" Athens Ktel Fluxus/ oder Ordnung ist das halbe Leben" - Photo taken by Litsa Spathi for Fluxus Heidelberg Center Archive (Oct. 2008)
Posts tonen met het label Fluxus Heidelberg Center. Alle posts tonen
Posts tonen met het label Fluxus Heidelberg Center. Alle posts tonen
zondag 9 november 2008
Athens Ktel Fluxus
" Athens Ktel Fluxus/ oder Ordnung ist das halbe Leben" - Photo taken by Litsa Spathi for Fluxus Heidelberg Center Archive (Oct. 2008)
woensdag 17 september 2008
maandag 15 september 2008
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
Available directly at: http://www.lulu.com/content/3996203
Paperback book €49.99
Printed: 273 pages , 6" x 9", perfect binding , white interior paper (80# weight) , full-colour interior ink , white exterior paper (100# weight), full-colour exterior ink
With warm wishes,
Litsa Spathi & Ruud Janssen
Fluxus Heidelberg
www.fluxusheidelberg.org
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
Available directly at: http://www.lulu.com/content/3996203
Paperback book €49.99
Printed: 273 pages , 6" x 9", perfect binding , white interior paper (80# weight) , full-colour interior ink , white exterior paper (100# weight), full-colour exterior ink
With warm wishes,
Litsa Spathi & Ruud Janssen
Fluxus Heidelberg
www.fluxusheidelberg.org
zondag 29 juni 2008
Perhaps - Fluxus Poetry
Perhaps is a Video with Fluxus Poetry by Litsa Spathi from the Fluxus Heidelberg Center. Recorded June 2008.
woensdag 12 december 2007
, width = 400 >
woensdag 12 september 2007
Interview with Alison Knowles by Ruud Janssen
The Interview with Alison Knowles by Ruud Janssen
(question sent on 5-4-2006 by e-mail)
Ruud Janssen : Welcome to the interview. Before I start with an interview I always like to read through the biography of the person I am interviewing. Looking at such a career in Art I always wonder, do you still remember when you decided you wanted to be an artist?
(answer on 5-4-2006 by e-mail)
Alison Knowles : Yes, I remember well when I decided to be an artist. It was when my grandmother addressed me as one. She looked at my pencil drawing of an osprey's nest built in the cross wires of a telephone pole and hung it over the piano. I was six, maybe seven years old.
(question sent on 6-4-2006 by e-mail)
RJ : You graduated in 1954 from Pratt University. Looking back at this study, what did you learn there, or maybe a better question is: what didn’t you learn there?
(answer on 11-4-2006 by e-mail)
AK : My graduation from Pratt Institute was in 1956. I had transferred from Middlebury College in Vermont. Because my father was an English professor at Pratt I was able to enroll at no expense in the Art Department
In the nightschool for three years I was able to study painting with Adolph Gottlieb a recognized abstract impressionist at the time. He said very little to anyone, but spoke directly in front of the work to each person so it was a personal critical dialogue about art with each one of us. He made me feel I could be a great painter. at the time I intensely admired Helen Frankenthal, and had acquaintance with the work of Pollock.
Franz Kline also taught in the class from time to time. During the day I studied graphic design and commercial layout. My best class in the dayschool was with the painter Richard Lindner. He was a philosopher and dedicated his thoughts to areas outside painting. We had discussions as a group. We also had an hour to draw together. His concentration drawing technique is really a mediation on time . We would draw for five minutes as slowly as possible with pencil on the paper, not taking our eyes off the subject. We began the class each week in this way. I learned very much from him and use this drawing technique with students today. What I learned there was that I am artist. What I should have learned there was that I am not a painter. However, in those days all artists were painterd.
(question sent on 13-4-2006 by e-mail)
RJ : In a text I read: “Alison Knowles is a conceptual artist doing performance art, installations, sound art and bookmaking”. Quite a variety and definitely no mentioning of painting. It seems that after your formal education some informal education took place. Is this somehow connected to the “New York Mycological Society”[1] ?
