# data[].attributes.attachment_link.readable_text
This exhibition will be the first major survey of the art of Shigeko Kubota (1937 - 2015) in Japan nearly in three decades. Born in Niigata and educated in Tokyo, Kubota moved to New York in 1964 to join the Fluxus movement. Kubota became internationally known as a pioneering artist for her "video sculpture," which integrated video into three-dimensional structures. Her contribution to contemporary art, however, has yet to be adequately evaluated.

The goal of the exhibition is to provide an updated and contextualized survey of the Japanese American female artist Shigeko Kubota to international audiences. Shortly after the artist's passing in 2015, the Shigeko Kubota Video Art Foundation was established in New York at the bequest of the artist to preserve and further the study of Kubota's life and legacy, in addition to advancing the field of video art. Drawing significantly from a collection of recently restored sculptures, drawings, photographs, and ephemera of the Shigeko Kubota Video Art Foundation, and complementing them with additional works from Japanese museums and archival materials from the artist's family, the exhibition will showcase a diverse array of materials for the first time.

What was Kubota thinking and seeking as a woman artist who was developing her art on the world stage at the dawn of media art? The exhibition will present multivalent views of Kubota's life and work through drawings, photographs, archival documents, and video - including her Duchampiana video sculpture series. The exhibition is scheduled to tour three museums across Japan, starting in her hometown of Niigata, in the spring of 2021, then traveling to Osaka in the summer, and ending in Tokyo in February 2022.

A fully illustrated, bilingual catalog with scholarly essays, updated bibliography, and chronology will be published by Kawade Shobo Shinsha in Tokyo.

The organizers would like to express their special thanks to the Shigeko Kubota Video Art Foundation, New York.

# data[].attributes.attachment_link.title
Viva Video! : The Art and Life of Shigeko Kubota | ART360°

# data[].attributes.attachment_link.description
This exhibition will be the first major survey of the art of Shigeko Kubota (1937 - 2015) in Japan nearly in three decades. Born in Niigata and educated in Tokyo, Kubota moved to New York in 1964 to join the Fluxus movement. Kubota became internationally known as a pioneering artist for her "video sculpture," which [...]

# data[].attributes.attachment_link.readable_text
Ay-O, a Japanese artist who had been part of Fluxus in New York, returned to Japan in 1966 after an eight-year absence. Having just represented Japan at the Venice Bienniale, he held a solo exhibition at Tokyo's Minami Gallery. His homecoming gave momentum to what could be called "Tokyo Fluxus" activities.

One of these activities was the Happening for Sightseeing Bus Trip in Tokyo, presented in this feature. Ay-O organized the piece in Tokyo on December 18, 1966, with the help of Shimizu Kusuo, the founder and director of Minami Gallery. Assistance was also provided by the artists Yamaguchi Katsuhiro and Akiyama Kuniharu, who had visited New York and were interested in both Fluxus and Happenings. The performers included artist Mieko Shiomi, another participant in New York Fluxus; Tone Yasunao, a former member of Group Ongaku and future member of Fluxus in New York; and the art critic Tono Yoshiaki, who often promoted the emerging art of performance. Because the term "Happening" was more popular than "Event" in Japan, it was used in the title of the tour.

Around noon on that cold day, more than sixty participants boarded two rented buses near the Tokyo Station. In the manner of a commercial sightseeing tour, the buses made various stops across the city. At these stops, the performers realized more than fifteen works billed as Events and several others that were referred to as Happenings. While most of the pieces were by Fluxus artists, Ay-O included some by Happenings artists, including Allan Kaprow and Al Hansen, and also an Event by Yamaguchi. A review in Bijutsu Techo magazine (February 1967) explained that Happenings are "environmental play" and that staging them in the proper setting can be rather difficult, but concluded that the "participants seem to have enjoyed this prepared chance."

Earlier on November 14, another Happening was held at the Sogetsu Art Center in conjunction with the exhibition Kukan kara kankyo e (From Space to Environment), where many of the same artists participated to promote the concept and practice of Fluxus in Japan. The Happening was recorded on film and in photographs taken by some of the participants. post presents the film and selected photographs by Nishiyama Teruo, who took part in the tour.

Details of the tour are provided in the photograph captions and are placed in the sequence in which they appear in the film.

Ay-O, Happening for Sightseeing Bus Trip in Tokyo, film of event December 18, 1966 Film (transferred to DVD) Courtesy of Ay-O. The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift. © 2013 the artist

Fluxus Bus

# data[].attributes.attachment_link.title
Happening for Sightseeing Bus Trip in Tokyo - post

# data[].attributes.attachment_link.description
Ay-O, a Japanese artist who had been part of Fluxus in New York, returned to Japan in 1966 after an eight-year absence. He organized Happening for Sightseeing Bus Trip in Tokyo which was recorded on film and in photographs taken by some of the participants.

# data[].attributes.attachment_link.readable_text
By means of frequent travel and regular correspondence, many artists, including Akiyama Kuniharu, Ay-O, Ichiyanagi Toshi, Kosugi Takehisa, Kubota Shigeko, Yoko Ono, Saito Takako, Shiomi Mieko, and Tone Yasunao, linked vanguard communities in Tokyo and New York, infusing Fluxus concepts and events with the latest artistic developments from Japan. Most of the literature on Fluxus focuses on the movement's American and European adherents, barely acknowledging the contributions of Japanese artists. This essay sheds light onto the catalytic role Japanese artists played in this trans-Pacific artistic exchange and aims to expand knowledge not only of Fluxus, but also of the history of the international avant-garde.

Since its beginnings in the early 1960s, Fluxus has attracted artists from a wide range of cultural backgrounds to its open-ended philosophy and practice. It presents a remarkable model of an early transnational artistic movement that drew simultaneously from currents in the United States, Europe, and Japan.For a brief description of Fluxus, see For example, Grove Art Online's entry on Fluxus, cited in note 1, hardly mentions the relationship of Fluxus to Japanese avant-garde art. Investigations of this rarely explored history can be found in Alexandra Munroe, Michael Corris's entry in Grove Art Online. Regarding transnationalism and Fluxus, see Hannah Higgins, "Border Crossings: Three Transnationalisms of Fluxus," in James H. Harding and John Rouse, eds., Japanese Art after 1945: Scream against the Sky, exh. cat. (New York: Harry N. Abrams in association with the Solomon R. Guggenheim Museum, 1994), pp. 218-220; and Midori Yoshimoto, Into Performance: Japanese Women Artists in New York (New Brunswick, N.J.: Rutgers University Press, 2005). By shedding light onto the catalytic role Japanese artists played in this trans-Pacific artistic exchange, this article aims to expand knowledge not only of Fluxus, but also of the history of the international avant-garde. Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance (Ann Arbor: University of Michigan Press, 2006), pp. 265-66. An earlier version of this paper was presented at the Performance Studies International Conference #13 at New York University in 2007. Another version with a slightly different focus was presented at the NEH Summer Institute on "Re-envisioning American Art History: Asian American Art, Research, and Teaching" at New York University in 2012. It is especially remarkable that Fluxus included so many Japanese artists, including Akiyama Kuniharu, Ay-O, Ichiyanagi Toshi, Kosugi Takehisa, Kubota Shigeko, Yoko Ono, Saito Takako, Shiomi Mieko, and Tone Yasunao. By means of frequent travel and regular correspondence, these artists linked vanguard communities in Tokyo and New York, infusing Fluxus concepts and events with the latest artistic developments from Japan. Most of the literature on Fluxus focuses on the movement's American and European adherents, barely acknowledging the contributions of Japanese artists.

Building the Tokyo-New York Nexus

Yoko Ono and composer Ichiyanagi Toshi, married partners from 1956 to 1962, were key figures early on in the forging of ties between artists in New York and Tokyo. In 1958, Ichiyanagi, who had studied at the Juilliard School, attended John Cage's electronic music composition class at the New School of Social Research, where he befriended future Happenings and Fluxus artists, such as Allan Kaprow, Dick Higgins, and George Brecht. Together with composer La Monte Young, Ono co-organized experimental music, dance, poetry, and art events in her loft on Chambers Street in 1960. These performances inspired the Lithuanian-born artist George Maciunas to stage a similar series of events the following year at his AG Gallery. His intention was to raise money for his prospective publication Fluxus, which was to feature works by experimental artists and composers worldwide. Ichiyanagi and Ono returned to Japan in 1961 and 1962, respectively, and encouraged friends and associates in Tokyo to send music scores, tapes, and texts to Maciunas before Fluxus was officially inaugurated as an artistic movement.Ichiyanagi sent tapes and scores by fellow Japanese composers to Maciunas in a letter of January 1962. The George Maciunas file, the Jean Brown Archive, Getty Research Institute, Los Angeles. Prompted by the influx of material, Maciunas planned a special Japanese issue of Fluxus that was to have had contributions by various Japanese artists and writers, including the critic Tono Yoshiaki. He also planned a concert series devoted to works by Japanese composers, such as members of Group Ongaku (Group Music). Neither plan was realized (Fig. 1). Fluxus no. 3, scheduled to be published in August 1962 but never realized, was provisionally titled "Japanese Yearbox." See Jon Hendricks, Fluxus Codex (Detroit: Gilbert and Lila Silverman Fluxus Collection/New York: Abrams, 1988), p. 115.

Among the Japanese avant-garde collectives that emerged in the early 1960s, Group Ongaku was the first to make contact with Fluxus. Founded by Kosugi Takehisa and Shiomi Chieko (later known as Shiomi Mieko),Shiomi Chieko changed her name to Shiomi Mieko around 1967. musicology students at Tokyo National University of Music and Arts, and by Tone Yasunao, who had studied French literature, Group Ongaku used everyday objects-a vacuum cleaner, dishes, an oil can-to create musical improvisations. Although the group had not been exposed to Cage's music, its members' knowledge of For more on the group's formation and its musical lineage, see William Marotti, "Challenge to Music: The Music Group's Sonic Politics," in musique concrète and early twentieth-century avant-garde music led them to explore the concept of objet sonore (sound object, or sound as object). Tomorrow Is the Question: New Directions in Experimental Music Studies (Ann Arbor: University of Michigan Press, forthcoming). See also Shiomi Mieko, Furukusasu towa nanika: Nichijo to ato o musubitsuketa hitobito (What is Fluxus? People who connected everyday life to art) (Tokyo: Film Art, 2005), pp. 61-67. Ichiyanagi attended Group Ongaku's concert at the Sogetsu Art Center in September 1961 and was astonished to discover a Japanese band that was engaged in something very similar to what he and his peers were experimenting with in New York. That something would soon be called Fluxus.Tone Yasunao in an interview with the author and Reiko Tomii for the Oral History Archives of Japanese Art, February 4, 2013.

