FLUXUS - 2005
FLUXUS - CHRONOLOGIE FLUXUS A NICE (PAR CLAVEZ ) - 2005-11-18
Octobre 1958 Ben ouvre le Laboratoire 32 rue Tondutti de l'Escarène à Nice qui deviendra plus tard la galerie Ben doute de tout.
Octobre 1962
Invité par Daniel Spoerri au Misfits Fair Ben s'expose dans la vitrine de la Galerie One, Londres. Il y rencontre Robert Filliou, A. Knowles, Kopcke, Robin Page, George Maciunas qui lui fait connaître Fluxus et les events de George Brecht
Ben fait un film avec sa tête « regardez moi cela suffit »
1963
25 Juillet au 3 Août - Festival mondial Fluxus et Art Total à Nice organisé par Ben avec George Maciunas, invité pour l'occasion. Ils organisent un concert Fluxus à l'Hôtel Scribe ainsi que des pièces de rue à Nice et un concert dans le village de Coaraze, sur l'invitation de Jacques Lepage (participation Robert Bozzi et Robert Erébo)
Ben Robert Erébo Dany Gobert Pierre Pontany fondent le Théâtre Total à Nice. Ils réaliseront de nombreuses pièces Fluxus dans des théâtre et dans la rue entre 63 et 65. Annie les rejoint en septembre 1963
Janvier 1964
Théâtre Total présente « Réalité » à l'Artistique (avec Serge III Annie Bozzi Erébo Dany et Ella Gobert, Peter, René Pietro Paoli)
Mars 1964
Théâtre Total présentent « Quelque chose » à l'Artistique à Nice
Octobre 1964
7 jours de recherches le Téâtre Total au Buffet de la Gare de
Nice avec Serge III Mlle Janine, Annie, Peter, Dany Gobert
Concert Fluxus Théâtre de Cousin Bibi, Nice
1965
Théâtre de Cousin Bibi, Nice
Publik de Ben
Gestes de rue devant le Provence, Nice
Juin
Concert de Robert Erébo avec
Robert Erébo, Ben et Robert Bozzi
Ouverture de « La Cédille qui sourit » à Villefranche
Arrivée de George Brecht, Donna, Robert Filliou, Marianne
et Marcelle.
Interview George Brecht pour Identités avec Marcel Alocco et Ben
Ben fait une exposition à la Cédille qui Sourit
Avec une action Fluxus « Tour » de Ben Patterson dans les rues de Villefranche
1966
Le théâtre Total présente « Personne »
A l'Artistique à nice
Le ThéâtreTotal présente « La Table »
A l'Artistique à nice
A la Galerie A exposition de groupe
« le litre de vin rouge coûte... »
Avec Alocco, Viallat, Ben, Strauch
L'exposition est suivie d'une tournée des bars
Avec brecht, Filliou, Donna, Marianne, Alison Knowles, Takako,
Dick Higgins.
1967
Présentation des Films Fluxus à la Galerie
Ben doute de TOUTAIN JOHN
1967
Art total XX
au Bar Le Provence à Nice
Concert Fluxus avec le Théâtre Total
1967
Art Total
Bar Le Provence
« Suicide »
1967
Décembre L'Ecole de Nice (Arman, Raysse, Klein, etc) expose à la Galerie des Ponchettes . Ben organise en réaction une exposition « le Hall des remises en questions » où exposent Alocco, Brecht Filliou Dolla, Ben, Manzoni etc. Filliou crée son « hommage à l'esprit d'escalier » et la réhabilitation des génies de café.
George Brecht et Filiou publient Games at the Cedilla or The « cedilla takes off » par la Something Else Press de New York
Galerie Ben doute de Tout expose le Tiroir aux vieilleries De Marcel Alocco
Galerie Ben Doute de tout présente diverses expositions Fluxus et autres.
