a movement of agile artists. Their art exists of performances,
rituals where everyday objects, normal or trivial objects are
turned into works of art.
When artistic instruments, like pianos are used, this is purely
for the ritual possibilities they offer.
The pianos that perform with Fluxus are always used in a very
primitive and definitely non-virtuoso non- musical way.
performances are especially characterized by a combination of
actions: proceedings in a simple ritual or ritualised context.
Usually there is an audience and often there is not much left
of the work of art afterwards.
we are talking about are, always in a different way, violating
everyday values and standards.
They mean to provoke the establishment in a playful way.
The playfulness is more important than the explicit urge to provoke,
let alone the urge to make structural changes to the establishment.
We can find however, a strong social and political commitment
in some of the artists belonging to this group.
not really have a fundamental message: it is not aimed at destruction,
it has no educational, pedantic engagement and it does not want
to create political awareness.
At the most it is aimed at disorder and the entertainment originating
from that disorder.
Art is looked for in the usual, the commonplace things. It is
this context that makes the audience experience the commonplace
things in a different way. The art can be found in the context
more than in the work of art that, as such, hardly exists.
‘Fluxus’ was invented by George Maciunias (1931-1978) to
emphasize the ever-changing character of the group of artists.
It was chosen also to make a link between the different kinds
of activities, media, disciplines, nationalities, sexes, approaches
and occupations the group encompassed.
Piano with felt and leather
(Centre Georges Pompidou Parijs)
Fluxus-Piano-Lituania Hommage à Maciunas, 1994
A typical Fluxus