Felt: Fluxus, Joseph Beuys, and the Dalai Lama [Paperback]

Felt: Fluxus, Joseph Beuys, and the Dalai Lama [Paperback] by Chris Thompson (Author)

Review

"Felt introduces us to a new generation of experimental performance scholars, seeking simultaneously art historical, experiential, and poetic points of entry into the important art of our time. Chris Thompson clearly has a defining role to play in this process and does it with aplomb."—Hannah Higgins, author of Fluxus Experience


"In the end, Felt is a letter lovingly recounting the often fragile moments in which artists have put themselves on the line to try to bring about a transformation in the human spirit. Thompson’s answer to his own question—‘what happens when nothing happens?’—seems to be, quite a lot."—Andrew Murphie, co-author of Culture and Technology

Product Description

Felt provides a nonlinear look at the engagement of the postwar avant-garde with Eastern spirituality, a context in which the German artist Joseph Beuys appears as an uneasy shaman. Centered on a highly publicized yet famously inconclusive 1982 meeting between Beuys and the Dalai Lama, arranged by the Dutch artist Louwrien Wijers, Chris Thompson explores the interconnections among Beuys, the Fluxus movement, and Eastern philosophy and spiritual practice.
Building from the resonance of felt, the fabric, in both Tibetan culture and in Beuys’s art, Thompson takes as his point of departure Deleuze and Guattari’s discussion in A Thousand Plateaus of felt as smooth space that is “in principle infinite, open, and unlimited in every direction,” its structure determined by chance as opposed to the planned, woven nature of most fabrics. Felt is thus seen as an alternative to the model of the network: felt’s anarchic form is not reducible to the regularity of the net, grid, or mesh, and the more it is pulled, tweaked, torn, and agitated, the greater its structural integrity.
Felt thus invents its methodology from the material that represents its object of inquiry and from this advances a reading of the avant-garde. At the same time, Thompson demonstrates that it is sometimes the failures of thought, the disappointing meetings, even the untimely deaths that open portals through which life flows into art and allows new conjunctions of life, art, and thought. Thompson explores both the well-known engagement of Fluxus artists with Eastern spirituality and the more elusive nature of Beuys’s own late interest in Tibetan culture, arriving at a sense of how such noncausal interactions—interhuman intrigue—create culture and shape contemporary art history.

Product Details

* Paperback: 320 pages
* Publisher: Univ Of Minnesota Press (February 25, 2011)
* Language: English
* ISBN-10: 0816653550
* ISBN-13: 978-0816653553
* Product Dimensions: 8.5 x 5.5 x 1.5 inches

source: www.amazon.com

Do-it-Yourself (new book)

The 'Do-it-Yourself' Artwork: Participation from Fluxus to New Media (Rethinking Art's Histories) [Hardcover]

Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. Why have artists sought to engage spectators in these new forms of participation? In what ways does active participation affect the viewer’s experience and the status of the artwork? Spanning a range of practices including kinetic art, happenings, environments, performance, installations, relational and new media art from the 1950s to the present, this critical anthology sheds light on the history and specificity of artworks that only come to life when you -- the viewer -- are invited to "do it yourself."

Rather than a specialist topic in the history of twentieth- and twenty-first century art, the "do-it-yourself" artwork raises broader issues concerning the role of the viewer in art, the status of the artwork, and the socio-political relations between art and its contexts.

From the Inside Flap

Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. Why have artists sought to engage spectators in these new forms of participation? In what ways does active participation affect the viewer’s experience and the status of the artwork? Spanning a range of practices including kinetic art, happenings, environments, performance, installations, relational and new media art from the 1950s to the present, this critical anthology sheds light on the history and specificity of artworks that only come to life when you – the viewer - are invited to ‘do it yourself.’ The volume consists of fifteen essays by art historians, critics and curators, which are divided into three sections. Part I addresses the emergence of spectator participation in the 1960s, while Part II brings together in-depth case studies of specific participatory practices in the 1960s, 1970s and 1990s, analysing the issues that they raise in their very modes of operation. The more general critical essays in Part III map out a range of theoretical approaches to the ‘do-it-yourself’ artwork. Together, the three sections provide invaluable historical perspectives and theoretical tools for scholars, students, artists and readers interested in contemporary art. Rather than a specialist topic in the history of twentieth- and twenty-first century art, the ‘do-it-yourself’ artwork raises broader issues concerning the role of the viewer in art, the status of the artwork, and the socio-political relations between art and its contexts.

