"in memorian" george maciunas
beuys & nam june paik done a klavierduett
in a 1978 dusseldorf fluxus-soiree!!!
so "fluxus is dead"
yeah...,
but alive with
...pez
At 02:04 -0700 19/12/00, St.Auby Tamas wrote:
>High!
>
>narvis & ...pez wrote:
>>
>> fluxus is alive with beuys myth included
>>
High!
narvis & ...pez wrote:
>
> fluxus is alive with beuys myth included
>
>ok, why not ?
It's a doublethink.
Beuys said around 1977:
"Fluxus is dead".
(As if Fluxus is a KZ-lager.)
Why yes?
Hugh!
aa
The beauty of (art)history is that it is constantly being rewritten.
If pez wants his own myths, it is OK with me. Why not?
Eric
narvis & ...pez wrote:
> for instance, fluxus is alive
> with beuys myth included
>
> ok, why not ?
>
> pez
Estimado pez:
many thanks for your wonderful prhasings--
"obsolete paraphernalia from a hat"!
as there is also myth of Dada being name "pulled out of hat"!
On Sun, 17 Dec 2000, narvis & ...pez wrote:
> At 03:50 pm +0100 12/12/00, Eric Andersen wrote:
>
> >
At 03:50 pm +0100 12/12/00, Eric Andersen wrote:
>Here it seems that people much more are looking for a
>stereotyped legend.
recognition of old forms
it's not a wrong way to newones.
perhaps there are only opinions
about who, when or where was correct or not
mere like or dislike
about all this
hmmm . . .
joseph beuys--or joseph campbell? --THE HERO WITH A THOUSAND
FACES!
--chirot
On Sun, 17 Dec 2000, Eric Andersen wrote:
> No, it wasn't just the artmarket. In the 70's the perfect, political
> radical, correct cocktail consisted of wholoism, theosophy, ecology and
> a litt
No, it wasn't just the artmarket. In the 70's the perfect, political
radical, correct cocktail consisted of wholoism, theosophy, ecology and
a little touch of exotic mythology. To many people Joseph offered such a
perfect cocktail. Also many of his students at that time became real
disciples and w
> A lot of people found joseph very, very correct in the 1970s
Why ? Just the artmarket ?
H.
narvis & ...pez wrote:
> what's supposed "new" for you today?
Fluxus wasn't new in the first place. It was merely an accumulation of a lot of
intermedial research that had been done in many places of the world for 4-6
years. Innovation in this InterMedia space has gone on ever since. However not
ching. To those women in the
> street, I mean.
>
> Badger (goddamnit I'm serious about everything!) Girl
>
> --
> >From: Eric Andersen <[EMAIL PROTECTED]>
> >To: [EMAIL PROTECTED]
> >Subject: Re: FLUXLIST: To Name
> >Date: Sun, Dec 10, 20
At 06:16 pm +0100 10/12/00, Eric Andersen wrote:
>I don't know. I haven't seen any of them. However, none of what I have seen
>on the list seem to be new in any sense.
what's supposed "new" for you today?
are you aware of any fluxus aesthetic evolution
out off what we have discussed here?
where
[EMAIL PROTECTED]
>Subject: Re: FLUXLIST: To Name
>Date: Sun, Dec 10, 2000, 5:08 PM
>
> In the '60s Fluxus was really hated by everybody. The art world, the music
> scene, the woman in the street, the cab driver. We were all considered
lunatics.
> If you really wanted t
In the '60s Fluxus was really hated by everybody. The art world, the music
scene, the woman in the street, the cab driver. We were all considered lunatics.
If you really wanted to complicate your cultural and otherwise political life,
you just had to tell people that you were one of them who had p
> Fluxus was probably the most political incorrect you could be in the '60s.
In which sense ?
I remember seeing some John Lennon docu, well Yoko Ono etc, asking myself
how such a stupid person could make such great music.
Maybe the slogans would be differenmt today, hopefully.
H.
narvis & ...pez wrote:
> what about the recents fluxlist box, & the fluxstamp project
> (& roger steven's cageanian poetrybook) these are not
> a "fluxumm aesthetic sharing" or do we don't move in an strategy
> to go on a new "flux the way" of process art?
I don't know. I haven't seen any of the
It is not so strange. Maciunas was a wonderful person and a very energetic
organizer. In the early '60s he lived like a monk and his whole world was
centered around festivals and publishing. The differences between us was very
clear and nobody tried to hide them. Maciunas urged us to sign a manife
> For Bertrand: Yes, Maciunas had many, many wonderful talents, but theory
>
> was certainly not one of them.Only Ben Vautier could find any interest in
Maciunas texts. The
> rest of us just went along because we considered them completely
> unimportant. We had our own opinions which differed a l
At 12:35 am +0100 9/12/00, Eric Andersen wrote:
>I don't think it can be discussed who is more or less Fluxus, since
>there were (are) no shared aesthetics or strategy among the part takers
>in the network. Consequently we never had such discussions among
>ourselves.
what about the recents fluxli
I don't think it can be discussed who is more or less Fluxus, since
there were (are) no shared aesthetics or strategy among the part takers
in the network. Consequently we never had such discussions among
ourselves. What can be clarified however, is who was where when. There
is much more mytholog
Eric Andersen wrote:
> . It is interesting that Beuys' pupil
> Henning Christiansen also in Germany is considered associated with the
> Flux network. He never was.
