Event

 DICK HIGGINS proclaimed that Fluxus “did concerts of everyday living.” “Coffee cups,” he remarked “can be more beautiful than fancy sculptures …. The sloshing of my foot in my wet boot sounds more beautiful than fancy organ music.” Hannah Higgins deftly observed two crucial formats among Fluxus artists: the event and the fluxkit multiple. The first is an experiment of poetic, musical, theatrical, and cinematic variation in which everyday activities are framed as performance. Events are simple, direct actions meant to dissolve the distinction between art and everyday life. George Brecht’s Keyhole Event for example: “through either side one event.” In Mieko Shiomi’s fluxfilm titled Disappearing Music for Face, a person’s lips slowly close over a period of eleven minutes. The fluxkit multiple, on the other hand, refers to cases and boxes of various sizes that typically contain small objects, cards, and various text-based works. And because event scores were frequently housed in fluxkits, making them ephemeral and portable, the two formats are integral to one another. The viewer may choose to read these works privately or perform them in social environments.        

31858055133882_001
31858055134393_002
Card 1
31858055133965_010
31858055133130_002
Top
Front
31858055134336_001
31858055133486_001
31858055133817_002
31858055133692_002
Containing Box Top
Top
31858055133858_001
Case Top
31858055133775_001
Case Top
31858055133841_001
001-01
Box Front
Containing Box
31858055134344_001
Image 1
Top
d
Subscribe to Event