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    Harlekin Aachen

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    Zur KategorieStyling. The process of creating was privileged over the finished product. George Maciunas , largely considered to be the founder of this fluid movement, coined the name Fluxus in to title a proposed magazine.

    Not only were they a diverse community of collaborators who influenced each other, they were also, largely, friends. They collectively had what were, at the time, radical ideas about art and the role of art in society.

    Instead, a series of festivals in Wiesbaden, Copenhagen, Stockholm, Amsterdam, London, and New York, gave rise to a loose but robust community with many similar beliefs.

    In keeping with the reputation Fluxus earned as a forum of experimentation, [12] some Fluxus artists came to describe Fluxus as a laboratory.

    The origins of Fluxus lie in many of the concepts explored by composer John Cage in his experimental music of the s through the s.

    After attending courses on Zen Buddhism taught by D. These classes explored the notions of chance and indeterminacy in art, using music scores as a basis for compositions that could be performed in potentially infinite ways.

    The most famous example is Duchamp's altered readymade Fountain , a work which he signed "R. Their artworks would inform Fluxus and conceptual art in general.

    A number of other contemporary events are credited as either anticipating Fluxus or as constituting proto-Fluxus events. It was at one of these events in , during his Etude pour Piano, that Paik leapt into the audience and cut John Cage's tie off, ran out of the concert hall, and then phoned the hall's organisers to announce the piece had ended.

    Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed.

    It was as if it started in the middle of the situation, rather than at the beginning. The American musician and artist La Monte Young had been enlisted to guest-edit an issue of a literary journal, Beatitude East , and asked George Maciunas, a trained graphic designer, for help with the layout.

    Maciunas supplied the paper, design, and some money for publishing the anthology which contained the work of a more or less arbitrary group of New York avant-garde artists from that time.

    By the end of before An Anthology of Chance Operations [34] was completed it was finally published in by Mac Low and Young , Maciunas had moved to Germany to escape his creditors and work for the U.

    Lithuanian-born George Maciunas coined the name Fluxus for art produced by a range of artists with a shared sensibility as an attempt to 'fuse Maciunas was an avid art historian, and initially referred to fluxus as 'neo-dadaism' or 'renewed dadaism'.

    Hausmann discouraged the use of the term;. I note with much pleasure what you said about German neodadaists—but I think even the Americans should not use the term "neodadaism" because neo means nothing and -ism is old-fashioned.

    Why not simply "Fluxus"? It seems to me much better, because it's new, and dada is historic. Using 'anti-art and artistic banalities', Fluxus would fight the 'traditional artificialities of art'.

    In , Maciunas, Higgins and Knowles, traveled to Europe to promote the planned Fluxus publication with concerts of antique musical instruments.

    With the help of a group of artists including Joseph Beuys and Wolf Vostell , Maciunas eventually organised a series of Fluxfests across Western Europe.

    One performance in particular, Piano Activities by Philip Corner , became notorious by challenging the important status of the piano in post-war German homes.

    The score—which asks for any number of performers to, among other things, "play", "pluck or tap", "scratch or rub", "drop objects" on, "act on strings with", "strike soundboard, pins, lid or drag various kinds of objects across them" and "act in any way on underside of piano" [43] —resulted in the total destruction of a piano when performed by Maciunas, Higgins and others at Wiesbaden.

    The performance was considered scandalous enough to be shown on German television four times, with the introduction "The lunatics have escaped!

    At the same time, Maciunas used his connections at work to start printing cheap mass-produced books and multiples by some of the artists that were involved in the performances.

    Water Yam , a series of event scores printed on small sheets of card and collected together in a cardboard box, was the first in a series of artworks that Maciunas printed that became known as Fluxkits.

    Cheap, mass-produced and easily distributed, Fluxkits were originally intended to form an ever-expanding library of modern performance art.

    Maciunas' original plan had been to design, edit and pay for each edition himself, in exchange for the copyright to be held by the collective.

    John Cage, for instance, never published work under the Fluxus moniker due to his contract with the music publishers Edition Peters.

    Maciunas seemed to have a fantastic ability to get things done It's pretty hard in East Brunswick to get good offset printing.

    It's not impossible, but it's not so easy, and since I'm very lazy it was a relief to find somebody who could take the burden off my hands.

    So there was this guy Maciunas, a Lithuanian or Bulgarian, or somehow a refugee or whatever—beautifully dressed—"astonishing looking" would be a better adjective.

    He was somehow able to carry the whole thing off, without my having to go 57 miles to find a printer.

    Since Maciunas was colorblind , Fluxus multiples were almost always black and white. With photographs taken by Maciunas himself, pieces by Ben Vautier , Alison Knowles and Takehisha Kosugi were performed in the street for free, although in practice there was 'no audience to speak of' [55] anyway.

