What do Walker Open Field, the avant-garde art movement Fluxus and socially-engaged art practice have in common? That is what the Walker’s Education and Community Programs department explored through this summer’s program, FluxField. This project took advantage of the concurrent timing of Open Field and the opening of Walker exhibitions Art Expanded: 1958-1978 and Radical Presence: Black Performance in Contemporary Art, both containing a strong Fluxus presence.
We invited a range of artists to create projects or events for Open Field inspired by or in some cases in reaction to the works, philosophy, and cosmology of Fluxus. FluxField artists included Beatrix Jar (Bianca Pettis and Jacob Aaron Roske), BodyCartography Project (Olive Bieringa and Otto Ramstad), Andy Ducett, Mike Haeg, Rachel Jendrzejewski, Chris Kallmyer, Maria Mortati, and Margaret Pezalla-Granlund. The indomitable Laurie Van Wieren also jumped into the flux fray with her Open Field piece, 4×4 = 100 Choreographers Dancing Outside. Key Fluxus figures Alison Knowles and Benjamin Patterson were invited to perform their work during the summer and fall.
We asked several of these FluxField artists to share their thoughts on working with Fluxus, and what follows is a compilation of their responses.
Part One: What is Fluxus?
Fluxus is People
I think of Fluxus first and foremost as the loose network of artists in the late 1950s into ’60s who first carried the name – who understood art as inseparable from everyday life, and vice versa, and performed lots of public experiments accordingly. And who also constantly disagreed with each other about what “Fluxus” was about. I think of names like John Cage, George Maciunas, Alison Knowles, George Brecht, Nam June Paik. So in that sense, I think Fluxus is people.
Fluxus began as a network of ad-hoc, often disputed, orchestrated acts that turned noticing into craft. These orchestrations were performed around the world, and have infected all fields of art.
Fluxus is the Score
If you were to say one true thing about Fluxus, you could say that Fluxus is about the primary experience itself. The vehicle for exploring the now moment in Fluxus is through the Event Score or the Fluxkit. To create a score, we have to envision ourselves as someone uninitiated with our ideas. We put ourselves in the shoes of another person—an act of empathy—and we offer an experience to anybody who would invest time to decode the document and act it out in real time and space. A score is a set of rules for engagement. It is the same for a recipe, a manual, or a blueprint.
Event Scores involve simple actions, ideas, and objects from everyday life re-contextualized as performance. Event Scores are texts that can be seen as proposal pieces or instructions for actions. The idea of the score suggests musicality. Like a musical score, Event Scores can be realized by artists other than the original creator and are open to variation and interpretation.
–Alison Knowles (via Chris Kallmyer)
Through the Fluxus score, I find a great closeness in the contract between the artist and participant.
Fluxus is Contradiction
I think of Fluxus as a kind of fluid philosophy and practice, which is still very much alive today— a view that art is indeed inseparable from everyday life, and vice versa, and an embrace of constant contradiction. You can’t actually pin Fluxus down because it’s always moving: Fluxus says that all of life is art, and yet it’s deliberate in its framing and rigor; Fluxus says that art is for everyone, but it’s not necessarily people-pleasing or meaningful; Fluxus simultaneously disowns and embraces institutions, not to mention the very concept of “art.” And I believe all those contradictions are exactly what makes it true to everyday life- it’s a way of seeing that embraces the complexities of the world, that doesn’t pretend anyone or anything is static.
Fluxus is an insular form speaking to the art world’s nuanced concepts of the object, vision, and experience. Simultaneously, Fluxus is an open initiation to life and living, enabling the public to take the scores into their own everyday.
In the words of founding Fluxus member Ben Vautier, “Fluxus was a pain in art’s ass.”
Fluxus is Experience and Togetherness
Fluxus is changing together.
Wandering in a field is experiential, and fit the notion that I needed– for people to be, do, and have the opportunity to ‘participate’ as well as reflect; to take in and try it on for size, in a low stakes way. The public wandered along, beer in hand, taking a picture or two. Near the “Play Ball” score, a giant poodle took off with all the balls. In the end, the question of “What Is Fluxus?” came down to experiences.