(answer on 13-4-2006 by e-mail)
AK : Oh yes, the mycological Society was led by John Cage, who along with my father is my teacher. We went on Sunday walks in Upstate New York near where John lived. We went by bus, Dick Higgins my husband and myself to spend time in the woods together, studying mushrooms and having the time while walking to talk to one another. I find walking together to be the best way to exchange ideas. John was always willing to talk to people proposing an idea or observation. We all became acquaintances and then friends. I knew of John through the New School course he gave in the late 50's and was eager to have some of that wisdom and daring rub off on me. As for painting, my attentions dwindled after a show at the Nonegon Gallery on 2nd Ave. in New York. My diverting to the New School class was gentle and then abrupt. I destroyed all my paintings in a bonfire behind my brothers country house. This is slightly distressing to me now, as they would be easily marketable in Italy.
However, this act of destruction on my part led me directly into the Fluxus family of friends and as I say, connections to the New School and George Brecht, Dick Higgins, Al Hansen and Allan Kaprov, among others. On our first Fluxus tour in '62 I began to write performance events. But perhaps that is another question.
Ciao
(question sent on 21-4-2006 by e-mail)
RJ : When did you meet Dick Higgins for the first time?
(answer on 21-4-2006 by e-mail)
AK : I was invited to a party at 84 Christopher Street by a friend Dorothy Podber [2] and our friend Ray Johnson. It was Dick's apartment. I stayed for three days.
(question sent on 24-4-2006 by e-mail)
RJ : You talked in your previous answer about “the Fluxus family of friends”. When was the word “Fluxus” first used in this circle of friends?
(answer on 25-4-2006 by e-mail)
AK : These friends who did concerts together performed under the banner Fluxus. Simultaneously I would say we felt like friends rather than say a group of actors doing a play together. The term family may be my own invention but I like it. No way to put a date on this, but early on.
(question sent on 24-4-2006 by e-mail)
RJ : The term family is also an indication of how these times must have felt. It is interesting that Ray Johnson also belonged to this circle of friends. Some say he also belongs to the group of Fluxus people but I also read somewhere that Ray never considered himself a “Fluxus artist”. How do you see this?
(answer on 27-4-2006 by e-mail)
AK : Ray Johnson was a mail artist, and founded the Correspondence School.
He never travelled with us, or wrote pieces for performance that we could use. I have many memories of his work, always absurd and interactive.
(question sent on 27-4-2006 by e-mail)
RJ : Could you describe one of your favourite performances of the early days. If possible I will publish the original score with this interview. But I am more curious on how you think back of the piece you choose.
(answer on 28-4-2006 by e-mail, booklets on 6-5-2006 by regular mail)
AK : like "shuffle[3]" alot. It presents the group as a group entering andleaving the hall in a snake-like conga line. I would like to send youmy pamphlet of early pieces called By Alison Knowles. It lists theevent scores from this period. Please give me your mailing address.
(On 6-5-2005 I received two booklets by mail. The first booklet: “by Alison Knowles”, 1965, A great Bear Pamphlet - New York. It contains a listing of 17 scores written by her. The second booklet: “MORE by Alison Knowles”, 1979 2nd Edition, Printed Editions New York. “These pieces in MORE are the writings, spoken parts, poems and events from my environments of the 1970’s. Given the opportunity to reprint MORE, I decided to leave out several of the shorter pieces in the first edition to make room for Three New Bean Events, The Shoemaker’s Assistant, and Bean see also Bein. The collage preface that follows was made by Philip Corner.” As a reaction I sent her some samples of previous mail-interviews that I published.)