Later that year, Ichiyanagi invited Group Ongaku to perform the Japanese premiere of his Fluxus Editions published multiples of small objects made by Fluxus group members. The multiples were meant to be affordable and widely circulated, and they were often sold as sets. The project was directed by George Maciunas. See Descriptions of the concert derive from Akiyama Kuniharu, "Gendai ongaku no jiyu to boken" (The Freedom and Adventure of Contemporary Music), Tone recalls that Ichiyanagi showed him a letter from Maciunas containing a five- or ten-dollar bill and asking for scores and tapes by Group Ongaku. In response, Tone encouraged friends such as Akasegawa Genpei to send works to Maciunas. Kosugi tells a similar story. See Tone Yasunao and Kosugi Takehisa's recollections in Emmett Williams and Ann Noel, eds., IBM-Happening and Musique Concrète, also at the Sogetsu Art Center (Fig. 2). As in his earlier work IBM for Merce Cunningham and Music for Electric Metronome (1960), which was later released as a Fluxus edition, Ichiyanagi used a randomly selected set of IBM computer punch cards as scores, and the performers were allowed to interpret them as they wished (Fig. 3). here for more on Fluxus Editions. -Editor's note Instead of playing instruments, Group Ongaku performed a wide range of familiar, unrelated actions from daily life: Shiomi blew soap bubbles; Tone broke a ceramic bowl. Yomiuri Shinbun (December 8, 1961). Their attempt to bring life into art/music matched the direction Maciunas was envisioning for Fluxus, and he would soon become an eager collector of music tapes and scores by Group Ongaku members and their friends. Mr. Fluxus: A Collective Portrait of George Maciunas, 1931-78 (London: Thames and Hudson, 1997), pp. 130, 134.

In May 1962, Ono held her own concert at the Sogetsu Art Center (Fig. 4). She enlisted more than thirty avant-garde luminaries to perform her complex pieces, including composers Yuasa Joji and Akiyama Kuniharu, formerly with Jikken Kobo (Experimental Workshop); members of Group Ongaku; the dancer Hijikata Tatsumi; and Akasegawa Genpei, a future member of art collective Hi Red Center. In For details of this concert, see Midori Yoshimoto, "Works of Yoko Ono, 1962" in Alexandra Munroe and Jon Hendricks, eds., " The Pulse, performers made sounds of their own choosing each time they solved a mathematical problem. Yes Yoko Ono (New York: Japan Society and Abrams, 2000), pp. 150-153. Throughout the long evening of unconventional musical events, Ono challenged the traditional one-way relationship between performer and audience. An unidentified reviewer commented: "It is not an art that has already been completed, but an art form that enables the audience to receive something by witnessing the unfolding of nonsense acts, experiencing the process together with the performers." Daitanna kokoromi: Ono Yoko no ivento" (Bold experiment: Yoko Ono's event), Asahi Journal (June 1962), p. 45. Courtesy Lenono Archive, New York

Figure 4. Sogetsu Contemporary Series 15: Works of Yoko Ono

Later that year, Ono participated in John Cage's concert at the Sogetsu Art Center. The two events-first Ono's, then Cage's-incited a Happening craze in Japan. The media described Ono as one of the initiators of Happenings in New York, thus popularizing the term "Happening." "Event," the synonymous term used by Fluxus, would be adopted by the artists' collective Hi Red Center but didn't catch on as widely with the public.For example, see "Kemuri no chokoku, moji no nai shishu: Shingeijutsu 'happuningu' to torikumu Nihon josei" (Smoke Sculpture, Book of Poems without Letters: A Japanese Woman Undertaking the New Art Form of the "Happening"), According to Tone, Maciunas may have heard about Shukan Yomiuri (May 6, 1962). Tone Yasunao encouraged future members of Hi Red Center to adopt the term "Event." Tone Yasunao interview, February 4, 2013. By the summer of 1964, when she returned to New York, Ono had written a number of conceptual/performative instructions and published them in an anthology entitled Grapefruit (Fig. 5). She had become a renowned figure in Tokyo's avant-garde circle, having staged a series of exhibitions at Naiqua Gallery, concerts in Kyoto and Tokyo, and having participated in seminal works by her artist friends, including Hi Red Center's Shelter Plan, held at the Imperial Hotel Tokyo in January 1964 (Fig. 6) and reenacted as Hotel Event by New York Fluxus members in 1965. Shelter Plan from another participant, Kubota Shigeko. The artists who put on the very different New York version of the piece may not have known the full details of the original. Tone interview, February 4, 2013.

The Korean-born composer Nam June Paik was another important catalyst in linking Tokyo and New York. A graduate of the University of Tokyo, Paik visited the Japanese capital in 1963 on a trip from Germany, where he had made his name by destroying musical instruments in the inaugural Fluxus concerts. During his brief stay, Paik met Tone, Kosugi, and Shiomi of the by then defunct Group Ongaku and asked them to perform in the May 1964 staging of his Events at the Sogetsu Art Center (Fig. 7). He found Shiomi's Shiomi, In a December 26, 1963, letter to Willem de Ridder, who was distributing Fluxus editions in Europe, Maciunas mentioned that he had the "complete works of Shiomi." See Hendricks, Endless Box wonderfully witty and, knowing that would fit Fluxus perfectly, encouraged Shiomi to send it to Maciunas (Fig. 8). A visualization of a musical diminuendo, Endless Box consisted of thirty-four handmade paper boxes that could be nested one inside another.A diminuendo is a musical term referring to a gradual decrease in the loudness of a sound. Maciunas so much liked the first set he received that he asked for twenty more, and Shiomi used the money he paid for them to travel to New York. Furukusasu towa nanika, pp.76-77. Sent by post, Shiomi's Endless Box and several event scores that she included in the package were offered for sale at the Flux Shop six months before the artist herself arrived in New York in July 1964 (Fig. 9). Fluxus Codex, p. 478.

Shiomi's friend, the sculptor Kubota Shigeko, learned of Fluxus through Ono, Ichiyanagi, and Paik around 1964 and began corresponding with Maciunas. Disappointed by critics' indifference to the ambitious exhibition of her environmental sculpture Kubota Shigeko, quoted in Miyata Yūka, "'Naika datta, garou datta−' futatabi kaisaimade" ("It was the office of internal medicine and gallery" again: until I held Naiqua Gallery-exhibition of the avant-garde in the 1960s), Kubota Shigeko, quoted in Jeanine Mellinger and D.J. Bean, "On Art and Artists: Kubota Shigeko," For more on Kubota, see Yoshimoto, 1st.LOVE, 2nd.LOVE... at the Naiqua Gallery (Fig. 10), Kubota decided to accept an invitation from Maciunas to move to New York. Aida, no. 80 (August 20, 2002): p. 31. (Fig. 11) In her letter to him, written on a scroll, Kubota expressed her determination: "I'd like to touch, to see and feel something by touching a group of Fluxus and living myself in New York [ sic]." Much later, she explained that one of the major factors behind her move was that "Japan [was] so conservative," made up of "all male artists and male-oriented society." Profile, no. 3 (1983): p. 21. On July 4, 1964, soon after Japan began issuing tourist visas to facilitate international travel, Kubota and Shiomi took the same flight to New York and received a warm welcome from the Fluxus community. Within a year, they each presented their own Fluxus events and created Flux objects. While Shiomi stayed for only one year, Kubota decided to remain permanently. Into Performance, pp. 169-193; Mary Jane Jacob, ed., Kubota Shigeko Video Sculpture (New York: American Museum of the Moving Image, 1991).

Japanese Contributions to Fluxus

Maciunas's enthusiasm and admiration for Japanese culture and art were as significant as the change in Japanese foreign policy in strengthening the nascent connection between Japanese and American artists. Not only did Maciunas possess Japanese swords and other artifacts and furnish his apartment with tatami mats, but he led an ascetic lifestyle that gave Japanese artists such as Yoshi Wada the impression that he was a "practitioner of Zen."Yoshi Wada, quoted in George Maciunas, quoted in Mr. Fluxus, p. 134. The artist is also sometimes known as Yoshimasa Wada. Maciunas even dreamed of building an artist's commune in Japan where residents would grow their own food and spend their time "Fluxing around, publishing all kinds of things, swindling idiots and robbing the fat capitalists." Mr. Fluxus, p. 128. A committed anti-capitalist and utopian, Maciunas felt a strong connection to the Japanese-and particularly to their group ethics, which were so far removed from Western individualism.Ibid., p. 133.

Japanese women artists became a hidden force behind the production of Flux objects. Along with Saito Takako, who had joined the group in early 1964, Shiomi and Kubota took part in the Fluxus dinner commune. For several weeks, they shared the duties of shopping for groceries, cooking, and, after dinner, producing Flux objects. Most of the responsibility for the meals fell upon women, and the effort did not last long.For more on the Fluxus dinner commune, see Shiomi Mieko, Saito returned to New York in 1973 initially to help Maciunas build the Flux harpsichord (never used) and to participate in the Flux Game Fest. Since 1979 she has been based in Düsseldorf. For more on Saito, see Yoshimoto, Furukusasu towa nanika (What is Fluxus) (Tokyo: Film Art, 2005), pp. 81-82, and "An evening with Fluxus women: a roundtable discussion," in Midori Yoshimoto, ed., "Women and Fluxus," a special issue of Women & Performance: A Journal of Feminist Theory 19, no. 3 (November 2009): pp. 376-377. While Shiomi and Kubota soon found part-time jobs, Saito continued to produce Flux objects until 1967, when she relocated to Europe. Among those works were several versions of Flux Chess, including Sound Chess, Weight Chess, and Into Performance, pp. 115-137. Although Fluxus advocated the production of multiples as a way of challenging the traditional sense of authorship, it never sought to undermine the intrinsic value of esthetic quality, which Saito's crafting skills raised to a high level in Flux objects. Nut and Bolt Chess, which she made at the suggestion of Maciunas, a chess aficionado (Fig. 12). Unlike traditional chess sets, Saito's engaged the five senses. She did not claim authorship but produced the works under the name of the collective.

