Wrong Timing & right video = not crime
vrijdag 7 december 2007
Right & wrong Fluxus crime video performance in blue
Right Timing & wrong video = crime
Wrong Timing & right video = not crime
Wrong Timing & right video = not crime
donderdag 6 december 2007
Top secrets/Video preview
Don't watch this non Fluxus video poetry
This Video is fluxing - but only top secrets
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
woensdag 5 december 2007
A Very FAT tomatored Hip Hip Hurra Fluxlist Europe!
Congratulatons for the first 1000 Fluxus postings
Yes - Congratulatons without "i"
donderdag 29 november 2007
Advertising space with 4 feet - non Fluxus
For Bubu some fluxing & advertising sheep - non Fluxus
Mit bestem Dank an Saskia in Amsterdam
Advertising Fluxus performance advertising Fluxus walking
Me as adverstising space - walking through the city
Mit bestem Dank an Bubu in Berlin
woensdag 28 november 2007
Absurd nameless corso of a fluxing Nobody # 2 - visual poem by Litsa Spathi
Fluxus & non Fluxus absurd nameless corso of a fluxing Nobody who never wished to be somebody
Absurd nameless corso of a fluxing Nobody # 1 - visual poem by Litsa Spathi
Fluxus & non Fluxus absurd nameless corso of a fluxing Nobody who never wished to be somebody.
dinsdag 27 november 2007
Fishes playing with a snowball - visual poem by Nobody
Fishes playing with a snowball tke nature's reply to Klee Fluxus play without caosfluxing delirious cars
zondag 25 november 2007
zaterdag 24 november 2007
A black rose for a white night - visual poem by Litsa Spathi
A black rose, blacker than black for a white night, whiter than white given with the noise of the silence as a past future moment - while the sun of nowhere is performing everybody's Fluxus dream for Nobody
woensdag 21 november 2007
The Crime of the long and short socks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
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sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
sockssoockssockssockssoockssockssockssoockssockssockssoockssocks
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sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
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sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
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sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
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sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
sockssoockssockssockssoockssocks
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sockssoockssockssockssoockssocks
dinsdag 20 november 2007
donderdag 15 november 2007
woensdag 14 november 2007
maandag 12 november 2007
www.international cheese poetry - visual poem by Litsa Spathi
Kaas-->Käse-->Cheese--->Tyri: The first official international cheese poem for the web
woensdag 31 oktober 2007
EXHIBITION “ARTISTS’ BOOKS” -Art Museum Wooster Education
Artists' books have a long history yet are perhaps one of the more difficult of the fine art genres to define. While Marcel Duchamp stated, “ An artist's book is what an artist calls a book,” noted critic and author Lucy Lippard posited that they are “neither an art book (collected reproductions of separate works) nor a book on art. The artist's book is a work of art on its own, conceived specifically for the book form and often published by the artist him/herself.”[1] The genesis of the artist's book can be traced to the British poet, painter, and printmaker William Blake (1757–1827), who developed new printing methods to allow for the integration of image and text.
In general, an artist’s book is conceived as a project in book form and the structure of the book is an integrated aspect of the overall concept. Some of the structural considerations may include, but are not limited to, the binding or lack of binding, the way the pages fold or may be kept loose in a portfolio box or slipcover, the use of a scroll in lieu of pages, a lack of text or a manipulation of text into imagery, or the use of traditional or non-traditional materials and formats.
Combinations of image, text, and the book form by artists, however, are considered to be primarily a 20th-century development. Unlike the late-19th century French gallerists high-end publishing ventures of the livre d'artiste (“artist book”)[2], the contemporary artist book derives from the conceptual experiments of the 1960s Fluxus movement, the West Coast painter Ed Ruscha's early books, and the work of German/Swiss artist Dieter Roth, who is represented in this exhibition[3]. By redefining the terms of the book visually, textually, and structurally, artists in the 1960s sought to create a more inclusive and democratic approach to the book arts by stepping outside its conventional boundaries.
The exhibition is loosely divided into four groups, and begins with a facsimile edition of William Blake's Book of Job (1927) and two examples of Arts and Crafts books. Included are examples of scroll books and an illuminated Koran, and a group of 1970s-era works by well-known British artists. The remainder of the exhibition features books by five Ohio-based artists who complete this brief overview of the book arts.
