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The Score: How Does Fluxus Perform?

The Score: How Does Fluxus Perform? art & performance notes George Brecht, Games and Puzzles, Bead Puzzle from Flux Year Box 2, c. 1968, Fluxus Edition announced 1965. Offset and four plastic balls. Designed and assembled by George Maciunas. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008. © 2011 Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany. Photo: Courtesy The Museum of Modern Art. THE SCORE How Does Fluxus Perform? Gillian Young Thing/Thought: Fluxus Editions, 1962–1978, The Museum of Modern Art, New York, September 21, 2011–January 16, 2012 and Fluxus Weekend, Performa 11, November 11–13, 2011. n the mid-1960s, the Japanese composer Mieko Shiomi initiated a series of global events, or Spatial Poems, by mailing short sets of instructions around the world and asking recipients to reply with their interpretations. Scenarios ranged from “making or disturbing the movement of wind which surrounds this globe” in Wind Event, to answering the question, posed in Direction Event, “around the time listed, what kind of direction were you facing or moving towards?” Performed privately, Shiomi’s requests were returned to her as a poetic document of connectivity and chance that spanned Europe, America, and Japan, forming a counter image to the geopolitical divisions and informational http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Score: How Does Fluxus Perform?

PAJ: A Journal of Performance and Art , Volume 34 (2) – May 1, 2012

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Publisher
MIT Press
Copyright
© 2012 Gillian Young
Subject
Art & Performance Notes
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00091
Publisher site
See Article on Publisher Site

Abstract

art & performance notes George Brecht, Games and Puzzles, Bead Puzzle from Flux Year Box 2, c. 1968, Fluxus Edition announced 1965. Offset and four plastic balls. Designed and assembled by George Maciunas. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008. © 2011 Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany. Photo: Courtesy The Museum of Modern Art. THE SCORE How Does Fluxus Perform? Gillian Young Thing/Thought: Fluxus Editions, 1962–1978, The Museum of Modern Art, New York, September 21, 2011–January 16, 2012 and Fluxus Weekend, Performa 11, November 11–13, 2011. n the mid-1960s, the Japanese composer Mieko Shiomi initiated a series of global events, or Spatial Poems, by mailing short sets of instructions around the world and asking recipients to reply with their interpretations. Scenarios ranged from “making or disturbing the movement of wind which surrounds this globe” in Wind Event, to answering the question, posed in Direction Event, “around the time listed, what kind of direction were you facing or moving towards?” Performed privately, Shiomi’s requests were returned to her as a poetic document of connectivity and chance that spanned Europe, America, and Japan, forming a counter image to the geopolitical divisions and informational

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2012

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