A really good page showing different forms of fluxus works, visual aesthetic included etc.
Aspects that interested me:
Action & Performance in Print
^Niki de St. Phalle, 1961. In Nouveau Réalisme, 1960/1970 (Rotonda della Besana, Comune di Milano, 1970).
St. Phalle initiated her own form of action painting in her Tir (Shooting) series of paintings. To make the works the artist and, later, her audience shot rifles at canvases prepared with bags of paint.
'Shigeko Kubota, Yoko Ono, Mieko Shiomi, and Alison Knowles all collaborated on performance-based works that often took common activities as their material. These Fluxus artists believed that the acts of preparing food, marrying, smiling, playing games, or rustling a newspaper were forms of “social music,” making life itself a ready-made work of art.'
- Really interesting quote from the webpage, could I bring the music element into the work somehow?
- Look into layouts of sheet musics etc.
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Textual Scores and Instructions
^ Simone Forti. [Dance Constructions]. In An Anthology, 2nd ed., ed. La Monte Young (H. Friedrich, 1970).
In the first publication to compile scores by members of Fluxus, the dancer Forti contributed instructions that could be performed by nondancers, realizing one of the group’s main tenets: anyone can create art.
- Really like the repetition in this piece simple, effective.
^Mieko Shiomi. Spatial Poem (M. Shiomi, 1976).
Shiomi demonstrated the collaborative aspect of Fluxus and the group’s influence on developments in mail art in Spatial Poem (1965–75), a “global event” in which she enlisted artists through the mail to document their participation in her intimate action poems.
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Forms of Writing
^Bici Hendricks. Language Box, Box Language (Black Thumb Press, 1966).
Nye Ffarrabas, known then as Bici Hendricks, has described her book as a game without rules, invoking the “serious play” of children, who need no instructions to use a sandbox but simply start digging. The reader initiates his or her own process of creative synthesis, choosing to manipulate, arrange, define, or ignore the words printed on each side of the cards.
- Interesting concept of incorporating the audience to make decisions to develop their own narrative.
^Lourdes Castro and Emilio Villa. Visual Poem (Untitled)In Da-a/u dela, no. 1 (1966).
To this collaboration with Villa, an Italian experimental poet, Castro contributed male and female silhouettes whose ambiguous embrace invites the reader to interpret Villa’s symbols above. Castro was a coeditor of the artists’ magazine KWY, which published poetic and visual works by Fluxus artists.
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Book-making
^Helen Chadwick and David Mayor. Door to Door (Beau Geste Press, 1973).
The contesting pagination in Chadwick and Mayor’s conceptual photobook draws the reader simultaneously backward and forward through the book. Chadwick’s figure, captured from near and far, parallels this spatial disorientation by seeming to magically move from one distant doorway to another.
- Haven't been able to find a copy of this book I can look at! Frustrating!
- The colours used on the cover are very typical of 70s design, bright contrasting colours really embody the "flower power" movement. Perhaps these colours could be brought into the work (if colour was to be used).
^Simone Forti. Angel (Self-published, 1978). Franklin Furnace Artists’ Books Collection
Forti’s book of short prose poems and photographs produces a nonlinear narrative of thought and memory that reflects the artist’s changing engagement with her work and life.
Thoughts and Ideas from This:
> Audience could be presented with cards giving them an order to view the exhibition in. Everyone develops a different narrative when viewing the works.
- Could receive cards upon entering the exhibition.
> Thinking about how to direct people around a space, particularly interested inn Ay-O's exit works. When I went to the pharmacy the other day there were instructions on the door about what you were and were not allowed to do, you had to stand on the X's on the floor and could be one person per X. Of course this is being done as a safety precaution, however, it really makes you aware of your body, how closely you are to others, etc.
- Could this be translated to the exhibition? Rather than a multitude of different prompts one all consuming sense of direction, the people in the exhibition become a piece of performance art in a sense.
> The aesthetics in all of these works are simple, non are overly complicated or employ multiple design principles simultaneously. The hierarchy is still there, the work is legible.
- The aesthetic is very gritty, photos have been developed on film and thus have a gritty texture. Could do own film photography and see how this could be developed, what it could be developed into etc.
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