(question sent on 6-5-2006 by e-mail, booklets on 7-5-2006 by regular mail)
RJ : Thanks for sending me the two booklets. I also looked on the Internet to find details about the performance “Shuffle”. Online one only finds fragments of what it must have been. On you own site (url: http://www.aknowles.com/) also a lot can be found on what you did. A booklet fits more to the times these first scores were performed. I probably will use the booklets as illustrations for the finished interview. As I read in your biography you came in contact with computers in an early stage. I quote:
“In 1967, Knowles produced The House of Dust poem, possibly the first computerized poem, which she produced with composer James Tenney following his informal seminar on computers in the arts held at her home with husband Dick Higgins in 1967”.
What does a computer mean to you nowadays?
(answer on 8-5-2006 by e-mail)
AK : Nowadays I use the computer for daily email contact and to sometimes send a picture for card or publication. I don't use it every day, and I am not a computer adept but it is a great tool we all agree. I do not use it to do artwork however. All my work seems to be tactile, touchable and musical sometimes (the beans falling down inside the paper) or performances where real people look at real people.
(question sent on 10-5-2006 by e-mail)
RJ : When you talk about performances where real people look at real people I am trying to visualize that. The bean performance is probably a superb example of where this happens. It also involves the musical element. I found a photo of one of those performances (I thought it was on the site located at: http://www.4t.fluxus.net/Where the 40 year celebration of Fluxus in France was documented. What I wonder is: Why beans? (with this e-mail I sent the photo that is also besides this question)
(answer on 11-5-2006 by e-mail) AK : beans are not usually used to make art or sound works so my position in using them for both is unique. It opens up the world of art to ordinary things such as edibles. I discover rare information about beans in libraries all over the world. The first of my publications was the Bean Rolls published by Fluxus in the early sixties. The next was A Bean Concordance published by Station Hill Press in the 70's. I am always collecting new information and I find everyone has something to say on the subject. Also, I think it is healthy for artists to have outside areas of research besides their own world. I am leaving for Venice now so please hold the questions for a few weeks.
(question sent on 22-5-2006 by e-mail) RJ : How was Venice?
(answer on 24-5-2006 by e-mail) AK : Today Venice is rainy. I am here with a performance and exhibition through July 1st.
(question sent on 24-5-2006 by e-mail) RJ : Could you tell me more about what kind of performance you did and what you exhibited in Venice? It is raining here too...... (since I didn’t get a reply in September, I resent the question again with attached the concept for the Mail-Interview booklet.)
[1]
New York Mycological Society
Mushrooms are the fruiting bodies of fungi, of which the vegetative growth is typically underground or in wood. Fungi serve a major recycling role in nature, breaking down dead trees and other organic material. Fungi also help nourish trees and other plants, thus playing a key role in the health of our forests. And yes, some fungi can also play a destructive role in nature by attacking living things such as trees. Most mushrooms are not poisonous and quite a few are very good edibles. But some are very toxic and a few are deadly! Unfortunately there are no simple foolproof rules to distinguish the edible from the poisonous. One must learn individual mushroom species if one plans on eating mushrooms. The most important point is that no one should ever eat unknown mushrooms! When in doubt, throw it out! Joining a mushroom club is the safe and fun way to learn about mushrooms and fungi. The New York Mycological Society is a non-profit organization of 150 members who share an interest in mycology (the study of mushrooms and fungi) as well as in mycophagy (the eating of mushrooms). The present NYMS was reincarnated some 40 years ago by the composer John Cage and a small group of other mushroom lovers and students. Mycology is mushrooming! (text from the NYMS – Site)
[2] Dorothy Podber ran the Nonegan Gallery in the mid-1960s and she was associated with Black Mountain friends, the Mole People, the art world and the underworld. She is famous for shooting a stack of Marilyn paintings in late 1964, which she can she considered a performance.
[3] #1 Shuffle (1961)The performer or performers shuffle into the performance area and away from it, above, behind, around, or through the audience. They perform as a group or solo: but quietly. Premired August 1963 at National Association of Chemists and Performers in New York at the Advertiser's club.
