Venerdì prossimo, 3 novembre, al Cantiere, Al niente, quartetto strumentale dedito alla composizione estemporanea e all’esecuzione di partiture non convenzionali, incontrerà l’artista visivo, compositore e improvvisatore inglese David Ryan per un programma di composizioni di Ryan, Cage e improvvisazioni. Programma e informazioni: https://facebook.com/events/s/al-niente-plus-david-ryan/845259273989273/
programma: David Ryan: Provisional Piano Pieces (2018- ) David Ryan / Al niente: Improvvisazione John Cage: Four6 (1982)
Venerdì prossimo, 3 novembre, al Cantiere, Al niente, quartetto strumentale dedito alla composizione estemporanea e all’esecuzione di partiture non convenzionali, incontrerà l’artista visivo, compositore e improvvisatore inglese David Ryan per un programma di composizioni di Ryan, Cage e improvvisazioni. Programma e informazioni: https://facebook.com/events/s/al-niente-plus-david-ryan/845259273989273/
La galleria VV8artecontemporanea e l’Archivio Storico Pari&Dispari propongono l’esposizione FLUX MOTUS L’Avanguardia nella città, a cura di Valerio Dehò. In mostra oltre 30 opere di Philip Corner, Wolf Vostell, Geoffrey Hendricks, Ben Vautier, Ben Patterson, Bob Watts, Giuseppe Chiari, Alison Knowles, Jackson Mac Low, Yoko Ono, Takako Saito, Nam June Paik, Charlotte Moorman.
Inaugurazione 13 maggio ore 18 Via dell’Aquila, 6/c, 42121 Reggio Emilia – Italy.
FLUX MOTUS, L’Avanguardia nella città 13 maggio – 30 giugno 2023. A cura di Valerio Dehò, in collaborazione con l’Archivio Storico Pari&Dispari @ VV8artecontemporanea, Via dell’Aquila, 6/c, Reggio Emilia
In mostra sono esposte edizioni di: Eric Andersen, Ay-O, Joseph Beuys, George Brecht, John Cage, Giuseppe Chiari, Philip Corner, Willem De Ridder, Jean Dupuy, Robert Filliou, Albert M. Fine, Henry Flynt, Ken Friedman, Al Hansen, Geoffrey Hendricks, Dick Higgins, Joe Jones, Allan Kaprow, Milan Knizak, Alison Knowles, Jackson Mac Low, George Maciunas, Walter Marchetti, Jonas Mekas, Larry Miller, Charlotte Moorman, Claes Oldenburg, Yoko Ono, Nam June Paik, Ben Patterson, Dieter Roth, Takako Saito, Tomas Schmit, Carolee Schneemann, Mieko Shiomi, Gianni-Emilio Simonetti, Daniel Spoerri, Ben Vautier, Wolf Vostell, Robert Watts, Emmett Williams e altri.
COLLABORATIONS Mumok Vienna July 2–November 6, 2022
Departing from the focuses of the Mumok collections on the avant-garde of the 1960s and 1970s as well as conceptual and socio-analytic approaches in contemporary art, the exhibition Collaborations examines diverse strategies of collective authorship. The exhibition builds a bridge spanning from the smallest to the largest unit of togetherness: from the internal ties of the collective to a particular constellation of the connective, from the artist duo to society—and last but not least, from the love affair to the interconnectedness of life.
The exhibition investigates how artistic models of a “we” can be cultivated for life together as a society: What does collaboration mean in the twenty-first century when fundamental social structures continue to dissolve? How have artists responded to such social and political developments over the decades and what is their position today? How thin is the line between the critique and affirmation of neoliberal structures when building relationships is at risk of becoming an efficiency and profit-driven measure in the artistic realm, too? How can collectivity in thoroughly heterogeneous contexts serve as a social and artistic model of thought and action, when not by accepting the simultaneity of disparate or even contrary elements?
In times of networked connectivity, a look back into art history might advance the current discussion about collaborative action—beyond conventional, social, and national borders. As a movement that not only fundamentally revolutionized artistic production, distribution, and reception paradigms but also originated numerous strategies that represent, as it were, predigital antecedents to algorithms, interconnected networks, and associated models of communitization, the Fluxus movement founded in the 1960s forms the nucleus of the presentation. In addition to the expansion of the typologies of works, image and object traditions, and artistic and participative methods, which were formative for the neo-avant-garde of the mid-twentieth century, the emphasis is placed specifically on the will and ability of artists to go beyond their personal scope in experimental collaborations with colleagues, to allow for change along with the shift in perspective on their own practice.
