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

Tuesday, September 20, 2011

Fluxus today (Berlin 21-22 Oct 2011)

Akademie der Künste, Berlin, October 21 - 22, 2011
Registration deadline: Oct 14, 2011

FLUXUS TODAY. Action Art in Performance, Research, Exhibition, Archive

Conference in preparation for the exhibitions „The lunatics are on the loose …“ EUROPEAN FLUXUS FESTIVALS 1962-1977.

As guest at Akademie der Künste | Hanseatenweg 10 | 10557 Berlin
21 - 22 Oct 2011 | in English

Discussions will focus on innovative presentations of action art, meeting academic standards as well as those of a broad public. The conference will reflect the specific situation of Fluxus, in which the classical boundaries between professions are blurred and artists are also archivists, art historians and curators also perform, and collectors research and curate as well. Performance interventions by Eric Andersen, Ben Patterson, Willem de Ridder and Tamas St.Turba will contribute to the intertwining of theory and practice. The conference takes place within the exhibition A ROOM FOR JOHN CAGE.

Concept: Petra Stegmann

PROGRAMME

Fri 21 Oct | 11 am - 6 pm | Akademie der Künste | Hanseatenweg 10 | 10557 Berlin

I.
RESEARCHING FLUXUS. EUROPEAN FLUXUS FESTIVALS 1962-1977
11 am - 1:30 pm

Henar Rivière (FU Berlin/Universidad Complutense de Madrid): IF WE CAN CALL EVERYTHING FLUXUS ... ON THE RELATIONSHIP BETWEEN FLUXUS AND ZAJ
Bertrand Clavez (Université de Rennes 2): FLUXUS IN FRANCE. AN ANTHOLOGY OF MISUNDERSTANDINGS
Peter van der Meijden (University of Copenhagen): WHIPPING POST COPENHAGEN
Heike Roms (Aberystwyth University): CAN A NETWORK HAVE MARGINS? WHEN FLUXUS CAME TO WEST WALES (1968)
Petra Stegmann (Potsdam): FLUXUS CONCERTS IN EASTERN EUROPE. THE LOCAL PERSPECTIVE
chair: Elisabeth Delin Hansen (Nikolaj Kunsthal Copenhagen)

II.
Johannes Odenthal (Akademie der Künste Berlin): A ROOM FOR JOHN CAGE. Curator’s tour of the exhibition
2:30 – 3:15 pm

III.
EXHIBITING FLUXUS – DOCUMENTATION AND PARTICIPATION
3:15 - 6 pm

Matthias Krohn (Fachhochschule Potsdam): INTERACTIVE DESIGN PROJECTS FOR A DIGITAL FLUXUS ARCHIVE
Astrit Schmidt-Burkhardt (FU Berlin): MACIUNAS’ LEARNING MACHINES. VISUAL REPRESENTATION IN THE PREDIGITAL AGE
Zsuzsa László (tranzit.hu): BETWEEN TEXT AND PERFORMANCE

————————————————————

OPENING
TOTALLY FLUXED UP

Fri 21 Oct | 8 pm
SCHAU FENSTER – Schauraum für Kunst | Lobeckstr. 30-35 | 10969 Berlin

With performances by

Eric Andersen | THE IDLE WALK
IPUT (superintendent: Tamas St.Turba) | OCCURRENCE
Ben Patterson | BRING HAMMER AND NAILS
Willem de Ridder | FLUTE CONCERT / MANIPULATION EVENT

————————————————————

Sat 22 Oct | 11 am - 6 pm | Akademie der Künste | Hanseatenweg 10 | 10557 Berlin

IV.
COLLECTING FLUXUS. FROM ACTION TO OBJECT
11 - 11.30 am

Harry Ruhé (Fluxus collector Amsterdam): THE ADVENTURE OF COLLECTING EPHEMERAL ART