Product Details

* Hardcover: 336 pages
* Publisher: Manchester University Press (June 22, 2010)
* Language: English
* ISBN-10: 0719081440
* ISBN-13: 978-0719081446
* Product Dimensions: 9.2 x 6.1 x 1.1 inches

source: www.amazon.com

FLUXUS chapter in AUSSAULT ON CULTURE by Stewart Home (UK)

THE ASSAULT ON CULTURE CHAPTER 9 (pages 50-55)

THE ORIGINS OF FLUXUS AND THE MOVEMENT IN ITS 'HEROIC' PERIOD

In the summer of 1958 John Cage (born Los Angeles, 1912) began teaching a course in musical composition at the New School For Social Research, New York. This course brought together, as guest lecturers and pupils, a number of personalities who would be crucial to the development of what would later become known as Fluxus. Apart from Cage, those in attendance included George Brecht (born Halfway, Oregon, 1925), Jackson Mac Low (born Chicago, 1922), Dick Higgins (born 1938), Allan Kaprow and Toshi Ichijanagi (Yoko Ono's fIrst husband).
A couple of years later, George Maciunas (born Kaunas, Lithuania, 1931) attended classes in electronic music run by Richard MaxfIeld at the same venue. La Monte Young also attended these classes. Young was simultaneously organising a series of performances and concerts in Yoko Ono's New York studio (December '60 to June 61) which featured a number of the future 'fluxus' personalities. Meanwhile, Maciunas held three lecture/demonstrations, entitled 'Musica Antiqua et Nova', at his own AG Gallery between March and June '61. On the invitation card to these conferences appeared the message "a 3-dollar contribution will help to publish Fluxus magazine". This is the fIrst recorded appearance of the name.

Sometime before this, the poet Chester Anderson had asked La Monte Young to edit an issue of "Beatitude East". Various documents which were to have gone into "Beatitude East" disappeared, along with Anderson. When they eventually reappeared, Young got Jackson Mac Low to assist him in assembling a selection of material representing the new trends in musical and poetic composition. As well as those connected with the group which had met at the New School For Social Research (Henry Flynt and Ray Johnson are among those not already mentioned), works by composers living in Europe (such as Nam June Paik, Dieter Rot and Emmett Williams) were collected. Maciunas did the layout and design for what had by this time been retitled "An Anthology". The paste-up was completed by October '61, but due to delays and financial difficulties the book didn't actually appear for another two years.

Debt forced Maciunas to take a graphic artists job with the US Air Force, and so, in November '61, the government sent him to West Germany to design lettering for military aircraft. The work was not only highly paid, it also enabled Maciunas to use the government resources placed at his disposal to promote fluxus. He became particularly adept at abusing the subsidised postal system which was intended to keep up morale among military personnel by minimising the cost of communication between them and their loved ones. Once in Europe, Maciunas made contact with Nam June Paik (born Seoul, Korea, 1932, and already infamous for cutting John Cage's necktie in two). Paik, in his turn, introduced Maciunas to a number of other avant-gardists resident in Europe, most notable among whom was Wolf Vostell (born Leverkusen, Germany, 1932).

Maciunas was still planning Fluxus magazine, but by this time he was also working on a series of concerts to promote it. Because he believed the avant-garde should present the public with a unified front, Maciunas asked Paik to delay his event "Neo-Dada in der Musik", and Vostell to put off publication of his "De-coll/age" magazine, until plans for all Fluxus events and publications were finalised. Paik and Vostell ignored this request; "Neo-Dada in der Musik" took place in Dusseldorf in June 1962, and the first issue of "De-coll/age" was published to coincide with this event.