Another Japanese artist, known by the pseudonym Ay-O, had moved to New York from Tokyo in 1958 and joined Fluxus earlier than Shiomi and Kubota did. Although he had hoped to have his first solo show at Maciunas's AG Gallery, the gallery went bankrupt in 1961, and Maciunas fled to Europe. During Maciunas's absence, which lasted nearly two years, Ay-O developed friendships with future Fluxus and Happening artists such as Allan Kaprow and Dick Higgins, among many others, helping them with their works and participating in their performances.Ay-O, Akiyama Kuniharu, Shiomi Mieko, "Roundtable Discussion: Fluxus Universe," in Ay-O was gratified when he found one of the boxes in Jasper Johns's studio a few years later. The boxes were sent by mail, unwrapped, and the hole was covered with a sheet of paper. Ay-O heard that some arrived "non-virgin"; they must have intrigued some postal workers. Ay-O, "Nijino kanatani" (Over the Rainbow), no. 15, Art Vivant 11, Fluxus special issue (1983), translated into English by the author. Reprinted in Fluxus - Art into Life (Saitama: Urawa Art Museum, 2004), pp. 102-103. After Maciunas returned to New York, Ay-O helped him build the Flux Shop and Hall on Canal Street, where he lived in a loft just a few doors down. The Flux objects offered for sale at the opening of Fluxus Shop in 1964 included Ay-O's Finger Box, an edition of cardboard cubes that fit in the palm of the hand and were covered with the artist's logo, which was designed by Maciunas. The wooden version in the MoMA collection was produced for inclusion in the Fluxkit (Fig. 13). Each box had a hole at the top large enough for a finger to fit through. Inside were objects-or bits of objects-hidden from view, to be examined exclusively by touch. The boxes in the first edition, which comprised about eight hundred, contained only a rubber sponge. The content and quantity were chosen partly to advertise Ay-O's sponge-filled environment Bijutsu Techo (December 1987), translated by the author and reprinted in Over the Rainbow Ay-O Retrospective 1950-2006 (Fukui: Fukui Fine Arts Museum, 2006), p. 168. A later, attaché-case version of Orange Box, which was installed at the Smolin Gallery. Priced at one dollar and ninety-eight cents, the boxes sold quickly to collectors around the world through the Flux mail order system Maciunas had launched. Finger Box offered a wider range of tactile sensations. It contained a variety of materials: a small brush, sawdust, Vaseline, and even nothing-a void-to surprise the person interacting with the box. Ay-O's Finger Box became one of the most popular Fluxus products to explore the previously neglected sensory dimension of touch in artistic experience. The work's playfulness also corresponded to the Fluxus philosophy of making art accessible to all.

Another Japanese member of Fluxus was the composer and music critic Akiyama Kuniharu, a former member of Jikken Kobo (Experimental Workshop) who had considerable knowledge of Japanese and Western avant-garde art and music. It was he who was responsible for introducing the music of John Cage to Japanese audiences. Akiyama had corresponded with Maciunas from Japan after Ichiyanagi had provided an introduction. He traveled to New York in late 1963, and soon after his arrival, Maciunas showed him how to limit his food budget to five dollars a week, down from the eight dollars per day that he had been spending.Akiyama recalls that Maciunas was earning approximately nine hundred dollars a month as a graphic designer-that was twice the average income of the day. By spending only five dollars a week on food, he was able to allocate most of his income to the production of Fluxus Events and objects. Akiyama in "Roundtable Discussion: Fluxus Universe," p. 107. Just as Akiyama was getting ready to leave for Europe around April 1964, Maciunas asked him to conduct the first Flux concert at Carnegie Recital Hall (Fig. 15). Having had no prior conducting experience, Akiyama initially declined, but he gradually gave in to Maciunas's repeated pleas and stayed in New York for an extra two months.

On June 28, 1964, Akiyama appeared on stage at Carnegie Recital Hall dressed in a tailcoat. He conducted about a dozen of pieces, beginning with Akiyama knew Kosugi's piece from its performance the year before at the Sogetsu Art Center. For Akiyama's account of the Flux concert, see Akiyama Kuniharu, "Kanegi horu ni shikibo o furu" (Conducting at Carnegie Hall), Akiyama contributed articles on Fluxus to publications such as The Star-Spangled Banner arranged by La Monte Young.Ibid., p. 103. Akiyama met La Monte Young in 1959 at the International Summer Course for New Music in Darmstadt, Germany. After seeing Young's scores, Akiyama suggested that he look up the work of John Cage. Young soon contacted Cage, organized an exhibition of graphic scores in Los Angeles, and subsequently moved to New York. Other pieces included George Brecht's Solo for Violin, in which all members of the Fluxus Symphony Orchestra polished their instruments when Akiyama gave the signal by polishing his baton; and Kosugi Takehisa's Organic Music, which called for performers to produce sounds by breathing in and out through paper tubes. Nihon Tosho Shinbun (August 31 and September 7, 1964), p. 8. Bravely and playfully, and to the audience's delight, Akiyama even introduced the "Japanese samurai style" of conducting by imitating a sword-fighting movement while leading Dick Higgins's Constellation II. In preparation for the concert, Akiyama attended the series of Flux Fests held at the Flux Hall and in streets of SoHo on weekend evenings from April to June 1964. Moved by fresh encounters he experienced with Fluxus members in New York, Akiyama became a strong proponent of the group after he returned to Tokyo. Bijutsu Techo [Art Notebook], including no. 275, a special issue titled From Space to Environment (November 1966), pp. 59-63, 80-88. When Shiomi felt unsure about traveling to New York, Akiyama encouraged her by writing that Fluxus artists loved her work and that she would be welcomed there.

Tokyo Fluxus

While there was no organized effort to establish a Tokyo branch of Fluxus, a series of Fluxus-related events was held in the Japanese capital after Shiomi's return in 1965.Tone reported that in 1963 or '64, Tony Cox, Yoko Ono's second husband, spoke about starting a Japanese section of Fluxus because there were many excellent artists and he was collecting their works. Some of the works that Cox collected, however, seem to have been kept by a middle man for some time until they entered the Silverman Collection. Tone Yasunao in an interview with the author and Reiko Tomii, February 4, 2013. Akiyama and Ichiyanagi co-organized Flux Week, which was comprised of a series of events and an exhibition of publications and objects at Gallery Crystal, in September 1965 (Fig. 16). One evening was dedicated to Shiomi's performance pieces, including For details of Shiomi's performance, see Yoshimoto, Water Music and A Piece for Two Performers. On other evenings, Akiyama, Ichiyanagi, Tone, and composer Takemitsu Toru performed Fluxus works for a small audience (Fig. 17). Into Performance, pp. 159-160.

The activities that might be said to encompass "Tokyo Fluxus" culminated with Ay-O's return to Japan at the end of 1966, after eight years' absence. A Happening titled For more about the exhibition and event, see Midori Yoshimoto, "From Space to Environment: The Origins of Although Shiomi's piece was not listed in the original program, it was performed in the fourth place, after Yamaguchi's Kukan kara kankyo e ( From Space to Environment) was presented at the Sogetsu Art Center in conjunction with an exhibition of the same title at the Matsuya Department Store Gallery. A collaborative effort by thirty-eight multidisciplinary artists and critics, the exhibition and performances embodied the new concept of "environment" as a site/catalyst for a "dynamic relationship between humans and their surroundings (Figs. 18a and 18b)." Kankyo and the Emergence of Intermedia Art in Japan," Art Journal 67:3 (Fall 2008), pp. 24-45. For Ichiyanagi's Environmental Music performance, graphic designers Awazu Kiyoshi and Fukuda Shigeo, Ay-O, and the art critic Tono Yoshiaki sat in a row of chairs on stage and followed the instruction "incline your body on a chair as slowly as possible to an unbearable position" (Fig. 19). Tono interpreted the command by crawling under his chair and lifting it above his head. In his Rainbow Event, Ay-O carried out a series of everyday actions such as brushing his teeth and shaving, to each of which he assigned one of the seven colors of the rainbow, while Shiomi and Akiyama performed simple physical exercises. Shiomi presented Signal and before Akiyama's Water Ring Event, according to a note by Nishiyama Teruo, who was in the audience. Comprised of three acts, a series of nonsensical actions unfolded around a water tank placed on a table. Performers took the temperature of the water, sat down, stood up, and wrote a word on a cigarette, which they smoked it until it turned to ashes. Although these performances were dubbed "Happenings" by the press, they were closer to Fluxus Events in their brevity and content, which encouraged the audience to rethink aspects of their daily lives and environments. Compound View I with Ay-O, Akiyama, and artist Yamaguchi Katsuhiro (Fig. 20).

Figure 18a. Program for the event "From Space to Environment: Happening"

Figure 18b. Postcard announcement for the event "From Space to Environment: Happening"

The penultimate piece of the evening was Akiyama's Water Ring Event No. 1, whose score card was recently rediscovered in the Silverman Fluxus Collection at The Museum of Modern Art (Fig. 21). The Japanese text, mimeographed by Akiyama, provides the following instructions:

Warm an object and hide it in another's hand. Continue this action of exchange while doing the following:

(1) Pronounce the name of the object in your co-performer's hand in every possible way as a means of confirmation.

(2) Each performer should perform as instructed on the back of the card.

