. Sein Arrangement von 40 Kurzfilmen
wird auf Monitoren und Wandprojektionen zusammen mit 40 Film-Stills
aus dieser faszinierenden Serie gezeigt, was sowohl sein Talent für
formale Innovationen als auch seine Bedeutung als Dokumentarfilmer
unterstreicht. In seinen Filmen sind weltberühmte Persönlichkeiten
wie John Lennon, Salvador Dali, George Maciunas, Richard Serra, Nam
June Paik, Andy Warhol und Allen Ginsberg zu sehen, was uns wiederum
daran erinnern soll, dass die Filme Mekas' zu den besten historischen
Dokumentationen gehören - von den Anfängen der Avantgarde in den 60er
Jahren an bis heute. Mit dabei ist auch "Zefiro Torna, or Scenes From
the Life of George Maciunas" (1992), Mekas' cineastische Hommage an
seinen langjährigen Freund und Kollegen. Abgerundet wird das Ganze
durch 40 Film-Standbilder, die Mekas eigens für die Ausstellung

"Mit dieser Ausstellung hat Vilnius einen weiteren Abschnitt auf
dem Weg zur neuen Welthauptstadt von Avantgarde und Fluxus im 21.
Jahrhundert gemeistert", so Arturas Zuokas, Vorstandsvorsitzender des
Jonas Mekas Visual Arts Center.

Aus der erst kürzlich durch das Center erworbenen Fluxus-Sammlung
wurden einige herausragende Arbeiten ausgewählt. Maciunas'
Readymade-Zeichen "No Smoking" (1963/1973), sein in Zusammenarbeit
mit George Brecht entstandenes Werk "Iced Dice" (1964) und Yoko Onos
"Do It Yourself" (1966) demonstrieren, dass die Bewegung durchaus
Wert auf Humor legte und betont deren Bestreben, auch aus
alltäglichsten Objekten und Handlungen Kunstwerke zu schaffen. Die 80
Wooster-Street-Dokumente beschreiben Maciunas' Vision über eine
Umwandlung der Industriegebäude von SoHo in New York in die
legendären Fluxhouse Artist Cooperatives, die ihm den Titel "Father
of SoHo" einbrachte. Zu besichtigen sein wird auch Nam June Paiks
konzeptuelle Videoinstallation "Real Plant/Live Plant" (1978).
Darüber hinaus werden bedeutsame Dokumentarfilme gezeigt, zu denen
Larry Millers "Some Fluxus" (1991), Shigeko Kubotas "Fluxus Soho
Tour" (1994) und Lars Movins "The Misfits: 30 Years of Fluxus" (1993)
gehören und Informationen sowohl zur Fluxus-Bewegung insgesamt als
auch über ihren charismatischen "Frontmann" liefern. Maciunas'
umfangreiche Produktion "Fluxfilm Anthology" (1962-70) fasst das
kritische, aber auch spielerische Herangehen der Gruppe an die
Filmtradition zusammen.

Jonas Mekas hat auch eine spezielle Reihe von Filmen
zusammengestellt, die von Visionären des Avantgarde-Kinos produziert
wurden. Auf diese Weise werden Luis Buñuels "Ein andalusischer Hund"
(1929) in Zusammenarbeit mit Salvador Dalí, Marcel Duchamps "Anemic
Cinema" (1926), Hans Richters "Rhythmus 21" (1921), Fernand Legers
"Ballet Mecanique" (1924) und Peter Kubelkas "Arnulf Rainer" (1960)

Jonas Mekas spricht zur Eröffnung des JMVAC seine Glückwünsche
aus: "Ich bedanke mich ganz herzlich bei Arturas Zuokas und
Kristijonas Kucinskas! In der heutigen Zeit ist es ganz besonders
wichtig, die alltäglichen Gegebenheiten einmal hinter sich zu lassen
und die Richtung zu ändern, sich auf direktem Wege in andere Welten
zu begeben, andere Welten, andere Welten ---"

Diese wegweisende Ausstellung erreicht ihren Höhepunkt anlässlich
des historischen Ereignisses, wenn Vilnius im Jahre 2009 den
begehrten Titel der Europäischen Kulturhauptstadt des Jahres erhält.
Eine solche internationale Anerkennung unterstreicht die Tatsache,
dass Litauens Kultur einem prickelnden neuen Zeitalter entgegen geht.

Zur Ausstellung ist auch ein Katalog mit ganzseitigen Farbfotos
erhältlich, der Beiträge von R. Bruce Elder, P. Adams Sitney, Amy
Taubin, Mari Dumett, Julia Robinson, Carolina Carrasco, Astrit
Schmidt-Burkhardt und Hollis Melton enthält.

