HOTEL DADA Fluxfest Online 2020

HOTEL DADA FLUXFEST 2020

FLUXUS LIVES: ETERNAL RADICAL ATTITUDE

August 1st & 2nd

Described as “the most radical and experimental art movement of the 1960s,” Fluxus has challenged traditional thinking about art and culture for more than four decades. It has been a think tank for artistic experimentation in Europe, Asia, and the United States. It had a central role in the birth of key forms of contemporary art, such as conceptual art, installation, performance, intermedia and video. Despite its great influence, the scope and scale of this unique phenomenon makes its explanation extremely complex in historical and critical normative terms.

However, the art marketing system has reduced Fluxus to a movement restricted to a specific time, and group of people, blocking the way for further developments beyond the ’70s. Killing off Fluxus has made it easier for museum curators and deep pocketed collectors to mount retrospectives, large exhibitions and to create a market, but it contradicts the true spirit of Fluxus. Dick Higgins, a Fluxus co-founder and one of its greatest theorists, has written that: “Fluxus is not a moment in history or an artistic movement. Fluxus is a way of doing things, a tradition and a way of life and death.” For Higgins, many of his contemporaries, and theorist-historians like Owen Smith and Ken Friedman, Fluxus was more valuable as an idea and agent of social change than as a specific group of people or a collection of objects.

Contrary to market forces and a small group of academics, Fluxus did not die on a sacred date in the past but is still alive. Today Fluxus is a forum, a circle of friends, a living community. Fluxus as a way of thinking and working retains its vitality and continues to transform the relationship between art and the world around it. Today, various artists from around the world continue to work in the Fluxus tradition, internalizing this attitude and integrating it into their artistic creation.

From the early 2000s, a group of Fluxus artists, first joined by the online community “Fluxlist” (co-founded by Fluxus co-founder Dick Higgins), began organizing and attending a series of international Fluxfests, first in New York City, and then in Chicago. These festivals have been organized mainly by Keith Buchholz, based in St. Louis (first with the help of Allan Revich from Toronto and with the support of the Emily Harvey Foundation in Manhattan, and then in Chicago with the help of artist Bill (Picasso) Gaglione and curator Tricia Van Eck). This group of artists has remained faithful to the Four Fluxus Ideas that have been defined by the artist and theorist Allan Revich:

  1. Fluxus is an attitude. It is not a movement or a style.
  2. Fluxus is Intermedia. Fluxus creators like to see what happens when different media intersect. They use everyday found objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.
  3. Fluxus works are simple. Art is small, texts are short, and performances are short.
  4. Fluxus is fun. Humour has always been an important element in Fluxus.

While these four principles are not absolute, they represent an excellent shorthand to understanding Fluxus.

In August 2020, in the context of the Covid-19 virus, the HOTEL DADA Gallery Base de Arte Correo y Poesía Experimental (directed by the artists Silvio De Gracia and Ana Montenegro) has organized, with the curatorship of the artist Bibiana Padilla Maltos, its first Fluxus festival completely online. This HOTEL DADA FLUXFEST ONLINE has 2 particularities that will mark its future historical importance in the future of Fluxus: it is the first festival initiated in Latin America, and the first Fluxfest that takes place in a totally virtual environment. As artist Allan Revich states, “In the Internet age, the world of Intermedia has become the new normal. It seems natural that the combination of the intersections of technical media and online social media leads to a revival of the new Fluxus which, while not the same as the old Fluxus, is nevertheless a natural extension of it. HOTEL DADA FLUXFEST online hopes to take the concept of intermedia to a new level, by exploring radical Fluxus in cyberspace.

On August 1 and 2, the Fluxus dialogue will come to life again through the performances of a group of international artists who will meet for the first time on the internet, to demonstrate that there are no limits between art and life.

Silvio De Gracia, HOTEL DADA, July 20, 2020.

Versión en Español

FLUXUS LIVES : ETERNAL RADICAL ATTITUDE

1 y 2 de agosto

Descrito como “el movimiento artístico más radical y experimental de la década de 1960”, Fluxus desafió el pensamiento tradicional sobre el arte y la cultura durante más de cuatro décadas, convirtiéndose en un laboratorio de ideas para la experimentación artística en Europa, Asia y Estados Unidos. Tuvo un papel central en el nacimiento de formas clave del arte contemporáneo, como arte conceptual, instalación, performance, intermedia y video. A pesar de su gran influencia, el alcance y la escala de este fenómeno único torna sumamente compleja  su explicación  en términos normativos históricos y críticos.