V.
PERFORMING FLUXUS. PRACTICE AND RECEPTION
11:30 am - 1:30 pm

Hannah Higgins (University of Illinois Chicago): THE EVENT SCORE: A CASE AGAINST REPERFORMANCE
Gunnar Schmidt (Fachhochschule Trier): THE ART OF PIANO DESTRUCTION. FLUXUS BETWEEN POPULAR ENTERTAINMENT AND SHOCK THERAPY
THE FLUX-LABYRINTH IN BERLIN 1976. EYE-WITNESS-INTERVIEW

VI.
INSTITUTIONALIZING FLUXUS. ARCHIVES AND ACCESSIBILITY
2:30 - 6 pm

Skaidra Trilupaityt? (Lithuanian Culture Research Institute, Vilnius): THE GLOBAL INDUSTRY OF LITHUANIAN FLUXUS: THE STORY OF POLITICAL APPROPRIATION
Jon Hendricks (Museum of Modern Art, New York): WHY FLUXUS?
Adrian Glew (Tate Britain, London): TATEBRITFLUX
Caroline Ugelstad (Henie Onstad Kunstsenter, Oslo): ARCHIVE FLUX
chair: Ben Patterson

With performance interventions by Eric Andersen, Ben Patterson, Willem de Ridder and Tamas St.Turba.

Free admission
Registration requested untill 14 Oct 2011
Franziska Arsand: info@europeanfluxusfestivals.eu

further information:
www.thelunaticsareontheloose.tumblr.com
www.dieirrensindlos.tumblr.com

The project is funded by Hauptstadtkulturfonds Berlin.

With kind support Botschaft des Königreichs der Niederlande.


Reference:
CONF: Fluxus today (Berlin 21-22 Oct 2011). In: H-ArtHist, Sep 19, 2011 (accessed Sep 21, 2011), .

Labels: , ,

GEORGE MACIUNAS AND BEYOND: FLUXUS NEVER STOPS


Keith A. Buchholz

Curator

GEORGE MACIUNAS AND BEYOND: FLUXUS NEVER STOPS

In the time it took to organize this show, major shifts occurred – shifts in location, works to be shown, participants, activities, and ideas of what Fluxus was, is , and could be. A call for works was put out to the “Eternal Network” of Artists, Non-Artists, Poets, Flux people, and Friends to interpret the idea of Fluxus, and in doing so, honor the legacy of George Maciunas, the founder of Fluxus, who was born in Kaunas and emigrated with his family to the United States.

The premise for the show was simple – interpret the concept as you like, using the idea of Textile as a point of departure. Both Flux people and Mail Artists share the inherent love of found materials, and alternative processes. Works range from Found and altered objects, to postcards, boxes, digital images, film, publications, poetry, E-mail, and performance scores. The works often have some handmade quality, and in the process of curating the show, nothing is edited. Some unwritten rules of the network are: “Show everything that you receive” and “All artists are given equal billing”. As you explore this exhibition, feel free to handle the objects, open and close the boxes, and interact with the works. Fluxus works are tactile works – Meant to Communicate and Inform.

When Fluxus started, roughly 50 years ago this year, Maciunas brought together a wide variety of artists who were working outside the boundaries of what was seen as art by the general public. In Al Hansen’s “On Fluxus” (which has been republished in a pamphlet form as part of this exhibition), he states that “Fluxus rejected what was felt to matter in the New York and European art machinery.” In many ways it still does.

Recent institutional interest in Fluxus has changed some things, as the cheaply made multiples (intended to derail the value of art) have become fetishized. Values of early Fluxus works have risen dramatically, and an expanding crop of Curators and Collectors have enshrined works made during Maciunas’ lifetime, drawing and end date on Fluxus at 1978 with George’s death. With most Movements in art this would be easy, but Fluxus, a fluctuating group of international artists, has never considered itself a “Movement”. Artists have continually been drawn to Fluxus, and have taken up its banner since the exit of its chairman, sometimes with the blessing of its early participants, sometimes bravely on their own, building networks that eventually interweave with others to form the broad spectrum seen in this exhibition. It can be guaranteed that no matter how remote, these artists, by minimal degrees of separation, can draw a path back, directly to George.