1968
George Brecht et Robert Filliou réalisent à la Cédille qui Sourit le film « Work and play » un hommage à Méliès
1968
Balayage du hall de la gare de Nice Ben, Michou Strauch, annie etc
Mars
« Banqueroute » la Cédille qui sourit ferme pour cause de faillite et édite cette affiche
1969
Juin
Festival Non Art Anti Art la Vérité est art organisé par Ben à Nice. Serge III fait du stop avec un piano Ben met la terre en chute libre. Mark Brusse enterre une sculpture dans le jardin de Dietman etc. Ben fait la série des « efforts » Il est fait à cette occasion une revue éditée sur une machine offset donnée par Arman en échange d'une armoire d'objets de Ben. Ben et Roland Flexner passent des nuits à faire fonctionner cette machine.
1970
Jean Mas, Ben et annie sur une proposition de Mas partent dans les environs de Nice faire un igloo dans la neige
Ben Annie et Serge III font la descente du Var sur un cannot pneumatique jusqu'à la mer
1971
A la Galerie Ben doute de
Tout plusieurs expositions Fluxus dont Robert Filliou
Dans l'année des 365 1er Avril « je suis un artiste d'Avril »
Théâtre de Nice « une Semaine au présent »
Exposition, concert Fluxus
Présentation de la partition de La Monte Young
A la Galerie Ben doute de Tout
Les Paravents à la galerie De la Salle exposition organisée par Ben avec Erébo, Filliou, Brecht, Serge III, Alocco, Flexner, Takako, Dietman, Boltanski etc.
1972
Aspect de l'avant garde
Théâtre de Nice
1973
Biga, Filliou, (principe d'équivalence) Serge III
Studio Ferréro nice
Expo des documents et archives d'Eric Andersen
A la Fenêtre, Nice (en face de la galerie Ben doute de Tout)
Expo des documents d'archives Fluxus avec Films Maciunas
Exposition de Takako à La Fenêtre, nice
1977
Nice Fayence Marseille Antibes Concerts Fluxus de Ben
1979
Exposition Fluxus international and Co à la galerie
D'Art Contemporain des Musées de Nice
1981
2mn33 au théâtre de l'Artistique
2003
Festival Fluxus et néo Fluxus à Nice organisé par Ben
(avec l'aide du groupe de La Station : Maxime Matray,
Cédric Teisseire, Renata, Oliver, Jean Baptiste Ganne etc)
Dans divers lieux de Nice dont le Théâtre de Nice et le Théâtre de la Cité avec théâtre Fluxus et projection de films Fluxus.
FLUXUS - ABOUT FLUXUS FROM ALLAN BUKOFF - 2005-02-08
Sent: Friday, January 07, 2005 10:52 AM Subject: Re: FLUXLIST: from allen
bukoff Allen is right. Fluxus has devolved into the sad spectacle of those
who originally disdained canonicity desperately trying to ensure the
presence of their own work in the canon. It's a bit pathetic.
Fluxus, the original entity, has become a collection of objects and texts of
interest only to academics, such as Hannah Higgins, bless her good
intentions, whose new PhD will only sift another layer of dust over the
legacy that she's preserving. Shows of Fluxus artifacts, like the one at
the Walker Art Center a couple of years ago, are an incredible yawn, heaps
of paper in vitrines. They are evidence of the end of the thing.
Fluxus isn't meant to be an archive, it's meant to be a practice, and such
practices cannot be owned. The current discourse around the idea of
copyright that has been sparked by the internet illuminates this as well.
There is a potential in the net for great and radical changes in the notion
of the creative practice and its relation to the individual and to the
culture at large. This potential is intimately related to the possibilities
that Fluxus opened.
So why, then, do later practicitioners want a relation to the name Fluxus?
Why don't we simply call it something else, Flewage, whatever? Because the
practice known as Fluxus is a legitimate component in what is happening, and
it's weird and cumbersome to be forced to ignore it, a kind of
falsification.
Plus, to stop using the word is to acknowledge that a group of people who
once pursued the practice own the word and its attributes, even own the
practice. It's sort of like being disowned by one's parents. If my father
insisted that the name "Klefstad" was his, and that all the characteristics
that it implied stopped with him, because he owned the word and its
attributes, and said, "Find your own name," that would be analogous to the
sad and paranoid behavior of the Fluxus artists I've witnessed, from the
Anderson/Friedman feud to the notion that the term "Fluxus" was reserved for
the chosen few, even if that meant that the practice was doomed.
