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digital art 2008

"illusion is the first of all pleasures."

Oscar Wilde

#3 in series'reinventing the wheel"

 

Isla Centinela, donde descansan los restos de Francisco P. Moreno quien, al donar las tierras que obtuvo como retribución de sus servicios como perito en límites, dio origen al Parque Nacional Nahuel Huapi (el primer Parque Nacional de la Argentina).

 

Lago Nahuel Huapi - Bariloche - Patagonia Argentina

The Canada Geese have new families, and the adults are now in moult. Feathers are scattered over the verges of the reservoir.

Shot and edited on an iPhone 4s

 

Yoko doing Fluxus

Propuesta para la revista fluxus

 

www.fluxusmagazine.com/

This little oak tree always seemed to me to be a natural bonsai - in hoar frost it was exceptionally striking

© Nicola Roggero - all rights reserved Please don't use this image on websites, blogs or other media without my explicit permission

acrylic on canvas 2009

24"x30"

 

One of my favorite actors who, despite how I made him look, is quite striking and handsome, not to mention tall.

He has starred in quite a few films and is reported to be still going strong.

 

I think the skin texture that I use so much has two sources. One is the influence of Ivan Albright, one of the giants of 20th century art, but the stronger influence comes from my grandfather who was burned in a chemical accident when I was little. The shapes and textures that formed over his skin during the healing process were quite stunning and it was amazing to watch them change over time. Plus, he and I were very close so I think this also helps me deal with that early shock to my emotions and the one that came in my late teens/early twenties when he was diagnosed with Parkinson's Disease and I volunteered to take care of him.

Despite how gloomy or sad that may all sound I'm doing just fine and am not weighed down by my past. But it is there inside.

With nearly 1,200 works and more than 300 artists, MAMAC covers a vast period from the late 1950s to the present. His collections find their essential articulation in the relationship between the New European Realism and the American expression of the art of assembly and Pop Art. The object occupies a pivotal place. First-class focus complements this research. The Yves Klein roomn which I will present in next post in its full extent, reveals the extent and richness of the artist's approach, thanks to the long-term deposit of the Yves Klein Archives. Niki de Saint Phalle & Jean Tinguely is the most important collection of the artist in France (and the second in Europe) following his donation in 2001.

At the same time, MAMAC offers a wide sampling of European and American artistic creation over the last sixty years with unique insights into the twentieth century's leading movements: Arte Povera, Land Art, Minimalism, American Abstraction, Conceptual Art and New Figuration.

The major challenge for MAMAC is to link regional and international artistic history to the extent that the territory of the French Riviera has been marked by an artistic emulation around the act of appropriation (with the New Realists), art Attitude (with Fluxus) and the challenging of the painting (with Support / Surface) that continues with the new generations.

 

All my images are protected under international authors copyright laws and may not be downloaded, reproduced, copied,

transmitted or manipulated without my written explicit permission. All rights reserved. Copyright 2017 © Jacques Freund View Awards Count

acrylic on canvas 2005

 

Dedicated to Landon Bates

Nikon D60.

Ho invertito l'immagine (una delle cose più fotografate alla passata Biennale di arte contemporanea di Venezia) da positivo a negativo. La mia personalissima interpretazione.

View On Black

Oil on canvas; 200 x 109.9 cm.

 

Danish painter, sculptor and writer. In 1962 he entered the Eksperimenterende Kunst-skole (Experimental Art School) in Copenhagen.His first important one-man exhibition abroad was at the Museum Folkwang, Essen, in 1977. He later exhibited widely at public and commercial galleries throughout Europe and the USA.

 

A prolific artist, Kirkeby used a range of different media. He was a member of the Fluxus group and was influenced by Pop art in the 1960s. Later he was influenced by Tachism and Abstract Expressionism. The vigorous brushwork and chromatic beauty of his, mostly untitled, paintings and the sensuous modelling of his rough black bronzes have earned him the title ‘lyric expressionist'. The paintings, which tend towards the abstract, bear veiled iconographic reference, largely to the Danish landscape and the female figure.