Sin embargo, el sistema del arte ha reducido a Fluxus a un movimiento inscripto en un momento determinado e integrado por un grupo específico de personas, cerrando el camino para desarrollos ulteriores más allá de los 70. Todo esto, muy adecuado para gestionar grandes exposiciones y alimentar el mercado del arte, contradice el verdadero espíritu de Fluxus. Dick Higgins, uno de sus mayores teóricos, ha escrito que: “Fluxus no es un momento en la historia o un movimiento artístico. Fluxus es una forma de hacer las cosas, una tradición y una forma de vida y muerte”. Para Higgins, para George Maciunas y para Ken Friedman, Fluxus era más valioso como idea y potencial de cambio social que como un grupo específico de personas o una colección de objetos.

Fluxus no murió en una fecha sagrada en el pasado, sino que sigue vivo. Hoy Fluxus es un foro, un círculo de amigos, una comunidad viva. El fluxismo como forma de pensar y trabajar conserva su vitalidad y sigue transformando la relación entre el arte y el mundo que lo rodea. Hoy, varios artistas de todo el mundo continúan trabajando en la tradición de Fluxus, internalizando esta actitud e integrándola en su creación artística.

Desde principios de la década de 2000, un grupo de artistas de Fluxus, unidos al principio por la comunidad en línea “Fluxlist” (cofundada por el cofundador de Fluxus, Dick Higgins), comenzó a organizar y asistir a una serie de Fluxfests internacionales, primero en la ciudad de Nueva York, y luego en Chicago. Estos festivales han sido organizados principalmente por Keith Buchholz, con sede en St. Louis (primero con la ayuda de Allan Revich de Toronto y el apoyo de la Fundación Emily Harvey en Manhattan, y luego con la ayuda del artista Bill (Picasso) Gaglione y la curadora Tricia Van Eck). Este grupo de artistas se ha mantenido fiel a las Cuatro Ideas Fluxus que han sido definidas por el artista y teórico Allan Revich:

  1. Fluxus es una actitud. No es un movimiento o un estilo.
  2. Fluxus es intermedia. A los creadores de Fluxus les gusta ver qué sucede cuando se cruzan diferentes medios. Utilizan objetos, sonidos, imágenes y textos encontrados y cotidianos para crear nuevas combinaciones de objetos, sonidos, imágenes y textos.
  3. Los trabajos de Fluxus son simples. El arte es pequeño, los textos son cortos y las performances son breves.
  4. Fluxus es divertido. El humor siempre ha sido un elemento importante en Fluxus.

Ahora, en agosto 2020, en el contexto del Covid-19, la galería HOTEL DADA Gallery Base de Arte Correo y Poesía Experimental (dirigida por los artistas Silvio De Gracia y Ana Montenegro) organiza, con curaduría de la artista Bibiana Padilla Maltos, su primer festival Fluxus en forma completamente online. Este HOTEL DADA FLUXFEST ONLINE tiene 2 particularidades que marcarán su importancia histórica a futuro en el devenir de Fluxus: se trata del primer festival convocado desde Latinoamérica y de la primera ocasión en que se desarrolla en un entorno totalmente virtual. Como afirma el artista Allan Revich, “en la era de Internet, el mundo de Intermedia se ha convertido en la nueva normalidad. Parece natural que la combinación de las intersecciones de los medios técnicos y las redes sociales en línea conduzca a un renacimiento del nuevo Fluxus que, aunque no es lo mismo que el antiguo Fluxus, es, sin embargo, una extensión natural del mismo ». HOTEL DADA FLUXFEST online espera llevar el concepto de intermedia a un nuevo nivel, mediante la exploración de la radicalidad fluxus en telepresencia.

Los próximos días 1 y 2 de agosto el diálogo fluxus volverá a cobrar vida a través de las performances de un grupo de artistas internacionales que se encontrarán por primera vez en internet, para mostrarnos que no hay límites entre el arte y la vida.

Silvio De Gracia, HOTEL DADA, July 20, 2020.

Fluxfest 2020 Los Angeles

The news you have been waiting for!

March 6 – March 8, 2020

Fluxfest 2020 is happening in Los Angeles, California from Friday March 6th through Sunday March 8th. Come to party. Come to learn. Come to participate.

Here is the schedule of events for Fluxfest 2020 in Los Angeles California

Schedule of Events for Fluxfest 2020 in Los Angeles California

Mail Art Call for Fluxfest 2020

Get your Flux on now!

Vision 20-20 mail is being opened in Los Angeles so send your vision today.

Deadline February 15 2020, maximum size 8.5”” x 5.5”, 5241 Franklin Circle, Westminster, CA, 92683, USA.

No jury. No returns. All art will be shown. Vision2020Mail.com

Fluxfest Toronto is This Month

Fluxfest 2019 Toronto

Fluxfest 2019 Toronto June 20-23

John M. Bennett, Poetry et Cetera, etc.