I think we should just hijack the word.
Ann Klefstad On 1/7/05 9:27 AM, "Alan Bowman" <alanfffo@superdada.com>
wrote:
Allen Bukoff has asked me to forward this to all. I request that you all
read it and give it just consideration.
Allen, in my opinion, has had more to offer on the 'Fluxus' front than many
in recent years. Wether the "F" word matters or not is one thing, Allen and
Fluxus Midwest has/have provided a valuable source of fluxus art amusement
over the years, and before it goes...
CHECK OUT http://fluxus.org and it's related sites.
ab MESSAGE FOLLOWS Many are called, but none are now chosen.
An open letter to 1st and 2nd generation Fluxus
AYO Eric Andersen Henry Flynt Ken Friedman Geoff Hendricks Alison Knowles
Larry Miller Yoko Ono Nam June Paik Ben Patterson Carolee Schneemann Ben
Vautier Lamonte Young Emmet Williams -other names to be added to this list,
as I distribute it.
6 January 2005
Dear Fluxus,
I was very fond of Emily Harvey. I miss her a lot. I am sorry I will not
be there to help you honor and remember Emily Harvey tonight.
Emily Harvey's passing marks a passing for me, too. I am walking away from
Fluxus. It is, unfortunately, unnecessary to announce my departure:
most of you don't even know me. You probably didn't even realize that I am
a part of Fluxus and that I operate and host a number of websites that have
promoted Fluxus for the last nine years. And none of you have ever
acknowledged that I am, in fact, an active Fluxus artist who has pioneered
new little directions and forged new sensibilities in Fluxus for more than
20 years now. That is why I am leaving.
Twenty years ago I fell in love with Fluxus and the monumental creative
revolutions you all initiated more than 40 years ago. You changed and
expanded what creativity and knowing means. You changed Western culture.
You changed the world. You ripped a new hole in the universe. And you did
it with simple little ideas, games, objects, performances, and concepts.
I will always admire your astonishing accomplishments. What you did was so
big that no historian, writer, collector, or curator has ever gotten their
arms around it satisfactorily.
But an equally astonishing thing has been going on in Fluxus for the last
twenty years. You have been letting Fluxus die.
At one time you welcomed people to Fluxus. You recruited people to Fluxus.
I know you have always been a contentious lot, but there was a time when the
Fluxus door was open, you invited people in, and you made it grow. You
embraced a "second wave" of Fluxus artists-e.g., Ken Friedman, Larry Miller.
You encouraged new Fluxus work and new Fluxus projects. But as far as I can
tell, this pretty much stopped 20 or more years ago (Friedman's Young Fluxus
show in 1982 is the last time any of you sponsored a show of "new"
Fluxus artists). What happened to you?
Letting Fluxus die is a terrific and unnecessary shame and I place most of
the blame on you (the people to whom this letter is addressed). I blame you
individually and I blame you collectively. You have served Fluxus poorly
during these last 20 years and you are letting Fluxus die. It didn't have
to be this way. For the last 20 years, an increasing number of mostly
young, bright, and talented people have been showing up and knocking on the
Fluxus club house door . and almost all of you have either been too deaf or
self-centered to hear them, or worse, you have continued to wring your hands
over whether anyone should or could open the door (the issue of who has the
"authority" to welcome and declare new Fluxus artists has been a convenient
excuse). All you really had to do was open the door and show a little
kindness. Why has that been so hard for all of you to do?
During the last 20 years many different people have been "called" to Fluxus.
I am one of those people. We learned about Fluxus in one way or another and
were struck by lightning, had an epiphany.and generally felt we had found a
place where we really belonged. We had hoped to find a home in Fluxus.
And many of just started doing and being Fluxus in our own way.much like all
of the original Fluxus folks had their own individual understanding and
gifts for Fluxus activities. And one way or another as we have gotten
stronger in our own Fluxus work, we have stepped forward and tried to share
this work with you. Needing to find some acknowledgement and encouragement
from the people who launched this Fluxus ship. We approached you with
respect.
