Art by Telephone Pour Répondre, Comme Il Le Nauman, Claes Oldenburg, Dennis Oppenheim, Tilila Touri

Total Page:16

File Type:pdf, Size:1020Kb

Art by Telephone Pour Répondre, Comme Il Le Nauman, Claes Oldenburg, Dennis Oppenheim, Tilila Touri commissaires des expositions / curators : calendrier / calendar C e n t r e N a t i o n a l É d i t i o n A r t I m a g e Sébastien Pluot & Fabien Vallos ART BY Chatou – 29/09/12 > 24/02/13 — É c o l e S u p é r i e u r e d e s B e a u x - A r t s T A L M membres du conseil scientifique Angers – 15/11 > xx/12/12 et de la recherche / members of the scientific and research council : C e n t r e d ' A r t s P l a s t i q u e s C o n t e m p o r a i n s TELEPHONE Bordeaux – 15/11 > 15/12/12 Sylvie Boulanger, Peter Tracey Connor, T h e E m i l y H a r v e y F o u n d a t i o n Christian Dautel, Brian O’Keeffe, ◆ R E C A L L E D ◆ New York – 15/11 > 25/11/12 Sébastien Pluot, Alexis Vaillant, S a n F r a n c i s c o A r t I n s t i t u t e w w w . a r t b y t e l e p h o n e . c o m Fabien Vallos. San Francisco – 22/11 > 09/12/12 ANGERS – BORDEAUX – NEW YORK – PARIS / CHATOU – SAN FRANCISCO CNEAI= ✳✳✳ CAPC ✳✳✳ ESBA TALM (site d’angers) ✳✳✳ THE EMILY HARVEY FOUNDATION ✳✳✳ SFAI français Les étudiants impliqués dans le projet « MARCEL DUCHAMP ONCE SAID: formulent aussi des propositions qu’ils ont élaborées au cours du séminaire In Translation : UN PROJET DE RECHERCHE "WHAT I REALLY WANT TO DO, ET D’EXPOSITIONS PROPOSÉ IS SEND ART OVER THE TELEPHONE". » Zenn Al Charif, Hugo Bregeau, Dieudonné (quoted by John Giorno) Cartier, Volmir Cordeiro, Victor Delestre, PAR SÉBASTIEN PLUOT ET Clémence de Montgolfier, Carole Fournier, Anna FABIEN VALLOS. Gaiotti, Jérémie Gaulin, Thomas Gautier, Adrien Dallegret, Jan Dibbets, John Giorno, Robert dans cinq lieux : le cneai, l’École supérieure des Guillet, Margot Joncherey, Julien Journoux, Grosvenor, Hans Haacke, Richard Hamilton, beaux-arts TALM – site d’Angers, The Emily Noémi Koxarakis, Martin Lahitète, Kevin En 1969, Jan van der Marck, le nouveau Dick Higgins, Davi Det Hompson, Robert Huot, Harvey Foundation de New York, le San Laisné, Quentin Lannes, Ronan Le Creurer, directeur du Museum of Contemporary Alain Jacquet, Ed Kienholz, Joseph Kosuth, Francisco Art Institute et le CAPC, musée d’art Anne-Lise Le Gac, Nicolas Linel, Coline Mir, Art de Chicago, présente l’exposition Les Levine, Sol LeWitt, Robert Morris, Bruce contemporain de Bordeaux. Luiza Moraes, Alexandra Roger, Rémi Roye et Art By Telephone pour répondre, comme il le Nauman, Claes Oldenburg, Dennis Oppenheim, Tilila Touri. souligne dans le catalogue, à « l’usage croissant Richard Serra, Robert Smithson, Guenther Ces 36 artistes ont initié une pratique de la conceptualisation de l’art »1. Le protocole Uecker, Stan Van Der Beek, Bernar Venet, Frank artistique dès les années 60 et 70 ou font partie Dans chacun des lieux, un ensemble de d’Art By Telephone consistait à proposer à un Lincoln Viner, Wolf Vostell, William Wegman de la très jeune scène artistique contemporaine. documents concernant les œuvres réalisées en ensemble d’artistes de formuler oralement et William T.Wiley. Charlotte Moorman et Nam Ils formulent des propositions orales qui 1969 sera montré pour la première fois grâce une œuvre à distance par