Maciunas's plan was for a world tour of fluxus concerts taking in one large city a month. These were to have begun in June '62 in Berlin and ended in New York in December '63. The scheme was only very partially realised. Initially scheduled as the fourth festival in the series, "The Fluxus International Festival Of Very New Music" at the Horsaal des Stadtischen Museums, Wiesbaden, West Germany (fourteen concerts staged over the four weekends of September 1962), turned out to be the first and most ambitious of a series of performances that later became known as the "Festum Fluxorum". During the course of organising the Wiesbaden event, Maciunas fell out with a number of those billed as taking part (most notably the composers grouped together under the New Stylists label); and as a result, this and future fluxus manifestations would consist chiefly of action music verbally scripted compositions which tended to receive attention from those interested in performance art, rather than music critics.
The composers present at Wiesbaden (including Alison Knowles and her artist husband Dick Higgins, Nam June Paik, Robert Filliou, Arthur Koepcke, Wolf Vostell, Emmett Williams, Thomas Schmit, Ben Patterson and George Maciunas) performed not only their own works, but also many pieces by the likes of Yoko Ono, John Cage, Jackson Mac Low, Robert Watts and La Monte Young. Sometimes the audience became the performers, as with Terry Riley's "Ear Piece For Audience":

"The performer takes any object(s) such as a piece of paper, cardboard, plastic etc. and places it on his ear(s). He then produces the sound by rubbing, scratching, tapping or tearing it or simply dragging it across his ear, he also may just hold it there, it may be placed in counterpoint with any other piece of sound source."

This, like many other pieces performed during the festival, was included in the - at that time - unpublished "An Anthology", the paste-up of which Maciunas had brought with him to Europe.
The bizarre and destructive nature of some performances - which included the destruction of musical instruments, shaving exercises, and a leap into a bathtub filled with water - attracted a certain amount of media coverage. The festival as a whole highlighted the difference between what Maciunas would later label the 'monomorphic neo-haiku flux-event' and the 'mixed media neo-baroque happening'. That is to say that although the fluxus performances were intermedial, in the sense that they fell between various disciplines such as music and visual arts, each composition focused on a single event isolated from any other action and was presented as an iconoclastic insight into the nature of reality itself. Thus the emphasis in flux-work was on structural simplicity, and its protagonists placed it in the tradition of the natural event, Marcel Duchamp, jokes, gags, Dada, John Cage and Bauhaus Functionalism. The scores on which performances were based were invariably short, even if the actual pieces were often indeterminate in duration. For example, Maciunas's "In Memoriam To Adriano Olivetti";
"Each performer chooses any number from a used adding machine paper roll.Performer performs whenever his number appears in a row. Each row indicates the beat of metronome. Possible actions to perform on each appearance of the number:1) bowler hats lifted or lowered.2) mouth, lip, tongue sounds.3) opening, closing umbrellas etc."

Theoretically, by using these scores anyone was able to perform fluxus works with little need for practice, skill, or preparation.(1) Chieko Shiomi's "Disappearing Music For Face" is one of the best known and most popular examples of this:

"Change gradually from smile to no smile."

Maciunas was unable to attend the 'Festival Of Misfits' in London (Gallery One and Institute of Contemporary Arts, 23rd October to 8th November '62) and critics are divided over whether it should count as an official fluxus event The participants were Arthur Koepcke, Gustav Metzger, Robin Page, Ben Patterson, Daniel Spoerri, Ben Vautier and Emmett Williams. Ben Vautier (born Naples, Italy, 1935) lived in the window of Gallery One for much of the festival. Many considered Robin Page's "Guitar Piece" to be the highlight at the evening of action music held at the ICA. Victor Musgrave describes the performance in "The Unknown Art Movement" (Art and Artists, October '72):

"Wearing a shining silver crash helmet and holding his guitar ready to play, Robin waited a few moments before flinging it onto the stage and kicking it into the audience, along the aisle and down the steps into Dover Street. The effect was dramatic, the spectators arose and rushed after him as he ran round the block aiming frenetic kicks at the disintegrating guitar. The night sky was lurid with flashes of lightning; it was also the very day when the world stood poised in trepidation at the crucial point of the Kennedy-Kruschev confrontation over Cuba."
The "Festival of Misfits" was followed by concerts in Copenhagen (November '62), Paris (December '62), Dusseldorf (February '63), Amsterdam (June '63), the Hague (June '63) and Nice (August '63). It was at the Dusseldorf event that Joseph Beuys (born Cleve, Germany 1921) first involved himself with the fluxus movement. After the "Fluxus Festival Of Total Art" organised by Ben Vautier, Maciunas returned to New York where he concentrated on publishing activities rather than the organisation of concerts and other performances.

