Depoliticized Media Spectacle |
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"In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation." |
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- Guy Debord |
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The Venetian in Las Vegas |
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Fluxus =
(from Latin "to flow") is an experimental art movement noted for
the blending of different artistic disciplines |
George Maciunas, Fluxus Manifesto, 1962 or 1963. |
George Maciunas, Piano Piece, 1962.
Yoko Ono, Painting to Hammer a Nail In, 1961.
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Yoko Ono, Ceiling Painting,
1966. |
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*Cut Piece First version for single performer: Performer sits on stage with a pair of scissors in front of him. It is announced that members of the audience may come on stage one at a time to cut a small piece of the performer's clothing to take with them. Performer remains motionless throughout the piece. Piece ends at the performer's option. Second version for audience: It is announced that members of the audience may cut each others clothing. * The audience may cut as long as they wish |
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Yoko Ono, Cut Piece, 1965. Carnegie Hall. |
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Yoko Ono, Cut Piece, Performed on September 15, 2003 at Theatre Le Ranelagh, Paris, France. |
"The memories I have of that time are images that penetrated my consciousness. The last thing I remember was that it was too late to jump, too late for the parachutes to open. That must have been a couple of seconds before hitting the ground. Luckily I was not strapped in – I always preferred free movement to safety belts… My friend was strapped in and he was atomized on impact – there was almost nothing to be found of him afterwards. But I must have shot through the windscreen as it flew back at the same speed as the plane hit the ground and that saved me, though I had bad skull and jaw injuries. Then the tail flipped over and I was completely buried in the snow. That's how the Tartars found me days later. I remember voices saying ‘Voda’ (Water), then the felt of their tents, and the dense pungent smell of cheese, fat and milk. They covered my body in fat to help it regenerate warmth, and wrapped it in felt as an insulator to keep warmth in." Joseph Beuys in Caroline Tisdall's Joseph Beuys |
Joseph Beuys, Filter Fat Corner, 1963.
Joseph Beuys, The Chief- Fluxus Chant, December 1, 1964.
"Such
an action, and indeed every action, changes me radically. In a way it's
a death, a real action and not an interpretation." - Beuys |
Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965.
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"The
whole thing is a therapeutic process. For me it was a time when I realized
the part the artist can play in indicating the traumas of a time and
initiating a healing process." - Joseph Beuys |
Lynda Benglis, For Carl Andre, 1970.
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Eva Hesse, Hang Up, 1965 - 1966.
Eva Hesse, Untitled (Rope Piece), 1966.
Jackson Pollock, Autumn Rhythm (Number 30), 1950.
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Eva Hesse, Ringaround ARosie, 1965. |
Eva Hesse, Accession II,
1969. |
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“Art and work and art and life are very connected and my whole life has been absurd. There isn’t a thing in my life that has happened that hasn’t been extreme- personal health, family, economic situations…absurdity is the key word…It has to do with contradictions and oppositions. In the forms I use in my work the contradictions are certainly there. I was always aware that I should take order versus chaos, stringy versus mass, huge versus small, and I would try to find the most absurd opposites or extreme opposities.” – Eva Hesse |
Eva Hesse, Repetition Nineteen III, 1968. |
Eva Hesse, Contingent, 1969.
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Yayoi Kusama, Anatomic Explosion Wall Street, 1968.