l’intermédiaire June Paik réalisèrent une performance musicale donneront lieu à des performances visibles et/ aux archives du Museum of Contemporary Art d’une communication téléphonique. Avec le jour du vernissage. ou audibles dans et hors des sites, des vidéos, of Chicago. La documentation du projet, ainsi notamment Quand les attitudes deviennent que les enregistrements peuvent être accessibles formes (Harald Szeemann, 1969), Information sur les sites Internet des différents partenaires, (Kynaston L. McShine, 1970), ou Software ainsi que sur le site du projet. (Jack Burnham, 1970), Art by Telephone fait partie des premières expositions rassemblant [1] L’ exposition Art by Telephone a eu lieu du 1er novembre des œuvres conceptuelles dans un contexte au 14 décembre 1969 après avoir été reportée de plus d’un an pour différentes raisons. D’une part, les sponsors prévus, 2 institutionnel . Le projet se réfère explicitement notamment Xerox et Bell Telecom, se sont retirés. D’autre à un précédent historique : Telephone Pictures part, de nombreux artistes invités, dont Donald Judd et Carl (1922) de Lazlo Moholy-Nagy, une série de André, tardant à envoyer leurs propositions, Jan Van der trois tableaux de composition identique mais Marck pris la décision d’annuler l’exposition dont la date initiale était mars 1968. Ce décalage eut des conséquences de formats différents, que l’artiste fait réaliser sur le contenu de l’exposition : certains artistes avaient prévu par une compagnie d’enseignes émaillées à partir la réalisation d’une œuvre pour l’exposition mais se sont d’instructions transmises par téléphone. Selon désistés en raison du report. Ce fut le cas de Robert Breer les termes de Jan van der Marck, il était question et Walter de Maria, ce dernier ayant, entre temps, choisi de présenter son travail dans l’exposition Quand les attitudes pour l’artiste alors fortement influencé par les deviennent formes dont la date, mars 1969, était antérieure idées constructivistes et Dada, de démontrer que à celle d’Art by Telephone. « l’approche intellectuelle de la création d’une œuvre d’art n’est en aucune manière inférieure [2] When attitudes become form : live in your head, (Harald Szeemann, Kunsthal de Bern, 22 mars – 27 avril 1969). à l’approche émotionnelle ». Jan van der Mark Information (Kynastone Mc Shine, Museum of Modern Art, entendait aussi rendre hommage à Marcel juillet – septembre 1970). 557,087, (Lucy R. Lippard Seattle Duchamp et John Cage qui furent déterminants Art Museum, 5 septembre – 5 octobre 1969). Prospekt 69’, dans ce principe consistant à déléguer l’éxecution (Konrad Fischer et Hans Strelow, Kunsthalle de Dusseldorf, 30 septembre – 12 octobre 1969). The Machine (K.G. Pontus d’une œuvre. Ce principe d’exposition convoque Hulten, MoMA, janvier 1969). Software. Information une série de processus liés à la traduction, la Technology: Its New Meaning for Art (Jack Burnham, Jewish conceptualisation de la production artistique, Museum, septembre – novembre 1970). la question générale des usages langagiers et l’approche de l’œuvre par la parole. Ainsi, 37 artistes vivant en Amérique du Nord — PARTENAIRES — et en Europe, issus des tendances minimale et conceptuelle, du Land Art, de Fluxus ou encore du Pop Art, ont transmis des instructions par ÉCOLE SUPÉRIEURE