(3) Finally, continue the performance using the objects.Translation by Miki Kaneda

While there are a few photographs documenting this Event, the somewhat cryptic descriptions make it difficult to reconstruct the performance. The last work in the program, Takemitsu's This piece was reinterpreted most recently on March 25, 2012, by Ichiyanagi Toshi at the Museum of Contemporary Art, Tokyo, in the context of Ay-O's retrospective exhibition The most comprehensive publication on Jikken Kobo to date is It was Yamaguchi who used the term "intermedia" to describe Jikken Kobo's activities in retrospect. Yamaguchi Katsuhiro, "The Experimental Workshop (Jikken Kobo)," originally written for the exhibition catalogue Event for Seven Hills, was dedicated to Ay-O, whose signature motif was the seven colors of the rainbow. On stage, seven performers were stationed at ladders representing seven hills and repeated disparate actions, such as typing "WORD" on a typewriter and performing magic tricks. Ay-O: Over the Rainbow Once More. It is notable that three former members of Jikken Kobo-Takemitsu, Yamaguchi, and Akiyama-created Fluxus-inspired pieces and presented them on this special occasion, which marked the emergence of intermedia art in Japan. Jikken Kobo/Experimental Workshop, exh. cat. (Kamakura: The Museum of Modern Art, 2013). It considers individual members' involvement with Fluxus and intermedia art in the 1960s as an extension of Jikken Kobo, p. 199. This convergence of Fluxus and intermedia art is not surprising, considering the fact that in the mid-1950s Jikken Kobo pioneered cross-genre collaborations that Fluxus would identify as "intermedia" almost a decade later. Shedding Light on Art in Japan-1953 (Tokyo: Meguro Museum of Art, 1996); reprinted in English in Experimental Workshop: Japan 1951-58 (London: Annely Juda Fine Art, 2009), n.p.

In December 1966, Ay-O, with the help of Minami Gallery, organized the For details of the On Expo '70, see Midori Yoshimoto, ed. "Expo '70 and Japanese Art: Dissonant Voices," Happening for Sightseeing Bus Trip, a piece in which participants rode in a rented bus and performed Fluxus Events at various stops throughout Tokyo (Fig. 22). Happening for Sightseeing Bus Trip, see Fluxus-Art into Life (Saitama: Urawa Art Museum, 2004), pp. 92-94; Midori Yoshimoto, "Ay-O's Environments and Fluxus Events," Ay-O: Over the Rainbow Once More (Tokyo: the Museum of Contemporary Art, 2012), p. 72; and Hamada Mayumi, "Research Note on Ay-O's Review of Japanese Culture and Society 23 (December 2011). Happening for Sightseeing Bus Trip in Niigata 2012," Niigatashi bijutsukan kenkyu kiyo (Niigata City Art Museum Bulletin) No. 1 (2012), pp. 14-22. The performers overlapped with those who took part in From Space to Environment, including Shiomi and Akiyama. Together they realized approximately fifteen Events and several Happenings at locations such as the Sengakuji temple and the Meiji shrine. After that, Tokyo Fluxus activities tapered off, but the Fluxus philosophy of turning the viewer into a participant continued to inform the work of many artists. In fact, many artists who had participated in From Space to Environment played an important role in shaping the 1970 Osaka World Exposition as a site for promoting interaction among visitors and the environment.

After 1970, the collective activities of Fluxus waned, but Japanese artists remained actively engaged with the movement. Kubota and Paik, who married in 1965, were close friends with Maciunas and lived in the co-op building that he organized in New York's SoHo. Ay-O lived in the same building and was a regular participant in most of the late Fluxus Events. In 1972, after corresponding with Maciunas for a decade, Tone moved to New York and joined Fluxus.Although Tone was skeptical about the continuation of Fluxus in the late 1960s, Paik assured him that the movement was still very much alive. Tone was welcomed as an old friend by Fluxus artists upon his arrival in New York. Tone Yasunao, interview with the author and Reiko Tomii, February 5, 2013. Back in Japan, Shiomi completed nine mail art Events, part of the Spatial Poem series that she originated in New York in 1965 (Fig. 23). For each Event, she mailed instructions to people worldwide, asking them to interpret her instructions and then send her a written report. Through correspondence, she collaborated with Maciunas in designing the objects based on those reports.

After Maciunas's death in 1978, there was a lull in Fluxus activities, but since the 1990s there has been a resurgence of interest and energy in the movement. Many international Fluxus exhibitions have been providing opportunities for artists' reunions. Stimulated by these events, Shiomi has reinterpreted Fluxus through multimedia works such as the intermedia event Regarding Shiomi's recent activities, see the transcript of her lecture on Fluxus Media Opera (1994), which she executed with the help of young musicians and artists. post: "Intermedia/Transmedia", translated by the author for post. As artists who were directly involved in New York Fluxus, both Ay-O and Shiomi played a central role in the dissemination of Fluxus in Japan, often by presenting Fluxus Events during their exhibitions or concerts (Fig. 23). Now they are passing the Fluxus spirit on to younger generations.

# data[].attributes.attachment_link.title
Fluxus Nexus: Fluxus in New York and Japan - post

# data[].attributes.attachment_link.description
Most of the literature on Fluxus focuses on the movement's American and European adherents, barely acknowledging the contributions of Japanese artists. This essay sheds light onto the catalytic role Japanese artists played in this trans-Pacific artistic exchange.

# data[].attributes.body
Sammlungskuratorin
NOARTCOLLECT
https://www.noartcollect.com

laura.boesl@t-online.de

# data[].attributes.body
Lick Piece with an inflatable figurine (The Scream), 2012

# data[].attributes.attachment_link.readable_text
Pari&Dispari, fondata da Rosanna Chiessi, nasce nel 1971 a Reggio Emilia come casa editrice "Pari Editori & Dispari". Dopo aver lavorato per alcuni anni con artisti concettuali italiani, poeti visivi e body-artists inizia la sua attività, non solo come editore, ma come organizzatrice di eventi, festival ed esposizioni, partecipando alle fiere internazionali più importanti. Nel 1973 prende contatti con il movimento Fluxus e l'Azionismo Viennese. Questi movimenti furono fondamentali per Pari&Dispari: in oltre 50 anni di attività sono state prodotte edizioni rare, mostre, eventi, performance, installazioni e concerti. Negli anni novanta Rosanna Chiessi vive a casa Malaparte a Capri, dove organizza eventi culturali ed happening, invitando artisti tra i quali Allan Kaprow, Hermann Nitsch e Mimmo Rotella. Nel 2000 apre due gallerie a Berlino"Pari&Dispari Project" e "Artinprogress" e lavora nella capitale tedesca sino al 2002. Nel 2002 insieme ad Andrea Sassi apre un centro per le arti contemporanee in un ex capannone industriale di Reggio Emilia. Nel 2005 Rosanna Chiessi prende contatti con il movimento artistico giapponese GUTAI e fonda nel 2007 con Peppe Morra e Laura Montanari "l'Associazione Shimamoto". I compiti dell'Associazione sono l' organizzazione di eventi internazionali, garantire l'autenticità delle opere, promuovere e sostenere la ricerca artistica di Shozo Shimamoto, non solo attraverso la pubblicazione di cataloghi, video e documentari, ma anche producendo alcune delle performance che hanno reso il maestro celebre in tutto il mondo. Si citano le principali: evento performance a Napoli in piazza Dante "Un'arma per la pace" nel 2006; performance Punta Campanella 2008, Sorrento/Napoli; performace Certosa di San Giacomo Capri 2008; esposizione e performance al museo Magi a Pieve di Cento (Bologna); esposizione presso il museo S.Croce di Genova e performance al Palazzo Ducale nel 2008; esposizione al Palazzo delle Esposizioni Roma 2009; partecipazione all'esposizione organizzata dal Museo Cantonale d'arte di Lugano dedicata al Movimento Gutai; esposizione nella Basilica di S.Stefano di Bologna nel 2011 e l'ultima grande esposizione nel 2011 a Reggio Emilia, a Palazzo Magnani, con performance iniziale pubblica del maestro nelle strade cittadine. Nel 2013, a pochi mesi dalla scomparsa dell'artista, viene presentata presso lo Studio Giangaleazzo Visconti di Milano una mostra dedicata all'opera di Shozo Shimamoto (Osaka, 1928 - 25 gennaio 2013). Nel 2020 la galleria Cardi di Milano con la collaborazione dell'Archivio Pari&Dispari, gestito dalla figlia di Rosanna, Laura Montanari, inaugura l'esposizione SHOZO SHIMAMOTO, CARDI GALLERY MILANO, 19 febbraio - 18 dicembre 2020. Nel giugno 2021 la famiglia di Shozo Shimamoto, Andrea Mardegan e Laura Montanari escono dall'Associazione Shozo Shimamoto. I familiari dell'artista continuano ricognizione, promozione e autenticazione delle opere dell'artista tramite il sito ufficiale giapponese Shozo Shimamoto.

Nel marzo 2017 nasce presso la Biblioteca Panizzi di Reggio Emilia, grazie alla donazione della figlia Laura Montanari, il fondo "Rosanna Chiessi, Archivio storico artistico PARI&DISPARI", costituito da 54 album con migliaia di fotografie riordinate e commentate da Rosanna Chiessi. Gli album documentano e raccontano importanti capitoli di arte contemporanea internazionale dalla fine degli anni '60 al 2015. In oltre 40 anni Rosanna Chiessi attraversò l'arte lavorando con artisti di tutto il mondo, in particolare dell' area concettuale italiana, poeti visivi, Azionismo Viennese, Fluxus, arte performativa e movimento Gutai. Gli album, assemblati da Rosanna Chiessi, includono anche immagini di vita vissuta, restituendo anche lo spirito e l'atmosfera di quegli anni. Gli album e i video, accompagnati ognuno da un testo descrittivo e corredati da uno schema definito da Rosanna Chiessi, sono consultabili sul sito della Biblioteca Panizzi, a disposizione di coloro che intendono studiare, approfondire e vedere uno spaccato di arte contemporanea internazionale. La Biblioteca Digitale di Rosanna Chiessi (BDRC) è consultabile al link seguente Visita i 54 album

Dal 24 maggio al 16 settembre 2018 il Museo MAMbo di Bologna allestisce l'esposizione Rosanna Chiessi. Pari&Dispari per rendere omaggio, ad una protagonista dell'arte italiana ed internazionale, al cui nome si deve un impegno fondamentale per la conoscenza e la diffusione di alcune delle avanguardie più influenti del secondo Novecento: area concettuale italiana, poesia visiva, Azionismo Viennese, movimenti Fluxus e Gutai, arte performativa. Il progetto ha consentito di riscoprirne l'intensa avventura - per la prima volta in un contesto museale dopo la scomparsa di Rosanna avvenuta nel 2016 - attraverso alcune delle testimonianze più rilevanti della sua attività che, negli anni Settanta, ha trasformato Reggio Emilia e Cavriago in crocevia di correnti artistiche di eccezionale rilievo. Per l'occasione è stato pubblicato il volume Rosanna Chiessi.Pari&Dispari, Danilo Montanari editore, con biografia, testi antologici, eventi ed attività.

