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Dear Colleagues, At the suggestion of a friend, I subscribed to this list a few weeks ago. I've been reading quietly and enjoying. Very much enjoyed Robert Nickas's text this morning. Mr. Nickas edited a wonderful anthology in the early 1980s, completing the last of Gregory Battcock's series of books on the then-new art forms of the 60s and 70s. Those who are interested in Fluxus and intermedia may be interested a new digital edition of my event scores from Heart Fine Art. A published last month in Scotland on Sunday appears below. The publisher has also produced a free digital edition. The digital edition contains the complete contents of the paper edition. In true Fluxus spirit, Paul Robertson of Heart Fine Art has made the digital edition freely available for artistic or educational use. With best regards, Ken Friedman 52 Events Ken Friedman REVIEW BY sb kelly Show and Tell Editions, £25 Scotland on Sunday January 27, 2002 lllll THIS book was initially due to appear in Spring 1967, designed by George Maciunas, founder of the Fluxus art movement. Maciunas's untimely death meant the project was effectively mothballed, although it toured as a series of exhibitions during the 1970s. It is therefore a pleasure to possess, 35 years after its conception, Ken Friedman's 52 Events. The book at last exists, and in three formats: as a desk diary, beautifully designed by Paul Robertson; as a free internet version (http://www.heartfineart.com/Images/Friedman.html); and as a £195 deluxe edition in a hand-crafted box, painted by the artist and containing various artefacts required to stage the Events. Fluxus, whose membership famously included Yoko Ono, can be seen in retrospect as one of the key postwar art movements; a continuation of Surrealism and Dadaism, and the launching pad for Conceptual, Installation and Anarcho-dandyist Art. Indeed, Turner Prize-winner Martin Creed's work is barely conceivable outside of the Fluxus perspective; and Tate Modern are currently showing an exhibition of Friedman's work. The pieces of the Fluxus Group were minimal, provocative and witty - famously described as "Zen Vaudeville" - and were preserved as 'scores' that could be re-enacted by others. Most importantly, Fluxus spanned Europe, America and Asia; drawing on traditions as diverse as Norse Sagas and Japanese Noh-plays. That very internationalism goes some way towards explaining the endurance of this genre of avant-garde art. Perhaps the best way to illustrate Fluxus is in their own words, with two of Friedman's Events. "Flow System: Anyone may send an object or a work of any kind to the exhibition. Everything received is displayed. Any visitor to the exhibition may take away an object or work." "Deck: Collect playing cards found in the street until a complete deck of found cards is assembled." Fluxus was, as these examples show, a two-pronged attack; a debunking of the spaces where art is displayed, and a celebration of the possibilities of normal locations. If you could put urinals into galleries, conversely you could find art in the street. Whereas the Situationists, almost exact contemporaries, were railing against everyday life, Fluxus wanted to turn the everyday into an ongoing art-work. Of course, one might level the accusation that it's all rather self-indulgent. Nonetheless, I tried one of the events (sending a postcard a day to a friend, with just one letter on it, until it spelt a phrase; then receiving a reply in like fashion) and the effect was weirdly charming. There is a certain innocence in the sense of participation. Actually following the suggestions each week may be impractical, but I would strongly advise any reader to try one or two. Although with some of the other Fluxus artists, such as Ay-O or Ben Vautier, the mischief teeters over into cruelty - audiences locked in theatres - the overwhelming feel of Friedman's 52 Events is a gentle melancholy. The notes offer not only some valuable insights into the history of the movement, but a delightful sketch of his genuine bewilderment about the separation of 'art' and 'life', musings on publishing, and personal explication of the meaning of the works. Robertson's typography for the diary is beguiling; a non-linear ebb and flow of days, rather than the strict and regimentalised schedule. My only regret about the book is that it doesn't include one of my favourite Events from the previous "30 Events" exhibition: "Explain Fluxus in five minutes or less, using a few simple props." Shoes, ice-cubes and telephones would be my choice. I look forward to the diary for 2003. -- Heart Fine Art Web site http://www.heartfineart.com/ -- Scotland on Sunday Web site http://news.scotsman.com/