DES BEAUX-ARTS téléphone qui furent réalisées par les régisseurs D'ANGERS (ESBA TALM) ◆ ART BY TELEPHONE, 1969 - LP CATALOGUE (BACK) du musée (sous la supervision du commissaire MUSEUM OF CONTEMPORARY ART CHICAGO, PUBLICATION ARCHIVE. © 1969 MCA CHICAGO CENTRE NATIONAL David H. Katzive) : Siah Armajani, Richard ÉDITION ART IMAGE (CNEAI =) Artschwager, John Baldessari, Iain Baxter, De cette exposition mythique, il ne subsistait des pièces sonores, des réalisations sculpturales, ◆ Mel Bochner, George Brecht, Jack Burnham, jusqu’à présent qu’un disque vinyle et sa pochette des installations dont certaines seront modifiées CENTRE D'ARTS PLASTIQUES CONTEMPORAINS (CAPC) James Lee Byars, Robert H. Cumming, François rassemblant les transmissions orales des artistes, en cours d’exposition : ◆ associées à des textes rédigés par le directeur du THE EMILY HARVEY FOUNDATION artistes musée. Sur une proposition de Sébastien Pluot A Constructed World, Olivier Bardin, ◆ et Fabien Vallos, Art By Telephone… Recalled Robert Barry, Joianne Bittle, Dominique Blais, SAN FRANCISCO ART INSTITUTE (SFAI) ◆ ARMAN reprend l’appel lancé en 1969 qui implique Christophe Berdaguer & Marie Péjus, Alejandro ÉCOLE D'ENSEIGNEMENT SUPÉRIEUR d’envoyer une œuvre par téléphone. Cesarco, Jean Dupuy, Julie C. Fortier, Daniel D'ART DE BORDEAUX (EBABX) IAIN BAXTER& L’ exposition est inaugurée au Cneai à partir Foucard, Ryan Gander, Dora Garcia, Mark ◆ MEL BOCHNER du 29 septembre 2012 par la présentation de Geffriaud, Aurélie Godard, Joseph Grigely, Dick MUSEUM OF CONTEMPORARY ART, CHICAGO pièces historiques réactivées à partir de leurs Higgins, ikhéa©services, Ben Kinmont, Silvia JAN DIBBETS ◆ enregistrements sonores : Arman, Mel Bochner, Kolbowski, Jiri Kovanda, Nicholas Knight, Pierre BARNARD COLLEGE, LES LEVINE Jan Dibbets, Sol LeWitt, Dennis Oppenheim et Leguillon, Alison Knowles, Jennifer Lacey, Mierle COLUMBIA UNIVERSITY, NEW YORK Bernar Venet. Laderman Ukeles, Louise Lawler, Maria Loboda, ◆ CENTRE NATIONAL DE DANSE SOL LEWITT John Miller, Lætitia Paviani, John Perreault, CONTEMPORAINE - ANGERS (CNDC) DENNIS OPPENHEIM À partir du 15 novembre 2012, de nouvelles Julien Prévieux, Émilie Parendeau, Will Potter, ◆ œuvres proposées par 36 artistes et 26 jeunes Fabrice Reymond, Avital Ronell, Yann Sérandour MINISTÈRE DE LA CULTURE BERNAR VENET diplômés d’écoles d’art sont envoyées par et Raphael Zarka. ◆ REGION PAYS DE LA LOIRE téléphone et activées par ces mêmes étudiants 1969 art by telephone… recalled english In Art By Telephone… Recalled, Sébastien Pluot w i t h and Fabien Vallos propose to hit redial on the ACW, ZENN AL CHARIF, OLIVIER BARDIN, ROBERT BARRY, 1969 call. LUDOVIC BEILLARD, JOIANNE BITTLE, DOMINIQUE BLAIS, A RESEARCH AND The exhibition opens at the Cneai on HUGO BREGEAU, DIEUDONNÉ CARTIER, CBMP, September 29th, 2012 with a presentation of EXHIBITION PROJECT ALEJANDRO CESARCO, VOLMIR CORDEIRO, PROPOSED BY SÉBASTIEN historical pieces re-activeted from the existing CLÉMENCE DE MONTGOLFIER, VICTOR DELESTRE, JEAN DUPUY, recording and archival files. Included are works JULIE C. FORTIER, DANIEL FOUCARD, CAROLE FOURNIER, PLUOT & FABIEN VALLOS. by Arman, Mel Bochner, Jan Dibbets, Sol LeWitt, ANNA GAIOTTI, RYAN GANDER, DORA GARCIA, JÉRÉMIE GAULIN, Dennis Oppenheim and Bernar Venet.