This first period of Fluxus activity coincided with a split within the movement over the question of disrupting high cultural activities and plans to harass middle class commuters as they travelled to and from work. In the "Fluxus New-Policy Letter No.6" (dated 6/4/63) Maciunas outlined his 'proposed propaganda action' for Fluxus in New York. The use of propaganda was broken down into four main areas:

a) Pickets and demonstrations.

b) Sabotage and disruption.

c) Compositions.

d) Sale of Fluxus publications.

These were to serve a dual purpose, "action against what H. Flynt describes as 'serious culture' & action for fluxus". Flynt, despite his bizarre and unorthodox Leninist leanings (for an example of these see the pamphlet "Communists Must Give Revolutionary Leadership In Culture" - World View Publishers, New York, 1965), had already established himself as the most politically committed of the Fluxus circle. In February '63, under the auspices of 'Action Against Cultural Imperialism', he'd held public demonstrations outside the Lincoln Center and the Museum Of Modem Art, New York, to protest against serious culture. Flynt (born Greensboro, North Carolina, USA, 1940) was one of the first white political activists to perceive that American high culture - due to its bourgeois European ancestry - was both racist and classist, and that its falsely assumed superiority was simply one aspect of its imperialistic nature.

The Fluxus aesthetic of unpretentious simplicity was by implication an assault on serious culture. It is therefore not surprising that Maciunas believed those adhering to his 'movement' would welcome some no less bizarre, but somewhat more practical, attacks on class society. In "News-Policy Letter No.6", Maciunas uses Flynt's example as a role model for organising pickets and demonstrations.

The next set of suggestions dealt with ideas for 'propaganda through sabotage and disruption'. These were divided into nine sections, with three main headings. The transportation system was to be disrupted with pre-arranged break-downs at strategic points on the city road system during the rush hour. The communication system was to be disrupted by the dissemination of false information and, most ingeniously of all, "stuffing postal boxes with thousands of packages (containing heavy bricks etc) addressed to various newspapers, galleries, artists etc, bearing no stamps & bearing as return address various galleries, concert halls, museums". Although Maciunas was being over optimistic in assuming that either the 'sender' or 'receiver' would be bound to pay for these, there is no doubt that the plan could have caused a good deal of disruption. Since any given postal worker can only carry a limited weight when delivering mail, if enough packages had been sent simultaneously to a single district this could have caused considerable delay in the distribution of mail. If the district selected was a business district the tactic would have been particularly effective with virtually no adverse effect on ordinary workers. Finally, there were plans to disrupt cultural life through the use of stink and sneeze bombs, the mailing of fake announcements, and using telephones to direct emergency and delivery services to museums (&c) on opening nights.

In a letter to Maciunas dated 25th April '63, Jackson Mac Low describes these tactics as approaching the "unprincipled, unethical and immoral". Mac Low, who had edited the anarcho-pacifist magazine "Resistance" from 1945-54, came out on the side of reaction by declaring that he was not concerned with demolishing the edifices of his enjoyment of the past. For similar reasons Brecht, Knowles (born New York, 1933) and Higgins sided with Mac Low, - while Flynt criticised Maciunas' s plan as being over artistic.

The dichotomy between those with a pan-disciplinary perspective and those who were unable to perceive anything beyond minor aesthetic concerns reached a head in August '64. Allan Kaprow (who had already disassociated himself from fluxus) organised and directed a performance of Stockhausen's "Originale" at the Judson Hall, as a part of the 2nd Annual New York Avant-Garde Festival. Maciunas and other fluxists (A-Yo, Takako Saito and Ben Vautier) who agreed with Flynt and Tony Conrad's condemnation of Stockhausen as an active supporter of Amerika's white racist elite, picketed the concert under the auspices of Action Against Cultural Imperialism. Other members of the fluxus movement decided to cross the picket line. Dick Higgins angered both pickets and scabs by joining the protest before going into the concert hall.
After this incident, Maciunas eventually gave way to the demands of the scabs and removed political issues from the fluxus agenda. Flynt distanced and disassociated himself from the movement Fluxus, like the Situationist International before it, proved incapable of sustaining itself as simultaneously a political and cultural movement The heroic period was over, fluxus could do no more than slowly degenerate.