Beginning in 1962 Alison Knowles wrote an important series of event scores (instructions for events carried out) which anticipate do it. These event scores were published in A Great Bear Pamphlet (1965) which included scores for Shuffle #7, 1967 ("The performer or performers shuffle into the performance area and away from it, above, behind, around, all through the audience. They perform as a group or solo...but quietly") and Proposition, 1962 ("Make a salad").
unfinished...... but published on 11-9-2007 (c) FHC
(question sent on 5-4-2006 by e-mail)
Ruud Janssen : Welcome to the interview. Before I start with an interview I always like to read through the biography of the person I am interviewing. Looking at such a career in Art I always wonder, do you still remember when you decided you wanted to be an artist?
(answer on 5-4-2006 by e-mail)
Alison Knowles : Yes, I remember well when I decided to be an artist. It was when my grandmother addressed me as one. She looked at my pencil drawing of an osprey's nest built in the cross wires of a telephone pole and hung it over the piano. I was six, maybe seven years old.
(question sent on 6-4-2006 by e-mail)
RJ : You graduated in 1954 from Pratt University. Looking back at this study, what did you learn there, or maybe a better question is: what didn’t you learn there?
(answer on 11-4-2006 by e-mail)
AK : My graduation from Pratt Institute was in 1956. I had transferred from Middlebury College in Vermont. Because my father was an English professor at Pratt I was able to enroll at no expense in the Art Department
In the nightschool for three years I was able to study painting with Adolph Gottlieb a recognized abstract impressionist at the time. He said very little to anyone, but spoke directly in front of the work to each person so it was a personal critical dialogue about art with each one of us. He made me feel I could be a great painter. at the time I intensely admired Helen Frankenthal, and had acquaintance with the work of Pollock.
Franz Kline also taught in the class from time to time. During the day I studied graphic design and commercial layout. My best class in the dayschool was with the painter Richard Lindner. He was a philosopher and dedicated his thoughts to areas outside painting. We had discussions as a group. We also had an hour to draw together. His concentration drawing technique is really a mediation on time . We would draw for five minutes as slowly as possible with pencil on the paper, not taking our eyes off the subject. We began the class each week in this way. I learned very much from him and use this drawing technique with students today. What I learned there was that I am artist. What I should have learned there was that I am not a painter. However, in those days all artists were painterd.
(question sent on 13-4-2006 by e-mail)
RJ : In a text I read: “Alison Knowles is a conceptual artist doing performance art, installations, sound art and bookmaking”. Quite a variety and definitely no mentioning of painting. It seems that after your formal education some informal education took place. Is this somehow connected to the “New York Mycological Society”[1] ?
(answer on 13-4-2006 by e-mail)
AK : Oh yes, the mycological Society was led by John Cage, who along with my father is my teacher. We went on Sunday walks in Upstate New York near where John lived. We went by bus, Dick Higgins my husband and myself to spend time in the woods together, studying mushrooms and having the time while walking to talk to one another. I find walking together to be the best way to exchange ideas. John was always willing to talk to people proposing an idea or observation. We all became acquaintances and then friends. I knew of John through the New School course he gave in the late 50's and was eager to have some of that wisdom and daring rub off on me. As for painting, my attentions dwindled after a show at the Nonegon Gallery on 2nd Ave. in New York. My diverting to the New School class was gentle and then abrupt. I destroyed all my paintings in a bonfire behind my brothers country house. This is slightly distressing to me now, as they would be easily marketable in Italy.
However, this act of destruction on my part led me directly into the Fluxus family of friends and as I say, connections to the New School and George Brecht, Dick Higgins, Al Hansen and Allan Kaprov, among others. On our first Fluxus tour in '62 I began to write performance events. But perhaps that is another question.
Ciao
(question sent on 21-4-2006 by e-mail)
RJ : When did you meet Dick Higgins for the first time?
(answer on 21-4-2006 by e-mail)
AK : I was invited to a party at 84 Christopher Street by a friend Dorothy Podber [2] and our friend Ray Johnson. It was Dick's apartment. I stayed for three days.