[Fluxus Drawing Club] didn’t just point at the art history and try to teach someone something, but facilitated doing — and that doing was the Fluxus part. The doing — everyone doing — is the art part and the experience part; the understanding part, and the “it” of it.
Part 2: Why Fluxus?
I’ve always been drawn to Fluxus for the way it can both disrupt us from and draw us deeper into everyday life. Those sound like two different actions, but both are wake-up calls. I particularly love the early Fluxus event scores – the text as well as the actual doing of them. They feel simultaneously sacred and disposable, which I think signals a certain kind of wisdom – related to loving fully while not clinging too hard, or honoring all life while accepting nothing lasts forever, or keeping a healthy sense of humor about serious hard things – in short, getting comfortable with letting contradictions co-exist. I think our culture could use way more of all that, hence the ongoing appeal and relevance of Fluxus.
I’m inspired by the playfulness of Fluxus and the simplicity. But most of all, I’m moved by Fuxus’ spirit of kindness and revolution: change the world with a box full of smile– hell yes!
I saw the original Walker Art Center Fluxus show years and years ago, and have remembered and thought about it often since. What has stuck with me is the sense of wide-ranging curiosity and creativity, the willingness to cede some seriousness to get at something engaging, and the feeling of wit and humor and shared experience. I also think it’s really smart: as much as Fluxus was about freedom and play, it was also about context and care and a kind of precision. Simple is not easy.
This is the thing that surprised me about the Event Scores: the works are a direct invitation to play, as well as an invitation to presence. Serious focus and purposeless play are both intensely human and increasingly rare. Goofing off is another form of presence, or rather a complete lack of presence when we abandon our veneer to embrace a purposeless sense of wonder. We goof off and are human. In this way, Fluxus and their Event Scores point to our human condition in a way that is wildly dynamic. The score is an invitation, a call to action, and first-hand study and performance of these scores would be healthy for any of us.
Part Three: Making Something Out of Fluxus
Fluxus is all about change right? So, why not shine a spotlight on change? That’s why I made the Penny Event change tray sculpture emblazoned with its inherent and unintentional score “LEAVE-A-PENNY / TAKE-A-PENNY”. I placed the pieces on the counters in gas stations and bodegas to spark an artful exchange in an unexpected moment of the day and to spark a thought of commerce at a point of give and take that has been obscured by the credit process.
I’ll be the first to admit that “living the life of the idea” of Fluxus was not something that came easily. On projects I take the deep dive into the world of the place, space, or community until I can swim around with it. It was a harder start to get my brain around and into Fluxus. I am accustomed to museums wanting to pin things down, so working with the antithesis was both liberating and focusing. It sharpened my thinking around the historical trajectory of social practice art, and around opportunities to bring the public into art and vice versa.
My performance/writing practice is a kind of awareness practice, and Fluxus always has served as an influence in that sense, but I’ve never really written Fluxus-style scores. Talking with Sarah Schultz about why Fluxus matters in 2014, and how Fluxus might live in Minneapolis on the Open Field, made me want to write my own Fluxus-inspired scores to find out. I spent a lot of time reading through the Fluxus Performance Workbook, and I started writing my own scores in response to some of them, and then spinning off some of them, and then writing some completely removed from them. I wrote them quickly (and I don’t usually write quickly) because I really wanted to let them be disposable. I wrote them on the bus and in my apartment and in parks and on an airplane. I thought a lot about the field, and people coming and going from the field to other places. I edited them down to a batch of 100 that felt the most rooted in this time and city. I don’t know why the number 100 felt right — but it feels like just the beginning. Now I want to write 1000.
Benjamin Patterson, a key figure in the Fluxus network of artists, visits the Walker on October 9 as part of the exhibit Radical Presence: Black Performance in Contemporary Art. Art Expanded, 1958-1978, which explore the expanded arts of the 1960’s and 70’s, is on view through March of 2015, and includes the work of Alison Knowles and George Macunias, among other notable Fluxus figures.