Si citano alcuni artisti che hanno collaborato e prodotto edizioni ed opere uniche presenti nell'Archivio Pari e Dispari: Rafael Alberti, Eric Andersen, Chema Alvargonzales, Agostino Bonalumi, Mario Ceroli, Giuseppe Chiari, Heinz Cibulka, Costantino Ciervo, Philip Corner, Claudio Costa, Corrado Costa, Riccardo Dalisi, Giuseppe Desiato, Ugo Dossi, Simone Forti, Peter Goi, Coco Gordon, Paolo Grassino, Flavio Favelli, Franco Guerzoni, Al Hansen, Franco Vaccari, Geoff Hendricks, Dick Higgins, Hyon Soo Kim, Hsiao Chin, Joe Jones, Milan Knizak, Alison Knowles, Rita Lintz, Daniele Lombardi, Arrigo Lora Totino, Urs Lüthi, Jackson Mac Low, Luigi Mainolfi, Mario Mariotti, Charlotte Moorman, Hermann Nitsch, Ann Noel, Nam June Paik, Claudio Parmiggiani, Ben Patterson, Vivaldo Poli, Margaret Raspè, Angela Ricci Lucchi, Anton Roca, Giovanni Rubino, Mimmo Rotella, Dieter Roth, Giovanni Tariello, Takako Saito, Carolee Schneemann, Mieko Shiomi, Ugo Sterpini, Wal, Bob Watts, Emmett Williams, Yoko Ono, Ampelio Zappalorto, Yufen Qin, Shozo Shimamoto, AY-O, Yasu Sumi, Ukita, LOCO, Motonari Nohara, Takada.

Su Rosanna Chiessi hanno scritto: Pierre Restany, Renato Barilli, Emilio Villa, Eugenio Miccini, Franco Vaccari, Valerio Dehò, Corrado Costa, Lorenzo Balbi, Fabiola Naldi, Giordano Gasparini, Ermanno Cavazzoni, Ennio Bianco, Franco Guerzoni, Ivanna Rossi, Valeria Ceregini e molti altri.

L'Archivio Storico Pari&Dispari è attualmente impegnato nell'attività di conoscenza dei principali artisti e delle loro opere prodotte in collaborazione con Rosanna Chiessi tramite il sito web www.pariedispari.org, mostre ed eventi.

Per informazioni: paridispariagency@libero.it
<<BIOGRAFIA ROSANNA CHIESSI>>
The history of the Pari&Dispari Archive

In June 2021 Shozo Shimamoto's family, Andrea Mardegan and Laura Montanari leave the Shozo Shimamoto Association of Naples. The artist's family members continue recognition, promotion and authentication of the artist's works through the Pari&Dispari, founded by Rosanna Chiessi, began life in 1971 in Reggio Emilia as the publishing house "Pari Editori & Dispari". After working for several years with Italian conceptual artists, visual poets and body-artists, she began dealing not only with publishing, but also with organising events, festivals and exhibitions, taking part in leading international fairs. In 1973 she established a contact with the Fluxus movement and Viennese Actionism.
These movements were of fundamental importance for Pari&Dispari: in over 50 years of activity, rare editions, exhibitions, events, performances, installations and concerts have been produced. During the Nineties, Rosanna Chiessi lived at Casa Malaparte in Capri, where she organised cultural events and happenings, inviting artists such as Allan Kaprow, Hermann Nitsch and Mimmo Rotella. In 2000 she opened two gallerys in Berlin, "Pari&Dispari Project" and "Artinprogress" and worked in the German capital until 2002. In 2002, together with Andrea Sassi, she opened a center for contemporary arts in a former industrial warehouse in Reggio Emilia.
On her return to Italy, Rosanna Chiessi established a contact in 2005 with the Japanese art movement GUTAI, and in 2007 founded, together with Peppe Morra and Shozo Shimamoto, the "Shimamoto Association" for the purpose of organising international events, guaranteeing the authenticity of the works and promoting and supporting the artistic research of Shozo Shimamoto, not only through the publication of catalogues, videos and documentaries, but also by producing some of the performances that have brought the artist worldwide renown, the most important of which include the following: "Un'arma per la pace", the performance event staged in Piazza Dante in Naples in 2006; the Punta Campanella performance 2008, in Sorrento/Naples; the Certosa di San Giacomo performance in Capri in 2008; the exhibition in the S. Croce museum in Genoa and the performance at Palazzo Ducale in 2008; the exhibition at Palazzo delle Esposizioni in Rome in 2009; participation in the exhibition organised by the Museo Cantonale d'Arte in Lugano dedicated to the Gutai Movement; the exhibition in the Basilica of S. Stefano in Bologna in 2011; the last major exhibition in Reggio Emilia in 2011, at Palazzo Magnani, with an initial public performance in the streets of the city, and finally, an exhibition dedicated to the work of Shozo Shimamoto (Osaka, 1928 - 25 January 2013) at Studio Giangaleazzo Visconti in Milan. In 2020 the Cardi gallery in Milan with the collaboration of the Pari & Dispari Archive, managed by Rosanna's daughter, Laura Montanari, inaugurates the SHOZO SHIMAMOTO, CARDI GALLERY MILANO, 19 febbraio - 18 dicembre 2020. official Japanese site Shozo Shimamoto.

In March 2017, the foundation Rosanna Chiessi, "Pari&Dispari historical Artistic Archives" is established at Biblioteca Panizzi in Reggio Emilia, thanks to a gift from her daughter Laura Montanari of 54 albums, with thousands of photos, indexed and commented by Rosanna Chiessi, supply documentary evidence to important chapters of contemporary international art since the end of the Sixties to 2015. For more than 40 years Rosanna Chiessi took part in Art,working with worldwide artists, especially with Italian conceptual artists, Visual poets, Viennese Actionism, Fluxus, Performative Art, Gutai. These albums, assembled by Rosanna Chiessi, include pictures of real life and emphasize the age athsmosphere and spirit. Each Album and video is accompained by a descriptive text and an outline defined by Rosanna Chiessi and is at disposal of contemporay international art scholars. It is possible to consult Digital Rosanna Chiessi Library (BDCR). Visit the 54 albums

From 24 May to 16 September 2018 the MAMbo Museum of Bologna has set up the exhibition "Rosanna Chiessi, Pari & Dispari " as a tribute to a protagonist of Italian and international art, whose name is a fundamental commitment to the knowledge and dissemination of some of the most influential avant-gardes of the late twentieth century: Italian conceptual area, Visual poetry, Viennese Actionism, Fluxus, Gutai movements, Performative Art. The project has rediscovered the intense adventure - for the first time in a museum context, after the disappearance of Rosanna in 2016 - through some of the most relevant testimonies of its activity that, in the seventies, transformed Reggio Emilia and Cavriago at the crossroads of artistic currents of exceptional importance. For the occasion, the book "Rosanna Chiessi.Pari & Dispari" was published, (Danilo Montanari publisher) with biography, anthological texts, events and activities.

It is worth mentioning a number of artists who have worked on and produced editions and single works present in the Pari e Dispari Archive: Rafael Alberti, Eric Andersen, Chema Alvargonzales, Agostino Bonalumi, Mario Ceroli, Giuseppe Chiari, Heinz Cibulka, Costantino Ciervo, Philip Corner, Claudio Costa, Corrado Costa, Riccardo Dalisi, Giuseppe Desiato, Ugo Dossi, Simone Forti, Peter Goi, Coco Gordon, Paolo Grassino, Flavio Favelli, Franco Guerzoni, Al Hansen, Franco Vaccari, Geoff Hendricks, Dick Higgins, Hyon Soo Kim, Hsiao Chin, Joe Jones, Milan Knizak, Alison Knowles, Rita Lintz, Daniele Lombardi, Arrigo Lora Totino, Urs Lüthi, Jackson Mac Low, Luigi Mainolfi, Mario Mariotti, Charlotte Moorman, Hermann Nitsch, Ann Noel, Nam June Paik, Claudio Parmiggiani, Ben Patterson,Vivaldo Poli, Margaret Raspè, Angela Ricci Lucchi, Anton Roca, Giovanni Rubino, Mimmo Rotella, Dieter Roth, Giovanni Tariello, Takako Saito, Carolee Schneemann, Mieko Shiomi, Ugo Sterpini, Wal, Bob Watts, Emmett Williams, Yoko Ono, Ampelio Zappalorto, Yufen Qin, Shozo Shimamoto, AY-O, Yasu Sumi, Ukita, LOCO, Motonari Nohara, Takada.

The following have written about Rosanna Chiessi: Pierre Restany, Renato Barilli, Emilio Villa, Eugenio Miccini, Franco Vaccari, Valerio Dehò, Corrado Costa, Lorenzo Balbi, Fabiola Naldi, Giordano Gasparini, Ermanno Cavazzoni, Ennio Bianco, Franco Guerzoni, Ivanna Rossi, Valeria Ceregini, to name but a few.

The Pari & Dispari Historical Archive is currently engaged in the activity of getting to know the main artists and their works produced in collaboration with Rosanna Chiessi through the website www.pariedispari.org, exhibitions and events.

