Википедија

Fluksus

Fluksus (od latinske reči flux – tečenje) je ime međunarodnog neoavangardnog umetničkog pokreta osnovanog 1962, čiji je cilj povezivanje pripadnika ekstremne avangarde u Evropi i SAD.[1][2] Ova grupa američkih i evropskih likovnih umetnika, pesnika, teatrologa i kompozitora nije posedovala jedinstveni stilski identitet, ali su njene aktivnosti na mnogo načina predstavljale preporod duha dadaizma. Osnovne ideje i stavovi fluksusovaca, zasnovane na antiumetnosti i antiestetici, raznorodne su, a često i kontradiktorne. U pokretu je posebno izražena težnja ka sintezi raznorodnih umetničkih disciplina, brisanju granica između umetnosti kroz raznovrsne akcije i improvizovana intermedijalna događanja. Kao što je primetio jedan od istraživača i tumača ovog pokreta fluksus je kao i Dada nekoherentan i razbijen pokret (...) i o njemu će istorija sačuvati jedino mit, jer je mali broj njegovih manifestacija bio namenjen muzeju.

Manifest Fluksusa Džordža Masijunasa, 1963.
Izložba posvećana Fluksusu u Poznanju

Fluksus je poznat po eksperimentalnim doprinosima različitim umetničkim medijima i disciplinama i po stvaranju novih umetničkih formi. Ove umetničke forme uključuju intermedije, termin koji je skovao umetnik fluksusa Dik Higins;[3][4][5][6] konceptualnu umetnost, koju je prvi razvio Henri Flint,[7][8] umetnik sporno povezan sa fluksusom; i video umetnost, koju su prvi uveli Nam Džun Pajk i Volf Vostel.[9][10][11] Holandski galerista i likovni kritičar Hari Ruhe opisuje fluksus kao „najradikalniji i najeksperimentalniji umetnički pokret šezdesetih.”[12][13]

Oni su producirali „događaje“, koji su uključivali izvođenja partitura, „Neo-Dada“ muziku buke i vremenski-bazirana dela, kao i konkretnu poeziju, vizuelnu umetnost, urbano planiranje, arhitekturu, dizajn, književnost i izdavaštvo. Mnogi umetnici Fluksusa dele antikomercijalne i antiumetničke senzibilitete. Fluksus se ponekad opisuje kao „intermedija”. Ideje i prakse kompozitora Džona Kejdža imali su veliki uticaj na Fluksus. Posebno, njegova shvatanja da se treba upustiti u umetničko delo bez koncepcije njegovog kraja, i njegovo razumevanje dela kao mesta interakcije između umetnika i publike. Proces stvaranja bio je privilegovan u odnosu na završni proizvod.[14] Još jedan značajan uticaj bile su gotovi predmeti Marsela Dišana, francuskog umetnika koji je bio aktivan u dadaizmu (1916 - oko 1922). Džordž Masijunas, koji se u velikoj meri smatra osnivačem ovog fluidnog pokreta, skovao je ime fluksus 1961. godine kao naziv predloženog časopisa.[15]

U fluksusu su delovali: Džon Kejdž, Jozef Bojs, Džordž Breht, Joko Ono, Nam Džun Pajk, Džordž Mekjunas, Ben Votje, Volf Fostel, Erik Andersen, Robert Filiu, Ken Fridman i drugi. Ne samo da su oni bili raznovrsna zajednica saradnika koji su uticali jedni na druge, već su oni bili uglavnom prijatelji. Oni su zajedno imali ono što su u to vreme bile radikalne ideje o umetnosti i ulozi umetnosti u društvu.[16] Ukrštene zajednice unutar Fluksusa i način na koji se Fluksus razvijao u preklapajućim fazama značilo je da su učesnici imali vrlo različite ideje o tome šta je Fluksus.[17] Osnivač fluksusa Džordž Maciunas predložio je dobro poznati manifest, ali je malo njih smatralo da je Fluksus istinski pokret,[18][19] te stoga manifest nije u velikoj meri usvojen. Umesto toga, niz festivala u Visbadenu, Kopenhagenu, Stokholmu, Amsterdamu, Londonu i Njujorku dao je povoda labavoj, ali snažnoj zajednici sa mnogim sličnim verovanjima. U skladu sa reputacijom koju je fluksus stekao kao forum eksperimentisanja,[12] neki umetnici fluksusa opisivali su fluksus kao laboratoriju.[20][21] Fluksus je odigrao važnu ulogu u proširenju onoga što se smatra umetnošću.[22]