 

In contrast to the poetic and dramatic character of his paintings and black bronzes Kirkeby's brick sculptures display an unusual clarity. They make strong reference to traditional Danish housing and are inspired by Mayan architecture, as in the house-like, symmetrical form (1973) at Ikast, Denmark. In 1981 Kirkeby completed a group of such sculptures for the County Council building in Ålborg. His concern with experiment and conceptual art led him to execute a series of works in chalk on blackboard, and he regularly published poetry, essays and travel books, as well as making television and full-length documentary films. He also produced many artist's books, such as the ‘picture novel' Landskaberne (‘Landscapes'; Copenhagen, 1969).

 

Bibliography

Per Kirkeby: Übermalungen, 1964–84 (exh. cat., Munich, Kstraum, 1984)

Per Kirkeby: Skulpturen und Bilder (exh. cat., Zurich, Gal. Knoedler, 1985)

Per Kirkeby: Retrospektive (exh. cat., Cologne, Mus. Ludwig, 1987)

Per Kirkeby: Pinturas, esculturas, grabados y escritos (exh. cat., Valencia, IVAM Cent. Julio Gonzalez, 1989–90)

‘Per Kirkeby', Louisiana Revue, xxx/3 (1990) [whole issue]

 

JENS PETER MUNK

 

Don't know what it is, but it's wonderfully sculptural, AND green.

wie man aus einer toten Gegend eine hippe macht....man nehme die Kreativen...fertig!

 

www.thelabelfinder.de/stuttgart/fluxus-temporary-concept-...

40 years "summer of love" / 30 years punk

 

In 1961 at the age of 12 I sold my electric toy train to buy a real clarinet (before I had learned flutes & plastic clarinets since age 8).My aim for my later profession was being an architect.

When I first time heard a Charlie Parker record in 1962 a new universe opened to me.

I put all energies together to achieve a similar intensity in life minus the drug dependencies & lonelynesses of the then jazz musicians’ biographies (which I could read back then and listen to their music of course) for my own future life.

In 1964/5 another new universe opened to me by reading C.G.Jung’s autobiography "Memories, Dreams, Reflections" (1961). I fully embraced his concept of "individuation" within a course of life.

 

Both my new fields of departure had not been triggered by ordinary school but a brother-in law of mine had opened the door to the world of jazz by playing songs like „Blue Moon“ etc., him on the piano and me on the clarinet. My dear father had bought C.G.Jung’s book for himself but it ended in my room as well.

Triggered by the new awareness of inner worlds of archetypes – in a beginning analysing way – and the deliberate task of integration for one’s own full evolved individuation I started to extend my interests wherever my intuition lead me to. Also reading books by D.T.Suzuki (Zen), Beckett, de Chardin etc.

In 1965 I began deliberately to learn the Russian language.In 1966 I deliberately changed to Frankfurt’s leading cultural elite school to choose „art“ as my main course because – as I told it then to my friends and parents – a) I had been doing visual creations already longer than music and I thought also that art might be helpful in the sphere of architecture later and b) I disliked the idea to learn classical music and possibly destroy by this my already until then built up non-academic jazz range with the „Alfred Harth Jazztett“.

Within the elite school – the Johann Wolfgang von Goethe Gymnasium in Frankfurt am Main - I started deliberately a course in philosophy and began to study Kant’s „Kritik der reinen Vernunft“ in 1967.This course also lead me to consider about aesthetics in an abstract way from where I was introduced to the concept of „synaesthetics“.

 

Frankfurt had been a perfect center for my diverse developments: In the South of Frankfurt there had been the regular Darmstädter Ferienkurse for New Music, in the West, Wiesbaden was one of the main Fluxus magnets, in the North is Kassel & it's documenta, in the East, St.Georgen S.J. school, Hanau and The Monks, Wilhelmsbad and Rothenfels (my forefathers home).

 

Those diverse forces I had stepped into so far became a steady motor to me.