SELECTIONS FROM THE EXHIBITION
Kate Kern, Cincinnati, OH
August B. Fan, 1999
ink and pencil on paper, brass, silk ribbon
15 h x 24 w inches (open)
Courtesy of the artist
1999 © Kate Kern
Ellen Sheffield, Gambier, Ohio
Susan Stewart, Princeton, New Jersey
Zero, 2004
edition of four
ink jet printed front cover, target paper back cover, flag book format,
accordion bound with pages/flags of text on ink jet
printed transparencies, ink jet printed inside covers
6 h x 5 w inches (closed)
From the Kenyon Review Poets Series
Courtesy of the artist
2004 © Ellen Sheffield and Susan Stewart
This book is a visual poem by the artist that weaves together the story of a historic legal case (c. 1896) establishing riparian, or water rights, with a visit to the Kokosing River in Knox County, Ohio, by a group of Tibetan monks in 2001. The poem is a hybrid of concrete poetry, traditional case law briefing as taught in law school, and lyrical poetry
Kate Kern, Cincinnati, Ohio
Keep Your Distance, 2004
ink and pencil on paper, rag board, cloth
Courtesy of the artist
1 h x 10 w inches (open)
2004 © Kate Kernhttp
Richard Wilson (British, b. 1953)
Wind Instrument, 1980
69/125
Published by Coracle Press, London
Wood, paper, metal, lithography
24 h x 16 w inches (closed), sculptures variable
The College of Wooster Art Museum 2004.9
1980 © Richard Wilson
The small paper and wire sculptures displayed in the adjacent sculpture stand are the “text” of this book, and the pages in the book are molded to accept the flattened version of each “wind instrument.” The chestnut box is the book’s “cover.”
scroll book, c. 19th century
palm wood, palm leaf sheets, cord, metal coin
2 h x 20 w inches (closed)
The College of Wooster Art Museum 1930.148
Gift of William Kelly
© The College of Wooster
The writing in this scroll book has been incised into palm leaf sheets, with powdered ink rubbed into the grooves. The book contains Buddhist writings, and the script on the discolored leaf is written in Pali.
Stored in a compressed form between two wood pieces, the scroll book is read by loosening the cord(s) and lifting the sheets out, much like a venetian blind. This example is displayed pivoted on a fixed point as the cording on both sides has disintegrated over time.
Scroll of the Lohans, Chinese,
late-19th century copy of a Ming Dynasty (1368–1644)
original by Ting Yün-peng (1584–1618)
silk on paper
16 h x 60 w inches (partially open)
The College of Wooster Art Museum 1964.266
Gift of C.E. Loehr
© The College of Wooster
This narrative scroll reads from right to left and features twelve groupings whose character’s focus looks toward the conclusion of this scroll; a representation of the Kuan-yin Bodhisattva, or Goddess of Mercy, floating in clouds and seated on a lotus flower. The subject of all the scenes is the Lohan, a worthy Buddhist ascetic disciple who has achieved Nirvana in this life, with his disciples and admirers.
Willow Legge (British)
An African Folktale, 1979
intaglio, screenprint
20 h x 14 w inches
94/200, 20 APs
Published by Circle Press, Surrey England
The College of Wooster Art Museum 2004.14
1979 © Willow Legge
LINKS TO MORE INFORMATION ON THE HISTORY OF ARTISTS’ BOOKS, ADDITIONAL INFORMATION ON THE OHIO-BASED ARTISTS FEATURED IN THE EXHIBITION “ARTISTS’ BOOKS,” AND AN EASY, FIVE-STITCH BOOKBINDING METHOD
http://www.library.yale.edu/aob/abhistory.html
Concise overview of artists’ books and books in general.
http://www.katekern.com/bookworkshome/bookworkshome.htm
Kate Kern’s website of bookworks. Kate Kern is one of the featured artists in “Artists’ Books.”
http://www.bookfest.com/sheffield.html
2005 Bookfest site—click on the various artists to see different types of book arts. Ellen Sheffield if one of the featured artists in “Artists’ Books.” Click on the image on this page to see more works by Sheffield.
http://www.idlewildpress.com/pages/prospectus.html
This site provides detail about Holly Morrison and Carolyn Fraster’s “The Extinguishing of Stars” exhibited in “Artists’ Books.”
http://www.zumgaligali.com/projects/bookbinding/book_5st_1.html
This is a link to an easy-to-follow five-stitch bookbinding instructions. The author states that this is a 15 to 30 minute project.
[1] Lucy Lippard, “The Artist's Book Goes Public,” in Artists' Books: A Critical Anthology and Sourcebook, ed. by Joan Lyons (Rochester, NY: Visual Studies Workshop, 1985), 45-48.
[2] Considered deluxe editions, a livre d'artiste consists of fine binding and original prints by well-known artists illustrating classic texts. An unbound example of a livre d'artiste by Henry Matisse has been included in this exhibition.
[3] Fluxus was a loosely organized international group of avant-garde artists. Other precursors of the 1960s exploration of the book as art object include innovations in typography by Bauhaus artists, the political art of the Russian Constructivists, and Dadaism
In general, an artist’s book is conceived as a project in book form and the structure of the book is an integrated aspect of the overall concept. Some of the structural considerations may include, but are not limited to, the binding or lack of binding, the way the pages fold or may be kept loose in a portfolio box or slipcover, the use of a scroll in lieu of pages, a lack of text or a manipulation of text into imagery, or the use of traditional or non-traditional materials and formats.