We approached you as Fluxus authorities. We knocked on the door and you did
not answer. The most that some of you have been able to do for a whole new
generation of Fluxus artists is hand us some tedious book on Fluxus so we
could "study up," or you smiled patronizingly and encouraged us to attend
your next exhibition. You didn't even seem to consider that any of these
new folks could take you and Fluxus some place new and exciting where it
hadn't been before. And frankly, some of these new Fluxus folks have been
doing more interesting work and more truly Fluxus work than many of you have
been doing during the last 20 years.
Many bright and talented people have not stayed long to knock, however.
They heard the authoritative pronouncements that Fluxus was "dead" or
"over." This was very confusing and discouraging-many of us could feel the
spirit of Fluxus alive in ourselves and in our own work, so we couldn't
understand how Fluxus could be dead. But you didn't answer the door and
many eventually walked away. I have knocked longer than most-for more than
20 years now since I founded Fluxus Midwest in 1982. Dick Higgins and Emily
Harvey (and Carolee Schneemann) were the only ones to acknowledge and
encourage my own Fluxus work and experiments, but now Dick and now Emily are
gone, I'm out in the cold, and I'm tired of knocking. So I am packing up my
Fluxus bags, and taking my creativity and energies elsewhere.
I am closing down the many internet websites I have constructed and hosted
to promote and honor Fluxus: The Fluxus Portal, the Fluxus Homepage, the
Emily Harvey Gallery, the Museum of the Sub-Conscious, the Dick Higgins
memorial website, and numerous other webpages promoting the work of many
original Fluxus artists. I doubt that many of you will notice. I have also
walked away from FLUXLIST-the pioneering Fluxus email discussion group that
I co-founded with Dick and Ken Friedman. FLUXLIST is another example of
what I am talking about. Most of you could never even bother to subscribe.
By not participating you have missed a great audience and a wonderful chance
to discover and encourage many new Fluxus artists and to learn about their
work. It would have given you back more energy than it would have taken.
Almost all of you have failed to recognize three obvious things about
Fluxus--about the Fluxus you helped create!
1.. Fluxus is more than Art. It's bigger than that. To confine it to
being understood as being primarily a phenomenon in the realm of art is to
let it die.
2.. Fluxus can still be a vibrant and energetic force. By refusing or
failing to recognize this for the last 20 years, you have been letting
Fluxus die.
3.. Fluxus is bigger than you. Fluxus is bigger than the initial group or
Fluxers, it's bigger than Maciunas. You guys didn't finish off or
"complete" the Fluxus project, you just got it started! Many others have
come to Fluxus with new Fluxus ideas and projects, and many of you haven't
even bothered to notice. By confining Fluxus to yourselves, you are letting
it die.
You all have spent so much time during the last 20 years trying to shape
your legacy and the legacy of Fluxus, and few if any of you are satisfied
with the results-the exhibitions, the collections, the books. Instead of
trying to manage Old Fluxus you could have been leading a new group of
Fluxus artists to explore new Fluxus directions and new Fluxus territory?
Wouldn't it have been a lot more energizing and a lot more fun to fan new
Fluxus flames than struggle with collectors who have catalogued your work
but failed to capture your spirit or the scope of your actual
accomplishments?
I can only imagine that if George Maciunas were alive today he might have
excommunicated you all by now and found a new and younger gang of Fluxus
rabble rousers to continue his mischievousness. I imagine him cooking up
guerrilla art activities and staging "terrorist" art attacks against some of
the collectors and historians who demean him and you by saying Fluxus was no
bigger than him and no bigger than you.
Fluxus has the potential to be a bigger, more vibrant and creative force in
the world today than even the project George Maciunas imagined.
Certainly the world's need for the expanded creativity and the knowing that
Fluxus provides is greater than ever. Because of the availability of more
publications and catalogs documenting Fluxus work and because of the
internet, more people know more about Fluxus than ever before. Fluxus is
attracting more people than ever before-as much outside the art world as in.
More people than ever before want to participate in and make their own
contribution to Fluxus. But you-the founders, the brave pioneers-have
turned your back on them. And you have turned your back on a marvelous
opportunity to expand your legacy and help Fluxus continue.