The power of true rebellion in arts as by the then actual „happenings“, dada and modern art in general – I then had studied as well the gradual destruction of principals of „natural painting“ and art history in general – lead me to the constant inner urge to follow this stream by transcending borders (avantgarde concept).I could easily detect this avantgarde force in jazz as well.At those times in the 60ies it generally took a while to purchase new LPs from the USA because of the then existing infrastructures.

And the American LPs contained more or less the only jazz avantgarde since there had not been any avantgarde jazz LPs made in Europe until the mid 60ies.I knew well about New Music in Europe though what lead me to integrate „classical“ instrumental improvisors (on violin,violoncello,bass,clarinet) into my group Just Music from about 1967 on.The same time I was pushed by the forces of avantgarde art and performed happenings in the public space and in off-galeries and a self-created temporary space in a house in Büdingen nearby Frankfurt.The „centrum freier cunst“ which I developed out of the „club h“ – a jazz meeting point for the young ones in Frankfurt – had been lead by the concept to „live“ all creative streams under one roof so to say: live synaesthetics! Since the rooms of the „centrum freier cunst“ had been limited I wanted to extend the dimension of extreme energies within that country-building in Büdingen which was not surrounded by neighbours etc.There I set up (in 1968) some orgies in the like of Otto Muehl (whom I knew about slightly from my recent studies of Max Bense and Oswald Wiener) forced by the will to transcend limits.Police showed up etc.

In sharp ironical contrast to the then in Frankfurt existing avantgarde art festival „Experimenta“ I wanted to create an off-festival called „Excrementa“.

Following I tried to maintain open the „centrum freier cunst“ downtown Frankfurt in a larger basement space for a short time.I had moved into a little commune in 1968 in the Grüneburgweg in Frankfurt nearby the Johann Wolfgang von Goethe University where the political students’protest movement had one of its European centers especially through the magnet powers of this university’s professors like Adorno,Horkheimer,Habermas,sometimes Marcuse etc.

 

I have to say that during this period my main magnet power remained persons who lead an artistical life in jazz or arts.In those times I witnessed so many „hearings“ at the university,“sit-ins“ in the streets and similar meetings where people of my age constantly talked & talked endlessly – especially the SDS.They all seemed to be driven by the power of words which was contradictory to my way.I very well dug the idea of „revolution“ during my then studies of sociology and philosophy at this university – after short interim design studies at the nowadays Hochschule für Gestaltung in Offenbach - in 1969,1970 so that I changed my aim in profession to become an art & sociology teacher to combine my personal interests with the „revolutionary“ practical work in schools and finished with a first degree in 1973.

 

The change from most persons from my 60ies fellows into the university sphere of the then serious contradictory powers by receiving a qualified profession and on the other hand at the same time to destruct and revolve the then actual establishment (which ever wants people with „true“ professions) made me more suspicious to the world of words. I thought that when students break professor’s classes to install their own view of what is „really“ important then I can break their hearings and bring in the view of „wordless or alogical“ protest.So I made solo performances to break up protesting student hearings by walking in there disguised as a priest and holding a transparent which protested against autumn: „I protest against falling leaves“ (fallende Blätter has a double meaning in German: falling papers) and other times I took my tenorsax went onto the speaker’s desk to blow loadly against those endless mind-fucking fellow students which caused strange irritations and questions:“Why are you doing this...?“ (If I only knew!)

Though I understood very well the necessary political urge to change the situation I felt that they had been out of balance and was happy to find new friends outside Frankfurt whom I could share my way with.In 1969 I had met pianist Nicole van den Plas on a jazz festival in San Sebastian.We played there together and later became a couple.Nicole was from Belgium.So I spend a lot of time over there in the beginning 70ies.The creative music scene had been much more advanced in Antwerp,Brugge and Gent than anywhere I knew.I was very lucky and started to extend my life with yoga,mystical studies from 1971 on and even macrobiotical food which I had learned through the short membership in the „Gunter Hampel Galaxie Dream Band“ in 1973.

In 1968 I first time had played with Swedish drummer Sven-Ake Johansson in the "Zodiac" in Berlin.

In 1972 I contacted him again and Nicole,him and me formed the group EMT.

EMT became the perfect new ground for spreading my multiverse.

