Travelling Fluxus Camera Video

Video of the Fluxus Camera Calendar that Roland halbritter sent to Litsa Spathi - Breda - Netherlands. Januari 2009.

Element of Chance

Element of chance - Fluxus movement blends different artistic media
By Diane Heilenman • dheilenman@courier-journal.com • November 2, 2008

Buzz up! Fluxus comes to Louisville, and that's a good thing.

Of course, if the tenets of Fluxus are correct, it will eventually appear everywhere.

The little-known but influential art movement of the 1960s is getting its due in Louisville because a major collection of Fluxus art in Cincinnati coincided with the arrival of a major scholar of Fluxus art in Louisville. The result is an exhibition and event.

"The Art of Experience: Fluxus Works from the Collection of Michael Lowe" opens at the University of Louisville's Cressman Center for the Visual Arts on Friday.

A performance Thursday at the Speed Art Museum presents the North American debut of "Fluxus With Tools, or Bon Appetit." It brings to town Alison Knowles of New York City, an original member of Fluxus and widow of founding Fluxus artist Dick Higgins, and their daughter, Hannah Higgins, possibly the nation's premier Fluxus scholar. Hannah Higgins is an associate professor of art history at the University of Illinois at Chicago and author of "Fluxus Experience" (University of California Press, 2002).

As it happens, Higgins was thesis adviser for University of Louisville art historian and Fluxus exhibit organizer Susan Jarosi. She and 13 graduate students are producing the exhibition from her "Pop Art and Fluxus" seminar about the movements that developed simultaneously in the early 1960s.

The show includes works by Yoko Ono, George Brecht, George Maciunas (sometimes credited as the conceptual founder of New York City's celebrated SoHo cultural district), Bob Watts (a former Louisvillian), Takako Saito, Robert Filliou, Ben Vautier, Henry Flynt, Nam June Paik, Ay-O and Wolf Vostell.

Jarosi noted in an e-mail interview that while the original Fluxus artists were most active from 1962 until 1978, they continue to create, perform and publish. (You can find thousands of new Fluxists online, grouped together as Fluxlist Europe, Fluxlist Asia, Fluxlist Oceania, South America, Australia, etc.

By comparison, Louisville-area connections to Fluxus are slim but substantial.

They include Watts (1923-1988), who graduated from U of L in 1944 with a mechanical engineering degree. He was called "a conceptual artist and designer who helped start the whimsical anti-Establishment Fluxus movement in art" in his obituary in The New York Times.

Another figure is Cincinnati gallery owner Carl Solway, who pioneered the career of the late Nam June Paik and who owns a stellar collection of work.

Also, Jarosi said, students in another one of her graduate seminars on performance art organized and performed "FluxConcert" at the Speed Art Museum last April.

"As far as what Fluxus is," she said, "well, people have written volumes attempting to define it. I'll just stick with the basics:

"Fluxus was a dynamic network of international visual artists, composers and poets who formed a shared interest in creating individual and collective artworks that emphasized elements of chance, Cagean indeterminacy, economy (both material and conceptual), experimentalism, experiential engagement, humor, play and a democratization of media that combined poetry, theater, music and art.

Out of these interests, Fluxus artists invented such forms as the Event Score and FluxKit multiples, in addition to the terms Concept Art and Intermedia. In these regards, their work has influenced everything from conceptual art and mail art to performance and postmodernism."

Fluxus predicted the cultural empowering of cities and the intermedia reality of today, where sharing and social participation are increasingly commonplace and part of the ongoing revolution in communications, marketing, publishing, art and even economics.

Reporter Diane Heilenman can be reached at (502) 582-4682.

Source: http://www.courier-journal.com/article/20081102/SCENE05/811020319/1011/SCENE

Absurd nameless corso of a fluxing Nobody - visual poem by Litsa Spathi

Fluxus & non Fluxus absurd nameless visual poem and corso of a fluxing Nobody who never wished to be a fufus star.

Absurd nameless corso of a fluxing Nobody # 6 - visual poem by Litsa Spathi

Fluxus & non Fluxus absurd nameless corso of a fluxing Nobody who never wished to be the X-mas star.

Fluxlist Digital Camera

This Fluxlist Camera will come in handy with all the fireworks end of the month....

see also: http://fluxlisteurope.blogspot.com

Absurd nameless corso of a fluxing Nobody # 4 - visual poem by Litsa Spathi

Fluxus & non Fluxus absurd nameless corso of a fluxing Nobody who never wished to be somebody else.

What is the difference between Fluxussoldier # 9 and # 10

Fluxussoldier # 10

Fluxussoldier # 9

Absurd nameless corso of a fluxing Nobody # 3 - visual poem by Litsa Spathi

Fluxus & non Fluxus absurd nameless corso of a fluxing Nobody who never wished to be somebody...............................but.............Sinterklaasa!

Mozart : Border = "0"

typefacE............................................................ LINOtype FLUXUS.............
...................................and .....where tO............................buy..... it.

.....typeface .......Lino.........................................type FluxuS .............and.........
.....where.............. to......................... ..buy.............. it.

Wireless support commmunication with lightning - visual poem by Litsa Spathi

Cold reset / Tactic absence & visual strategy by Bubu

Mit bestem Dank an Bubu in Berlin.