Sincerely, Allen Bukoff, PhD Social Psychologist and Fluxus Artist
Birmingham, Michigan visit the FREEFORMFREAKOUT ORGANISATION online!
http://freeformfreakoutorganisation.net
FLUXUS - AGAIN BUKOFF - 2005-02-08
AMAZING, WONDERFUL, A REAL SLAPSTICK, FARCE AND VAUDEVILLE
AFTER DICK DIED, I WAS PROBABLY THE ONLY ONE FROM THE ORIGINAL
FLUXUS-NETWORK THAT EVER NOW AND THEN POSTED A LINE OR TWO TO
THE MISBEGOTTEN MIDWEST F-LIST
CONSEQUENTLY I WAS EXPELLED AND EXCOMMUNICATED TOGETHER WITH
MY DEAR FRIEND TAMAS ST.AUBY - MARVELOUS AND HILARIOUS
NOW WHEN WE HAVE A BUK OFF LETS LOOK FORWARD TO A BUSH OFF
allen bukoff wrote:
Please see document, attached. Please forward to others.
FLUXUS - BUKOFF NEVER STOPS - 2005-02-08
Many are called, but none are now chosen.
An open letter to the remaining 1st and 2nd generation Fluxus
AYO
Eric Andersen
Henry Flynt
Ken Friedman
Geoff Hendricks
Alison Knowles
Larry Miller
Yoko Ono
Nam June Paik
Ben Patterson
Carolee Schneemann
Ben Vautier
Lamonte Young
Emmett Williams
-other names to be added to this list
6 January 2005
Dear Fluxus,
I was very fond of Emily Harvey. I miss her a lot. I am sorry I will not be there to help
you honor and remember Emily Harvey tonight.
Emily Harvey's passing marks a passing for me, too. I am walking away from Fluxus. It
is, unfortunately, unnecessary to announce my departure: most of you don't even know
me. You probably didn't even realize that I am a part of Fluxus and that I operate and
host a number of websites that have promoted Fluxus for the last nine years. And none
of you have ever acknowledged that I am, in fact, an active Fluxus artist who has
pioneered new directions and forged new sensibilities in Fluxus for more than 20 years
now. That is why I am leaving.
Twenty years ago I fell in love with Fluxus and the monumental creative revolutions you
all initiated more than 40 years ago. You changed and expanded what creativity and
knowing means. You changed Western culture. You changed the world. You ripped a
new hole in the universe. And you did it with simple little ideas, games, objects,
performances, and concepts. I will always admire your astonishing accomplishments.
What you did was so big that no historian, writer, collector, or curator has ever gotten
their arms around it satisfactorily.
But an equally astonishing thing has been going on in Fluxus for the last twenty years.
You have been letting Fluxus die.
At one time you welcomed people to Fluxus. You recruited people to Fluxus. I know you
have always been a contentious lot, but there was a time when the Fluxus door was
open, you invited people in, and you made it grow. You embraced a "second wave" of
Fluxus artists--e.g., Ken Friedman, Larry Miller. You encouraged new Fluxus work and
new Fluxus projects. But as far as I can tell, this pretty much stopped 20 or more years
ago (Friedman's Young Fluxus show in 1982 is the last time any of you sponsored a
show of "new" Fluxus artists). What happened to you?
Letting Fluxus die is a terrific and unnecessary shame and I place most of the blame on
you (the people to whom this letter is addressed). I blame you individually and I blame
you collectively. You have served Fluxus poorly during these last 20 years and you are
letting Fluxus die. It didn't have to be this way. For the last 20 years, an increasing
number of mostly young, bright, and talented people have been showing up and
knocking on the Fluxus club house door ... and almost all of you have either been too
deaf or self-centered to hear them, or worse, you have continued to wring your hands
over whether anyone should or could open the door (the issue of who has the "authority"
to welcome and declare new Fluxus artists has been a convenient excuse). All you
really had to do was open the door and show a little kindness. Why has that been so
hard for all of you to do?