The friendship with Perry Robinson (from being with the „Galaxie Dream Band“) triggered my wish to visit him in New York in spring 1975.This visit became valedictory to Nicole for many years and opened new horizons.I had entered a new school: „The Fourth Way“ by P.D.Ouspensky - a student of the great spiritual teacher G.I.Gurdjieff.When I returned to Frankfurt it meant a cut in my life.

I had finished my war resisters service at a psychiatric institution for youths (Universitätsklinik Frankfurt) during the years 1973/4 and now I stood at the beginningpoint as a professional school teacher in 1975.

 

There I met 23 years old Heiner Goebbels at a session in a bunker in Frankfurt.

He had been new in town since two years and was very fond of what was going on at my old university.The students still where talking and came partly into violent action against „things“.Later in 1977 it was the RAF that became violent against persons.

Anyhow I faced to integrate my new situation being an „adult“ school teacher,jazz musician and artist now.After installing the Duo Goebbels/Harth in 1975 there was this immanent urge to bring „colours“ into the student protesters’ lives and extend the protest by means (without words or fewer words at least,which means poetry) of making music in the streets during the many political demonstrations.This is how the „Sogenanntes Linksradikales Blasorchester“ was founded.

 

After I had stopped being school teacher in 1978 to fully concentrate on my "things", punk started to fascinate me.Punk was near to the situationists' ideas.Maybe it came from there.

To create a synergy between the then still diverse fields of punk,jazz,classical music and (poetic) words (by Schwitters,Jandl,Hölderlin,Burroughs etc.) I contacted my former label ECM to initiate the LP “Es herrscht Uhu im Land“ on the then ECM-associated label JAPO by the help of former "Just Music"cellist Thomas Stoewsand.

This step consequently lead to the idea to form the group Cassiber that aimed to integrate intensively those diverse musical genres by composing themes instantly (out of the sense of free music impro beyond the „FreeJazz/Darmstadt“ idiom as Chris Cutler says it).

Another place for synaesthetical creations became my work for theatre & film from 1979 on .

Words like „mixed media“ and „performance“ became fashionable for the same things I had been doing since the beginning and later people started to label me as a „poly-stilist“.

 

My interest in psychology and inner development continued – not without crisises – and I integrated a thrilling sentence (by Abraham Maslow) into music: „Life can be a gestalt in time“, while studying Human Enhancement (H+).

 

Later in the 80ies I founded the groups Gestalt et Jive and Vladimir Estragon.

Around 1986 I also started with another new sphere by integrating my old passion with architecture & design - the ever widening spiral cycles of life continued.

Words are weapons to make money & fame.

The word lovers (former protest students) meanwhile have penetrated the powerful institutions of the societies and began to form a new establishment.

 

2007, Alfred 23 Harth (so many words in a photo site,hhh)

Yep...still playing with layers!

 

Explore #143, May 15th '07

L’acqua non oppone resistenza. L’acqua scorre. Quando immergi una mano nell’acqua senti solo una carezza. L’acqua non è un muro, non può fermarti. Va dove vuole andare e niente le si può opporre. L’acqua è paziente. L’acqua che gocciola consuma una pietra. Ricordatelo, bambina mia. Ricordati che per metà tu sei acqua. Se non puoi superare un ostacolo, giragli intorno. Come fa l’acqua...

 

(Margaret Atwood)

  

© Nicola Roggero - all rights reserved Please don't use this image on websites, blogs or other media without my explicit permission.

 

Mostra collettiva di oltre 150 vinili customizzati da artisti provenienti da tutto il mondo!!

 

Vernissage sabato 18 dicembre

@ Fabbrica Fluxus Art Gallery,

Via Celentano 39, BARI

acrylic on canvas 2010

30"x40"

Fuxus ministerija. Vilnius.

Polaroid 1200i. Impossible PZ 600 film.

Elitechrome 100. Cross process. Budapest

View On Black

Elitechrome 100. Cross process. Roma, Villa dei Quintili, dove atterrano gli alieni.

View On Black

2010 acrylic on canvas

30"x40"

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