Reference

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  1. ^ Nationalencyclopedin (Swedish National Encyclopedia). 2016. "Fluxus." Accessible at: http://www.ne.se/uppslagsverk/encyclopedi/lång/fluxus Arhivirano 23 april 2021 na sajtu Wayback Machine Accessed September 11, 2016.
  2. ^ Wainwright, Lisa S. 2016. "Fluxus." Britannica Academic (Encyclopedia Britannica Online).
  3. ^ Higgins, Dick (1966). „Intermedia.”. Something Else Newsletter. 1 (1). , February, pp. 1–3.
  4. ^ Higgins, Dick. 2001. "Intermedia" Multimedia: From Wagner to Virtual Reality. Randall Packer and Ken Jordan, eds. New York: W.W. Norton and Co., pp. 27–32.
  5. ^ Higgins, Dick. 1984. Horizons: The Poetics and Theory of the Intermedia. Carbondale and Edwardsville: Southern Illinois University Press
  6. ^ Hannah B Higgins,"The Computational Word Works of Eric Andersen and Dick Higgins", Mainframe Experimentalism: Early Digital Computing in the Experimental Arts, Hannah Higgins, & Douglas Kahn, eds., pp. 271–281
  7. ^ Flynt, Henry. 1961. "Concept Art: Innperseqs." Reprinted in 1963: An Anthology. La Monte Young, ed. New York: Jackson Mac Low and La Monte Young, np.
  8. ^ Flynt, Henry. 1963. "Essay: Concept Art: Provisional Version." An Anthology. La Monte Young, ed. New York: Jackson Mac Low and La Monte Young, np.
  9. ^ Paik, Nam June. 1993. Nam June Paik: eine Data Base. La Biennale di Venezia. XLV Esposizione lnternazionale D’Arte, June 13 – October 10, 1993. Klaus Bussmann and Florian Matzner, eds. Venice and Berlin: Biennale di Venezia and Edition Cantz.
  10. ^ Hanhardt, John and Ken Hakuta. 2012. Nam June Paik: Global Visionary. London and Washington, D.C.: D. Giles, Ltd., in association with the Smithsonian American Art Museum.
  11. ^ Fundacio Joan Miro. 1979. Vostell. Environments Pintura Happenings Dibuixos Video de 1958 a 1978. Barcelona: Fundacio Joan Miro.
  12. ^ a b Ruhé, Harry. 1979. Fluxus, the Most Radical and Experimental Art Movement of the Sixties Amsterdam: Editions Galerie A.
  13. ^ Ruhé, Harry. 1999. "Introduction." 25 Fluxus Stories Amsterdam: Tuja Books, p. 4.
  14. ^ „Fluxus Movement, Artists and Major Works”. Arhivirano iz originala 19. 10. 2015. g. Pristupljeno 2015-10-06. 
  15. ^ Armstrong, Elizabeth (1993). In the Spirit of Fluxus. Minneapolis: The Occasion of the Exhibition. str. 24. ISBN 9780935640403. 
  16. ^ Zurbrugg, Nicholas. 1990. “A Spirit of Large Goals.” – Dada and Fluxus at Two Speeds. Fluxus! Nicholas Zurbrugg, Francesco Conz, and Nicholas Tsoutas, eds. Brisbane, Australia: Institute of Modern Art, p. 29.
  17. ^ Smith, Owen F. 1998. Fluxus: The History of an Attitude. San Diego: San Diego State University Press.
  18. ^ Higgins, Dick. 1992. "Fluxus: Theory and Reception." Lund Art Press, Vol II, No 2, pp. 25–46.
  19. ^ Higgins, Dick. 1998. "Fluxus: Theory and Reception." The Fluxus Reader, Ken Friedman, ed. Chichester, West Sussex: Wiley Academy Editions, pp. 218–236.
  20. ^ Friedman, Ken. 2011. “Fluxus: A Laboratory of Ideas.” Fluxus and the Essential Qualities of Life. Jacquelynne Baas, editor. Chicago: University of Chicago Press, p. 35.
  21. ^ Friedman, Ken. (2012). „“Freedom? Nothingness? Time? Fluxus and the Laboratory of Ideas.””. Theory, Culture, and Society. 29 (7-8). , December, pp. 372–398. . doi:10.1177/0263276412465440.  Nedostaje ili je prazan parametar |title= (pomoć)
  22. ^ Tate Gallery. "Nam June Paik. Fluxus, Performance, Participation." Tate Online. Accessible at: http://www.tate.org.uk/whats-on/exhibition/nam-june-paik/nam-june-paik-room-guide/nam-june-paik-section-2 Arhivirano 4 mart 2016 na sajtu Wayback Machine Accessed September 15, 2016.

Literatura

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  • Harry Ruhé, Fluxus, The most radical and experimental art movement of the sixties. Verlag A, Amsterdam, 1979.
  • Baas, Jacquelynn, Friedman, Ken (2011). Fluxus and the Essential Questions of Life. ISBN 978-022-60335-9-4. . Chicago and Hanover, NH: University of Chicago Press and Hood Museum of Art, .
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  • Zanichelli, Elena. Women In Fluxus & Other Experimental Tales: Eventi Partiture Performance.

Spoljašnje veze

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