During the last 20 years many different people have been "called" to Fluxus. I am one of
those people. We learned about Fluxus in one way or another and were struck by
lightning, had an epiphany...and generally felt we had found a place where we really
belonged. We had hoped to find a home in Fluxus. And many of just started doing and
being Fluxus in our own way...much like all of the original Fluxus folks had their own
individual understanding and gifts for Fluxus activities. And one way or another as we
have gotten stronger in our own Fluxus work, we have stepped forward and tried to
share this work with you. Needing to find some acknowledgement and encouragement
from the people who launched this Fluxus ship. We approached you with respect. We
approached you as Fluxus authorities. We knocked on the door and you did not
answer. The most that some of you have been able to do for a whole new generation of
Fluxus artists is hand us some tedious book on Fluxus so we could "study up," or you
smiled patronizingly and encouraged us to attend your next exhibition. You didn't even
seem to consider that any of these new folks could take you and Fluxus some place new
and exciting where it hadn't been before. And frankly, some of these new Fluxus folks
have been doing more interesting work and more truly Fluxus work than many of you
have been doing during the last 20 years.
Many bright and talented people have not stayed long to knock, however. They heard
the authoritative pronouncements that Fluxus was "dead" or "over." This was very
confusing and discouraging--many of us could feel the spirit of Fluxus alive in ourselves
and in our own work, so we couldn't understand how Fluxus could be dead. But you
didn't answer the door and many eventually walked away. I have knocked longer than
most--for more than 20 years now since I founded Fluxus Midwest in 1982. Dick
Higgins and Emily Harvey (and Carolee Schneemann) were the only ones to
acknowledge and encourage my own Fluxus work and experiments, but now Dick and
now Emily are gone, I'm out in the cold, and I'm tired of knocking. So I am packing up
my Fluxus bags, and taking my creativity and energies elsewhere.
I am closing down the many internet websites I have constructed and hosted to promote
and honor Fluxus: The Fluxus Portal, the Fluxus Homepage, the Emily Harvey Gallery,
the Museum of the Sub-Conscious, the Dick Higgins memorial website, and numerous
other webpages promoting the work of many original Fluxus artists. I doubt that many of
you will notice. I have also walked away from FLUXLIST--the pioneering Fluxus email
discussion group that I co-founded with Dick and Ken Friedman. FLUXLIST is another
example of what I am talking about. Most of you could never even bother to subscribe.
By not participating you have missed a great audience and a wonderful chance to
discover and encourage many new Fluxus artists and to learn about their work. It would
have given you back more energy than it would have taken.
Almost all of you have failed to recognize three obvious things about Fluxus--about the
Fluxus you helped create!
1. Fluxus is more than Art. It's bigger than that. To confine it to being understood
as being primarily a phenomenon in the realm of art is to let it die.
2. Fluxus can still be a vibrant and energetic force. By refusing or failing to
recognize this for the last 20 years, you have been letting Fluxus die.
3. Fluxus is bigger than you. Fluxus is bigger than the initial group or Fluxers, it's
bigger than Maciunas. You guys didn't finish off or "complete" the Fluxus project,
you just got it started! Many others have come to Fluxus with new Fluxus ideas
and projects, and many of you haven't even bothered to notice. By confining
Fluxus to yourselves, you are letting it die.
You all have spent so much time during the last 20 years trying to shape your legacy
and the legacy of Fluxus, and few if any of you are satisfied with the results--the
exhibitions, the collections, the books. Instead of trying to manage Old Fluxus you could
have been leading a new group of Fluxus artists to explore new Fluxus directions and
new Fluxus territory? Wouldn't it have been a lot more energizing and a lot more fun to
fan new Fluxus flames than struggle with collectors who have catalogued your work but
failed to capture your spirit or the scope of your actual accomplishments?
I can only imagine that if George Maciunas were alive today he might have
excommunicated you all by now and found a new and younger gang of Fluxus rabble
rousers to continue his mischievousness. I imagine him cooking up guerrilla art activities
and staging "terrorist" art attacks against some of the collectors and historians who
demean him and you by saying Fluxus was no bigger than him and no bigger than you.
