Produced by Angella Ferrara
Twitter + Literature = Twitterature
Twitter is a social networking web application in which members post brief notes to each other in a manner similar to Facebook "status updates". Each post is limited to a maximum of 140 characters, including spaces, punctuation, and "hash tags" (more on these later).
September 10, 2009 marked the opening of an installation of staggering scope at The Emily Harvey Foundation Gallery in New York City. An American artist residing in Paris, Matthew Rose, invited hundreds of artists from around the globe to participate in the creation of an unbound book on the theme of "death". Appropriately enough, the exhibition and associated book, were titled, A Book About Death. Each participant was asked to submit an edition of 500 postcards, which were to be exhibited, and then freely distributed at the September 10th opening. The remaining postcards would remain availble for free distribution at the gallery until the show closed on September 22nd.
In this chapter we learn that Fluxus is actually dead. We will also learn that Fluxus is alive and well and living in... everywhere.
I don't think many Living Fluxus artists really believe that they (we) are part of a magical posthumous George Maciunas Fluxus Group. From what I have heard and read, George was fond of including and excluding people in "his" Fluxus as he saw fit... so who knows what he would have done with us? Maybe he would have loved us, and maybe he would have decided that we were not worth caring about. I believe that many artists, writers, historians, etc. have worked around this issue by accepting the two-part or three-part (Part 1 = GM; Part 2 = Worked with GM and kept working; Part 3 = Working today within the Fluxus meme) idea that I proposed in the first note I posted. It is an attempt to be respectful of the Fluxus One era, and of George Maciunas, who was unarguably the keystone to that era -- while acknowledging (what to me is an equally inarguable reality) that Fluxus continued on/continues on unabated after he died.
There are a lot of people with very strong incentives to keep Fluxus dead. Dead Fluxus serves the financial interests of a group of collectors and museums. Art Historians like their movements to have beginning dates and end dates, it makes those litle time-bar graphs so much more appealing. And a small group of people who were close personally to George Maciunas worry endlessly that his legacy will somehow be diluted if Fluxus didn't die with him.
I suspect that there will always be some confusion about the "life-status" of Fluxus. That is because there are really two parts to it. During Maciunas' lifetime the two parts were completely intertwined. After his death, I think that part of Fluxus died with him...but a vital and important part continued on without him. That continuing part is not ... Read moresome sort of "new" fluxus, or "neo-Fluxus". It IS Fluxus. It may be Post-Maciunas Fluxus, but it is still Fluxus.
Fluxus is alive and well. Reports of its death have been greatly exaggerated. Fluxus is also dead.
How can Fluxus be alive and well, and dead, at the same time? Well, that goes to the essence of this blog post. Artists die. Ideas don't. People die, "movements" end, but ideas are not constrained by the limitations of the single human lifespan. Fluxus has always been more than an art movement. In fact it has been argued that Fluxus was never an art movement.
Fluxfest at Pierogi's The Boiler
(on Sept. 11, with not a mention of 9/11)
...had the genuine Fluxus offhandedness and the historically correct disregard for ceremony or performance-niceties such as a printed program. The latter would have allowed the patient audience -- outnumbered by the performers, as is also traditionally Fluxian -- to ascertain authorship, date of creation, and performer. Thus, 13 or so friendly Fluxians from here and abroad, most of whom had not met before, presented an hour-and-a-half of Fluxus pieces, old and new.
Copy Art has been closely associated with Fluxus over the years. While it is not inherently or definitively Fluxus (what is, really?), Copy Art is certainly consistent with the Fluxus ethos, and has been created by many artists who have been associated with Fluxus. One of those artists is my friend Reed Altemus, who wrote this short piece in 2003:
As an artist, I like to play with, test, and explore the limits and boundaries around reason. Intermedia is concerned with the spaces in which media intersect, which is one of the reasons that I am so attracted to Fluxus. For example visual poetry is poetry for the eye; falling into the space where visual art and literature intersect. Sound art is art for the ear, falling into the space where audio (music/sound) and visual art intersect. Reason tells us that visual art is not something that is meant to be appreciated with the ears, and that audio cannot be appreciated as visual art.
Call for Works
INTERNATIONAL FLUXHIBITION #4
Deadline: April 30, 2010
Fluxus Amusements, Diversions, Games, Tricks and Puzzles
The Fluxmuseum will be organizing an exhibition for exhibit during 2010. This exhibition will focus on fun and games. Works including art, objects, boxes, instructions, performances, scores, ect. are sought that deal with any issue related to fun and games, tricks and puzzles, amusements and diversions.
Did you think Fluxus was dead? A thing of the past? Think again.
All the big names from the contemporary Fluxus art community flex their communal muscle in this extraordinary exhibition focusing on box assemblage. The FluxMuseum in conjunction with the International Museum of Collage, Assemblage and Construction has put together its third international exhibition focusing on specific aspects of Fluxus art practice. Works by artists from all over the world have been donated to the Fluxmuseum for this exhibition. Represented in this show are artists from the all parts of the USA, the UK, Belgium, Denmark, Spain, Portugal, Mexico, Canada, Australia, Greece, Germany, Hungry, Italy, France and Cyprus.