(question sent on 24-4-2006 by e-mail)
RJ : You talked in your previous answer about “the Fluxus family of friends”. When was the word “Fluxus” first used in this circle of friends?
(answer on 25-4-2006 by e-mail)
AK : These friends who did concerts together performed under the banner Fluxus. Simultaneously I would say we felt like friends rather than say a group of actors doing a play together. The term family may be my own invention but I like it. No way to put a date on this, but early on.
(question sent on 24-4-2006 by e-mail)
RJ : The term family is also an indication of how these times must have felt. It is interesting that Ray Johnson also belonged to this circle of friends. Some say he also belongs to the group of Fluxus people but I also read somewhere that Ray never considered himself a “Fluxus artist”. How do you see this?
(answer on 27-4-2006 by e-mail)
AK : Ray Johnson was a mail artist, and founded the Correspondence School.
He never travelled with us, or wrote pieces for performance that we could use. I have many memories of his work, always absurd and interactive.
(question sent on 27-4-2006 by e-mail)
RJ : Could you describe one of your favourite performances of the early days. If possible I will publish the original score with this interview. But I am more curious on how you think back of the piece you choose.
(answer on 28-4-2006 by e-mail, booklets on 6-5-2006 by regular mail)
AK : like "shuffle[3]" alot. It presents the group as a group entering andleaving the hall in a snake-like conga line. I would like to send youmy pamphlet of early pieces called By Alison Knowles. It lists theevent scores from this period. Please give me your mailing address.
(On 6-5-2005 I received two booklets by mail. The first booklet: “by Alison Knowles”, 1965, A great Bear Pamphlet - New York. It contains a listing of 17 scores written by her. The second booklet: “MORE by Alison Knowles”, 1979 2nd Edition, Printed Editions New York. “These pieces in MORE are the writings, spoken parts, poems and events from my environments of the 1970’s. Given the opportunity to reprint MORE, I decided to leave out several of the shorter pieces in the first edition to make room for Three New Bean Events, The Shoemaker’s Assistant, and Bean see also Bein. The collage preface that follows was made by Philip Corner.” As a reaction I sent her some samples of previous mail-interviews that I published.)
(question sent on 6-5-2006 by e-mail, booklets on 7-5-2006 by regular mail)
RJ : Thanks for sending me the two booklets. I also looked on the Internet to find details about the performance “Shuffle”. Online one only finds fragments of what it must have been. On you own site (url: http://www.aknowles.com/) also a lot can be found on what you did. A booklet fits more to the times these first scores were performed. I probably will use the booklets as illustrations for the finished interview. As I read in your biography you came in contact with computers in an early stage. I quote:
“In 1967, Knowles produced The House of Dust poem, possibly the first computerized poem, which she produced with composer James Tenney following his informal seminar on computers in the arts held at her home with husband Dick Higgins in 1967”.
What does a computer mean to you nowadays?
(answer on 8-5-2006 by e-mail)
AK : Nowadays I use the computer for daily email contact and to sometimes send a picture for card or publication. I don't use it every day, and I am not a computer adept but it is a great tool we all agree. I do not use it to do artwork however. All my work seems to be tactile, touchable and musical sometimes (the beans falling down inside the paper) or performances where real people look at real people.
(question sent on 10-5-2006 by e-mail)
RJ : When you talk about performances where real people look at real people I am trying to visualize that. The bean performance is probably a superb example of where this happens. It also involves the musical element. I found a photo of one of those performances (I thought it was on the site located at: http://www.4t.fluxus.net/Where the 40 year celebration of Fluxus in France was documented. What I wonder is: Why beans? (with this e-mail I sent the photo that is also besides this question)
(answer on 11-5-2006 by e-mail) AK : beans are not usually used to make art or sound works so my position in using them for both is unique. It opens up the world of art to ordinary things such as edibles. I discover rare information about beans in libraries all over the world. The first of my publications was the Bean Rolls published by Fluxus in the early sixties. The next was A Bean Concordance published by Station Hill Press in the 70's. I am always collecting new information and I find everyone has something to say on the subject. Also, I think it is healthy for artists to have outside areas of research besides their own world. I am leaving for Venice now so please hold the questions for a few weeks.