Fluxus has the potential to be a bigger, more vibrant and creative force in the world
today than even the project George Maciunas imagined. Certainly the world's need for
the expanded creativity and the knowing that Fluxus provides is greater than ever.
Because of the availability of more publications and catalogs documenting Fluxus work
and because of the internet, more people know more about Fluxus than ever before.
Fluxus is attracting more people than ever before--as much outside the art world as in.
More people than ever before want to participate in and make their own contribution to
Fluxus. But you--the founders, the brave pioneers--have turned your back on them.
And you have turned your back on a marvelous opportunity to expand your legacy and
help Fluxus continue.
Sincerely,
Allen Bukoff, PhD
Social Psychologist and Fluxus Artist
Birmingham, Michigan
FLUXUS - SECRET FLUXUS - 2005-02-08
> An accident on our way to see Alison Knowles perform in Newcastle led us to
> several weeks of reflection and dialogue on the nature of Secret Fluxus as a
> performance group. The result is a change in our method of organizing and
realizing performances.
Until now, we have performed as a full group of eight members, sometimes
with added friends and colleagues. For the nest period, we will work as solo
performers or in groups of two or three.
We are shifting from full concerts to site-specific events. This means fewer
large programmes and more single pieces. This shift will enable us to
perform more often and it will allow us to travel more widely, realizing
events in different geographical locations.
We will continue to publish notices after each performance.
Later this summer, we will publish an account of our work to date along with
a discussion of our current thinking and our plans.
Secret Fluxus
June 25, 2004
FLUXUS - BY ROD SUMMERS IT IS SPRINGTIME BEN - 2005-02-08
I have a small 'american cherry' tree growing in a pot on our terrace, it has been in this pot for more than twenty years. It's stunted but it is not a bonsai, I prefer to liken it to a tree that grows in a crevice on a rock face. I am very fond of this tree and I find it very beautiful in form. As soon as the better weather started last week and the leaf buds on the tree began to swell and burst I was concerned to see the new green leaves were infested with blackfly, a louse that sucks sap thus weakening the plant. I considered washing them off with a water jet but this could also do damage to the soft new growth and anyway I was too busy with a lot of other jobs and tasks so I let it be. This morning as I stood by the kitchen door making the first tea of the day I saw a Bluetit hopping about the tree picking off the sap-suckers. When I returned from the garden this afternoon I had a close look at the tree and there was hardly a leaf-louse left to be seen! The only insects I could see were two 'ladybirds' who will probably clear up any remnant bugs the Bluetit has missed... well at least they were obviously celebrating something.
it's Springtime Ben!
FLUXUS - FLUXUS AND FOOD EVENTS - 2005-02-08
Ten Food Events at the Court Café (British Museum Performance)
Unannounced performance at The British Museum Court Café
London
March 20, 2004
Performance notes and scores
Last month, we performed an Albert Fine piece at The British Museum. We
followed the piece with a performance of Dick Higgins?s Danger Music Fifteen
at the Court Café. Today, we performed a concert of food events at the Court
Café. We started with Danger Music and ended with Heat Transfer Event.
Following the performance, we ate.
The scores appear below.
1
Work with butter and eggs for a time.
2
A watermelon. A lemon. A pear.
3
Give the water still form. Let the water loose its still form.
4
Eat an orange as if it were an apple. (Hold it, unpeeled, between
forefinger, middle finger and thumb, bite big mouthfuls, etc.).
5
Eat an orange and at the same time, listen attentively: to sounds of
chewing, of sucking, of swallowing, and external sounds that may come.
6
Bottle of water. Fill glass with water from bottle. Return water from glass
back into bottle. Fill glass and repeat procedure as above. Many times till
all water is spilled.
7
Shaking. Slow dripping. Fast dripping. Small stream. Pouring. Splashing.
Opening corked bottle. Roll bottle. Drop bottle. Strike bottle with glass.
Break glass. Gargle. Drink. Sipping. Rinsing mouth. Spitting.
8
Make a salad.
9
Chew a nice piece of notebook or drawing paper.
10
Glasses: one filled with ice water, one with boiling tea, one or more empty
glasses. Liquids are transferred from glass to glass until the tea is cooled
to drinking temperature.