Recommended publications
  • The Art of Performance a Critical Anthology
    THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times. Copyright @ 1967 by The New York Times Company.
    [Show full text]
  • Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged.
    [Show full text]
  • FIGURE 7.1. Demonstration/Performance by The
    07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art.
    [Show full text]
  • Projetos Editoriais Que Testam Os Limites Da Publicação
    UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES FACULDADE DE ARQUITETURA Projetos Editoriais que testam os limites da Publicação Bárbara Forte Fernandes Gonçalves Teixeira Dissertação Mestrado em Práticas Tipográficas e Editoriais Contemporâneas Dissertação orientada pela Professora Doutora Sofia Leal Rodrigues 2019 I DECLARAÇÃO DE AUTORIA Eu, Bárbara Forte Fernandes Gonçalves Teixeira, declaro que a presente dissertação de mestrado intitulada “Projetos Editoriais que testam os limites da Edição”, é o resultado da minha investigação pessoal e independente. O conteúdo é original e todas as fontes consultadas estão devidamente mencionadas na bibliografia ou outras listagens de fontes documentais, tal como todas as citações diretas ou indiretas têm devida indicação ao longo do trabalho segundo as normas académicas. O Candidato Lisboa, 22 de Outubro de 2019 II RESUMO O livro enquanto veículo de expressão artística tem vindo a ser explorado desde a génese das práticas editoriais. O design, a música, o teatro, a literatura, o cinema, entre outras formas de manifestação criativa, são ingredientes do bolo que constituí a book art e a publicação independente, cuja expressividade é diretamente influenciada pela mistura rica de áreas e técnicas participantes. É necessário conhecer particularidades do trabalho percursor neste âmbito, para que se assimile e compreenda o papel disruptivo do artist’s book. As formas comunicação gráfica primevas (são exemplo as pinturas rupestres), despoletaram espontaneamente, cumprindo as necessidades do ser humano pré-histórico. Com o avançar dos anos, e à medida que a linguagem se desenvolvia cada vez mais complexa, os suportes de inscrição de matéria foram também aperfeiçoados. As culturas chinesa e egípcia possibilitaram a descoberta e refinamento do papel, ao aplicarem as fibras de bambu e papiro, respetivamente, num processo de fabricação de “folhas”.
    [Show full text]
  • The Fluxus Performance Workbook, Opus 25 15 Published in 1990
    the FluxusP erformanceW orkbook edited by Ken Friedman, Owen Smith and Lauren Sawchyn a P erformance Research e-publication 2002 the FluxusP erformanceWorkbook introduction to the fortieth anniversary edition The first examples of what were to become Fluxus event scores date back to John Cage's famous class at The New School, where artists such as George Brecht, Al Hansen, Allan Kaprow, and Alison Knowles began to create art works and performances in musical form. One of these forms was the event. Events tend to be scored in brief verbal notations. These notes are known as event scores. In a general sense, they are proposals, propositions, and instructions. Thus, they are sometimes known as proposal pieces, propositions, or instructions. Publications, 2002 - The first collections of Fluxus event scores were the working sheets for Fluxconcerts. They were generally used only by the artist-performers who were presenting the work. With the birth of Fluxus publishing, however, collections of event scores soon came to take three forms. The first form was the boxed collection. These were individual scores written or printed on cards. The , Performance Research e classic example of this boxed collection is George Brecht's Water Yam. A second format was the book or Sawchyn pamphlet collection of scores, often representing work by a single artist. Yoko Ono's Grapefruit is probably the best known of these collections. Now forgotten, but even more influential during the 1960s, were the small collections that Dick Higgins published in the Something Else Press pamphlet series under the Great Bear imprint. These small chapbooks contained work by Bengt af Klintberg, Alison Knowles, Nam June Paik, and many other artists working in the then-young Fluxus and intermedia traditions.