(question sent on 22-5-2006 by e-mail) RJ : How was Venice?
(answer on 24-5-2006 by e-mail) AK : Today Venice is rainy. I am here with a performance and exhibition through July 1st.
(question sent on 24-5-2006 by e-mail) RJ : Could you tell me more about what kind of performance you did and what you exhibited in Venice? It is raining here too...... (since I didn’t get a reply in September, I resent the question again with attached the concept for the Mail-Interview booklet.)
[1]
New York Mycological Society
Mushrooms are the fruiting bodies of fungi, of which the vegetative growth is typically underground or in wood. Fungi serve a major recycling role in nature, breaking down dead trees and other organic material. Fungi also help nourish trees and other plants, thus playing a key role in the health of our forests. And yes, some fungi can also play a destructive role in nature by attacking living things such as trees. Most mushrooms are not poisonous and quite a few are very good edibles. But some are very toxic and a few are deadly! Unfortunately there are no simple foolproof rules to distinguish the edible from the poisonous. One must learn individual mushroom species if one plans on eating mushrooms. The most important point is that no one should ever eat unknown mushrooms! When in doubt, throw it out! Joining a mushroom club is the safe and fun way to learn about mushrooms and fungi. The New York Mycological Society is a non-profit organization of 150 members who share an interest in mycology (the study of mushrooms and fungi) as well as in mycophagy (the eating of mushrooms). The present NYMS was reincarnated some 40 years ago by the composer John Cage and a small group of other mushroom lovers and students. Mycology is mushrooming! (text from the NYMS – Site)
[2] Dorothy Podber ran the Nonegan Gallery in the mid-1960s and she was associated with Black Mountain friends, the Mole People, the art world and the underworld. She is famous for shooting a stack of Marilyn paintings in late 1964, which she can she considered a performance.
[3] #1 Shuffle (1961)The performer or performers shuffle into the performance area and away from it, above, behind, around, or through the audience. They perform as a group or solo: but quietly. Premired August 1963 at National Association of Chemists and Performers in New York at the Advertiser's club.
Beginning in 1962 Alison Knowles wrote an important series of event scores (instructions for events carried out) which anticipate do it. These event scores were published in A Great Bear Pamphlet (1965) which included scores for Shuffle #7, 1967 ("The performer or performers shuffle into the performance area and away from it, above, behind, around, all through the audience. They perform as a group or solo...but quietly") and Proposition, 1962 ("Make a salad").
unfinished...... but published on 11-9-2007 (c) FHC
donderdag 16 augustus 2007
Another Fluxus Site?
While looking at all kind of fluxus sites to look what is happening online, I discovered one that didn't go futher then this first intro-image and then blocked. The image is funny enough to shere here though.....
Source: http://www.fluxus.lt/pix/ulf1.jpg
The results of my search can be found online as well at the link:
http://www.fluxusheidelberg.org/fluxuslinks.html
Source: http://www.fluxus.lt/pix/ulf1.jpg
The results of my search can be found online as well at the link:
http://www.fluxusheidelberg.org/fluxuslinks.html
dinsdag 14 augustus 2007
Mail from the Oracle of Delphi - Greece : Tomato War
Suddenly we received this mail in Breda, Netherlands. It is from the Oracle in Delphi, sent to the Fluxus Heidelberg Center, and advices about the Tomato War. What to do?
donderdag 9 augustus 2007
Documenting things.
RJ: I couldn't work without documentation. But there may be a danger in documentation if it forms its own truth. Reality -- things that happen in a specific moment -- can never be captured by objective documentation because reality is different for everybody who observes it. Everyone recognizes his own truth through the act of observation. Isn't there a danger in the possibility that those who create the documents dictate the shape of history? Is documentation that powerful?
