9.3 Happenings and Fluxus

Happenings and Fluxus shook up the art world in the 1950s and 60s. These movements blurred lines between art and life, emphasizing spontaneity and audience participation. They challenged traditional artistic boundaries and redefined the relationship between artists, audiences, and art itself.

Key figures like Allan Kaprow and George Maciunas pioneered these movements. Happenings focused on process over product, while Fluxus aimed to make art accessible and playful. Both incorporated multiple artistic disciplines and embraced chance and improvisation in their works.

Origins of happenings and fluxus

• Happenings and Fluxus emerged in the 1950s and 1960s as radical art movements challenging traditional artistic boundaries
• These movements revolutionized performance studies by emphasizing spontaneity, audience participation, and the merging of art with everyday life
• Rooted in post-World War II avant-garde experimentation, Happenings and Fluxus sought to redefine the relationship between artists, audiences, and art itself

Influences from avant-garde movements

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• Dadaism inspired the use of absurdism and rejection of conventional artistic values
• Surrealism contributed elements of spontaneity and the exploration of the subconscious
• Abstract Expressionism influenced the emphasis on process over finished product
• Futurism's focus on technology and modernity shaped Fluxus artists' use of new media

Key figures and pioneers

• Allan Kaprow coined the term "Happenings" and organized the first recognized Happening in 1959
• George Maciunas founded Fluxus in 1960, organizing festivals and publishing Fluxus materials
• John Cage's experimental music and chance-based compositions heavily influenced both movements
• Yoko Ono bridged Happenings and Fluxus with her conceptual and performance-based works

Characteristics of happenings

• Happenings blurred the lines between art and life, often taking place in non-traditional venues (streets, warehouses, private homes)
• These events emphasized the process of creation over the final product, challenging the notion of art as a commodity
• Happenings incorporated multiple artistic disciplines, including visual arts, music, dance, and theater

Audience participation

• Spectators became active participants, often given tasks or roles to perform during the event
• Participation ranged from simple actions (moving objects, making sounds) to complex interactions with the environment
• This involvement aimed to break down the barrier between artist and audience, creating a shared experience
• Participatory elements often led to unpredictable outcomes, aligning with the movement's emphasis on chance and spontaneity

Improvisation and chance

• Artists incorporated elements of randomness and spontaneity into their performances
• Improvisation allowed for unique, unrepeatable experiences in each Happening
• Chance operations, inspired by John Cage's work, determined aspects of the performance (duration, sequence of events)
• This approach challenged the notion of the artist as sole creator, embracing collective creativity and unpredictability

Non-linear narrative structure

• Happenings rejected traditional storytelling in favor of fragmented, non-sequential events
• Multiple actions often occurred simultaneously, creating a sensory overload for participants
• This structure reflected the chaotic nature of modern life and challenged audience expectations
• Non-linearity encouraged individual interpretation and personal meaning-making among participants

Fluxus movement principles

• Fluxus, meaning "to flow," emphasized the fluidity between art forms and the dissolution of boundaries
• The movement sought to democratize art by making it accessible, playful, and integrated into daily life
• Fluxus artists often worked collaboratively, rejecting the notion of individual artistic genius

Intermedia and interdisciplinary approach

• Fluxus artists combined multiple artistic disciplines (music, visual arts, poetry, performance)
• This approach led to the creation of new hybrid art forms (sound poetry, video art, mail art)
• Intermedia works challenged traditional categorizations of art and expanded the possibilities of artistic expression
• Artists like Dick Higgins and Nam June Paik pioneered the use of technology in interdisciplinary art

Anti-art and anti-commercialism

• Fluxus rejected the commodification of art and the elitism of the art world
• Artists created intentionally simple, often mass-producible works (Fluxkits, event scores)
• This approach aimed to make art accessible to a wider audience and challenge the notion of artistic value
• Anti-art gestures included destroying or altering existing artworks, questioning the permanence and preciousness of art objects

Everyday objects as art

• Fluxus artists elevated mundane items to the status of art (George Brecht's "Water Yam," consisting of event cards in a box)
• This practice blurred the distinction between art and life, encouraging viewers to find beauty and meaning in the ordinary
• Ready-made objects were often repurposed or presented in new contexts to challenge perceptions
• The use of everyday materials made art-making more accessible and democratized the creative process