Key Takeaways:
- Fluxus means to flow continuously or to change.
- The earthiness and even crudeness of Manifesto stresses Fluxusโs effort to redirect art away from the pretentious elitism of galleries and museums, returning it to sincere human expression.
- Maciunasโs Manifesto notes the need to jettison โdead art, imitation, artificial art, abstract art, illusionistic art, mathematical art.โ
- Perhaps the best thing about Fluxus was its sense of humorโthe ironic takes and puns that found their objects in the rituals of daily life, making time for lunch and games, attending to washing your face, and thinking about going fishing.
- Fluxus was both a movement as well as a rebellion against the rigors of movements.
People seem to understand, at least vaguely, what Dada is from the nonsense syllables of the name. Surrealism has made its way into popular usage: when something is strange and maybe even a little creepy, itโs described as surreal.
Fluxus is the outlier. Itโs a weird wordโintentionally so. Fluxus means to flow continuously or to change. Change can be a noun, but then it needs a subject or object, so we still have more questions instead of answers. Whatโs changing? Or what should change?
In the minds of Fluxus artists, what needed to change was art in all its aspects: the process of making art; what art can be; and, particularly, how art should be part of life. The conceptual title words of An Anthology of Chance Operationsโa Fluxus precursor comprised of artistsโ and composersโ scores designed by George Maciunas in 1963โis itself a sample of the big ideas that the artists and writers saw as foundational creative categories. These included โconcept art, anti-art, meaningless work, natural disasters, indeterminacy, improvisation, plans of action, stories, diagrams, music, poetry, essays, dance constructions, mathematics, [and] compositions.โ
In his 1963 Manifesto, Maciunas confirms the importance of physical processes for Fluxus. Using verbatim dictionary definitions that veer toward the scatological or potty-mouthed, he includes everything from activities that take place in the privacy of oneโs bathroom to scientific descriptions of elemental changes at the atomic level. An unsettling bodily discharge is introduced to endorse Maciunasโs recommendations for a purge of both ideas and art. The earthiness and even crudeness of Manifesto stresses Fluxusโs effort to redirect art away from the pretentious elitism of galleries and museums, returning it to sincere human expression.
Maciunasโs Manifesto notes the need to jettison โdead art, imitation, artificial art, abstract art, illusionistic art, mathematical art.โ Presciently, he writes: โPURGE THE WORLD OF โEUROPANISMโ!โ Fluxus was culturally diverse. Encouraging change also meant that Fluxus could be open to artists from Asia, Latin America, and Eastern Europe. The group itself was fluid, and rather than being truly and enduringly Fluxus, artists and others engaged with certain activities and projects. Then they moved on.
As in life, the Fluxus collaborations werenโt always pleasant, polite, or mutually beneficial. They were experimental and experiential, taking pages from earlier movements, particularly Dada, and also from John Cageโs open-minded approach to musical compositions. Music, for example, could be silence or simply attending to everyday life.
Perhaps the best thing about Fluxus was its sense of humorโthe ironic takes and puns that found their objects in the rituals of daily life, making time for lunch and games, attending to washing your face, and thinking about going fishing. Easy to discover and appreciate, Fluxusโs signature insight was that the best things in life are simple and often free. Fluxus was both a movement as well as a rebellion against the rigors of movements. While there were categories of art post-Fluxus, it could be called the end of the avant-garde, an introduction to the continual change and prizing of the new in contemporary art.