Combinations of image, text, and the book form by artists, however, are considered to be primarily a 20th-century development. Unlike the late-19th century French gallerists high-end publishing ventures of the livre d'artiste (“artist book”)[2], the contemporary artist book derives from the conceptual experiments of the 1960s Fluxus movement, the West Coast painter Ed Ruscha's early books, and the work of German/Swiss artist Dieter Roth, who is represented in this exhibition[3]. By redefining the terms of the book visually, textually, and structurally, artists in the 1960s sought to create a more inclusive and democratic approach to the book arts by stepping outside its conventional boundaries.
The exhibition is loosely divided into four groups, and begins with a facsimile edition of William Blake's Book of Job (1927) and two examples of Arts and Crafts books. Included are examples of scroll books and an illuminated Koran, and a group of 1970s-era works by well-known British artists. The remainder of the exhibition features books by five Ohio-based artists who complete this brief overview of the book arts.
SELECTIONS FROM THE EXHIBITION
Kate Kern, Cincinnati, OH
August B. Fan, 1999
ink and pencil on paper, brass, silk ribbon
15 h x 24 w inches (open)
Courtesy of the artist
1999 © Kate Kern
Ellen Sheffield, Gambier, Ohio
Susan Stewart, Princeton, New Jersey
Zero, 2004
edition of four
ink jet printed front cover, target paper back cover, flag book format,
accordion bound with pages/flags of text on ink jet
printed transparencies, ink jet printed inside covers
6 h x 5 w inches (closed)
From the Kenyon Review Poets Series
Courtesy of the artist
2004 © Ellen Sheffield and Susan Stewart
This book is a visual poem by the artist that weaves together the story of a historic legal case (c. 1896) establishing riparian, or water rights, with a visit to the Kokosing River in Knox County, Ohio, by a group of Tibetan monks in 2001. The poem is a hybrid of concrete poetry, traditional case law briefing as taught in law school, and lyrical poetry
Kate Kern, Cincinnati, Ohio
Keep Your Distance, 2004
ink and pencil on paper, rag board, cloth
Courtesy of the artist
1 h x 10 w inches (open)
2004 © Kate Kernhttp
Richard Wilson (British, b. 1953)
Wind Instrument, 1980
69/125
Published by Coracle Press, London
Wood, paper, metal, lithography
24 h x 16 w inches (closed), sculptures variable
The College of Wooster Art Museum 2004.9
1980 © Richard Wilson
The small paper and wire sculptures displayed in the adjacent sculpture stand are the “text” of this book, and the pages in the book are molded to accept the flattened version of each “wind instrument.” The chestnut box is the book’s “cover.”
scroll book, c. 19th century
palm wood, palm leaf sheets, cord, metal coin
2 h x 20 w inches (closed)
The College of Wooster Art Museum 1930.148
Gift of William Kelly
© The College of Wooster
The writing in this scroll book has been incised into palm leaf sheets, with powdered ink rubbed into the grooves. The book contains Buddhist writings, and the script on the discolored leaf is written in Pali.
Stored in a compressed form between two wood pieces, the scroll book is read by loosening the cord(s) and lifting the sheets out, much like a venetian blind. This example is displayed pivoted on a fixed point as the cording on both sides has disintegrated over time.
Scroll of the Lohans, Chinese,
late-19th century copy of a Ming Dynasty (1368–1644)
original by Ting Yün-peng (1584–1618)
silk on paper
16 h x 60 w inches (partially open)
The College of Wooster Art Museum 1964.266
Gift of C.E. Loehr
© The College of Wooster
This narrative scroll reads from right to left and features twelve groupings whose character’s focus looks toward the conclusion of this scroll; a representation of the Kuan-yin Bodhisattva, or Goddess of Mercy, floating in clouds and seated on a lotus flower. The subject of all the scenes is the Lohan, a worthy Buddhist ascetic disciple who has achieved Nirvana in this life, with his disciples and admirers.