For information: paridispariagency@libero.it
<<THESIS
UN FRAMMENTO DI ORDINE UMANO NEL CAOS UNIVERSALE

...Tutta l'esistenza di Rosanna Chiessi è stata dedicata a questo vivere l'arte nelle sue espressioni vitali; in questo approccio esigente per gli altri come per se stessa, Rosanna scopre ben presto che la sua vocazione non essere disponibile per un uomo solo, ma per tutte le possibilità poetica dell'aleatorio creativo e questa disponibilità implica tanti uomini, tanti incontri, tante coincidenze, tanti viaggi, tante rivelazioni...
( 1995 Dal testo di Pierre Restany pubblicato nel catalogo: "Pari&Dispari 25 anni di seduzione")
Rosanna Chiessi, Reggio Emilia, 1976

# data[].attributes.attachment_link.description
Pari&Dispari, fondata da Rosanna Chiessi , nasce nel 1971 a Reggio Emilia come casa editrice "Pari Editori & Dispari". Dopo aver lavorato per alcuni anni con artisti concettuali italiani, poeti visivi e body-artists inizia la sua attività, non solo come editore, ma come organizzatrice di eventi, festival ed esposizioni, partecipando alle fiere internazionali più importanti.

# data[].attributes.headline
Radio Fluxus: Stories from the Fluxus Archives

# data[].attributes.subject
Radio Fluxus: Stories from the Fluxus Archives

# data[].attributes.body
Radio Fluxus: Stories from the Fluxus Archives is a podcast series that features our conversations with scholars, artists, curators, conservators, researchers and Fluxus enthusiasts. In these conversations, the interviewees are encouraged to tell their stories about one specific Fluxus artwork and to share their views on its use and potential activation. The protagonists of these stories are artworks.

# data[].attributes.body
This research project, which has been , funded by the Swiss National Science Foundation, investigates the objects, events, scores, and ephemera that emerged in the spirit of Fluxus in the 1960s–70s in Switzerland, Europe, the UK, and the USA. Inherently fluctuating by definition, Fluxus rejects any stable, material form. Considering the transitory aspects of Fluxus forms not destined for preservation, and looking through a multidisciplinary lens of conservation, art history, performance studies, heritage studies and museology, our project will advance novel strategies for activating Fluxus through the reconstruction, adaptation and artistic reinterpretation of Fluxus forms.

Visit/subscribe to the website to read essays and stay abreast with the project's activities: Fluxus Study Days, Radio Fluxus podcast, and public events.
https://activatingfluxus.com/

If you missed an event, the YouTube channel contains recordings of past colloquiums and interviews with artists and scholars: https://www.youtube.com/@activatingfluxus.

# data[].attributes.headline
Hannah Higgins and Alison Knowles: Performing and theorizing Fluxus  - new essay

# data[].attributes.subject
Hannah Higgins and Alison Knowles: Performing and theorizing Fluxus  - new essay

# data[].attributes.body
Hannah Higgins’s perspective on her performative collaborations with Alison Knowles (mentioned by Dorothee) and alternative ways of theorizing/practicing Fluxus is offered in her essay "Fluxus with Tools," recently published in Object—Event—Performance: Art, Materiality, and Continuity since the 1960s. https://press.uchicago.edu/ucp/books/book/distributed/O/bo86883609.html

# data[].attributes.body
https://www.kunstverein-wiesbaden.de/en/follow-fluxus/the-scholarship/about-follow-fluxus

# data[].attributes.headline
Radio Fluxus episode: ‘Mirror Piece’ (1963) by Mieko Shiomi narrated by Sally Kawamura

# data[].attributes.subject
Radio Fluxus episode: ‘Mirror Piece’ (1963) by Mieko Shiomi narrated by Sally Kawamura

# data[].attributes.attachment_link.readable_text
The third episode of our podcast presents Mirror Piece (1963) by Japanese artist Mieko Shiomi. This work, as many other Fluxus scores, does not have a singular manifestation but rather exists as many different entities, the material ones and the performative ones captured through documentation. Two versions of the handwritten score - in English and Japanese, live in the collection of the Museum of Modern Art, NY and belong to The Gilbert and Lila Silverman Fluxus Collection. Mirror Piece exists also as one of the cards in Events and Games -a Fluxbox and a multiple designed and arranged by George Maciunas (c. 1964) and later re-editioned on several occasions. The work can be appreciated through interpretations of performance artists as well, including an instance by Elina Brotherus who experimented with various pieces by Shiomi, and Dicky Bahto, Taylor Doran, Tatiana Luboviski-Acosta and Yvonne Tam version commissioned by The Getty Museum in 2021. In this episode, Sally Kawamura gives a playful guided tour through diverse instances of the Mirror Piece including her own experience in enacting it on a Welsh beach.

Sally Kawamura is an art historian whose interests lie in 1960s Japanese experimental communities. Her doctoral thesis Object into Action: Group Ongaku and Fluxus (2009, University of Glasgow) investigated the reasons for the mutual similarities and connections between avant-garde practice in Japan, Europe and America. Following a career break, she now focuses her attention on Japanese contemporary art, especially interactions between experimental groups in 1960s Japan and globally. Sally loves to perform Shiomi's pieces while out in nature.

Mieko Shiomi 塩見 允枝子 (born Chieko Shiomi, 1938, Okayama, Japan) is a musician, composer and visual artist. In 1957, she began her studies in musicology at the Tokyo National University of Fine Arts and Music where, in 1959, she formed the pioneering, 'Group Ongaku' (グループ音楽 / Group Music), a free-improvisational ensemble with Takehisa Kosugi, Yasunao Tone and others. During that time and afterwards, she developed her musical ideas and appreciation for nature into objects and action-based pieces. In 1964, she joined Fluxus artists for a year in New York. Back in Japan, she continued composing and performing, and collaborated with 1960s Fluxus events in Japan. In 1969, Shiomi changed her given name to Mieko. After marrying in 1970 and then having children, she altered her creative methods to be able to work at home. She continued her important mail-based work, Spatial Poem (1965-1975), begun in New York. Her tenth Spatial Poem <Spatial Poem: moving event> (2022 version) was exhibited during the Aichi Triennale. From the 1990s onwards, Shiomi initiated and contributed to several international Fluxus festivals, exhibitions and concerts. In 2005, she produced a book entitled, Furukusasu to ha Nani ka [What is Fluxus?] (Tokyo: Film Art Sha). She is active today as a composer, performer and artist.

References from the audio

[03:07] "Step back" in Japanese: Atozusari suru

[04:04] Music researcher Nao Takuichi. See: Kakinuma, Takuichi, Shiomi 2014

[04:30] for Hanna's idea about event scores performing materially themselves as they decay and change see: Hölling, Hanna B. 2022. "Unpacking the Score: Notes on the Material Legacy of Intermediality." On Curating, Fluxus Special Issue, no. 51: 1-38.

[06:22] the calligraphy: as the art historian, Midori Yoshimoto found out. See: Yoshimoto 2005.

[06:27] By the artist Takako Saito

[07:45] Fantastic films by the artist Elina Brotherus

[09:52] Boundary music by Shiomi

[10:00] As she mentioned in an interview with Toshie Kakinuma (2021).

[10:10] In a quote from a magazine: Shiomi, Mieko. 1974 'Oto wo koeru ongakuteki sōnen no kiseki' (The track of musical thoughts that surpass sound), in Gainen Geijutsu (Conceptual Art), special edition of Geijutsu Kurabu (Art Club) Tokyo: Film Art Sha. Reference provided courtesy of Shiomi, email to Kawamura, 16 December, 2007.

[14:00] Water Music (1964): ''1. Give the water still form. 2. Let the water lose its still form.'' For more information, see: Yoshimoto 2005, 152-154 and 159-160; Kawamura 2010, 313 - 314; also Friedman, Ken, Owen Smith and Lauren Sawchyn, eds. 2002. Fluxus Performance Workbook [n.p.] Performance Research, 2002 < https://www.thing.net/~grist/ld/fluxusworkbook.pdf> (accessed 18 September 2008)

BIBLIOGRAPHY

Hashimoto, Azusa. 2021. "Beyond Time and Space-Inside the World of Mieko Shiomi", Art Week Tokyo, 2021, 44 min. Video. (Japanese/English).

Kakinuma Toshie, Takeuchi Nao, Mieko Shiomi. 2014. "Oral History Interview with Shiomi Mieko", Kyoto City University of Arts (Japanese/English), https://www.kcua.ac.jp/arc/ar/shiomi_eg_1/, (translated by Reiko Tomii).

Kawamura, Sally. 2009. "Object into Action: Group Ongaku and Fluxus.", PhD thesis, University of Glasgow.

Kawamura, Sally. 2010. "Appreciating the Incidental: Mieko Shiomi's 'Events." Women & Performance: A Journal of Feminist Theory 20 (1): 113.

Shiomi, Mieko. 2013. "Intermedia /Transmedia." Post: Notes on Art in a Global Context. https://post.at.moma.org/content_items/241-intermedia-transmedia.

Shiomi, Mieko. 2021. "Beyond Time and Space-Inside the World of Mieko Shiomi." Interview by Azusa Hashimoto [Video Interview]. Art Week Tokyo, 2021, 44 min. (Japanese/English)

Spencer, Amy Elizabeth. 2022. "Mieko Shiomi: A Bodily Exploration of Selected Objects." MA thesis, University of California, Riverside.

Yoshimoto, Midori. 2005. "Music, Art, Poetry, and Beyond: The Intermedia Art of Mieko Shiomi," in Into Performance: Japanese Women Artists in New York. New Brunswick: Rutgers University Press

Featured photo: Sally Kawamura performing Mirror Piece on a Welsh beach ©Sally Kawamura

# data[].attributes.attachment_link.title
Episode 3: 'Mirror Piece' (1963) by Mieko Shiomi

# data[].attributes.attachment_link.description
https://anchor.fm/s/bc651424/podcast/rss The third episode of our podcast presents Mirror Piece (1963) by Japanese artist Mieko Shiomi. This work, as many other Fluxus scores, does not have a singular manifestation but rather exists as many different entities, the material ones and the performative ones captured through documentation.

# data[].attributes.attachment_link.title
Ecart as Fluxus: Get Inspired and Inspire

# data[].attributes.attachment_link.description
In Geneva, Fluxus found fertile ground and gave rise to what is known today as Ecart Group. Founded by John M. Armleder, Claude Rychner, and Patrick Lucchini during an Ecart Happening Festival in 1…

# data[].attributes.body
https://dortmunder-u.de/event/nam-june-paik/

# data[].attributes.attachment_link.readable_text
Als „the world's most famous bad pianist" bezeichnete sich Nam June Paik gern selbst und spielte damit auf das musikalische und performative Element in seinem Werk an. Die Ausstellung „Nam June Paik: I Expose the Music" des Museum Ostwall im Dortmunder U stellt das Werk des Pioniers der Videokunst unter diesem Schwerpunkt vor: Live-Momente, die sich wie ein roter Faden durch seine künstlerische Karriere ziehen.