KF: This is a danger. It's a basic problem that we face in all forms of documentation, no matter who makes them and no matter the purpose for which they're made. It seems to me that there is a strong argument to be made for a variety of clear, understandable sources of document from several views. In the recent past, most documentation on art has been compiled or presented by a handful of journalists, critics and finally by art historians. I suggest that there can be valid approaches to art documentation by scholars from several fields and by artists themselves.
The better, the broader, the more clear and conscious a body or documents is, the better we can understand what's happened. I believe that documentation has valid goals and purposes. These purposes can be realized or abused. How we handle documentation, how much and how well, makes the difference.
from an interview between Ken Friedman (Norway) and Ruud Janssen (Netherlands)
(Source: http://www.fluxusheidelberg.org/kenfriedman.html)
KF: This is a danger. It's a basic problem that we face in all forms of documentation, no matter who makes them and no matter the purpose for which they're made. It seems to me that there is a strong argument to be made for a variety of clear, understandable sources of document from several views. In the recent past, most documentation on art has been compiled or presented by a handful of journalists, critics and finally by art historians. I suggest that there can be valid approaches to art documentation by scholars from several fields and by artists themselves.
The better, the broader, the more clear and conscious a body or documents is, the better we can understand what's happened. I believe that documentation has valid goals and purposes. These purposes can be realized or abused. How we handle documentation, how much and how well, makes the difference.
from an interview between Ken Friedman (Norway) and Ruud Janssen (Netherlands)
(Source: http://www.fluxusheidelberg.org/kenfriedman.html)
woensdag 8 augustus 2007
Litsa Spathi = Nobody = The real CryBaby
Reaction for Mick Boyle.
Dear Mick Boyle, You are wearing the wrong pampers. You gave ME the name CryBaby. I accepted it and published my reaction with the video. Now you behave like that other child that also wants to be a crybaby but not realy is one... The video tells it all...
Dear Mick Boyle, You are wearing the wrong pampers. You gave ME the name CryBaby. I accepted it and published my reaction with the video. Now you behave like that other child that also wants to be a crybaby but not realy is one... The video tells it all...
Enjoy the video!
Reaction for Mick Boyle
Mick Boyle said: I changed my mind and my comment. I now think Nobody is a crybaby. Hooray for the red white and blue! I am now going to scan my american flag and write a score about it.
Nobody replies: Micky Boyle is right. I even found a video where the Fluxlist people documented how the tried to get rid of this ' crybaby':
Enjoy the video!
Nobody replies: Micky Boyle is right. I even found a video where the Fluxlist people documented how the tried to get rid of this ' crybaby':
Enjoy the video!
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
dinsdag 8 augustus 2006
zaterdag 8 november 2003
Fluxus Poetry
INFORMATION ABOUT FLUXUS POETRY BY FLUXUS HEIDELBERG
(c) October 2003 by Fluxus Heidelberg.
Defining Fluxus Poetry
People who read books can easily explain what Poetry is. A poem is different from a story or essay because of its form. In literature it is quite well defined what a poem is, what an essay is or what a novel is. And then there is the Visual Poetry. In this artform the writers/artists use letters and words to make visual images, some call it collages of texts, to make a message clear for the viewer. The roots of Visual Poetry lies in art-forms DaDa and Bauhaus on which already a lot has been published.
How Fluxus Poetry is produced by Fluxus Heidelberg
Litsa Spathi was working with Visual Poetry since the 1980s. Before that her poems were published in several publications (like the Anthology: "Hab gelernt durch Waende zu gehen" , ISBN 3-89244-064-6 , 1993). Litsa Spathi also collaborated with some important names in the field of Visual Poetry like Robin Crozier , Rea Nikonova , Serge Segay , Edgardo-Antonio Vigo , Guillermo Deisler and John M. Bennett. In the 1990s her works were published in magazines like PIPS , Edition YE, Mani-Art and Rampike. Also she illustrated several books with her graphic work. (more information in Litsa Spathi's Biography that is available online).