Footnotes

1. Fluxus never dealt with the problem of exactly who the audience should be for these performances. Perhaps the performer acted out the script for their own, rather than anyone else's, amusement. However, the fact that Fluxus staged public performances of these events would indicate that the intended audience was wider than the individual performer(s).

source: http://www.stewarthomesociety.org/ass/fluxone.htm

New Additions to the Fluxus Heidelberg Center Library

Printed: 116 pages, 21.59 cm x 27.94 cm, perfect binding, black and white interior ink

Description: Over 100 pages, including 50 full-page visual poems and accompanying Fluxus "instructions". Visual poems are "poems for the eyes", and are meant to be seen, rather than heard. The instructions are like little haiku mind games.

New Additions to the Fluxus Heidelberg Center Library

Exhibition Catalogue of the Jeff Berner Fluxus Collection

New Additions to the Fluxus Heidelberg Center Library

Natural Born Fluxus by Cecil Touchon
Ongoing Text - several Fluxus Artists by Ross Priddle
Performance Texts by Alan Bowman
Fluxus Event Scores by Cecil Touchon
The Neoist Manifesto by Cecil Touchon

Natural Born Fluxus

Printed: 278 pages, 15.24 cm x 22.86 cm, perfect binding, black and white interior ink

Paperback book €18.15

Description:

Natural Born Fluxus is that tendency among artists to engage in Fluxus-like behaviors even if they never heard of Fluxus. Or possibly we could say that Fluxus ideas come out of a naturally occurring tendency in all artists that we now think of as Fluxus. It could be that the free wheeling nature of Fluxus allows artists to enjoy their creative, or at least peculiar, tendencies in an unfettered way that other forms of organized artistic activities do not. The sorts of things that delight a Fluxus artist tend to be of an ephemeral nature, contain a humorous element and refer to that mysterious some-thing that makes one laugh at a joke; call it irony or the unexpected twist, Fluxus artists enjoy a good surprise and a cleaver turn of phrase. They are willing to remain innocent enough to be easily amused and fall for a good trick. It is this adherence to a child-like sense of wonder that this book hopes to illustrate.

for ordering book: http://www.lulu.com/content/5234639

Textual Architectures Sourcebook by Litsa Spathi

Description:

Textual Architextures Sourcebook. Yes we can fly, is the result of a performance done by Litsa Spathi documenting the election of Barack Obama as first black president of the USA. The text of a newspaper article formed the basis for Visual Poetry. This book contains the complete set of works and an explenation of the performance. A biography of Litsa Spathi is included.

Printed: 324 pages, 15.24 cm x 22.86 cm, perfect binding, black and white interior ink

For a complete overview of all books go to:

http://stores.lulu.com/fluxusheidelberg

Interviews

A selection of 16 Mail-Interviews conducted by Ruud Janssen with International Mail-Artists and Fluxus-Artists in the years 1994 till 2007. Includes interviews with Dick Higgins, Ken Friedman, Michael Leigh, Carlo Pittore, Clive Phillpot, Edgar-Antonio Vigo, Al Ackermann, Anna Banana, Jonathan Stangroom, Ashley-Parker Owens, Julie Paquette, Robin Crozier, Guy Bleus, Alison Knowles, Norman Solomon and Ray Johnson.

Kunstforum - Fluxus - Ein Nachruf zu Lebzeiten

New addition for the Fluxus Heidelberg Center Library

Fluxus: Ein Nachruf zu Lebzeiten
By Dieter Daniels
Published by Kunstforum, 1991

Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten, Kunstforum International, Vol. 115 (special issue), 1991 September-October, 467 p., ill., mainly color

including:

Beuys, Joseph: Korrigierte Version des Fluxus Manifests von Maciunas, 1963, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 102.

Christiansen, Henning: Joseph Beuys - Fluxusmensch, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 156-160.

Daniels, Dieter: Fluxus - Ein Nachruf zu Lebzeiten, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 103-111.

