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Why not use blenders, pots, water kettles, hair-dryers and other \u201cjunk\u201d to create noises and turn those into a piece of music (John Cage)? Why not cut up a piano on stage (Dick Higgins and other activists)? Why not piece together large trash and scrap to a sculpture instead of discarding it inconsiderately (Robert Filliou and Jean Tinguely, for instance)? Why not examine the acts of peeling a potato or sweeping a square as a sculptural practice (Joseph Beuys)? Why not seek beauty in the gutter \u2013 to involve French Romanticism as instigation (Charles Baudelaire)? And why not \u201cgive the commoner an elevated mind, the ordinary a mysterious appearance, the familiar the dignity of the unknown, the finite an illusion of the infinite\u201d? says the old \u2013 and obviously still valid \u2013 basic programme of Novalis, one of the leading figures in German Romanticism.3 So why not use the aesthetic peculiarities of everyday materials, everyday procedures and everyday situations as an opportunity to contemplate these artistically, as well as experiment with these and accredit their artistic worthiness and artistic faculty? With those and similar questions and respective answers did the transatlantic art movement \u201cFLUXUS\u201d raise some attention in the sixties of the last century. It continued and brought to a head what other \u2018art revolutionaries\u2019 thought and did before that, what was in the wind in the sixties in the last century and what is still alive in the high cultures subcultures of today. Fluxus or the activists of the \u201cSituationist International\u201d, for instance, supported, went along with and shaped the rebellion against \u201cthe fustiness of 1,000 years\u201d under \u201cthe gowns\u201d4 here and elsewhere \u2013 the awakening and uproar of the so-called \u201968 generation and likewise malcontented in Europe and North America. Why not use blenders, pots, water kettles, hair-dryers and other \u201cjunk\u201d to create noises and turn those into a piece of music (John Cage)? Why not cut up a piano on stage (Dick Higgins and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[15],"tags":[],"_links":{"self":[{"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/posts\/575"}],"collection":[{"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/comments?post=575"}],"version-history":[{"count":10,"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/posts\/575\/revisions"}],"predecessor-version":[{"id":1193,"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/posts\/575\/revisions\/1193"}],"wp:attachment":[{"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/media?parent=575"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/categories?post=575"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.flux-tours.de\/en\/wp-json\/wp\/v2\/tags?post=575"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe Fluxus movement demonstrated in a blunt way how art by \u201cingenious amateurs\u201d \u201cwithout any talent\u201d whatsoever5, and without any artistic \u201cgeek-ism\u201d could look like. Instead, they performed critique on art and society with ruse, courage, impertinence and irony. All that with the intention of debunking the so far hidden and the thoughtless, by employing \u201canti-artistic\u201d tools to take artistic action and cast off fixed technical traditions and thought patterns. EXIT! The artist Wolf Vostell boiled the Fluxus concept down to an essence: \u201cArt = Life, Life = Art\u201d.
\nRead more: (opens PDF: \u201cFLUXUS, FLUX-tours: EXIT\u201d text by Ulrich Puritz, text only available in German)<\/a>
\n<\/p>","protected":false},"excerpt":{"rendered":"