Demonstrates the artists work in an interactive way. The audience has to navigate through the archive using the keys on their computer, to find out more information they simply click on the work. There is also the option to search for key words within the archive providing a new way of searching.
Eliasson's works often relate to getting the body included in the exhibition, in particular his 'in real life' exhibition.
The works get the audience to respond or react in a specific way. People become more aware of their body and how it functions when things like sight are restricted or when movement is highlighted through the use of shadow.
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> These are responses to the work, not how the gallery is laid out. As I'm not including these works in the exhibition I've been thinking of ways I can demonstrate a similar experience through the way an exhibition is organised.
> Felt the most successful was this restriction of movement idea. During the pandemic I went to the pharmacy and there were rules on the door as to what you were and weren't allowed to do and markers on the floor where you could stand.
- The exhibition will employ a similar theme of providing rules to restrict the audience's movement.
Initial idea of having vinyl circles on the floors to mark where people should stand.
- Thought it could be more interesting to cover the floor with vinyl apart from specific parts where you'd be able to see the floor underneath, this could encourage more people to stand on the circles.
> This may seem like more of an encouragement to stand on the wooden flooring rather than the vinyl.
- How would people be directed? What would the instructions/rules be for the exhibition?
- There could be arrows dictating the movement, telling the audience where to move to next?
^ As the intervention is about placing stickers wherever I think there should be some free movement.
- Perhaps the audience can move freely around the exhibition but can only stop when stood in a circle. This way they're able to place stickers where they want, allowing the intervention to become something that documents their own movement while being able to control where they stand.
What about speech?
Feels a waste of having people physically available to not incorporate another element that brings attention to the body like speech.
- It's hard to bring attention to speech through screen or publication.
- Was mentioned in the crit to have speakers that spoke prompts to you, I had the idea that the speakers would repeat back what you say to yourself.
- Would be appropriate for the works that involve audience participation.
^ Can see here the dome has a speaker inside that plays audio, this concentrates the sound to a single space.
When in the exhibition this may encourage people to talk more of discourage them, either way it would bring attention to another aspect of their body.
When in the exhibition this may encourage people to talk more of discourage them, either way it would bring attention to another aspect of their body.
In the exhibition wanting to display a video that plays different Fluxus works on the rounded edge of the exhibition (this is shown in pale grey on diagram). Think this would be a way to demonstrate the breadth of works made by Fluxus performers.
Could include:
Alison Knowles 'Make a Salad'
Yoko Ono 'Cut Piece'
Ay-O 'Exit.No Series'
Robert Watts 'Trace for Orchestra'
etc.
Want there to be things other than just on the walls to look at, things in cases always get the audience looking more at stuff, it creates a different experience.
Thinking of including cases displaying fluxus tattoos:
Perhaps the audience could receive these in the sticker publication?
Need to design a map and keynotes and finalise layout.
WORK IN EXHIBITION:
Hanging:
1 and 2 were a more traditional layout, with circles on the background. Not sure if the circles go with the exhibition or if they should be kept as an additional element to the exhibition made by audience.
Tried experimenting with the 'folded type' feel this brings the other elements together with this more, it provides a sense of visual consistency.
Prefer the portrait labels, feel they are something slightly different and work with the text better this way. (7 is the most likely to use).
WORK IN EXHIBITION:
Hanging:
- Yoko Ono ‘Wall Piece for Orchestra to Yoko Ono’ (1962)
- Yoko Ono ‘Sky Piece to Jesus Christ’ (1965)
- Yoko Ono ‘Cut Piece’ (1963)
- Nam June Paik ‘Fluxus Championship Contest’ (1963)
- Ay-O ‘Exit No.8’ (1994)
- Ay-O ‘Rainbow No.1 for Orchestra’ (1992-2011)
- Chris Burden ‘Shoot’ (1971)
- Yves Klein ‘Leap into the Void’ (1960)
- Alison Knowles ‘Make a Salad’ (1962)
- Benjamin Patterson ‘Licking Piece’ (1964)
- Fluxtickets - Designed by various artists. Find here
- Charlotte Moorman and Nam June Paik 'Human Cello' (1965)
Video:
- Yoko Ono 'Cut Piece' (1963)
- Alison Knowles 'Make a Salad' Tate recreation (2008)
- Ay-O 'Exit No. Series'
Cabinet:
- Tattoo, Designed by G. Maciunas, Fluxwear(1)
- Tattoo, Designed by G. Maciunas, Fluxwear(2)
- Tattoo, Designed by G. Maciunas, Hero
- Tattoo, Designed by G. Maciunas, Fluxus
- Tattoo, Designed by R. Watts, Biology
- Tattoo, Designed by R. Watts, Hero
- Fluxkit: The second flux-anthology, the Fluxkit (late 1964), collected together early 3D work made by the collective in a businessman's case, an idea borrowed directly from Duchamp's Boite en Valise.