Fluxus Poetry is a new form where the Visual Poetry is integrated in the electronic world. Visual Poetry is normaly the end-result of a process. In Fluxus Poetry the build up of the Poem is visible as well. Normaly this can only be seen in a video-fragment or as a slideshow.
Within Fluxus Heidelberg Litsa Spathi writes her Visual Poetry and as a kind of Fluxus Performance. The poem is transferred into a Fluxus Poem which goes in these steps: Litsa Spathi has written a concept text and has visualized the concepts in several frames. together with Ruud Janssen she sits down behind a computer and they start to work together. With voice she instructs Ruud how to create the visual images. She discusses size of the letters, background-colours, rotations, colour of the letters, the design of the several frames. The endresult is a set of images that are saved on the computer. Ruud then arranges the electronic format to publish the Fluxus Poem on the internet. First publication is always on the www.fluxusheidelberg.org site. After publishing the Fluxus Poem the visitors of the site can see the result of the process by viewing the set of frames where they see how the Poem is realized. For Fluxus Performances these Fluxus Poems will be used as background or as leading line through the performance. As a final step the Fluxus Poem will be printed and integrated by Litsa Spathi into an Artist's Book. A nice example of a Fluxus Poem is: Where? (do you go to my lovely?), where in 7 frames a complete poem is shown.
(c) October 2003 by Fluxus Heidelberg.
Defining Fluxus Poetry
People who read books can easily explain what Poetry is. A poem is different from a story or essay because of its form. In literature it is quite well defined what a poem is, what an essay is or what a novel is. And then there is the Visual Poetry. In this artform the writers/artists use letters and words to make visual images, some call it collages of texts, to make a message clear for the viewer. The roots of Visual Poetry lies in art-forms DaDa and Bauhaus on which already a lot has been published.
How Fluxus Poetry is produced by Fluxus Heidelberg
Litsa Spathi was working with Visual Poetry since the 1980s. Before that her poems were published in several publications (like the Anthology: "Hab gelernt durch Waende zu gehen" , ISBN 3-89244-064-6 , 1993). Litsa Spathi also collaborated with some important names in the field of Visual Poetry like Robin Crozier , Rea Nikonova , Serge Segay , Edgardo-Antonio Vigo , Guillermo Deisler and John M. Bennett. In the 1990s her works were published in magazines like PIPS , Edition YE, Mani-Art and Rampike. Also she illustrated several books with her graphic work. (more information in Litsa Spathi's Biography that is available online).
Fluxus Poetry is a new form where the Visual Poetry is integrated in the electronic world. Visual Poetry is normaly the end-result of a process. In Fluxus Poetry the build up of the Poem is visible as well. Normaly this can only be seen in a video-fragment or as a slideshow.
Within Fluxus Heidelberg Litsa Spathi writes her Visual Poetry and as a kind of Fluxus Performance. The poem is transferred into a Fluxus Poem which goes in these steps: Litsa Spathi has written a concept text and has visualized the concepts in several frames. together with Ruud Janssen she sits down behind a computer and they start to work together. With voice she instructs Ruud how to create the visual images. She discusses size of the letters, background-colours, rotations, colour of the letters, the design of the several frames. The endresult is a set of images that are saved on the computer. Ruud then arranges the electronic format to publish the Fluxus Poem on the internet. First publication is always on the www.fluxusheidelberg.org site. After publishing the Fluxus Poem the visitors of the site can see the result of the process by viewing the set of frames where they see how the Poem is realized. For Fluxus Performances these Fluxus Poems will be used as background or as leading line through the performance. As a final step the Fluxus Poem will be printed and integrated by Litsa Spathi into an Artist's Book. A nice example of a Fluxus Poem is: Where? (do you go to my lovely?), where in 7 frames a complete poem is shown.
vrijdag 8 augustus 2003
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