From Lanny Quarles introduction to John’s most recent collection, SESOS EXTREMOS

SESOS EXTREMOS by John M. Bennett

SESOS EXTREMOS by John M. Bennett

After having read John M. Bennett’s poetry almost daily for 20 plus years, you would think I would have something very definite to say about it, but if there’s one thing I’ve learned from reading it all these years, is that things can change in an instant. At first you think some of the pieces you’ve been reading are hardcore concrete poetry, poetry of and maybe to the physicality of words, of expression, the mechanicality or instrumentality of thought, but then that year, you happen to meet or watch a performance by John and you’ve got the book in your hand, and suddenly you realize that a certain percentage of the poems, or even of any given poem, might suddenly become a very succinct notation for performance, an agile, well oiled vocal performance where some strange fog is playing the ‘john-horn’ or its fog suit avatar. In short, that the poem was made as such for a specific purpose (in one sense), but also that it is still concrete poetry, or it’s concrete sound poetry mapped to a visualization, and its functionalization as such is also visually important because it realizes a unique cultural production which is both solipsistic and immensely social and referential.

There are the collaborations, the works inspired by travel and friendships, poems in Spanish and French, and an engagement with the entireties of several avant-garde traditions and anti-traditions. There are hacks, riffings, homages, fever dreams, and obsessions galore! Like an oozing tarantula of snapping human jawbones carved from Olmec jade, or the Zapotec lightning amoeba Cocijo, the poetry of Dr. Bennett works its way into the crannies of your soft green brain, it sticks on your neck like a stain inspecting the muddy blowhole you call a mind. It’s literary peyote, both sacred and profane, but also scared because it’s making propane in the cave and the only light there is from an illuminated turtle language (with fire legs in its shirt) and there’s some gelatin left over which is already living in a bowl on your mantle and it has its own flag, the stone hand, ALTO! who knows how it got there, John may have picked it up on his shoe in the jungles of Mexico riding with the revolutionaries until they got lost, or found.

In short, John M. Bennett is a national treasure and an international man of mystery. Is he a mild-mannered librarian or a fluxist master? Is he camping in a hole full of beans? Possibly. Whatever it is he’s doing, he’s doing it just fine and will probably continue to do it, no matter what we think.

Lanny Quarles 2018

 

Fluxus and Minimalism and Me

Roots of Fluxus vs. Roots of Minimalism

Fluxus and Minimalism emerged at about the same time, and in reaction to the same tendencies in the art world. Both sensibilities evolved partly as a reaction against the post war (WWII) dogma of Abstract Expressionism. More importantly, they were both artistic revolutions against the art establishment. But there was an important difference that cannot be ignored. Whereas Fluxus had its roots in the anti-art aesthetic of Dada, Minimalism had its roots in the same milieu as the art world that it rebelled against. Inevitably, Minimalism became subsumed into that art world. Fluxus remains to this day as a small but important bastion, standing against the tyranny of artistic orthodoxy.

I like Fluxus. I create Fluxus artworks.

I like Minimalism. I create minimalist artworks.

I see myself as an anti-artist, and an artist, at the same time. And this causes me some cognitive dissonance. How does one resolve this dissonance?

There remains a core commonality in Fluxus and Minimalism, despite their differences. Both Fluxus and minimalism are meant to be accessible. Both rejected a prevailing aesthetic that was being imposed by critics, historians, academics, and a ruthlessly mercenary cabal of collectors and art dealers. Both stood out as artist-centred, and artist organized. And even though the “art stars” of Minimalism moved into the realm of art dealers and collector/market driven commercialism, the minimalist (deliberately not capitalized “m”) aesthetic and life-orientation remains accessible to any artist who is drawn to it.

Two images.Vultures over Marfa Texas and red circle with nothing in it

The two works above are some of my most recent pieces, in which I’ve attempted to merge the anti-art ethos of Fluxus with the minimal aesthetic of Minimalism. I’m not sure if I’ve succeeded with my new series of works on paper, but my goal is to hang on to the minimalist aesthetic and my inherent Fluxus sensibilities.

And of course, I can never really leave the Fluxus community and the “fluxiest” aspects of Fluxus, in which Intermedia supersedes any single medium.

Allan Revich (me), throwing a pebble into each corner of the universe. Rutgers University, New Brunswick, New Jersey, 2010

Fluxus and Minimalism emerged at about the same time, and in reaction to the same tendencies in the art world. Both sensibilities evolved partly as a reaction against the prevailing orthodoxy of the gallery/collector oriented art world.

This article is not about the 21st century minimalist lifestyle.

Instant Fluxfest Kit: The Fluxus Performance Workbook

The Fluxus Performance Workbook. Edited by Ken Friedman, Owen Smith, Lauren Sawchyn

550 Classic Fluxus Performance Scores

Hey kids! Get your gang together and have your very own Instant Fluxfest!

Just download the incredible Fluxus Performance Workbook and get busy performing the scores that have entertained and enlightened generations of Fluxus enthusiasts round the world.