Games as Art : The Aesthetics of Play (Intermedia, Fluxus, Virtual Reality)

Games as Art : The Aesthetics of Play

Games as Art : The Aesthetics of Play
Celia PearceVisible Language; 2006; 40, 1; Academic Research Library

Chair : Hyunkyoung Cho
Pannel : Moonsun Choi, Yonggeun Kim, Youngsun Choi, Cheeone

1. Intermedia

○ Integration of multimedia.
- not intended to conform to the pure medium. (sounds good, but it is not pure.)
- pure medidum is traditional media
- intermedia different from pure media

○ "environment"

○ Allan Kaprow " mediated on the relationship of the spectator and the work."

○ happening vs performance
- happening : just ready go, let's see
- performance : it has a scenario


2. FLUXUS
○" flow"
○ Intermedia : Blending different artistic visual art, music, literature, urban planning, archterture and design
○ Free from materials and format
○ "Everyone is an artist"
- I think that everyone was born with instinct of an artist.



3. Open Source
○ open source VS commercial
- always commercial win!
- without competition, we don't produce anything.

○ patch
- small piece of software desingned to update
- fix problems with a computer program
- supooring data
- patch : for ready made thing

○ I think that patch is similar to 'surture.'

○ Air is free.
- Processing is free too.
- But Processing book is not free. (MIT Press selling this book in Amazon.com)



4. Appropriation : 전용 or 도용
○ Andy Worhol : He is a designer.
- commercial one -> paingting into the gallery
- making them synical, or making them funny

○ 아서 단토 : materiallity
- material, object, medium : they are not important.
- meaning of art is important.

(open source)
○ context ------------> context
(patch)



5. Virtual Reality
(cf. musical score, game engine as an art score)

○ "player"
- connotations : a musical instrumentalist
a stage actor
a performer

○ Virtuosity ( a kind of technic)
- integral to the playing of both music and games.
- a fludity between play and music.
- everyone is an artist
: it is the instinct. roll, name.

○ Chance Operation
- computational game-based art is based on unpredictability of computers
- cause unforeseen result

6. The New Collectivism
○ 'elitism' (Nerds rule) : proud themselves


source: Kyungho,s Blog - Media Aesthetics (Kyungho Lim)

University News Line - Universities Australia

Professor Ken Friedman appointed Design dean at Swinburne
Posted by: Swinburne University of Technology on 1/11/2007 11:27:12 AM

Internationally renowned design researcher Professor Ken Friedman has been appointed as Dean of the Faculty of Design at Swinburne.

Friedman is presently Professor of Leadership and Strategic Design, Department of Communication, Culture and Language at the Norwegian School of Management. He also holds a position as Research Professor at the Design Research Centre of Denmark's Design School.

Widely regarded as one of the top design researchers in the world, Friedman has an outstanding publication record. His research is at the intersection of three fields: design, management and art.

“I am delighted that Swinburne has been able to attract such a high profile internationally recognised academic to fill this important position,” said Deputy Vice Chancellor Professor Dale Murphy.

“Ken has articulated an exciting vision for the future of Design at Swinburne which will build on the excellent work of the previous Dean, Professor Helmut Lueckenhausen and the Acting Dean, Professor Lyndon Anderson.”

Friedman plays an active role in developing international research networks and conferences for the design research community as editor of the journal Artifact, as book reviews editor of Design Research News, and Communications Secretary of the Design Research Society.

He is also a practising artist and designer active in Fluxus, an international network of artists, composers and designers noted for blending different artistic media and disciplines.

In 2007, Loughborough University honored Friedman with the degree of Doctor of Science, honoris causa, for outstanding contributions to design research.

He will take up his appointment at Swinburne in mid 2008.

Books about Fluxus 2007

Spring 2007 Books


THE DREAM OF FLUXUS:
GEORGE MACIUNAS
Thomas Kellein



Distributed on behalf of Hansjörg Mayer

A biography of this leading member of the Fluxus movement




George Maciunas (1931–1978) established strangely radical modes of presentation in the name of Fluxus. In his view the bulk of the conventional art business—museums, theaters, concert halls, opera houses, and publishers—should cease to exist. Traditional works of art were to be replaced by Fluxus. Art was to be so uncomplicated that it could be realized by anyone, anywhere. New pieces would have their copyrights protected and would be available for the price of a paperback.

Maciunas was a staunch opponent of personal enrichment and came up with spartan solutions for almost every life situation. Despite his tireless efforts, he never achieved his ultimate goal, and he died impoverished and in miserable circumstances.

Thomas Kellein, Director of the Kunsthalle Bielefeld since 1996, was formerly curator of the extensive Hanns Sohm Intermedia Archive in the Staatsgalerie Stuttgart.



ISBN-13: 978-0-500-97665-4 / ISBN-10: 0-500-97665-1 · 9" x 91/2" · 100 duotone illustrations · 160 pages · ART

order index A-F index G-Z

Ken Friedman - 52 events..Fluxus

Only 25 uk pounds each for

Friedman,Ken
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.

-----------------------

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

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

Yes BUT

I cant scream and cry so loud as I want to

& Nobody knows that

Fluxlist Europe

and

Fluxus Heidelberg Center

statement

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

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