> CFP - FLUXUS issue of Performance Research
> FLUXUS was an international community of artists, architects, designers,
> and composers described as "the most radical and experimental art movement
> of the 1960s." As a laboratory of experimental art, Fluxus was the first
> locus of intermedia, concept art, events, and video, and a central
> influence on performance art, arte povera, and mail art.
> 2002 will mark the 40th anniversary of the first Fluxus festival in
> Wiesbaden, Germany. The journal Performance Research will mark the
> occasion with a special issue.
> Guest editors Ken Friedman and Owen Smith will coordinate this issue.  The
> editors will welcome proposals and complete papers on any topic or theme
> relevant to Fluxus, the Fluxus artists and composers, or their work.
>
> Themes
> "Fluxus is what Fluxus does-but no one knows whodunit." Emmett Williams
> "Fluxus is not a moment in history, or an art movement. Fluxus is a
> way of doing things, a tradition, and a way of life and death." Dick
> Higgins
> As a large and somewhat diffuse phenomenon, there can be no single
> approach to Fluxus. The editors encourage a wide variety of topics,
> themes, and approaches.
> A list of possible topics includes: art practice in Fluxus, art theory in
> Fluxus, events, video, concept art and conceptual art, intermedia,
> performance, artist books and periodicals, cooperative housing, artist
> stamps, experimental film, Happenings, mail art, new music.
> A partial list of Fluxus artists and composers includes: Ay-O, Joseph
> Beuys, George Brecht, Phil Corner, Robert Filliou, Ken Friedman, Al
> Hansen, Geoffrey Hendricks, Dick Higgins, Bengt af Klintberg, Milan
> Knizak, Alison Knowles, Arthur Koepcke, Shigeko Kubota, George Maciunas,
> Jackson Mac Low, Larry Miller, Yoko Ono, Nam June Paik, Takako Saito,
> Mieko Shiomi, Ben Vautier, Wolf Vostell, Yoshimasa Wada, Robert Watts,
> Emmett Williams, and La Monte Young.
> Articles on other artists and themes are also welcome.
>
> Special theme:
> 2002 also marks 30 years since the 1972-73 Fluxshoe toured England with a
> series of performances, concerts, and exhibitions. This issue of
> Performance Research will particularly welcome contributions that focus on
> the historical and geographical activities centered on the Fluxshoe,
> together with considerations of how it influenced the British art of the
> years since.
>
> Overview
> Fluxus has been a laboratory characterized by George Maciunas's notion of
> the "learning machine." The Fluxus research program has been characterized
> by twelve ideas: globalism, the unity of art and life, intermedia,
> experimentalism, chance, playfulness, simplicity, implicativeness,
> exemplativism, specificity, presence in time and musicality.
> These ideas describe the qualities and issues that characterize the work
> of Fluxus. Each describes a "way of doing things." Together, these twelve
> ideas form a picture of what Fluxus is and does.
> The implications of these ideas have been interesting and occasionally
> startling. Fluxus has been a complex system of practices and
> relationships. As a forum of philosophical and artistic practice, Fluxus
> developed and demonstrated ideas that would later be seen in such
> frameworks as multimedia, telecommunications, hypertext, industrial
> design, urban planning, architecture, publishing, philosophy, even
> management theory.
> This issue of Performance Research will explore the general and individual
> aspects of Fluxus that have made it so lively, engaging, and difficult to
> describe.
>
> About the editors.
> Ken Friedman was an active participant in Fluxus, as an artist since 1966,
> as director of Fluxus West for a decade, and as editor of The Fluxus
> Reader for Academy Press. Friedman is associate professor of leadership
> and strategic design at the Norwegian School of Management. Owen Smith is
> an art historian and curator specializing in intermedia and multimedia art
> forms. His book, Fluxus: History of an Attitude, is published by San Diego
> State University Press. Smith is associate professor of art history at
> University of Maine.
>
> Deadlines
> Proposals and full text articles welcome to 1 September 2001
> Final selection by 15 October 2001
> Completed articles and manuscripts due by 15 December 2001
>
> Proposals or complete articles welcome
> Please send article proposals to Owen Smith at
> <[log in to unmask] <mailto:[log in to unmask]>>
> Completed articles or extensive drafts are also welcome.
> Proposals and articles may be sent in email form and as attachments in
> Microsoft Word.
> This issue will be richly illustrated. Proposals or complete articles
> should indicate illustrations and how they will be presented. The initial
> proposal or article need not include the actual illustrations. These will
> be planned after articles are selected.
> General questions may be directed to Owen Smith or to Ken Friedman at
> <[log in to unmask] <mailto:[log in to unmask]>>