FLUXUS - IMPORTANT FLUXUS FILM FESTIVAL - 2005-02-08
FLUXUS OPENS SUBMISSIONS FOR THE 5TH EDITION OF THE FESTIVAL
Through a totally new website International Film Festival on The
Internet presents more than 150 films on line.
http://www.fluxusonline.comDeadline>Deadline for entries: February,
23.
http://www.fluxusonline.com>www.fluxusonline.com
Brazil, FLUXUS - INTERNATIONAL FILM FESTIVAL ON THE INTERNET will be
open to submissions until February 23 for its 2005 edition. The
Festival will accept works from all over the world, presented
originally in any format (35 mm, 16 mm, 8 mm, VHS, HI-8, DV, Flash)
up to maximum 15 minutes of running time, produced between 2003 and
2005. All categories are accepted: documentary, fiction, experimental
and animation. The festival will also receive works made especially
for Internet - web-art, media-art and interactive works. Information
regarding rules and application are avaible at
<http://www.fluxusonline.com>www.fluxusonline.com
Fluxus - International Film Festival on the Internet presents in its
new website: cinema, video, digital, net-art, interactive works and
celebrates its fifth edition in 2005 - 191 films are available.
Fluxus is the only festival in the world that keeps all works that
were part of competitive and informative programs of the festival
permanently available .
NEWS
The festival has four categories: E-CINEMA (fiction and
experimental), ANEMIC (animation), .DOC (documentaries) and
NTERACTIVA (web-art, media-art and interactive).
FLUXUS 2005 will present also an informative program, non
competitive, that will join most of the possibilities on image making
in the Internet with new communication technologies. The festival
will invite video-blogs, videos made with cell phones cameras and web
cams and video-design works.
WHY INTERNET?
Having appeared as an annual, competitive and entirely on-line
festival in 2000, Fluxus is going beyond cinema and has incorporated
the visual experiences of net-art, interactive web-art and sites.
Fluxus now continues with its original idea to make the web, more
than a way of exhibition, a space of confluence of trends, medias,
supports, languages and genders. Fluxus will allow people to watch
works by independent authors from all over the world, from their own
computer. The Brazilian festival remains active and with all its
content fully available.
FLUXUS - INTERNATIONAL FILM FESTIVAL ON THE INTERNET opens its 5th
edition on May 05, 2005, and is produced by Zeta Filmes.
FLUXUS 2005 - INTERNATIONAL FILM FESTIVAL ON THE INTERNET
Submissions: until February 23, 2005 at
<http://www.fluxusonline.com>www.fluxusonline.com
Exhibition: from May 05, 2005, on
Info:
phone 55 31 3293 1582
fax 55 31 3296 8042
e-mail: <mailto:info@fluxusonline.com>info@fluxusonline.<mailto:
info@fluxusonline.com>com
FLUXUS - i remember emily - 2005-01-16
THE BRIDGE
Emily built a beautifull bridge between down town Braoadway and Venise and another between Venise and Nice
Just like in a good science fiction movie you could get on the bridge from Gate One the last steps from her Broadway gallery and find yourself on Gate Two on top of the famous Venise Rialto bridge
To build such a bridge you dont need stones or steel but details and moments and Emilly was a specialist in accumiulating moments words details observations
To keep the bridge there we must just remember them So
I remember Emily, she used to eat with us on the terrace in the sun and talk about ecology.
I remember Emily with her funny little hats
I remember Emily accepting a show of mine in NY in witch I proposed to brake up America and give Alabama to the Senegal
I remember Emily as a great organiser deciding when to live, what to show
I remember an Emily who loved deciding
I remember Emily falling in love for new born cats
I remember Emily journeying with all the show in a suitcase
I remember of an Emily a bit stingy correct but a bit stingy
On who pays for the drinks
I remember Emily saying she came staight down from the Mayflower bunch
I remember Emily talking about swiming in cold water
I remember Emily et ses rires d'enfant
I remember son émerveillement devant les genets si parfumés à Pierrefeu
(your turn all of you now to remember )
I remember
I remember