Roman von Stefan Barth. In blutigen Happen.
The history of the Fluxus movement. A digital collection at the University of Iowa.
One finds in Fluxus work genre-blurring “intermedia,” provocative performance events, and mobile art “kits.” One finds an international syndicate of collaborating, agitating, pranksterish artmakers. And while there were indeed disagreements among its core practitioners of about forty artists, few movements of the twentieth century share its longevity. The American Dick Higgins notes, “[t]his depended upon a fluid conception of group identity: anyone who wanted to do that kind of thing was Fluxus … [we] stuck together to do Fluxus kinds of things, even when [we] were also doing other kinds of things at the same time.”Indeed, it is often difficult to discern the boundaries separating Fluxus from other circles—whether it be action music, mail art, conceptualism, assemblage art, concrete and sound poetics, and so on. This was its revitalizing strength. Fluxus members worked in areas across and between multiple forms, challenging distinctions between artistic genres, and between art and everyday life. Perhaps it’s best to think of Fluxus as a provisional space wherein an undetermined number of artists, writers, and musicians with shared approaches to art did things together.