Fluxus

I have a bit strange biography because I grew up in the arts and that means late 60s and then especially 70s and early 80s were formational for me.

and then when I wanted to go to the art school after school there was a moment when a painting came back and you had the Neue Wilden and all these things and I was kind of more on the Fluxus side and on the ephemeral and not I think for me very important is I think art cannot be owned it's something that happens to you or that you can prepare for so this whole dealing of artifacts is a question for me So then I didn't study art because I was interested in earthquakes and volcanoes and natural phenomena.

And then I studied geophysics and I realized from very early on that there's something wrong here.

And then it was also when...

And then there was this dude, maybe he was 30, actively trying to meditate.

And I was, you know, so you walk up and you're like, wow, Yoko Ono, the wizard of the Fluxus Mu movement, has done it.

Like she's manifested this peace through this language and this cloud-like invitation.

You know, it was magic.

How do we do? Do we get everything? I think we got everything.

Excellent.

We even got a little Fluxus in there.

It has been great to have you on the show.

So this was through morphing urban renewal, white flight, suburbanization in the US, and of course imperialist practices abroad.

And in that 60s framework, my discussion of Yoko Ono and George Brecht and Fluxus events illuminate this moment in terms of imperialism and bureaucracy.

And later, after the U.S. economy restructured to favor finance, this looks different.

And in the later chapters of the book, I discuss the whittling down of welfare programs and public austerity, for example.

Some of them are a little bit larger than index cards, but pieces of paper roughly recognizable as index cards.

with words on them.

And he, George Brecht, like Yoko Ono, was part of this larger group of artists known as Fluxus, and it was a very international group.

And he was creating these event scores, which are similar to Ono's instructions, but sometimes even more abstract.

So This was through morphing urban renewal, white flight, suburbanization in the US, and of course, imperialist practices abroad.

And in that 60s framework, my discussion of Yoko Ono and George Brecht and Fluxus events illuminate this moment in terms of imperialism and bureaucracy.

And later, you know, after the US economy restructured to favor finance, this looks different.

And in the later chapters of the book, I you know, discuss the whittling down of welfare programs and, you know, public austerity, for example.

And he, George Brecht, like Yoko Ono, was part of this larger group of

artists known

as Fluxus, and it was a very international group.

And he was creating these event scores, which are similar to Ono's instructions, but sometimes even more abstract.

So this was through morphing urban renewal, white flight, suburbanization in the U.S., and of course imperialist practices abroad.

And in that 60s framework, my discussion of Yoko Ono and George Brecht and Fluxus events illuminate this moment in terms of imperialism and bureaucracy.

And later, after the US economy restructured to favor finance, this looks different.

And in the later chapters of the book, I discuss the whittling down of welfare programs and public austerity, for example.

Some of them are a little bit larger than index cards, but pieces of paper roughly recognizable as index cards.

with words on them.

And he, George Brecht, like Yoko Ono, was part of this larger group of artists known as Fluxus, and it was a very international group.

And he was creating these event scores, which are similar to Ono's instructions, but sometimes even more abstract.

So this was through morphing urban renewal, white flight, suburbanization in the US, and of course imperialist practices abroad.

And in that 60s framework, my discussion of Yoko Ono and George Brecht and Fluxus events illuminate this moment in terms of imperialism and bureaucracy.

And later, after the U.S. economy restructured to favor finance, this looks different.

And in the later chapters of the book, I discuss the whittling down of welfare programs and public austerity, for example.

Some of them are a little bit larger than index cards, but pieces of paper roughly recognizable as index cards.

with words on them.

And he, George Brecht, like Yoko Ono, was part of this larger group of artists known as Fluxus, and it was a very international group.

And he was creating these event scores, which are similar to Ono's instructions, but sometimes even more abstract.