List of selected artworks. Maps for the tour in the museum




September 21, 2012 - 7:30 p.m. /
Nouvel Building, Auditorium 400
George Maciunas. Homenaje a Adriano Olivetti. Concierto, Academia de Arte de Düsseldorf, 1963
George Maciunas. Homenaje a Adriano Olivetti. Concierto, Academia de Arte de Düsseldorf, 1963

Contemporary music is one of the spheres that has had the greatest relevance in the gestation of Fluxus: the famous Experimental Composition classes given by John Cage at the New School of Social Research are considered by the literature to be an essential event in the configuration of the group and its identifying features. In Europe, the Darmstadt School, where figures as relevant in the history of contemporary music as Theodor Adorno, Arnold Schönberg and Karlheinz Stockhausen either gave or attended class, was the setting of even some pre-1962 Fluxus compositions, written by George Brecht, La Monte Young and Toshi Ichiyanagi. And at the Festival of Wiesbaden of 1962, the inclusion of contemporary musicians in the program was frequent, until, apparently, the organisers became aware of the significant differences between Fluxus practices and the composition and performance methods used by musicians still connected to certain inertias of traditional music writing.

The concert planned for Fluxus to the People has these differences as its starting point: classic scores by different Fluxus artists have been selected and are performed by a series of performers brought together by an open call for participation made by Museo Reina Sofía. Following the call for participation, considerable work has gone into rehearsing, contextualising and explaining the different pieces and their multiple forms of realization, in a process similar to that of a workshop, defined by the objective of giving the concert.

Not only does this working method give rise to a kind of reactivation of the piece, it is based on the idea of collective virtuosity, of the community agency for performing actions designed to be carried out and understood by anybody. Somehow this type of action is not just a reflection of the intention inherent in Fluxus to think of an audience that has no differences whatsoever, it also sets up the possibility of the piece being performed live by hands other than those of the artist who created it. It also implies the redefinition of the museum and its public, who go from being the mere occasional visitor to being a producer of actions, a process beginning with the performers of this concert, but that hopes to find continuity outside the museum sphere.


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