Willow Legge (British)
An African Folktale, 1979
intaglio, screenprint
20 h x 14 w inches
94/200, 20 APs
Published by Circle Press, Surrey England
The College of Wooster Art Museum 2004.14
1979 © Willow Legge
LINKS TO MORE INFORMATION ON THE HISTORY OF ARTISTS’ BOOKS, ADDITIONAL INFORMATION ON THE OHIO-BASED ARTISTS FEATURED IN THE EXHIBITION “ARTISTS’ BOOKS,” AND AN EASY, FIVE-STITCH BOOKBINDING METHOD
http://www.library.yale.edu/aob/abhistory.html
Concise overview of artists’ books and books in general.
http://www.katekern.com/bookworkshome/bookworkshome.htm
Kate Kern’s website of bookworks. Kate Kern is one of the featured artists in “Artists’ Books.”
http://www.bookfest.com/sheffield.html
2005 Bookfest site—click on the various artists to see different types of book arts. Ellen Sheffield if one of the featured artists in “Artists’ Books.” Click on the image on this page to see more works by Sheffield.
http://www.idlewildpress.com/pages/prospectus.html
This site provides detail about Holly Morrison and Carolyn Fraster’s “The Extinguishing of Stars” exhibited in “Artists’ Books.”
http://www.zumgaligali.com/projects/bookbinding/book_5st_1.html
This is a link to an easy-to-follow five-stitch bookbinding instructions. The author states that this is a 15 to 30 minute project.
[1] Lucy Lippard, “The Artist's Book Goes Public,” in Artists' Books: A Critical Anthology and Sourcebook, ed. by Joan Lyons (Rochester, NY: Visual Studies Workshop, 1985), 45-48.
[2] Considered deluxe editions, a livre d'artiste consists of fine binding and original prints by well-known artists illustrating classic texts. An unbound example of a livre d'artiste by Henry Matisse has been included in this exhibition.
[3] Fluxus was a loosely organized international group of avant-garde artists. Other precursors of the 1960s exploration of the book as art object include innovations in typography by Bauhaus artists, the political art of the Russian Constructivists, and Dadaism
dinsdag 30 oktober 2007
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
Fluxus Poetry Blog
Fluxus Heidelberg Center
Fluxlist Europe
Fluxlist Asia
Fluxlist North America
Fluxlist USA
Fluxlist South America
Fluxlist Africa
Fluxlist Australia
Fluxlist Oceania
&
Nobody,s Flux
statement
zaterdag 27 oktober 2007
Writing a X-ray post poetic poem on the computer following the X-ray Fluxus score instructions from Nobody
Here you can see Nobody alias Litsa Spathi while she is writing on the computer a digltalpost poetic poem for
1.Fluxlist Europe
2.Luxlist Asia
3.Fluxlist Africa
4.Fluxlist Usa
5.Fluxlist Oceania
6.Fluxlist North America
7.Fluxlist South America
8.Fluxlist Australia
But not for the Fluxlist
vrijdag 26 oktober 2007
A Fluxus stamp?
1845-1923
A 12 year old Fluxus stamp in honnor of
Wilhelm Conrad Röntgen & the Fluxlist Europe's X-ray score for post poetic poems? Wilhelm Conrad Röntgen is THE father of Fluxus
X-ray score for post poetic poems
Score für x-
a.Warte ab bis du unerträgliche Zahnschmerzen hast
b.Gehe dann zum Radiologen und lass deinen Kiefer röntgen
c.Nimm die Aufnahme mit nach Hause scan sie und publiziere sie als post poetic score bei Fluxlist Europe
Werbe strategie
Zeitersparnis, brilliante Röntgenaufnahmen und beachtliche Reduzierung der Strahlenbelastung sind die herausragenden Vorteile des speziell für die Zahnmedizin entwickelten Fluxlist Europe x-ray-Sensors for poems.
Durch Intergration in die Praxis-EDV ermöglicht der Fluxlist Europe x-ray-poem-Sensor eine erhebliche Vereinfachung Ihrer Arbeitsabläufe und Creativity.- Vorteile für Sie und Ihre Patienten:
X-Ray score
1.Reduzierung der Strahlenbelastung
2.Entlastung der Umwelt durch Wegfall von Chemikalien zur Filmentwicklung
3.Reduzierung des Zeitaufwandes
4.Quer- und Hochformat-Aufnahmen
5.BEMA-gerechte Aufnahmen
6.Imagegewinn durch den Einsatz von High-Tech
7.Befunde und Maßnahmen können dem Patienten am Bildschirm besser erläutert werden
FLUXUS POETRY
W H A T C O M E S N E X T ?
'Post-Poetic' poetry, or electronic art using any available digital tools to create any sort of production that mixes and blurs the notions of categories previously held to be separate, such as the fine arts, entertainment, engineering, science, politics, and religion. The constants that remain might be termed metaphor and representation. Worlds and worldviews are still represented, and they are represented metaphorically. And what comes after that? The art of living. Just being. No more need to represent our thoughts, ideas and emotions, but simply complexly to live them.
'Post-Poetic' poetry, or electronic art using any available digital tools to create any sort of production that mixes and blurs the notions of categories previously held to be separate, such as the fine arts, entertainment, engineering, science, politics, and religion. The constants that remain might be termed metaphor and representation. Worlds and worldviews are still represented, and they are represented metaphorically. And what comes after that? The art of living. Just being. No more need to represent our thoughts, ideas and emotions, but simply complexly to live them.
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