    Deploying his expertise as a professional graphic designer, Maciunas played an important role in projecting upon Fluxus whatever coherence it would later seem to have had.

    Along with the New York shop, Maciunas built up a distribution network for the new art across Europe and later outlets in California and Japan.

    Other pieces available included packs of altered playing cards by George Brecht, sensory boxes by Ay-O , a regular newsletter with contributions by artists and musicians such as Ray Johnson and John Cale, and tin cans filled with poems, songs and recipes about beans by Alison Knowles see.

    After returning to New York, Maciunas became reacquainted with Henry Flynt, [59] who encouraged members of Fluxus to take a more overtly political stance.

    One of the results of these discussions was to set up a picket line at the American premiere of Originale , a recent work by the German composer Karlheinz Stockhausen , 8 September Maciunas and his friend Henry Flynt tried to get the Fluxus people to march around outside the circus with white cards that said Originale was bad.

    And they tried to say that the Fluxus people who were in the circus weren't Fluxus any more. That was silly, because it made a split.

    I thought it was funny, and so first I walked around with Maciunas and with Henry with a card, then I went inside and joined the circus; so both groups got angry with me.

    Oh well. Some people say that Fluxus died that day—I once thought so myself—but it turned out I was wrong. The event, arranged by Charlotte Moorman as part of her 2nd Annual New York Avant Garde Festival , would cement animosities between Maciunas and her, [65] with Maciunas frequently demanding that artists associated with Fluxus have nothing to do with the annual festival, and would often expel artists who ignored his demands.

    This hostility continued throughout Maciunas' life—much to Moorman's bemusement—despite her continued championing of Fluxus art and artists. The picketing of Originale marked the high point of Maciunas' agitprop approach, [67] an approach that estranged many of Fluxus' early proponents; Jackson Mac Low had resigned immediately after hearing 'antisocial' plans laid in April , such as breaking down trucks under the Hudson River.

    Despite his continued allegiance to Fluxus ideals, Dick Higgins fell out with Maciunas around the same time, ostensibly over his setting up the Something Else Press which printed many texts by key Fluxus-related personalities and other members of the avant garde.

    Charlotte Moorman continued to present her annual Avant Garde Festivals. Such perceived insurrections in the coherence of Maciunas' leadership of Fluxus provided an opening for Fluxus to become increasingly influenced by Japanese members of the group.

    As Fluxus gradually became more famous, Maciunas' ambitions for the sale of cheap multiples grew. The second flux-anthology, the Fluxkit late , [72] collected together early 3D work made by the collective in a businessman's case, an idea borrowed directly from Duchamp's Boite en Valise [73] [74] Within a year, plans for a new anthology, Fluxus 2 , were in full swing to contain Flux films by John Cale and Yoko Ono with hand held projectors provided , disrupted matchboxes and postcards by Ben Vautier, plastic food by Claes Oldenburg , FluxMedicine by Shigeko Kubota , [75] and artworks made of rocks, ink stamps, outdated travel tickets, undoable puzzles and a machine to facilitate humming.

    Maciunas' belief in the collective extended to authorship; a number of pieces from this period were anonymous, mis-attributed, or have had their authorship since questioned.

    When opened, the box would be found to contain sawdust. By the time the multiple had been manufactured by Maciunas, it was a block of solid plastic contained in a plastic box of the same color.

    Watts shrugged and said that was the way George worked. There would be ideas in the air and Maciunas would assign the piece to one artist or another.

    Other tactics from this time included Maciunas buying large amounts of plastic boxes wholesale, and handing them out to artists with the simple request to turn them into Fluxkits, and the use of the rapidly growing international network of artists to contribute items needed to complete works.

    Robert Watts' Fluxatlas , , for instance, contains small rocks sent by members of the group from around the world. In addition to his numerous original compositions which have joined the collective's catalog of works, Larry Miller , associated with the group since , has also been active as an interpreter of the "classic" scores and responsible for bringing the group's works to a wider public, blurring the lines between artist, producer and researcher.

    Fluxus women artists were founding members and contributed works in varying media and with differing content. Some made experimental and performative work having to do with the female body that created a powerful female presence, which existed within Fluxus from the group's beginning.

    Women working within Fluxus were often simultaneously critiquing their position within a male dominated society while also exposing the inequalities within an art collective that claimed to be open and diverse.

    George Maciunas, in his rejection of Schneeman as a member of Fluxus, called her "guilty of Baroque tendencies, overt sexuality, and theatrical excess".

    Intended as an 'International Centre of Permanent Creation', the shop sold Fluxkits and other small wares as well as housing a 'non-school', boasting the motto "A carefree exchange of information and experience.

    No students, no teachers.

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