Daniels, Dieter: Fluxus und mehr. Nam June Paik im Gespräch mit Dieter Daniels, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 207-210.

Daniels, Dieter: Fluxus vor Fluxus. Dick Higgins im Gespräch mit Dieter Daniels, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 197-205.

Daniels, Dieter: Fragen zur Geschichte der Videokunst. Mit einer Fussnote aus George Brechts "Notebook" von 1959, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 225-229.

Daniels, Dieter: Vier Fragen an John Cage, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 214.

Daniels, Dieter: Vier Fragen an Mieko Shiomi, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 212.

Feelisch, Wolfgang: Immerwährende Schöpfung von Robert Filliou, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 124-130.

Filliou, Robert: Ich sagte zu Marianne, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 131-133.

Friedman, Ken: Wer ist Fluxus?, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 189-195.

Hansen, Al: How we met. Notizien zu einem Heft mit dem Titel "Maciunas und Fluxus", in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October,120-123.

Knizak, Milan: Fluxus, 1987-1990, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 184-187.

Knizak, Milan: George THE Maciunas, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 112-119.

Maciunas, George: Fluxus Manifest, 1963, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 111.

Miller, Larry: Robert Watts: wissenschaftlicher Mönch, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 144-155.

Patterson, Ben: Ich bin froh, daß Sie mir diese Frage gestellt haben, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 166-177.

Wien, Barbara: Spur / zeichen / wort. Zu einigen unveröffentlichten Texten von Arthur Köpcke, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 134-143.

Williams, Emmett: Die Leiden des jungen Emmetts, in: Daniels, Dieter (ed.): Fluxus - Ein Nachruf zu Lebzeiten. Kunstforum International, Vol. 115 (special issue), 1991 September-October, 178-183.

Covers FHC Performances Book

http://www.lulu.com/content/3996203

http://www.lulu.com/content/4108181

New Book FHC

Dear Fluxus Friends. The Fluxus Heidelberg Center proudly presents their first overview of performances done in the years 2003 till 2005. Besides the complete texts of the scores also a load of visuals are in the full colour book.

You are able to see how we use the digital cameras and Internet as part of these early performances.

Details:

Title: Performances Fluxus Heidelberg 2003-2005

ID: 3996203

Category: Arts & Photography

Description: An overview of the Fluxus Performances done for the Fluxus Heidelberg Center by Litsa Spathi and Ruud Janssen. This publication contains an overview of the first performances done from 2003 till 2005. The texts of the scores and many full colour photos are published in this book.

Copyright Year: © 2008
Language: English

Colour version available at: http://www.lulu.com/content/3996203

B&W version available at: http://www.lulu.com/content/4108181

Paperback book €49.99 (colour) €13.98 (B&W)

Printed: 273 pages , 6" x 9", perfect binding , white interior paper (80# weight) , white exterior paper (100# weight), full-colour exterior ink

With warm wishes,

Litsa Spathi & Ruud Janssen
Fluxus Heidelberg
http://www.fluxusheidelberg.org/

New Trilogy by Litsa Spathi

Litsa Spathi published a new set of three books today. The complete set is part of the Performance with title "Balla Balla". The performance itself resulted in a collection of visual poetry that is published as part of the performance.

The books are available for others as well at the link: http://stores.lulu.com/fluxusheidelberg.

A colour-version is to be published as well.

Rail Track - Version 2 - Book by Litsa Spathi

Litsa's new book is available in two variations. This is the second version with a special designed cover that has a front and back side that are mirrorviews.

This book available at LuLu too:

http://www.lulu.com/content/2717313

Printed: 77 pages, 6" x 9", perfect binding, black and white interior ink

Description:

Rail Track - Variation 2 has the same content as the first edition. It contains Visual Poetry and Fluxus Performance by Litsa Spathi. A Journey from Breda to Munich that is presented in a visual way. Only the cover is different.

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

Fluxus Book Censored

Fluxus Book Censored. Book made by Litsa Spathi August 2007. Reason for making this artwork is being censored en removed from the Fluxlist Blog. Dedicated to Allan Revich. This video is made to present the book for the first time. Performance by Litsa Spathi, video by Ruud Janssen. Published by Fluxus Heidelberg Center in Breda, Netherlands.

Reading a Fluxus Book