In the words of Dick Higgins, a member of that first circle of George’s, “Fluxus has a life of its own, apart from the old people in it. It is simple things, taking things for themselves and not just as part of bigger things. It is something that many of us must do, at least part of the time. So Fluxus is inside you, is part of how you are. It isn’t just a bunch of things and dramas, but is part of how you live. It is beyond words.” George’s gift for organizing and developing such a network, which has been described as “An Attitude”, “Way of Life”, and “An extended family”, is bigger than anything a date or label can contain. We salute George best by continuing on this path. Ben Vautier may have said it best, “Fluxus Never Stops!”


source: http://www.bienale.lt/2011/?p=371&lang=en

Labels: , ,

50 Jahre Fluxus Wiesbaden

50 Jahre Fluxus Wiesbaden - Joseph Beuys und Johannes Stüttgen. | © wiesbaden.de

Im kommenden Jahr wird die Wiesbadener Fluxus-Bewegung ihren 50. Geburtstag feiern. Als Einstimmung auf das Fluxus-Jahr 2012 fand am 16. September eine erste Veranstaltung unter dem Motto "Fluxus = Gegenwart = Zukunft" im Schloss Freudenberg statt, eine weitere folgt am 11. November.

Vortrag Johannes Stüttgen am 11. November im Schloss Freudenberg

Am Freitag, 11. November, wartet dann um 20 Uhr ein Vortrag von Johannes Stüttgen zum Thema Fluxus. In den "Kunst Nachrichten" äußerte sich Joseph Beuys dann im Jahr 1985 wie folgt: "(…) dass man stattdessen etwas bringt, bevor es da ist, wovon die Ursache später kommt… Die Ursache liegt in der Zukunft, und logischerweise ist die Wirkung in der Gegenwart eher da, als die Ursache in der Zukunft zu finden ist".

Zu den beiden Fluxus-Veranstaltungen sind alle eingeladen, die sich, sei es als Lehrer, Schüler, Künstler oder ein an den Fragen der Kunst interessierter Mensch, der sich mit der Bewegung vertraut machen will.
"Lesung und Gespräch - Der Ganze Riemen" am 16. September mit Johannes Stüttgen und Matthias Schenk

Am Freitag, 16. September 2011, stand der Abend im Schloss Freudenberg unter dem Motto "Lesung und Gespräch - Der Ganze Riemen", die Protagonisten der Veranstaltung waren Johannes Stüttgen und Matthias Schenk. Johannes Stüttgen war Meisterschüler und Mitarbeiter des legendären Joseph Beuys. Der bekannte Künstler, unter anderem auch Lehrer an der Kunstakademie Düsseldorf, sagte im Jahr 1966 folgendes: "Den Namen Fluxus hatte ich noch nie gehört und die, die mich von der bevorstehenden Veranstaltung unterrichteten, konnten offensichtlich auch keine genaue Auskunft darüber geben, was Fluxus eigentlich ist und was es bedeutet".

source: http://www.wiesbaden.de/kultur/bildende-kunst/veranstaltungen/50-jahre-fluxus.php

Labels: ,

Saturday, September 17, 2011

Fluxus-Begründerin stellt in Aachen aus

Aachen.

In Mary Bauermeisters Kölner Atelier versammelte sich in den 60er Jahren die Avantgarde der internationalen Kunst- und Musikszene, etwa John Cage, Nam June Paik, Christo und der Komponist Karlheinz Stockhausen, mit dem sie lange liiert war.
Spektakuläre Happenings leiteten die Fluxus-Bewegung ein. Als die Aachener Avantgarde der 60er Jahre aktiv wurde, zeigte Bauermeister ihre Werke schon in New York.