Yes I know. I'm only pointing to the fact that maybe Beuys, from some date
mid sixties, seems to only give "flux" names to the wor
> It is my impression that a lot of people on the list consider him to be
> a key person in how they understand Fluxus to be. And the infamous
Didnt he take part in some major exhibition in 62 ?
Maybe he was never just a member of a group, but
Its hard to think of Nam Yune Paik as being mor
I noticed Ben Vautier has revamped his website
check out...
http://www.ben-vautier.com/
and click on ben/fluxus - lotso commentary on Beuys there...yes,
indeedyand on just about every body..
PK
Dear Eric,
You're right in saying that the first appearance of the term Fluxus was for
that lithuanian magazine, but saying that Maciunas had a very little insight
into the experimental art scene is a bit strong. He organized the Musica
Antica e Nova, with people like La Monte, Cage, Corner, Dick
In a message dated 12/5/00 12:37:12 AM, [EMAIL PROTECTED] writes:
<< ryk Salvaggio >>
thanks!
--
jay marvin
[EMAIL PROTECTED]
[EMAIL PROTECTED]
Eryk Salvaggio
>How about some names of some Fluxist painters?
>
>Jay
How about some names of some Fluxist painters?
Jay
--
jay marvin
[EMAIL PROTECTED]
[EMAIL PROTECTED]
I am certainly no Fluxus historian or scholar, but my own understanding of
Beuys' relationship to Fluxus is that it was fairly brief and that this
contact did not have a major influence on either him or on "Fluxus" (i.e.,
the other more central Fluxus participants). That may not be accurate, bu
It is my impression that a lot of people on the list consider him to be
a key person in how they understand Fluxus to be. And the infamous
traveling show "Fluxus in Germany" sponsored and organized by IFA in
Stuttgart certainly states so. It is interesting that Beuys' pupil
Henning Christiansen al
Eric Andersen wrote:
It is amazing how especially German art history has
manipulated lots of people
to believe that Joseph Beuys was a central figure in the Flux network.
In fact,
there was not much contact. And Beuys' Selbstdarstellung, Shamanism
and
metaphysics are really quite opposite world
Dear Heiko,
Yes, it is my favorite Beuys piece. An exalted short circuit.
Eric
Heiko Recktenwald wrote:
> Think he did that himself with his stamp "Fluxus Zone West".
>
> Duesseldorf...life style..
>
> H.
> It is amazing how especially German art history has manipulated lots of people
> to believe that Joseph Beuys was a central figure in the Flux network. In fact,
Think he did that himself with his stamp "Fluxus Zone West".
Duesseldorf...life style..
H.
Thanks to zap for giving the information about Al Hansen. It was more or less
the same stuff I had planned to pass on.
I am sorry Bertrand, but to put it politely you are not fully informed about the
matter. Compared to other places in the US, Europe and Japan George Maciunas did
very little, whi
- Message d'origine -
De : Eric Andersen <[EMAIL PROTECTED]>
À : Fluxlist <[EMAIL PROTECTED]>
Envoyé : jeudi 30 novembre 2000 01:27
Objet : FLUXLIST: To Name
> Dear Heiko,
>
> I wasn't concerned about naming things. And didn't deal with what could
&
> if you are based in Bonn (as I guessed from your URL) you might want to check out
>"Al Hansen: Oevre/Flashbacks, Ausstellungskatalog, Kunstverein Rosenheim" which is at
>the Kunsthistorisches Institut/Uni Bonn. Also you can talk to Galerie Berndt in Köln
>(www.berndt.de). I think they knew Al
about Al Hansen:
As Eric alredy pointed out there are millions of stories about Al Hansen.
Unfortunately I was never able to meet him, because I am too young and I fear that I
am missing something. So here is what I found out anyway(correct me if anybody knows
it better!): It seems that Al had
But Al etc were in that class. And he dropped out of the best job, when
they all dropped out. How would you describe this process ? Why did he go
to Cologne etc ?
I dont have anything specific, I dont like all he did, but I saw some
posters, he made, maybe some of the strongest pieces from the 60
In a message dated 11/29/00 6:29:59 PM Central Standard Time,
[EMAIL PROTECTED] writes:
<< About Al. Millions of stories can be told. Anything specific you want to
know?
Eric >>
Tell us about his experiments with minimalist music.
Thanks for the interesting thread!
Tim
Dear Heiko,
I wasn't concerned about naming things. And didn't deal with what could
be called Fluxus or not. I objected to your statement that Fluxus
started in Cage classes. It certainly did not. And it certainly did not
originate in New York.
About Al. Millions of stories can be told. Anything
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