    [Show full text]
  • Performance Art Context R
    Literature: Literature: (...continued) Literature: Literature: Literature: (... continued) Literature: Literature: (... continued) Literature: Kunstf. Bd.137 / Atlas der Künstlerreisen Literature: (...continued) Literature: (... continued) Richard Kostelnatz / The Theater of Crossings (catalogue) E. Jappe / Performance Ritual Prozeß Walking through society (yearbook) ! Judith Butler !! / Bodies That Matter Victoria Best & Peter Collier (Ed.) / article: Kultur als Handlung Kunstf. Bd.136 / Ästhetik des Reisens Butoh – Die Rebellion des Körpers PERFORMANCE ART CONTEXT R. Shusterman / Kunst leben – Die Ästhetik Mixed Means. An Introduction to Zeitspielräume. Performance Musik On Ritual (Performance Research) Eugenio Barber (anthropological view) Performative Acts and Gender Constitution Powerful Bodies – Performance in French Gertrude Koch Zeit – Die vierte Dimension in der (Kazuo Ohno, Carlotta Ikeda, Tatsumi des Pragmatismus Happenings, Kinetic Environments ... ! Ästhetik / Daniel Charles Richard Schechner / Future of Ritual Camille Camillieri (athropolog. view; (article 1988!) / Judith Butler Cultural Studies !! Mieke Bal (lecture) / Performance and Mary Ann Doane / Film and the bildenden Kunst Hijikata, Min Tanaka, Anzu Furukawa, Performative Approaches in Art and Science Using the Example of "Performance Art" R. Koberg / Die Kunst des Gehens Mitsutaka Ishi, Testuro Tamura, Musical Performance (book) Stan Godlovitch Kunstforum Bd. 34 / Plastik als important for Patrice Pavis) Performativity and Performance (book) ! Geoffrey Leech / Principles
    [Show full text]
  • Artists' Books : a Critical Anthology and Sourcebook
    Anno 1778 PHILLIPS ACADEMY OLIVER-WENDELL-HOLMES % LI B R ARY 3 #...A _ 3 i^per ampUcm ^ -A ag alticrxi ' JZ ^ # # # # >%> * j Gift of Mark Rudkin Artists' Books: A Critical Anthology and Sourcebook ARTISTS’ A Critical Anthology Edited by Joan Lyons Gibbs M. Smith, Inc. Peregrine Smith Books BOOKS and Sourcebook in association with Visual Studies Workshop Press n Grateful acknowledgement is made to the publications in which the following essays first appeared: “Book Art,” by Richard Kostelanetz, reprinted, revised from Wordsand, RfC Editions, 1978; “The New Art of Making Books,” by Ulises Carrion, in Second Thoughts, Amsterdam: VOID Distributors, 1980; “The Artist’s Book Goes Public,” by Lucy R. Lippard, in Art in America 65, no. 1 (January-February 1977); “The Page as Al¬ ternative Space: 1950 to 1969,” by Barbara Moore and Jon Hendricks, in Flue, New York: Franklin Furnace (December 1980), as an adjunct to an exhibition of the same name; “The Book Stripped Bare,” by Susi R. Bloch, in The Book Stripped Bare, Hempstead, New York: The Emily Lowe Gallery and the Hofstra University Library, 1973, catalogue to an exhibition of books from the Arthur Cohen and Elaine Lustig col¬ lection supplemented by the collection of the Hofstra Fine Arts Library. Copyright © Visual Studies Workshop, 1985. All rights reserved. Printed in the United States of America. Except in the case of brief quotations in reviews and critical articles, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • MAIL ART H/STORY^Thefluxljs by Ken Friedman
    Oisteanu, Valery: Illegal Mail Art (a poetical essay), in: Mail Art Then and Now, The Flue, Vol. 4, No. 3-4 (special issue), 1984 Winter, pp. 11-12. MAIL ART H/STORY^THEFLUXlJS Downloaded from http://artpool.hu/MailArt/chrono/1984/FluxusFactor.html snared works of Arman and Spoerri, the by Ken Friedman decollages of Hains and Dufrene and the world-embracing, massively realized projects of Christo. The issues and ideas that motivated La Bertesca FLUX the Nouveaux Realistes also emerged in via del Carmine the Pop Art of the late '50's and early 20121 M ilano POST telefono 87.4J.13 | '60's in Britain and the United States, CARD PARTIAL PROGRAM : G. Brecht (Ladder, Chair, A Play. Lamp) Robert t ser (Pat’ s Birthday) Earle Joseph Byrd (Birds) John Cage (h'33” ) Barney Childs (Fourth String Quartet) P h ilip Corner Lucia Olugot iwski Robert FI 11 too (111 I' trade Mo. I - a 53 kg. poem) Malcolm though Pop Art tended to be an art Goldstein Rad Grcxmu/Rudolph Burckhardt {Shoot the Moor) Al Hanse Dick Higgins (Oanger Musi s tla ls . Two fo r Hemi Bay) Spencer lay) J ill Johnston Brooklyn Joe Jones J Holst (Stories) Terry Jennings (Piece fo r String Quartet) Ray \n which took the real into its scope (Mechanical Music) Alison Knowles (Proposition, Nlvea Cream Piece for Oscei ! Child Art) Arthur Kdpcke (music while you work) Tekenhlsa Kosugl (Micro I, An lea 1) P hilip Kruam (Construction fo r Perfoi y Kuehn Peter Longezo (A Method fo r Reversing the Direction of Rotation of the Planets) George Meciunas (Place for ___ ___ , ___ ,0r Everyman, Plano Compositions) Jackson Mac Low emblematically rather than by direct (John Bull Pack; Night Walk; Adams County, Illin o is ; Poert-au-l ice; Sth Light Poem; Solo Readings) Robert Morris (Stories, Construction) Robin Page (Soto fo r Guitar) Ben Patterson (Pond, Paper Pl< Gloves, from Methods t Processes; Three movements fo r seeing - Can you incorporation or manipulation.
    [Show full text]
  • Fluxus Performance Workbook, Opus 25 15 Published in 1990
    the FluxusP erformanceW orkbook edited by Ken Friedman, Owen Smith and Lauren Sawchyn a P erformance Research e-publication 2002 the FluxusP erformanceWorkbook introduction to the fortieth anniversary edition The first examples of what were to become Fluxus event scores date back to John Cage's famous class at The New School, where artists such as George Brecht, Al Hansen, Allan Kaprow, and Alison Knowles began to create art works and performances in musical form. One of these forms was the event. Events tend to be scored in brief verbal notations. These notes are known as event scores. In a general sense, they are proposals, propositions, and instructions. Thus, they are sometimes known as proposal pieces, propositions, or instructions. Publications, 2002 - The first collections of Fluxus event scores were the working sheets for Fluxconcerts. They were generally used only by the artist-performers who were presenting the work. With the birth of Fluxus publishing, however, collections of event scores soon came to take three forms. The first form was the boxed collection. These were individual scores written or printed on cards. The , Performance Research e classic example of this boxed collection is George Brecht's Water Yam. A second format was the book or Sawchyn pamphlet collection of scores, often representing work by a single artist. Yoko Ono's Grapefruit is probably the best known of these collections. Now forgotten, but even more influential during the 1960s, were the small collections that Dick Higgins published in the Something Else Press pamphlet series under the Great Bear imprint. These small chapbooks contained work by Bengt af Klintberg, Alison Knowles, Nam June Paik, and many other artists working in the then-young Fluxus and intermedia traditions.
    [Show full text]
  • The Avant Garde Festivals. and Now, Shea Stadium
    by Stockhausen for American performance. Moorman's reac- Judson Hall on 57th Street and included jazz, electronic and even the auspicious begin- nonsonic work, as well as more traditional compositions . The idea tion, "What's a Nam June Paik?", marked the with ning of a partnership that has lasted for over ten years .) The various that music, as a performance art, had promising connections much mediums in were more distinct than is usual in an other art forms ran through the series, as it did through Originale intermedia work (Stockhausen tends to be rather Wagnerian in his the music itself . The inclusion of works by George Brecht, of thinking), but the performance strove for a homogeneous realiza- Sylvano Bussotti, Takehisa Kosugi, Joseph Beuys, Giuseppe . Chiari, Ben Vautier and other "gestural composers" gives some tion dated The 1965 festival was to be the last at Judson Hall . It, too, idea of the heterogeneity of its scope . Cage's works (which early '50s), featured Happenings, including a performance of Cage's open- back to his years at Black Mountain College in the ended Piece. Allan Kaprow's Push Pull turned so ram- along with provocative antecedents by the Futurists, Dadaists and Theater people scavenging in the streets for material to Surrealists, had spawned a generation here, in Europe and in Japan bunctious (with the ruckus) that Judson Hall would have no more. concerned with the possibilities of working between the traditional incorporate into Moorman was not upset; she had been planning a move anyway . categories of the arts-creating not a combination of mediums, The expansive nature of "post-musical" work demanded larger as in a Wagnerian Gesamtkunstwerk where the various arts team spaces-and spaces not isolated from everyday life.