Rund 100 Arbeiten zeigt die Ausstellung, die am 16. März 2023 eröffnet, darunter Installationen, Skulpturen, Audio- und Videoarbeiten, ungewöhnliche Partituren, Handlungsanweisungen und Konzepte sowie Fotodokumente und Plakate. Anschaulich wird so, wie das Publikum Paiks Performances unmittelbar erlebte und aktiv einbezogen wurde, ob im Galerieraum oder in der Live-Fernsehübertragung. Erstmals wird in Deutschland die sound- und bildgewaltige Rauminstallation Sistine Chapel (1993) zu sehen sein, die als frühes Beispiel multimedialer Immersion einen Remix Paik-spezifischer Pop-/Kulturgeschichte aufführt.

Paiks Prinzipien: Partizipation und Kooperation

Die Ausstellung wird kuratiert von Rudolf Frieling (San Francisco Museum of Modern Art) in enger Zusammenarbeit mit dem Museum Ostwall. Sie nimmt Bezug auf die Sammlung des Museums, deren Schwerpunkt auf Fluxus liegt. Aus der Sammlung stammt auch eine zentrale Arbeit in der Ausstellung, Paiks Schlüsselwerk Schallplatten-Schaschlik (1963/1980), mit deren Hilfe Besucher*innen ihren eigenen Musikmix erzeugen konnten.

Weitere Kapitel der Ausstellung widmen sich der Kooperation von Paik und Charlotte Moorman, beispielsweise mit dem Werk Oil Drums (1964/1991), der frühen Zusammenarbeit mit Karlheinz Stockhausen in Originale (1961/1964) sowie seiner bislang wenig erforschten Beziehung zu Dieter Roth. Verschiedene interaktive Arbeiten Paiks beziehen das Publikum auch in diese Ausstellung ein - so zum Beispiel Random Access (1963) und Participation TV (1969/1982), bei denen Besucher*innen elektronische Sounds oder Bilder erzeugen können.

Künstlerische Interventionen innerhalb der Ausstellung

Als Fortschreibung von Paiks Werk Sinfonie for 20 rooms (1961) sind darüber hinaus vier internationale Künstler*innen eingeladen, sich performativ auf Paiks Werk zu beziehen: Annika Kahrs (DE), Autumn Knight (US), Aki Onda (JP) und Samson Young (HK) werden Paiks Partitur als Inspiration für ortsspezifische Arbeiten nutzen.

Kuratorisches Team: Rudolf Frieling, Christina Danick und Stefanie Weißhorn-Ponert

Museumsdirektion: Regina Selter und Florence Thurmes

Die Ausstellung wird gefördert durch die Kunststiftung NRW.

# data[].attributes.attachment_link.description
Als „the world's most famous bad pianist" bezeichnete sich Nam June Paik gern selbst und spielte damit auf das musikalische und performative Element in seinem Werk an. Die Ausstellung „Nam June Paik: I Expose the Music" des Museum Ostwall im Dortmunder U stellt das Werk des Pioniers der Videokunst unter diesem Schwerpunkt vor: Live-Momente, die sich wie ein roter Faden durch seine künstlerische Karriere ziehen.

# data[].attributes.body
Presentation by Laura Montanari & Allessandro Gazette on Rosanna Chiesi and Pari&Dispari

https://www.youtube.com/watch?v=jB9gu1sX9V0&t=7482s

# data[].attributes.attachment_link.title
'Activating Fluxus: In and Out of the Archive' 1/3 : Morning Session

# data[].attributes.headline
Currently on view in Bochum: Takato Saito

# data[].attributes.subject
Currently on view in Bochum: Takato Saito

# data[].attributes.attachment_link.readable_text
Sprungmarken

Inhalt

Ausstellungsdokumentation der Künstlerin Takako Saito „Pi-Pi-po,po - Ein Portrait von Takako"

Eröffnung: Freitag, 17. März, 19 Uhr mit einer Performance der Künstlerin

Die Werke der bis heute höchst produktiven Ausnahmekünstlerin Takako Saito (*1929) wurden auf der ganzen Welt gezeigt und waren u.a. im Museum for Modern Art in New York und im Centre Pompidou in Paris zu sehen. Zum Auftakt des neuen Ausstellungsjahres widmet das Kunstmuseum Bochum der Fluxus- und Performance-Künstlerin eine umfassende Einzelausstellung.

Über die Jahre hat die Künstlerin ein facettenreiches Oeuvre geschaffen, das geprägt ist von einem fantasie- wie humorvollen Blick auf die Welt. Die Werke Takako Saitos zeichnen sich durch ein tief liegendes Interesse am Material ebenso aus wie durch eine große Freude am Spiel und dem Austausch mit dem Publikum. Letztere zeigen sich unter anderem in ihrer bekannten Serie aus ungewöhnlichen Schachspielen: Von Buchschachspiel No 1 und Pyramideschach bis hin zu Weinschach (Rotwein spielt gegen Weißwein) laden viele der Werke der in Düsseldorf lebenden Künstlerin zu Interaktion ein. Die exzessive Werkschau bestehend aus Performancekleidern, Zeichnungen, Filmen, Skulpturen, Klang-Installationen und Live Performances wird sich vom Erdgeschoss bis in den Seitenflügel des Museums erstrecken.

Weitere Performances von Takako Saito:

Wine Chess & Canapé Chess
Mittwoch, 10. Mai 2023, 18 Uhr

Kopfballtheater
Sonntag, 11. Juni 2023, 15 Uhr

Ha, Ha, Ha, Ho, Ho, Ho. Opera
Sonntag, 20. August 2023, 15 Uhr

Es werden regelmäßig Führungen durch die Ausstellung angeboten, Termine folgen in Kürze.

In den Osterferien bieten wir ein buntes Programm für Kinder und Familien an, eine Übersicht der Workshops und Osterüberraschingsführungen findet sich hier.

📢 Sound on! Und wer sich nun fragt, was es mit unserem ungewöhnlichen Ausstellungstitel auf sich hat: Frei nach dem dadaistischen Prinzip liegen hier Sinn und Unsinn nah beieinander - Je nachdem in welchem Rhythmus und auf welche Art ausgesprochen, entsteht eine eigene kleine Musik. Einfach mal reinhören, Takako Saito macht es vor!

/app/uploads/Boehlerweg-4.m4a

Fotos: Heinrich Holtgreve, 2023

# data[].attributes.attachment_link.title
TAKAKO SAITOPi-Pi-po, po - Ein Portrait von Takako - Kunstmuseum Bochum

# data[].attributes.attachment_link.description
Willkommen in Ihrem Kunstmuseum Bochum. Museum/Ausstellungen. Das Kunstmuseum, aktuelle Ausstellungen, die Sammlung, Archiv.

# data[].attributes.attachment_link.title
FONDAZIONE BONOTTO - Fluxus and Experimental Poetry Collection

# data[].attributes.attachment_link.description
La Fondazione Bonotto nasce per promuovere la Collezione Luigi Bonotto che dai primi anni Settanta ad oggi ha raccolto numerosissime testimonianze tra opere, documentazioni audio, video, manifesti, libri, riviste ed edizioni di artisti Fluxus e...

# data[].attributes.attachment_link.provider_name
Deutsche Gesellschaft für Photographie e.V.

# data[].attributes.attachment_link.readable_text
"THE GÄLLERY - Raum für Fotografie" zeigt über 100 Fotografien aus den Beständen des Archivs Sohm. Zu sehen sind Events und Aktionen, in denen eine künstlerische Welt lebendig wird. Mittendrin finden wir die US-amerikanische Künstlerin Alison Knowles, mal als Mitwirkende in einer Gruppe von Akteurinnen und Akteuren, mal als Solodarstellerin. Spannend ist dabei der Blick durch die Kamera auf das Geschehen: Welche Möglichkeiten hat Fotografie, ein Ereignis zu vermitteln, das auf den kurzlebigen Augenblick hin angelegt ist? Wie lassen sich künstlerische Vorgänge in ihrer Wahrnehmungskomplexität ausloten? Die fotografischen Herangehensweisen sind praktische Annäherungen an eine Kunstform, in der die Begegnung von Medien eine zentrale Rolle spielt.

Mit dem Erwerb des Archivs Sohm besitzt die Staatsgalerie seit 1981 einen einzigartigen Bestand zur Intermediakunst, speziell zu Fluxus, Happening, Beat, Underground, Wiener Aktionismus und Konkreter Poesie. Die Anfänge des Archivs gehen auf den ehemals in Münchingen und Markgröningen bei Stuttgart beheimateten Zahnarzt Hanns Sohm zurück. Parallel mit dem Aufkommen der Fluxusbewegung baut er in den 1960er Jahren seine Sammlung auf. Dabei steht Alison Knowles als Mitgründerin von Fluxus im Fokus. Ihre Stücke "Make a Salad", "Nivea Cream Piece" oder "Newspaper Music" gehören zum festen Repertoire der Aktionskunst. In diesen und weiteren Werken positioniert sie sich im grenzfreien Raum zwischen Kunst, Musik, Theater und Poesie.

# data[].attributes.attachment_link.description
"THE GÄLLERY - Raum für Fotografie" zeigt über 100 Fotografien aus den Beständen des Archivs Sohm. Zu sehen sind Events und Aktionen, in denen eine künstlerische Welt lebendig wird. Mittendrin finden wir die US-amerikanische Künstlerin Alison Knowles, mal als Mitwirkende in einer Gruppe von Akteurinnen und Akteuren, mal als Solodarstellerin.