Zur Eröffnung ihrer Ausstellung «Renaissance of Optics» ist die 77-Jährige am Montag, 19. September, 19.30 Uhr, in der Aachener Volkshochschule (Peterstraße 21-25) zu erleben. Die Schau läuft bis 31. Oktober.

Infos:
http://www.az-web.de/news/kultur-detail-az/1815137?_link=&skip=&_g=Fluxus-Begruenderin-stellt-in-Aachen-aus.html

Labels: ,

Follow Fluxus 2011


Die Ausstellung „Die Suppe ist gegessen“ begleitet das gleichnamige Projekt, mit dem Kateřina Šedá in den kommenden Monaten die Stadt Wiesbaden mit dem tschechischen Dorf Nošovice verbindet. Die tschechische Künstlerin ist die vierte Trägerin des Stipendiums „Follow Fluxus – Fluxus und die Folgen“, das jährlich vom Nassauischen Kunstverein Wiesbaden und der Landeshauptstadt Wiesbaden vergeben wird.

Während ihres dreimonatigen Aufenthalts in der hessischen Landeshauptstadt entwickelte Kateřina Šedá einen neuen Schritt für ein Langzeitprojekt, dass sie vor drei Jahren im tschechischen Nošovice begonnen hatte. Inmitten des Dorfes errichtete der koreanische
Automobilhersteller Hyundai ein gigantisches Produktionswerk, wodurch eine geographische und soziale Teilung des Ortes entstand. Als Kateřina Šedá 2008 das Dorf besuchte, beobachtete sie eine für sie bis dahin nicht gekannte Gleichgültigkeit und Resignation. Einerseits ignorierte der koreanische Automobilproduzent die gewachsene Ortstruktur, andererseits war die Bevölkerung unfähig, sich gegen die Errichtung des Werks zu wehren oder an die neue Situation anzupassen.

„NEDÁ SE SVÍTIT“ (wörtlich: „Es ist kein Licht“, sinngemäß: „Da kann man nichts mehr machen“), war die Antwort der meisten Bewohner auf Šedás Nachfrage nach dem Huyndai-Werk und zugleich der Ausgangpunkt für ihre kreative Auseinandersetzung mit der Resignation in Nošovice. Ganz im Sinne der sozialen Plastik, wurde die Suche nach Auswegen zu ihrem ünstlerischen Projekt, das sie solange fortführt, bis die Einheit des Dorfes wiederhergestellt ist.

Alle Aktionen und Projekte, die um die Zukunft des Dorfs und die Wiederannäherung seiner Bewohner kreisen, sind fortlaufend aufeinander aufgebaut und in ständiger Transformation. Während des dreimonatigen Aufenthalts in Wiesbaden kam Kateřina Šedá zu der Erkenntnis, dass die hessische Landeshauptstadt, im Gegensatz zu Nošovice, eine in sich geschlossene, funktionierende Einheit ist. Zwei Aspekten – der Übersetzung des tschechischen Sprichwortes „NEDÁ SE SVÍTIT“ in die deutsche Sprache und der besonderen Prägung Wiesbadens durch das Wasser ‒ schrieb sie innerhalb dieses Erkenntnisprozesses eine tragende Rolle zu.

Wann

Dienstag, 27.September 2011 - 17:00 Uhr

Wo

Nassauischer Kunstverein Wiesbaden, Wilhelm 15, 65185 Wiesbaden

Wieviel

k. A.

Veranstalter

Nassauischer Kunstverein Wiesbaden Websitek. A.

Line-Up

k. A.

source:
http://www.port01.com/events/Deutschlandweit/27.09.Follow_Fluxus_2011_Nassauischer_Kunstverein_Wiesbaden-1-310047.htm

Labels: , ,

Friday, September 02, 2011

Southbank Centre

John Cage, "River Rocks and Smoke: 4-11-90 #1," 1990.
(c) The John Cage Trust at Bard.

