vrijdag 8 december 2006
zondag 3 december 2006
Balsamico Performance - Fluxus Video
The Balsamico Performance. Litsa Spathi makes a salad with oil and balsamico. The liquid is moved and monsters are formed. All transformed into this video. Published by Fluxus Heidelberg 2006.
donderdag 23 november 2006
Watch It! - Fluxus Poetry
Visual Poetry by Litsa Spathi. Dedicated to John M. Bennett. Published by the Fluxus Heidelberg Center, September 2006.
zondag 8 oktober 2006
vrijdag 8 september 2006
zaterdag 2 september 2006
Wikipedia
Artistic philosophies
Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and taking jabs at the seriousness of modern art.[1] Fluxus artists used their minimal performances to highlight their perceived connections between everyday objects and art, similarly to Duchamp in pieces such as Fountain.[1] Fluxus art was often presented in "events", which Fluxus member George Brecht defined as "the smallest unit of a situation".[1] The events consisted of a minimal instruction, opening the events to accidents and other unintended effects.[2] Also contributing to the randomness of events was the integration of audience members into the performances, realizing Duchamp's notion of the viewer completing the art work.[2]
The Fluxus artistic philosophy can be expressed as a synthesis of four key factors that define the majority of Fluxus work:
Fluxus is an attitude. It is not a movement or a style.[3]
Fluxus is intermedia.[4] Fluxus creators like to to see what happens when different media intersect. They use found & everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.
Fluxus works are simple. The art is small, the texts are short, and the performances are brief.
Fluxus is fun. Humour has always been an important element in Fluxus.
Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and taking jabs at the seriousness of modern art.[1] Fluxus artists used their minimal performances to highlight their perceived connections between everyday objects and art, similarly to Duchamp in pieces such as Fountain.[1] Fluxus art was often presented in "events", which Fluxus member George Brecht defined as "the smallest unit of a situation".[1] The events consisted of a minimal instruction, opening the events to accidents and other unintended effects.[2] Also contributing to the randomness of events was the integration of audience members into the performances, realizing Duchamp's notion of the viewer completing the art work.[2]
The Fluxus artistic philosophy can be expressed as a synthesis of four key factors that define the majority of Fluxus work:
Fluxus is an attitude. It is not a movement or a style.[3]
Fluxus is intermedia.[4] Fluxus creators like to to see what happens when different media intersect. They use found & everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.
Fluxus works are simple. The art is small, the texts are short, and the performances are brief.
Fluxus is fun. Humour has always been an important element in Fluxus.
From Wikipedia
Fluxus since 1978
After the death of George Maciunas in 1978 a rift opened in the movement between a few collectors and curators who placed Fluxus in a specific time frame (1962 to 1978), and the artists themselves, most of whom continued to see Fluxus as a living entity held together by its core values and world view. Different theorists and historians adopted each of these views. It is common to find writers referring to Fluxus in either the past or the present tense. The question is now significantly more complex due to the fact that many of the original artists who were still living when the controversy arose are now dead.
Some scholars who study Fluxus argue that the unique control that curator Jon Hendricks (not the same-named jazz vocalist) holds over a major historical Fluxus collection (the Gilbert and Lila Silverman collection) has enabled him to influence, through the numerous books and catalogues subsidized by the collection, the view that Fluxus died with Maciunas. Hendricks argues that Fluxus was an historical movement that occurred at a particular time, asserting that such central Fluxus artists as Dick Higgins and Nam June Paik could no longer label themselves as active Fluxus artists after 1978, and that contemporary artists influenced by Fluxus cannot lay claim to be Fluxus artists. However, the influence of Fluxus continues today in multi-media performances.
Other historians and scholars assert that although Maciunas was a key participant, there were many more, including Fluxus co-founder Higgins, who continued to work within Fluxus after the death of Maciunas. There are a number of post-1978 artists who remain associated with Fluxus. Some were contemporaries of Maciunas who became active in Fluxus after 1978. While there is not a large Fluxus artist community in any single urban center, the rise of the Internet in the 1990s has enabled a vibrant Fluxus community to thrive online. Some of the original artists from the 1960s and 1970s remain active in online communities such as the Fluxlist, and other artists, writers, musicians, and performers have joined them in cyberspace. Fluxus-oriented artists continue to meet in cities around the world to collaborate and communicate in "real-time" and physical spaces.
source : http://en.wikipedia.org/wiki/Fluxus
After the death of George Maciunas in 1978 a rift opened in the movement between a few collectors and curators who placed Fluxus in a specific time frame (1962 to 1978), and the artists themselves, most of whom continued to see Fluxus as a living entity held together by its core values and world view. Different theorists and historians adopted each of these views. It is common to find writers referring to Fluxus in either the past or the present tense. The question is now significantly more complex due to the fact that many of the original artists who were still living when the controversy arose are now dead.
Some scholars who study Fluxus argue that the unique control that curator Jon Hendricks (not the same-named jazz vocalist) holds over a major historical Fluxus collection (the Gilbert and Lila Silverman collection) has enabled him to influence, through the numerous books and catalogues subsidized by the collection, the view that Fluxus died with Maciunas. Hendricks argues that Fluxus was an historical movement that occurred at a particular time, asserting that such central Fluxus artists as Dick Higgins and Nam June Paik could no longer label themselves as active Fluxus artists after 1978, and that contemporary artists influenced by Fluxus cannot lay claim to be Fluxus artists. However, the influence of Fluxus continues today in multi-media performances.
Other historians and scholars assert that although Maciunas was a key participant, there were many more, including Fluxus co-founder Higgins, who continued to work within Fluxus after the death of Maciunas. There are a number of post-1978 artists who remain associated with Fluxus. Some were contemporaries of Maciunas who became active in Fluxus after 1978. While there is not a large Fluxus artist community in any single urban center, the rise of the Internet in the 1990s has enabled a vibrant Fluxus community to thrive online. Some of the original artists from the 1960s and 1970s remain active in online communities such as the Fluxlist, and other artists, writers, musicians, and performers have joined them in cyberspace. Fluxus-oriented artists continue to meet in cities around the world to collaborate and communicate in "real-time" and physical spaces.
source : http://en.wikipedia.org/wiki/Fluxus
dinsdag 29 augustus 2006
dinsdag 8 augustus 2006
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