# data[].attributes.body
Universität Stuttgart, PhD candidate (Archiv Sohm & Fluxus networks)

LinkedIn

# data[].attributes.headline
Dorothee Richter, a contemporary project in the spirit of Fluxus: Small Projects for Coming Communities see https://www.comingcommunities.org/

# data[].attributes.subject
Dorothee Richter, a contemporary project in the spirit of Fluxus: Small Projects for Coming Communities see https://www.comingcommunities.org/

# data[].attributes.attachment_link.readable_text
We will give a workshop on Coming Communities as part of the An international curatorial and artistic workshop Commoning Collective Care in June 15-17, 2023 in Córdoba, Spain.
The workshop is a collaboration between TBA21 Thyssen-Bornemisza Art Contemporary and OnCurating:
https://www.on-curating.org/Commoning-Collective-Care.html

The Small Projects for Coming Communities wants to explore questions of how and where forms of communities can develop in unforeseeable ways and tries to shape communities exceeding boundaries of regionalism. We are interested in communities' ephemeral structures and transversal framework conditions, in the changing desires but also reflect on the limits and the dangers of utilization of these fragile formations.

The Small Project for Coming Communities intends to travel. We will use different scores for exhibitions and workshops and like to expand the pool of scores on our travel as we make new acquaintances and find other perspectives.

# data[].attributes.attachment_link.description
We will give a workshop on Coming Communities as part of the An international curatorial and artistic workshop Commoning Collective Care in June 15-17, 2023 in Córdoba, Spain. The workshop is a collaboration between TBA21 Thyssen-Bornemisza Art Contemporary and OnCurating: https://www.on-curating.org/Commoning-Collective-Care.html The Small Projects for Coming Communities wants to explore questions of how and where forms of communities can develop in unforeseeable ways and tries to shape communities exceeding boundaries of regionalism.

# data[].attributes.headline
Dorothee Richter (same as the Film on Fluxus, www.fluxusnow.net) also a magazine on fluxus with contribution by Fluxus artists and researchers, fully downloadable for free see , sorry this is another issue, the Fluxus issue is no 51 

# data[].attributes.subject
Dorothee Richter (same as the Film on Fluxus, www.fluxusnow.net) also a magazine on fluxus with contribution by Fluxus artists and researchers, fully downloadable for free see , sorry this is another issue, the Fluxus issue is no 51 

# data[].attributes.attachment_link.readable_text
Issue 47 / September 2020
eds. Brandon Farnsworth, Rosanna Lovell

Even before the current pandemic, contemporary music existed in a state of crisis. Its structures and institutions struggle to support any minority, let alone artistic practices outside of a narrow Western European style, meaning fundamental change is inexorable if this field is to remain societally relevant. With this issue of OnCurating Journal, the curatorial collective GRiNM (Gender Relations in New Music) gathers texts based on its 2019 conference at the Zurich University of the Arts that explore practical and theoretical approaches to opening and diversifying the field. Our intention with this issue is to articulate these voices as central to curating music, and to call its outdated investment in a European monoculture into question. We hope that it serves in the eye of this current storm as the most urgent of demands for fundamental, immediate change.
Table of Contents Issue 47

# data[].attributes.attachment_link.description
Even before the current pandemic, contemporary music existed in a state of crisis. Its structures and institutions struggle to support any minority, let alone artistic practices outside of a narrow Western European style, meaning fundamental change is inexorable if this field is to remain societally relevant.

# data[].attributes.body
Here our film on Fluxus in 11 chapters, based on many interviews and archival work, www.fluxusnow.net

# data[].attributes.attachment_link.readable_text
Opening: 12 May 2022
Gutshaus Steglitz, Berlin
as part of the exhibition "Fluxus New York and Elsewhere" (13.05.-07.09.2022)

27 April 2019
Museum Ulm
as part of the exhibition "FLUXUS" (06.04.-07.07.2019)
https://museumulm.de/ausstellungen/vorschau/

17.-19. Juni 2018
Defragmentation
Viertägige Convention zum Kuratieren Neuer Musik Darmstadt, Ferienkurse Neue Musik Darmstadt

20 April 2018, 8 pm
Kino Toni, Zurich University of the Arts, ZHdK, Switzerland
as an event in the exhibition "Revisiting Black Mountain"

28th of April 2017, 6-7 pm
LENTOS Kunstmuseum Linz
accompanying the exhibition "ICH KENNE KEIN WEEKEND. Aus René Blocks Archiv und Sammlung"

5 November 2015, 5.33 pm
Museum Tinguely
in cooperation with the exhibition Ben Vautier. Ist alles Kunst?

24 June 2015, 9pm
Hochschule fuer Gestaltung Karlsruhe
in cooperation with Seminar Kunstwissenschaft: GLOBALE Renaissance 4.0 (Prof. Dr. Beat Wyss/ Sebastian Baden)

2 June 2015
Kibbutz College Tel Aviv
A cooperation of the Petach Tikva Museum and Curatorial Studies Certificate Program, Faculty of Arts, Kibbutzim College of Education, Technology and Arts Tel-Aviv

22 May 2015
Kunstakademie Stuttgart
Class Rainer Ganahl and Class Christian Jankowski

21 May 2015
Ostwall Museum Dortmund
Leonie-Reygers-Terrasse, Dortmund

19 May 2015
Leuphana Universität Lüneburg
Seminar Ulf Wuggenig

10 July 2014
"Moonlight Lounge"
Kunsthaus KuLe
Auguststrasse 10, 10117 Berlin

March 2014
Akademie der Bildenden Künste Wien

6 February 2014
Gesellschaft für aktuelle Kunst Bremen

19 January 2014
Kunstverein Wiesbaden
4-5 pm Book Presentation with Ben Patterson
5-7 pm Flux Us Now
7.30 pm Kick off: Dr. Ben's Medicin Show

23 November 2013
Kunsthalle Sao Paulo

15 October 2013
Künstlerhaus Stuttgart

4 October 2013
Migros Museum für Gegenwartskunst, Zurich

13 April 2013
Staatsgalerie Stuttgart

# data[].attributes.attachment_link.title
Flux Us Now. Fluxus explored with a camera.

# data[].attributes.attachment_link.description
Flux Us Now. Fluxus explored with a camera is a research based film by Dorothee Richter und Ronald Kolb in eleven chapters (with a total length of 130 minutes)

# data[].attributes.headline
Alison Knowles' work on show at Staatsgalerie Stuttgart

# data[].attributes.subject
Alison Knowles' work on show at Staatsgalerie Stuttgart

# data[].attributes.attachment_link.readable_text
"THE GÄLLERY - Raum für Fotografie" zeigt über 100 Fotografien aus den Beständen des Archivs Sohm. Zu sehen sind Events und Aktionen, in denen eine künstlerische Welt lebendig wird. Mittendrin finden wir die US-amerikanische Künstlerin Alison Knowles, mal als Mitwirkende in einer Gruppe von Akteurinnen und Akteuren, mal als Solodarstellerin. Spannend ist dabei der Blick durch die Kamera auf das Geschehen: Welche Möglichkeiten hat Fotografie, ein Ereignis zu vermitteln, das auf den kurzlebigen Augenblick hin angelegt ist? Wie lassen sich künstlerische Vorgänge in ihrer Wahrnehmungskomplexität ausloten? Die fotografischen Herangehensweisen sind praktische Annäherungen an eine Kunstform, in der die Begegnung von Medien eine zentrale Rolle spielt.

Mit dem Erwerb des Archivs Sohm besitzt die Staatsgalerie seit 1981 einen einzigartigen Bestand zur Intermediakunst, speziell zu Fluxus, Happening, Beat, Underground, Wiener Aktionismus und Konkreter Poesie. Die Anfänge des Archivs gehen auf den ehemals in Münchingen und Markgröningen bei Stuttgart beheimateten Zahnarzt Hanns Sohm zurück. Parallel mit dem Aufkommen der Fluxusbewegung baut er in den 1960er Jahren seine Sammlung auf. Dabei steht Alison Knowles als Mitgründerin von Fluxus im Fokus. Ihre Stücke "Make a Salad", "Nivea Cream Piece" oder "Newspaper Music" gehören zum festen Repertoire der Aktionskunst. In diesen und weiteren Werken positioniert sie sich im grenzfreien Raum zwischen Kunst, Musik, Theater und Poesie.

# data[].attributes.attachment_link.description
"THE GÄLLERY - Raum für Fotografie" zeigt über 100 Fotografien aus den Beständen des Archivs Sohm. Zu sehen sind Events und Aktionen, in denen eine künstlerische Welt lebendig wird. Mittendrin finden wir die US-amerikanische Künstlerin Alison Knowles, mal als Mitwirkende in einer Gruppe von Akteurinnen und Akteuren, mal als Solodarstellerin.

# data[].attributes.headline
A review on the recent film featuring Paik by Amanda Kim (2023)

# data[].attributes.subject
A review on the recent film featuring Paik by Amanda Kim (2023)

# data[].attributes.attachment_link.description
Amanda Kim’s documentary shows how Paik anticipated the dizzying ways in which electronic and digital culture would transform human discourse.

# data[].attributes.headline
Up-coming chapbook on Shigeko Kubota's video "Sexual Healing" and how she worlds issues of love, care, and gender in her late work, authored by Franziska Koch

# data[].attributes.subject
Up-coming chapbook on Shigeko Kubota's video "Sexual Healing" and how she worlds issues of love, care, and gender in her late work, authored by Franziska Koch

# data[].attributes.body
Museum Ostwall
Researching on Fluxus global/diverse
alfriebe@stadtdo.de

Linked-In

# data[].attributes.body
Museum Ostwall
Researching on Fluxus global/diverse
alfriebe@stadtdo.de

Linked-In

# data[].attributes.headline
Studio Mary Bauermeister, Cologne and the Performance of Nam June Paik - Etude for Piano forte - Hommage a John Cage (Cartoonfilm, 2009)

# data[].attributes.subject
Studio Mary Bauermeister, Cologne and the Performance of Nam June Paik - Etude for Piano forte - Hommage a John Cage (Cartoonfilm, 2009)

# data[].attributes.body
Nam June Paik shampooniert seinem Vorbild John Cage im Atelier Bauermeister, auf dem Contre-Festival die Haare und schneidet ihm die Krawatte ab (1960/61).

# data[].attributes.attachment_link.title
Psst pp Piano - Hommage à Mary Bauermeister (2009)