Fluxuskünstlerin Alison Knowles: Zum Glück darf man klauen

Refreshing about Alison Knowles’ New Yorker, the genres of art and is one of the best in Alltag, said his retrospective in Wiesbaden.

Alison Knowles rasiert ihrem Ehemann Dick Higgins de Kopf at the Internationale Festspielen Neuester Musik, 1962 (Ausschnitt) Photo: Hartmut Rekort, Staatsgalerie Stuttgart, Archiv Sohm

In Wiesbaden it is increasingly Fluxus, the man who serves the beschaulichen Mittelstadt, undoes brand names. The answer to the “Warum ausgerechnet here” must no longer lie in the US-American einfluss nachkriegshessens and the connections and zougängen, which have been brought to me.

Art has provided a noticeable boost. Not locally. Much longer enjoyment: Pittsburgh music and installation artist Ben Patterson, who is a Fluxus Urgestein, spent his life in Wiesbaden in 2016 and equipment.

Vielleicht is over if it is so, that it is a cultural public in 1962 in the “International Festival for New Music” four weeks with a whole understanding of artconfrontiert, genervt and wohl auch belustigt werden konnte – free through time It is so that it is often so that Handvoll often spends his bourgeois social life among young people. But that brought a Hauch weite Welt in the Hessian state capital.

Das Museum Wiesbaden presents itself with “Alison Knowles. Retrospective” which is a large scale of the Mitbegründerinnen jener legendary Action in Germany. Knowles was born in 1933 in New York, where he was employed. Wiewohl ihr Name hierzulande deutlich seltener fell as beispielsweise Nam June Paik or George Macunias, with danes who brought the Fluxus to Wiesbaden.

Fluxus including Angelegenheit

“It is not to lie: Fluxus was an inclusive opportunity”, wrote the art history in Kathy O’Dell 1997 in her Aufsatz “Fluxus Feminismus”. It is a fact that this has become an artistic art, which can see so many women and people of color when they are dealing with that person. In the Geschichtsschreibung it can be better who others the Vorrang.

Ein Besuch in Wiesbaden said, was man in Falle Alison Knowles here passed that – in the meantime, largely (in the USA, we that Ausstellung in abgewandelter Form zu sehen war, ist de Künstlerin immerhin deutlich bekannter): the whole frühen Fluxus-Performances natürlich , on the knowledge of Ehemann Dick Higgins here, in the Vortragssaal of the Museums, the kopf rasiert hat; Fluxus-Plakate, gemeinsame Aktionen, aber auch fabelhafte Buchobjekte, Collagen, Assemblages, Materialsammlungen, de shinbar ohne fell Zutun schon reisßend ausschauen.

Jana Dennhard has undergone the Australian Ausstellung course and the noticeable feine Unterschiede. Alison Knowles’ Anleitungen resp. Vorschläge seien zum Beispiel „weiger theatralic“ is the only Fluxuskollegen. Tatsächlich said that the art is a special commitment to the result. Your very first arrival in Wiesbaden proposal lautete schlicht: „Shuffle“. An einladung, collectively over the bottom of the schlurfen. So one of the sounds can be – a discovery of the spiritual exploration of the composer and music theorist John Cage, a good friend of the art lender of New York, which is promoted by Konzeptkunstpioneer Marcel Duchamp.

The spirit of Fluxus has never seen the work of Knowles, but is one of the most visited museums. A good idea for the performance, performances and action as photo tape on the wall of the package, was an anziehung one of the schau that the Jugendbewegungen failed. Trotzdem will not even call the retrospective a Fluxusschau-allein, and will never have a historicizing history.

Lauter Alltagsfondsstukken

It was with Alison Knowles’ great program for the color, material, combination and the creation of it that an extensive visual presentation was given. The artist has a look and a sense of magic, that the things inhabit. When the research into the Malaysian Studium has begun, there is talk of abstract expressionist images of all the work that burned and is no longer Malaysian, it took a while to continue the work as male. Large cyanotypes on fabric, of the sun or of the art itself, photo and material collages, setzkästchen with everyday fund pieces, large railways of natural paper, which were superimposed and superimposed for relief. Their combined positions, often created from the usual everyday, are condensed, but rich.

Review of Alison Knowles’ ‘The Idential Lunch’ Photo: Museum Wiesbaden / Bernd Fickert, © Alison Knowles

And then the three-dimensional work with “Fingerbook 3”, a tableau of the history of the finger – literature of wörtlichen begreifen, here the leader of the debts on glass. Stellenweise is about the Schau and an Abenteuerplatz for Erwachsene, the man leader of his great tenteils is no longer skilled. The Art material is more vulnerable than the Art ideas.

A man who has even more trouble with the first beginning, with the Künstlerinnenbuch of Thema Nautik, with the Alison Knowles of a world trip and a schon at the Frankfurt Book Fair in the Gastoorlog (the changes that occur in his sister-ammengefallen are soll). A grateful value is the involvement of the enormous amounts with all kinds of buttons, collagen, a blue substance from the continuous letters: Zum Glück goes man and claw.

Alison Knowles is big with his ideas, the name that is used the most will be picked up and amplified by others. The format moves to the cutlery of the cutlery and does not last long.

Fluxus and the art of today

Due to the influence of the Flux on contemporary art production, it is not the case that your water is no longer out of use. If he himself has been bought and received in the White Cube (der Künstler Rirkrit Tiravanija has a whole work that can be done), then man thinks unweigerlich an ain von Knowles’ bekannstenen Arbeiten, die in Wiesbaden nicht gezeigt (die Künstlerin ist inzwischen 91 en you don’t need more information with your luggage): “Make a salad”! Die Zubereitung een enormous portion portion is since 1962 etliche Man und miscellaneous Orten aufgeführt; in London schnitt en schnippelte Alison Knowles was the first time she hit a live band, which was in the Luft, a big fläche sister ammenzumix.

The higher spheres, such as the art teacher, could come into the Fluxus. Insbesondere Bohnen ziehen sich durchs gesamte Werk; Knowles’ “Bean Garden” has had a few conversations here, where the microphone makes contact with the creaking through what the Becken does with rockneter, typically American, whiter Bohnen. If the sound plays a role at all and plays, it does not take longer before it is reproduced.

It is not that this retrospective cannot be used as an offensive: the primacy of the visual representation of the art relationship is as short as possible. The work of Alison Knowles is no longer visible or ephemeral, often auditory, situational, collaborative, tasteful – for all these forms it is light or not suitable for its financing. Resolving the stories, that was however a little desired by Fluxus. It is however a question of the art of art, that it is no longer possible to make something of müssen.

And proudly: “I might not, because the art is still, strong,” said Alison Knowles, “I might, because the art is still alive, there is something else that can be done… (it was), and that is not a matter of thought hätte.” The Rahmenprogram for the Ausstellung is an interactive representation of active Arbeiten with Laila Zaidi Touis’ „Dinner with the Stranger“.

Fluxus als Haltung und Ansatz denn als abgeschlossene Bewegung: So can also theoretically go even further. Everything is art? Die Losung muss hier eher lauten: Everything can Art became. Fluxus is one of the most common things.