The Fluxus Performance Workbook. It’s Free! Get yours today!

Download it now (PDF)

The Fluxus Performance Workbook. Edited by Ken Friedman, Owen Smith, Lauren Sawchyn

The Fluxus Performance Workbook. Get yours today!

 

The Fluxlist: Lists, Links, Social Media

Fluxlist has been Fluxus since 1996199

The Fluxlist in 2018 is as busy as it ever has been since its founding in 1996 by Fluxus co-founder Dick Higgins and friends. Some of whom (like Allen Bukoff) remain active on the list to this day.

Where will you find The Fluxlist today?

Facebook Group
(Most of the interactivity for which the intermedia group is famous happens here)

Yahoo Mail Group
(The email list continuation of the original 1996 listserv)

Twitter @The_Fluxlist

The Fluxlist Blog on Blogspot

On the Web @ the-fluxlist.com

John M. Bennett and Luna Bisonte Prods

John M. Bennett John M. Bennett has been (and continues to be) a prolific author and publisher of avant garde poetry and experimental writing. He is an active and inspirational member of the contemporary Fluxus community, and along with his wife, Cathy Mehrle Bennett, is also an active participant in the international network of mail artists.

Since 1974, Luna Bisonte Prods has published a wide variety of experimental, avant-garde, audio, and visual literature in a wide variety of formats by artists from all over the world. Among the authors and artists published are such major and emerging figures as Ivan Argüelles, Sheila E. Murphy, Jim Leftwich, Andrew Topel, Carlos M. Luis, Scott Helmes, Jake Berry, John M. Bennett, Susan Smith Nash, Al Ackerman, Bob Heman, Richard Kostelanetz, Charles Henri Ford, Dick Higgins, Robin Crozier, Peter Ganick, and many others.

LBP books are collected in major libraries and institutions, including The Museum of Modern Art, The Sackner Archive, Princeton University, SUNY Buffalo, The University of Wisconsin, Brown University, New York Public Library, Washington University, Ohio University, The Ohio State University, and many others.

Luna Bisonte books are available at Lulu.com

FLUXFEST CHICAGO 2017

FLUXFEST CHICAGO 2017
Itinerary:

Fluxfest Chicago 2017 Poster

Thursday, May 25. Opening reception, connections… Don E Boyd and art networking. 4 to 7 PM, Joan Flasch artist book library, school of the Art Institute of Chicago.
Dinner to follow, at Italian Village.

Friday, May 26th.
Meet at 9 AM at Patisserie Toni for breakfast, followed by a visit to concrete happenings, the Wolf Vostell show at University of Chicago. Bring flyers, postcards, handouts … let them know we were there !
At 4:30 pm we regroup at the MCA plaza for Flux/Resist. A guerilla art parade with street performances which joins the larger public protests at trump tower. Bring signs, banners, handouts, ask others to send signs to carry …

8pm New York Correspondance school of Chicago Yearly meeting and dinner.
The berghoff restaurant.

Saturday May 26th
10am breakfast meet up at Patisserie Toni ,
12-12:30 arrive at UNUM Gallery .
Performance from 1-4? PM .
Dinner to follow at FEED.
End the evening with the Nightcap Party at Schwalbe House. Wear your favorite nightcap, bring your Ukeleles.

Sunday May 27th
12:00 -5pm ?
Fluxuspotluck
Food and performances at
6018 North Gallery

Chicago Fluxfest 2017: Hold These Dates

Fluxfest Chicago 2017 May 23 to May 28

It’s Another Fluxfest! May 25 though May 28

FLUXFEST CHICAGO 2017

Don’t ask too many questions!!!
Only the dates are official for now but our agent on the ground, our man in the street, our favorite fluxy impresario is making things happen.

George Maciuanas Documentary Film

George Maciunas (1931–1978) was a co-founder, and the self-appointed leader of Fluxus, an international community of artists, which was especially active in the United States, Japan, and Europe during the 1960s and 1970s. Today, the Fluxus network continues to thrive in the traditions established all those years ago by Maciuanas and his contemporaries.

Fluxshop-Stationery

George Maciunas, “Fluxshop Stationery (recto)” (nd), offset, printed in black, 13 3/4 x 6 3/4 inches (The Gilbert and Lila Silverman Fluxus Collection Archives, The Museum of Modern Art Archives, New York)

Manhattan-based artist and filmmaker Jeffrey Perkins, who met Maciunas several times and has long been associated with many of Fluxus’s key figures, has been gathering research material and shooting interviews with surviving Fluxus luminaries for George, a documentary film he is producing that will chronicle the life and achievements of the avant-garde group’s legendary leader.

Full article about the project is available on HyperAllergic.com

“George,” the Maciunas Film: An Emerging Portrait of an Influential Enigma