John Cage
Every Day is a Good Day
A Hayward Touring Exhibition from Southbank Centre
12 August–18 September 2011


Hayward Project Space
Hayward Gallery
Southbank Centre
Belvedere Road
London
SE1 8XZ
www.southbankcentre.co.uk

Admission Free.


This Hayward Touring exhibition is a celebration of the visual art of the American composer, writer and artist John Cage (1912–1992). Following an acclaimed tour around the country, the Hayward Project Space will present an abridged version of the exhibition featuring forty to fifty of Cage's works on paper. The exhibition was conceived by artist Jeremy Millar, and organised by Hayward Touring in collaboration with BALTIC Centre for Contemporary Art and the John Cage Trust.

To coincide with the exhibition the pioneering ensemble Apartment House celebrates the work of the groundbreaking composer with John Cage Night (13 September, Queen Elizabeth Hall). The programme includes a performance Cage's iconic silent work of 1952, 4'33". This event open's Southbank Centre's International Chamber Music Season 2011/12.

John Cage was one of the leading avant-garde composers of the twentieth century and closely connected with art and artists throughout his long career. He collaborated frequently with Robert Rauschenberg and the dance choreographer Merce Cunningham, was a friend of Jasper Johns and Marcel Duchamp, and was a major influence on the Fluxus artists of the 1960s and '70s. It was not until he was in his mid-sixties that he began to practise seriously as a visual artist himself, producing over 600 prints with the Crown Point Press in San Francisco, as well as 260 drawings and watercolours. In these works he applied the same chance-determined procedures that he used in his musical compositions.

This display presents works on paper spanning his whole visual art career, including his extraordinary Ryoanji series, described by the art critic David Sylvester as 'among the most beautiful prints and drawings made anywhere in the 1980s'. In these works he drew around the outlines of stones scattered (according to chance) across the paper or printing plate, in one case drawing around 3,375 individually placed stones. He also experimented with burning or soaking the paper, and applied complex, painstaking procedures at each stage of the printmaking process.

Inspired by John Cage's own practice, the exhibition differs markedly from a conventional show. The work will be selected and hung according to chance operations, using a computer-generated random number programme similar to the Chinese oracle, the 'I Ching', which is essentially a random number programme. This will result in works being hung at different heights and in arrangements and groupings that no curator would ordinarily choose. Cage himself, who disliked linear displays, employed this method in several exhibitions, notably Rolywholyover, in Los Angeles in 1992, which he described a 'composition for museum'.

The book accompanying the exhibition 'Every Day is a Good Day: The Visual Art of John Cage' is the first to cover all aspects of John Cage's graphic art, with more than sixty plates and other illustrations. It includes interviews conducted by Jeremy Millar with people who knew Cage well and are authorities on his work; a 'Cage Companion' of quotations and commentaries on important aspects of his life and work; and a substantial extract from an interview with Cage by the American art critic Irving Sandler. ISBN 978-1-85332-283-9.

Opening Hours 10am–6pm every day.
Late nights opening Thursday and Friday until 8pm only when the main exhibition galleries are open for Tracey Emin: Love is What You Want until 29 August.

John Cage Night
Apartment House
13 September 2011, 7.30pm, Queen Elizabeth Hall

Pioneering ensemble Apartment House presents an evening of music by one of the true iconoclasts of 20th-century music, John Cage, coinciding with the Hayward Gallery's touring Cage exhibition Every Day is a Good Day. Apartment House was formed in 1995 and is a regular visitor to Europe's leading contemporary music festivals and specialises in developing composer-focused programmes. Programme includes:
4' 33"
Radio music for 8 performers
Child of tree for solo percussion
Concert for piano & orchestra/Fontana mix
String Quartet in four parts
Music for nine
0' 00" (4' 33" No.2)


Prior to the concert at 6pm there will be a special preview of John Cage: Every Day is a Good Day, with an introductory talk on Cage's visual art. Admission free to ticket holders.

Labels:

 

(c) 2006-2010 by Fluxus Heidelberg Center