Die Maya Stendhal Gallery ist eine der Kuratoren der Ausstellung.

Website: http://www.mekas.l/

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Sunday, October 28, 2007

The Avant-Garde: From Futurism to Fluxus

VILNIUS, LITHUANIA.- The Jonas Mekas Visual Arts Center (JMVAC) in Vilnius, Lithuania proudly announces its premier exhibition, The Avant-Garde: From Futurism to Fluxus, which opens to the public on November 4, 2007 and runs through February 3, 2008. The exhibition highlights the history of the avant-garde through some of its most pivotal figures and a wide array of mediums including film, film stills, installation, Fluxus objects and documents, sculpture, video, and poetry, which cooperatively stimulated new ways of thinking about art, culture, and society. Furthermore, the exhibition represents a celebratory homecoming for two of Lithuania’s most prolific artists: pioneering avant-garde filmmaker Jonas Mekas and George Maciunas, the impresario and “Chairman” of the 1960’s international art movement Fluxus.

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FLUXUS Concert in Athens - Benaki Museum

Concert of Fluxus works with Lorenda Ramou
Athens, Benaki Museum - Pireos Street Annexe - Auditorium
14/10/2007 - 14/10/2007

For Fluxus artists, the piano, a dominant symbol of middle-class art and education, became the music instrument they used most in their performances, subverting and deriding its middle-class nature, even culminating in its all-out destruction

Lorenda Ramou will present some of their works, as these were recorded in the “Fluxus Performance Workbook” and will also utilise some of their ideas in the creation of new works. The programme will also include musical theatre works by Eric Satie, John Cage, Mauricio Kagel and works by Anargyros Deniozos, Thodoris Ampazis, Stathis Gyftakis and Grigoris Emfietzis, specially-written for the occasion.

The performance starts at: 13:00
Ticket price: €10

The concert is an event linked to the Exhibition: "Fluxus. Not for sale”.

French Institute at Athens and Benaki Museum

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FLUXUS in Athens - current Fluxus exhibition

FLUXUS: Not for sale
Athens, Benaki Museum - Pireos Street Annexe
8/10/2007 - 4/11/2007

Fluxus was born in the nineteen sixties, when a group of artists – Georges Maciunas, Joseph Beuys, Ben Vautier, Nam June Paik, Yoko Ono and others – influenced by the Dada movement and by Marcel Duchamp, the teachings of John Cage and zen philosophy, attempted to break down the separation between the arts, to deconstruct the meaning of a work of art and to bring art closer to life. They organised concerts, invented Mail Art, happenings and video art, published theoretical volumes and proclaimed their objection to the commercialisation of art.

Forty years later, Fluxus is still very much alive. This exhibition isn’t simply a retrospective of its forty-year history; most of all it concerns contemporary creativity. The French Institute of Athens is organising the exhibition “Fluxus” in celebration of its centenary, honouring the Institute’s past with a look at art today.

The exhibition opening, on October 8 will include: a concert / performance by Nikos Veliotis, Anastasis Grivas and Anastasia Georgaki (at 20:00), a BIOS intervention (at 20:30), a presentation of the work “Epicyclos” by Yiannis Christou (at 21:00) and a concert performance by Ben, Dreyfus, Patterson, Couroupos Friends (at 21:30).

Curators : Ben Vautier, Caroline Fourgeaud-Laville, Nicolas Feuillie
Coordinators: Isabelle Auriault, Xenia Politou

French Institute at Athens

Fluxus: Not for sale

Fluxus Information for the visitors of Fluxus Heidelberg Center Blog and Fluxlist Europe

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Saturday, October 27, 2007

Writing a X-ray post poetic poem on the computer following the X-ray Fluxus score instructions from Nobody

Here you can see Nobody alias Litsa Spathi while she is writing on the computer a digltalpost poetic poem for
1.Fluxlist Europe
2.Luxlist Asia
3.Fluxlist Africa
4.Fluxlist Usa
5.Fluxlist Oceania
6.Fluxlist North America
7.Fluxlist South America
8.Fluxlist Australia

But not for the Fluxlist

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Friday, October 26, 2007

A Fluxus stamp?