    [Show full text]
  • 1 Doing It in Public the Kaldor Projects Feature Film End Credits Written and Directed by SAMANTHA LANG Producer JOHN MAYNARD E
    Doing It In Public The Kaldor Projects Feature Film End Credits Written and directed by SAMANTHA LANG Producer JOHN MAYNARD Executive Producers BRIDGET IKIN DAVID GROSS Cinematographer JUSTINE KERRIGAN Editor ELLIOTT MAGEN Additional Editor HILARY BALMOND Sound Designer LIAM EGAN Composer MUNRO MELANO By watching this film legally, you have supported the jobs of creatives, distributors and crew as listed below. Director’s attachment & additional cinematography Kate Blackmore Associate producer Mia Timpano Production manager Amber Ma Production coordinator Molly O’Connor Production accountant Leah Hall 1 Sound recordist Daniel Miau Additional sound recordists Dylan Blowen Mark Tarpey Camera assistants Gokulchand Mandalapu Carina Burke Tyron Seeto Director – London Linda Brusasco Cinematography & sound recordist – London Micah Walker Cinematography - New York Cailin Yatsko Sound recordist - New York Gillian Arthur Assistant editor Wayne C.Blair Post-production facility Definition Films Head of post-production David Gross Supervising post-producer Maile Daugherty Conform Rathai Manivannan Online editor Joyce Escuadro Digital colourist Billy Wychgel Sound mixer Liam Egan QC Silvertrack 2 Archive research Con Anemogiannis Archival clearances Mia Timpano Molly O’Connor Carolyn Saul ABC Archive Wendy Pritchard Legals Verge Whitford & Co Caroline Verge Insurance GALVANiiZE Insurance David McEwan Post-production script Clever Types Create NSW Screen Investment Manager Sofya Gollan Screen Australia Investment / Development Manager – Documentary
    [Show full text]
  • The Zen Master of Video
    The Zen Master of Video ~.: ., .'., J Now hailed as the father of video art, Nam June Paik remains an irreverent and rigorously experimental artist. by Bruce Kurtz tion of Eastern mysticism and Western thirty years has helped to change the technology that is at the heart of Paik's character of contemporary music and Like a child mesmerized by the flicker­ pioneering video art. advanced visual art and to transform ing light, an eighteenth-century bronze Now fifty years old, Paik has devised television from popular entertainment Japanese Buddha sits cross-legged in musical compositions in which pianos into avant-garde art. front of a globe-shaped television set, are overturned or disemboweled, per­ Paik was born in Seoul, Korea in meditating on its own "live" and con­ formances in which members of the 1932 and was educated in Tokyo and tinuously broadcast image. The piece, audience are lathered in shampoo, Germany, where he went to study Nam June Paik's T.V. Buddha, is at· videotapes that blend Korean drum musical composition in the late 1950s. once humorous and visionary. The music, American Indian chants, and At the University of Munich and the seated figure contemplates television's Japanese television commercials, and Conservatory in Freiburg, he im­ omnipotent, invisible electronic im­ sculptures made from television receiv­ mersed himself in twentieth-century pulses, making explicit the combina- ers. His iconoclastic work over the past music, especially electronic composi- 100 Portfolio May I June 1982 tions. In 1958, he met American com­ The moment was right for Paik's premiered as part of the third Avant­ poser John Cage; the encounter, Paik experiments.
    [Show full text]