-Ay-O. Finger Box
- George Brecht. Games and Puzzles
- Alison Knowles. Bean Rolls
- Benjamin Patterson. Instruction No. 2
- Mieko Shiomi. Endless Box
- Mieko Shiomi. Water Music
- find here
Exhibition Labels Layout:
- Wall Piece for Orchestra to Yoko Ono, 1962
Performance
Ono instructed the performer simply to “Hit a wall with your head” - Nam June Paik
Fluxus Championship Contest, 1963
Performance
A number of male artists of different nationalities surround a bucket, competing who can piss for the longest time into it, while Paik stands by with a stopwatch. - Ay-O
Exit No.8, 1994
Performance
The audience must pass through a vestibule where the floor has been covered in balloon prepared to burst on contact. - Chris Burden
Shoot, 1971
Performance
Burden asked a friend to shoot him with a .22 rifle from a distance of 15 feet. - Yoko Ono
Sky Piece to Jesus Christ, 1965
Performance
Members of an orchestra are wrapped in gauze bandages during a concert and thus forced to stop playing their instruments. - Yoko Ono
Cut Piece, 1963
Performance
Ono sat on stage with a pair of scissors. Audience were told they could cut off a piece of Ono’s clothing to keep. - Yves Klein
Leap into the Void, 1960
Photograph
Photographed by Harry Shunk, Gelatin silver print, 25.9 x 20 cm - Alison Knowles
Make a Salad, 1962
Performance
Knowles prepares a salad for a large number of people by chopping the vegetables to the beat of live music, then serving the salad to the audience. - Benjamin Patterson
Licking Piece, 1964
Performance
Cover shapely female with whipped cream, lick, topping of chopped nuts and cherries is optional. - Charlotte Moorman and Nam June Paik
Human Cello, 1965
Performance
Moorman plays Paik like a ‘human cello’. - Joseph Beuys
I Like America and America Likes Me, 1974
Performance
Beuys shares a room with a coyote for 8 hours over 3 days. - George Maciunas
Fluxwear (1), 1970
Tattoo - George Maciunas
Fluxwear (2), 1970
Tattoo - George Maciunas
Hero, 1970
Tattoo - George Maciunas
Fluxus, 1970
Tattoo - Robert Watts
Biology, 1970
Tattoo - Robert Watts
Hero, 1970
Tattoo - George Maciunas
Fluxkit, 1965
Vinyl-covered attaché case, containing objects in various mediums. - Ay-O
Finger Box, 1965
Wood box with offset labels and rubber opening containing unknown object. - George Brecht
Games and Puzzles, 1965
Plastic box with offset label, containing three offset cards and metal ball. - Alison Knowles
Bean Rolls, 1965
Metal tin with offset label containing dried beans and offset scrolls. - Benjamin Patterson
Instruction No.2, 1965
Plastic box with offset label, containing cloth towel with stamped ink. - Mieko Shiomi
Endless Box, 1965
Thirty-three folded paper boxes and wood lid with offset label. - Mieko Shiomi
Water Music, 1965
Glass bottle with plastic dropper and offset label. - G. Maciunas and J. Lennon
To visit President Nixon. The Whitehouse Washington D.C, 1970
Ticket - G. Maciunas and J. Lennon
Future Trip to the Moon, 1970
Ticket - G. Maciunas and J. Lennon
20 Hour Bicycle Trip to N.Y.C, 1970
Ticket - George Maciunas
Perham's Opera House ticket, 1970
Ticket - George Maciunas
Facsimile ticket to Grolier club, exhibitions, 1893, 1970
Ticket - Various Artists:
Alison Knowles ‘Make a Salad’ 2008
Vide
Yoko Ono ‘Cut Piece’ 1968
Video
Ay-O ‘Exit Series’ 1990 Video Nam June Paik Zen for Film, 1965 16mm film leader, 20 mins.
- Phillip Corner
Piano Activities, 1962
Performance, Music Score
Asks performers to “play”, “pluck”, “scratch or rub” and more to a piano. - Joseph Beuys
How to Explain Pictures to a Dead Hare, 1965
Performance
Seen through glass Beuys, face covered in honey and gold leaf, talking to a dead hare held in his arms.
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Testing the arrangement of these on labels to go next to work:
1 and 2 were a more traditional layout, with circles on the background. Not sure if the circles go with the exhibition or if they should be kept as an additional element to the exhibition made by audience.
Tried experimenting with the 'folded type' feel this brings the other elements together with this more, it provides a sense of visual consistency.
Prefer the portrait labels, feel they are something slightly different and work with the text better this way. (7 is the most likely to use).
Having the labels positions ot the top left mean some with less text looked much more unbalanced.
By having centred (3&4) it provides more consistency.
Should the title text be smaller? Does number 4 look out of proportion?
Smaller artists title looks much better.
Final Labels (for a a few works):
Final Labels (for a a few works):
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