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Maciunas' Fluxus Manifesto, copies of which were thrown into the audience at the Festum Fluxorum Fluxus, Düsseldorf, February 1963. His father, Alexander M. Maciunas, was a Lithuanian architect and engineer who had trained in Berlin, and his mother, Leokadija, was a Russian-born dancer from Tiflis affiliated with the Lithuanian National Opera [3] and, later, Aleksandr Kerensky's private ...
Fluxus Manifesto, 1963, by George Maciunas Poster to Festum Fluxorum Fluxus 1963. Fluxus was an international, interdisciplinary community of artists, composers, designers, and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product.
Fluxus 1, 1964.This copy in the Archiv Sohm, Staatsgalerie Stuttgart. Fluxus 1 is an artists' book edited and produced by the Lithuanian-American artist George Maciunas, containing works by a series of artists associated with Fluxus, the international collective of avant-garde artists primarily active in the 1960s and 1970s.
Manifesto is a 2015 multi-screen film installation written, produced and directed by Julian Rosefeldt. ... George Maciunas, Fluxus Manifesto (1963) ...
Yam evolved parallel to George Maciunas' Fluxfests, [11] set up with almost identical aims but currently operating only in Europe whilst Maciunas was stationed in Germany. The International Fluxus Festival of the Newest Music (Festum Fluxorum), 1962–63, would feature the work of artists such as Cage, Raoul Hausmann and Nam June Paik.
Although it can be argued [1] that An Anthology is not strictly a Fluxus publication, its development and production were central events in the formation of Fluxus. It marked the first collaborative publication project between people who were to become part of Fluxus: Young (editor and co-publisher), Mac Low (co-publisher) and Maciunas (designer).
Fluxus was to grow out of Maciunas' friendship with the artists centred on these classes; his conception of Fluxus was based on LEF, a communist organization set up in Russia in the 1920s to help create a new socialist culture [25] Whilst it is unlikely Brecht agreed with Maciunas politically, he strongly agreed with the notion of the ...
After participating in the initial Fluxus Festivals in Europe from 1962 to 1963, Knowles returned to the United States and began making objects, some as Fluxus multiples commissioned by George Maciunas, the leader of the movement. Knowles's object-based pieces focus on the audience's tactile and audible interaction with the artwork.