A 12 year old Fluxus stamp in honnor of
Wilhelm Conrad Röntgen & the Fluxlist Europe's X-ray score for post poetic poems? Wilhelm Conrad Röntgen is THE father of Fluxus

X-ray score for post poetic poems

Score für x-
a.Warte ab bis du unerträgliche Zahnschmerzen hast
b.Gehe dann zum Radiologen und lass deinen Kiefer röntgen
c.Nimm die Aufnahme mit nach Hause scan sie und publiziere sie als post poetic score bei Fluxlist Europe

Werbe strategie
Zeitersparnis, brilliante Röntgenaufnahmen und beachtliche Reduzierung der Strahlenbelastung sind die herausragenden Vorteile des speziell für die Zahnmedizin entwickelten Fluxlist Europe x-ray-Sensors for poems.
Durch Intergration in die Praxis-EDV ermöglicht der Fluxlist Europe x-ray-poem-Sensor eine erhebliche Vereinfachung Ihrer Arbeitsabläufe und Creativity.- Vorteile für Sie und Ihre Patienten:

X-Ray score
1.Reduzierung der Strahlenbelastung
2.Entlastung der Umwelt durch Wegfall von Chemikalien zur Filmentwicklung
3.Reduzierung des Zeitaufwandes
4.Quer- und Hochformat-Aufnahmen
5.BEMA-gerechte Aufnahmen
6.Imagegewinn durch den Einsatz von High-Tech
7.Befunde und Maßnahmen können dem Patienten am Bildschirm besser erläutert werden

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Sat Elite's Flux- eye is watching (for) you


W H A T I S V I S U A L P O E T R Y ? Visual poetry stresses the look of the poem on the page. It can include text only, text and imagery of all sorts, or imagery only, but is intended to be viewed primarily within a literary arts context. To me, it points out a continuum of expression between the literary and visual arts: each use vision and process visual information in a different way. The eye takes in, and the brain processes, visual imagery in no certain order, so the image, while taken in piece by piece, forms more of a gestalt in the perceiving mind, which then forms associations and chains of meaning from that gestalt. The situation is very different when reading a text. Reading is a more linear, step by step process, and the range of meanings much more precise, and thus more circumscribed (while still being vast of course), than is the case for visual imagery. Visual poetry accentuates the flicker of the mind moving between these two modes of receiving and processing visual information. This flickering juxtaposition opens out opportunities for works to evoke a greater range of associations and meanings in the experience of their reader/viewers.

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Thursday, October 25, 2007

Nobody's global face in black & white versio - visual poem by Litsa Spathi

Wednesday, October 24, 2007

FROZEN ASSETS - visual poem by Litsa Spathi


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Tuesday, October 23, 2007

Nobody's suitcase after a travel

Fluxing Letters

Sunday, October 21, 2007

Pink Au in Fluxus

New Fluxus Poetry video by Litsa Spathi.

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Friday, October 19, 2007

Where Are You

Saturday, October 13, 2007

Having a Fluxus Ball

Friday, October 05, 2007

Mail from Johanna Goisser - 2

Johanna made these artistamps based on an image Litsa Spathi published on http://fluxlisteurope.blogspot.com . Johanna has her own blog which is called Fluxoid at : http://fluxoid.blogspot.com/. The sheet is very colourfull and well done with original perforating. It will join the collection of the Fluxus Heidelberg Center.

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Mail from Johanna Goisser - 1

Because Litsa Spathi is currently for work in Germany she asked me to publish her mail on the Fluxus Heidelberg Center Blog. Johanna sent het this lovely envelope which included the artistamps which I will publish above.

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Mail from Roland Halbritter

In this envelope Roland Halbritter sent a large set of cards to Litsa Spathi. The card contains one of Litsa's works and is to promote his project about http://andreas-hofer.blogspot.com/.

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Thursday, October 04, 2007

Mail from Bruno Chiarlone - Italy

A new booklet from Bruno Chiarlone arrive at the Fluxus Heidelberg Center: How are you Fuxus?

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Fluxusheep, sent to us by Isabella in France

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Mail from John Held Jr. - USA (frontside)

John Held discovered our blogs and sent us his congratulations to something he found out only recently.....

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Mail from John Held Jr. - USA (backside)

Wednesday, October 03, 2007

The Fluxus Alpha-beta of Fluxlist Europe Versio # 3 old & new Fluxus & over the sea- visual poem by Litsa Spathi

Do you want to be included? Write to me and explaine why .
Is thre an intereting story or
history aboyt you?

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Tuesday, October 02, 2007

Stiftung Fluxustest Testsieger: Pink Lady - visual persiflage

Time machine/Zeitmaschine - visual poem by Litsa Spathi

Monday, October 01, 2007

English Fluxus Dance


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