In his manifesto of Fluxus (what we call art-fun), 1965, George Maciunas claimed determines the status of non-professional artist demonstration by the artist himself of his dispensabilité, its non-exclusivity, autonomy of public the fact that everything can be art and, finally, that anyone can do. This contract, the terms a bit wacky and decidedly unconventional, finally sounds less like the definition of an artistic movement as an introduction to a way of life. Because this is this: for over twenty years, Fluxus was a moving territory, fragmented and international uncertain form, the vivacity and creativity tangible. This art non-art that was hard to find in the depersonalization of the artist a new kind of personality, interested in the content of art to fight and claim a new subjectivity in authenticity. Many will see, in the spontaneity of the process and the poverty of materials used, a creative light in direct relation to the Dada movement.
However, if the claim form performative and spontaneous expression insist to see a relationship between Fluxus and Dada, the former is ultimately closer to modern utopias such as the Bauhaus and de Stijl. It would be wrong to speak of nihilism among those who, instead, through happenings and proposals of odds and ends, were able to propose and wanted to build on in the background oh-specific post-war West. And perhaps in this fact lies one answer to the question posed today: “what remains of it in the Fluxus art scene?
One can certainly find in the contemporary reminiscences of Fluxus conceptual or plastic – the low-tech aesthetic of DIY Californian irreverence displayed for artistic canons established the School of New York, to a certain practice performance insurgency in northern Europe. But it would be risky to want to be found, in our contemporary artistic proposals Fluxus itself, not least because our society has changed in half a century.
However, at the dawn of the twenty-first century, Fluxus and its history is clearly a method of analyzing the world that some artists have been able to assimilate and adapt to their “here and now.” They now live in a global context and aspirations tend to need to propose a new model of resistance to thinking about the world.
Our idea is to propose an exhibition built by sedimentation. By identifying proposals within the most relevant contemporary works, our intention is to install an artistic laboratory playing both the role of exhibition and event production context, meaning and experience.
We propose to associate with the curatorial A Constructed World, Australian duo of artists living in Paris and whose practice is in the early 1990s in creating social ties, sense of collective, consistent and inclusive participatory and faith in the competence of each creative.
The list of works that reacts upon the reactionary idea
Ahmad Oka Prasetiya Aji, KVLT Tea Break (2011)
Ceramic paint on ceramic plates, diameter 14,7 cm (4 plates)
Fathurohman Alwathoni, Rented House (2011)
Engraving on wooden tray, diameter 40 cm
Gintani Nur Apresia Swastika
Legalize Me #1 (2008) – Drypoint (artist proof)
Legalize Me #2 (2008) – Drypoint on paper (2/2)
Legalize Me #3 (2008) – Etching aquatint on paper (3/3)
Legalize Me #4 (2008) – Etching aquatint on paper (3/3)
All sized 17,5 x 22 cm
Iwan Effendi, My Magical Left Hand (2011)
Wood box, aluminum and acrylic on canvas, 19 x 24 x 9 cm
Prihatmoko, Megamendung, Segera Langsung (2011)
Silk screen, collage, drawing on paper, 13 x 13 cm (3 panels)
Rudy Dharmawan feat. Gintani Nur Apresia Swastika
Kuda-kuda/The Others (Horses/The Others, 2011)
(The complete edition consists of: Packaging – silkscreen and hand-stitching on synthetic leather; Front and back cover – etching on metal plate; Contents: silkscreen on hard cotton fabric)
Hendra Priyadhani, Tattooism (2011)
Xerox foil on paper, 21 x 29,7 cm
Decky Firmansyah, Hard Tail (2011)
Ink on paper, 21 x 29,7 cm
Janu Satmoko, Never Back Down (2011)
Mixed media on paper, 30 x 40 cm
Wedhar Riyadi, Javanese Mystical Facebooker (2011)
Acrylic, ecoline, ink on canvas, 30 x 40 cm
Riono Tanggul Nusantara, Hope (2010)
Spraypaint, acrylic on teakwood, diameter 60 cm
Krisna Widiathama, In Agony (2011)
Pencil, graphite on paper, 20 x 30 cm
Prayogo Satrio Hutomo, Blank Generation (2011)
Mixed media on canvas, 23 x 30 cm
Sulung Widya Prasastya, Dakoxcan (2011)
Silkscreen, acrylic on canvas, 23 x 40 cm
Uji Handoko Eko Saputro, Head Series (2011)
Acrylic on canvas, 35 x 40 cm
Hendra Harsono, What’s Good Today (2011)
Acrylic on paper-mache, Variable dimension
Curated by A Constructed World and Etienne Bernard
At the Pavillion d’Exposition at the Musee de l’Objet, Blois, France
28 May – 11 November 201
With the participation of Sylvie Boulanger, Marie Gautier, Charlotte Laubard, Sébastien Pluot, Grace Samboh, Triple Candie, Fabien Vallos