Collaborations highlights key aspects of the Mumok collection by exhibiting works that operate primarily on a meta-reflexive level. What these works, which often emerged in collective processes, have in common is that they all reflect on ways of living and working together. While the curatorial approach examines artist collectives and their underlying mechanisms and logics, it also frames acting itself as a form of collectivity—a form of acting that equally acknowledges the artistic expressions of individuals as well as those of groups or other models conceived as affiliations and alliances of the participants. The utopian potential of collaborations to transcend Western patriarchal power relations and art market logics of originality and solitary authorship and thereby provoke social change seems to be unwavering.
Artists: Marina Abramović & Ulay, Ant Farm, Art & Language, Martin Beck, Bernadette Corporation, Anna & Bernhard Blume, George Brecht, Günter Brus, John Cage, Merce Cunningham, Chto Delat, Leidy Churchman, Clegg & Guttmann, Phil Collins, Bruce Conner, DIE DAMEN, Jean Dupuy, VALIE EXPORT, Peter Faecke and Wolf Vostell, Robert Filliou, Rimma Gerlovina & Valeriy Gerlovin, Gilbert & George, Manfred Grübl, Andreas Gursky, Richard Hamilton and Dieter Roth, Haus-Rucker-Co., Christine & Irene Hohenbüchler, IRWIN, Ray Johnson and Berty Skuber, On Kawara, Friedrich Kiesler, Alison Knowles, Brigitte Kowanz and Franz Graf, Louise Lawler, Lucy R. Lippard, Sharon Lockhart, George Maciunas, Larry Miller, Ree Morton, Otto Muehl, museum in progress, Moriz Nähr, Natalia L.L., Otto Neurath, Yoko Ono, Nam June Paik, Stephen Prina, Jörg Schlick, Hubert Schmalix, Secession, Seth Siegelaub, Christian Skrein, Daniel Spoerri, Petr Štembera and Tom Marioni, Thomas Struth, Timm Ulrichs, VBKÖ, Kerstin von Gabain and Nino Sakandelidze, Franz Erhard Walther, Robert Watts, Franz West, Wiener Gruppe, Oswald Wiener, Heimo Zobernig and others; with the video series lumbung calling from documenta fifteen, curated by ruangrupa.
Curated by Heike Eipeldauer and Franz Thalmair. Exhibition design by Anetta Mona Chişa & Lucia Tkáčová
Image: Ulay, Marina Abramovć, Breathing In / Breathing Out, 1977
On Wednesday 15 June at 7:30pm will be held a concert at Villa Lontana (via Cassia 53) to celebrate Maestro Sylvano Bussotti, composer and performer, painter, writer, set designer, director, costume designer and actor.
Bussotti was one of the most original Italian composers of the second half of the 20th century, experimenting with varied and diverse forms of expression.
Manuel Zurria on flutes, Paolo Ravaglia on clarinet and Jacopo Antonicelli on saxophone will perform three solo pieces that are the result of instrumental research conducted by Sylvano Bussotti in the 1980s: ‘Rondò di Scena’ for 4-flute virtuoso, ‘Brutto, ignudo’ for contrabass clarinet and electronics, ‘Ballerina Gialla e Pettirosso’ (1986-89) taken from the collection ‘Voliera’ for saxophone and a version of ‘SOLO’ (1966), excerpted from ‘La Passion Selon Sade’, re-imagined for the 3 instruments with the addition of environmental recordings and electronics with the extraordinary participation of Sylvano Bussotti on piano.
Bussotti was a pioneer in instrumental research and in the extension of musical performance into the theatrical and visual sphere. The 1960s had created a very evident push in this direction with the contribution of other composers (Mauricio Kagel, John Cage and Gyorgy Ligeti), but no one had ever gone further than Bussotti, translating his restlessness with particular graphicisms that equivocally render the need to ‘look beyond’ the score, to find new procedures and solutions.
During the evening, it’s possible to visit the room with Sylvano Bussotti’s works, part of the exhibition ‘IMAGES FOR SOUNDS: Artist Covers for Music Records’ which ended on 30 April 2022. All Bussotti’s images and works are courtesy Giuseppe Garrera.
Concert starts at 7:30pm. Free entry no booking required.
Immagine tratta dall’opera “ritratto di George Maciunas” di Ben Patterson 1989
FLUXUS – ARTE TOTALE
13 maggio – 7 giugno 2022 Vernissage 13 maggio, ore 19:30 FrameArsArtes – Corso Vittorio Emanuele, 525 – Napoli
In occasione del ’60 anniversario della nascita di Fluxus, FrameArsArtes e Pari&Dispari- Archivio propongono la mostra FLUXUS – ARTE TOTALE.
