text on the fluxus / ben vautier. 1997

Today there is great interest but also great confusion as to the Fluxus movement;

There are those who keep theorizing about Fluxus.
They say that after Dadaism and Duchamp, Fluxus is “the most radical movement”;

those who make a fetish of Fluxus. They collect the trouser buttons by Maciunas, the handkerchief by Beuys or the dirty bath water by Ben;

those who speculate with the Fluxus. “If van Gogh’s ear is worth 100.000 million dollar and the bottle rack by Duchamp is worth 300.000 dollar, how much will the water glass by George Brecht then be worth on the fair in Basel in two year’s time?”

those who say that the Fluxus movement does only consist of spoiled children who make art by stating that they are against art, who expect to win fame by saying “we are against fame”, who want to get back into the Louvre by staying in the bistro vis-á-vis;

those who say, okay, Fluxus is something mad, but still it’s better than those who produce works of art for the consumer society;

those who say that Fluxus is rather a story of attitude towards life and art than towards products;

those who say Fluxus is individuals and not works of art;

those who say that Fluxus contradicts itself, that it consists of failures who happen to be succesful just now, anti-art stars;

As far as I am concerned, I think that
Fluxus is not a production of objects, of handicraft articles to be used as a decoration in the waiting rooms of dentists and professionals,
Fluxus is not professionalism
Fluxus is not the production of works of art,
Fluxus is not naked women,
Fluxus is not pop art,
Fluxus is not an intellectual avant-garde or light entertainment theatre,
Fluxus is not German expressionism,
Fluxus is not visual poetry for secretaries who are getting bored.

NO

Fluxus is the “event” according to George Brecht:
putting the flower vase on the piano.
Fluxus is the action of life/music: sending for a tango
expert in order to be able to dance on stage.
Fluxus is the creation of a relationship between life and art,
Fluxus is gag, pleasure and shock,
Fluxus is an attitude towards art, towards the non-art of anti-art, towards the negation of one’s ego,
Fluxus is the major part of the education as to John Cage, Dadaism and Zen,
Fluxus is light and has a sense of humor.

*

This was published in the 1997 Fluxus Subjectiv catalogue
see http://id3419.securedata.net/artnotart/fluxus/bvautier-textonthefluxus.html

intervento alla presentazione di j.-m. gleize, “qualche uscita” (tictalk, 31 gen. 2022) / florent coste. 2022

Florent Coste
Intervento alla presentazione di Jean-Marie Gleize, Qualche uscita.
Postpoesia e dintorni
(Tic Edizioni, 2021)
TicTalk, 31 gennaio 2022
youtu.be/gyy_kz3Y6YU

Grazie a tutti per questo invito e questa bellissima serata postpoetica.

Mi sembra che oggi si presenti l’occasione per dire, o per ribadire, quanto sia importante un libro come Sorties, pubblicato in Francia dalla casa editrice Questions théoriques, e che la traduzione italiana Qualche uscita gli offre in modo tempestivo un nuovo spazio di circolazione.

Se posso permettermi di fare qualche concessione al giudizio estetico, questa è anche un’occasione per apprezzare pubblicamente la bellezza e la qualità di questa collana.

Riflettendo su ciò che Sorties ha rappresentato al momento della sua prima uscita, mi sono detto che varrebbe probabilmente e assolutamente la pena di considerare questo libro (e la sua traduzione) come una potente risorsa strategica, una risorsa che ci permette di raccogliere tutta una serie di armi utili a essere impiegate all’interno di un contesto specifico come quello del campo poetico francese, travagliato e attraversato da tensioni e lotte sue peculiari, ma la cui forza può senza alcun dubbio essere trasferita al campo e alla situazione dell’Italia. Continue reading “intervento alla presentazione di j.-m. gleize, “qualche uscita” (tictalk, 31 gen. 2022) / florent coste. 2022″

felt tv / joseph beuys. 1970

Joseph Beuys
«Felt TV: Shown in TV broadcast ‘Identifications’»
As a contribution to Gerry Schum’s ‘Identifications’, Beuys adapted for television the ‘Felt TV’ action previously staged for a live audience at a Happening festival in Copenhagen in 1966. It was the only Beuys action executed specifically for the camera. It opens with Beuys seated in front of a TV set showing a programme which is invisible because the screen is covered by felt. The boxing-gloves used later in the action lie at the ready beneath his chair.

Beuys turns up the bottom left corner of the felt, revealing a glimpse of the faulty TV picture. The voice of a TV reporter, who is talking about current milk and meat prices, is still audible. Beuys declares he has ‘undertaken a gradual elimination’ by ‘filtering away’ the picture first while leaving the sound, ‘but when the picture has gone, the sound becomes absurd.’

immagini disturbate da un intenso parassita / paolo gioli. 1970

* * *

da http://www.paologioli.it/film3.php?page=film&id=3 :

“Immagini disturbate da un intenso parassita” 1970
Film 16 mm bianco e nero, sonoro, 24 ftg/s, 45′

(dedicato ad Emilio Vedova)

Immagini disturbate da un intenso parassita. Di gran lunga il più complesso e faticoso lavoro da me attuato sulle immagini-video. Diviso da titoli-poema e da allocuzioni visual-strutturali ha per protagonisti detti geometrici forniti dal quadrato in prima persona e da altri corpi plastici provenienti dal quadrato medesimo. Il cascame d’immagine viene a formarsi all’interno e ai bordi dei corpi suddetti, formato e trasformato da successivi interventi diretti anche sullo schermo vetroso del video usato come tavola luminosa, dove vengono a formarsi più strati di immagini

Immagini disturbate da un intenso parassita [Images Disturbed By An Intense Parasite].This film, completely shot off a television, is by far the most complex and labor-intensive work I have completed on video images. Its divisions are marked by poetic titles and by structural-visual allocutions; it has for protagonists, the geometric givens furnished directly by the square and by other plastic forms deriving from the square. The by-products of the images are formed inside and along the edges of these bodies, formed and transformed by successive direct interventions on the glassy video screen, which is used as a light table, where more layers of images are formed.

sans faust / julien bal, térence meunier. 2013

Une performance en images et en sons
par Julien Bal & Térence Meunier

DURÉE
33 minutes

DATE DE CRÉATION
11 décembre 2011, aux Voûtes, Festival des cinémas différents et expérimentaux de Paris

FORMAT
Performance audiovisuelle et orale devant un public assis dans une salle obscure
(théâtre, cinéma ou semblable), en présence et acte des deux réalisateurs.

DESCRIPTIF
Performance en images et en sons par Julien Bal & Térence Meunier.

Fouille parmi les chutes d’un film en train de se faire, regards vers la matière écartée. Recomposition du film pour en retrouver les contours et son essence. Concert, lecture, dialogues, ambiances sonores, présentation Powerpoint , making-off et l’absence du Faust film. En écho à l’insatisfaction du personnage, les deux réalisateurs iront en quête de leur film.

Avec les soutiens de l’association MANIAC et Chrom Moss productions.