Il movimento internazionale Fluxus, promosso da George Maciunas, nasce 60 anni fa con il Fluxus Internationale Festspiele Neuester Musik di Wiesbaden del 1962, rivoluzionando il linguaggio dell’arte e fondendo le istanze rinnovatrici culturali, sociali e politiche in un unico fronte d’azione. Fluxus, fortemente influenzato da Marcel Duchamp e dalle idee di John Cage sulla sperimentazione, perviene all’ARTE TOTALE, idea fondamentale per tutta l’arte contemporanea, con la contaminazione della pratica estetica, unendo diversi media e diverse discipline artistiche, performance, musica sperimentale/rumorismo pittura, fotografia, letteratura, teatro, danza.
Gli artisti di tale movimento, abbandonando ogni concezione specialistica e ogni divisione tra le ideologie e le competenze, esprimono la casualità e la quotidianità delle cose: non si basano sullo studio di oggetti privilegiati ma rappresentano l’arte attraverso un concetto ludico, non basato su valori estetici, per concentrarsi su humor e non-sense.
Il Fluxus conosce una diffusione planetaria, dall’America all’Europa, dal Giappone alla Corea e si estende presto anche in Italia. Tra i principali artisti, oltre a quelli presenti nell’esposizione, si ricordano Nam June Paik, Wolf Vostell, Daniel Spoerri, John Cage, Yoko Ono, Silvano Bussotti, Charlotte Moorman, Al Hansen, Geoffrey Hendricks, Joe Jones, Dieter Roth, Takako Saito, Bob Watts.
Il legame tra il movimento Fluxus e l’Italia diventa molto stretto negli anni ’70, quando gli artisti trovano collezionisti, editori, galleristi che con entusiasmo sostengono le loro produzioni. Tra questi spicca la figura di Rosanna Chiessi.
Rosanna Chiessi è stata editrice, gallerista, promotrice di avanguardie artistiche e scopritrice di talenti. In cinquanta anni ha lavorato con artisti di tutto il mondo, in particolare dell’area concettuale italiana, poeti visivi, Azionismo Viennese, Fluxus, arte performativa e movimento Gutai. La collaborazione di Rosanna Chiessi con i principali artisti Fluxus, come un “flusso ininterrotto” scorrerà dai primi anni ’70 in poi.
L’esposizione FLUXUS – ARTE TOTALE, rivolta principalmente all’aspetto grafico, settore in cui Fluxus seppe esprimere proposte di grande novità, contribuendo a fondare la comunicazione visiva contemporanea, intende ricordare la personalità di Rosanna Chiessi e il suo rapporto con gli artisti Fluxus, attraverso una corposa selezione di opere ed edizioni preziose prodotte da lei con la sua casa editrice Pari&Dispari. Le edizioni, i multipli e i reperti delle performance sono spesso la sola concessione all’idea tradizionale di opera d’arte e rappresentano una testimonianza unica e fedele dello spirito di quel tempo e di quella cultura.
In esposizione opere di 11 protagonisti storici del movimento: Eric Andersen, AY-O, Giuseppe Chiari, Philip Corner, Coco Gordon, Dick Higgins, Milan Knizak, Alison Knowles, Jackson Mac Low, Ben Patterson ed Emmett Williams.
A recording of the premiere of John Cage’s Reunion in 1968
*
Left to right: Teeny Duchamp, Marcel Duchamp and John Cage, performing “Reunion” at its premiere in Toronto, 5th March, 1968. Photograph by Shigeko Kubota @ The John Cage Trust
[…] Reunion is an event without a score; originally performed by playing a game of chess on a chessboard created by Lowell Cross. The game works as an indeterminate structure: as a game of chess is played, the moves of the players on the board activate four compositions and distribute them to eight speakers surrounding the audience. […]
ERIK AVERT George Brecht, vers un art transdisciplinaire Les presses du réel, 2021
Tentant d’explorer les aspects transdisciplinaires de la pratique artistique, cet ouvrage revient sur un point de bascule de l’histoire de l’art : l’invention de formes d’art préconceptuelles et minimales par George Brecht, à la fois ingénieur chimiste et artiste.
S’aidant du manifeste de Basarab Nicolescu ainsi que des implications esthétiques de la transdisciplinarité par René Berger, l’auteur tente de mettre en avant un paradigme de l’art qui, ayant passé la période révolutionnaire initiée par Duchamp, Cage et Brecht, continuerait à se développer aujourd’hui.
Erik Avert est docteur en Arts de l’université de Lorraine. Ses recherches ont porté sur les sources philosophiques, sociales et spirituelles de certaines des avant-gardes radicales, notamment Fluxus et Dada. Il pratique également la vidéo et les arts sonores en s’inspirant de ces visions syncrétiques de l’art.
