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Keywords: Fluxus
Relevant passages:
Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life»
Works by Nam June Paik:
Action with a violin on a string (staged during «Exposition of Music – Electronic Television»)
Baroque Laser Buddha German Pavilion: Marco Polo documenta-performance Electronic Art II Etude for Piano Exposition of Music – Electronic Television Global Groove Good Morning, Mr. Orwell Hommage à John Cage: Music for Tape Recorder and Piano I-Ching/Et-Ching Kuba-TV Magnet TV Mayor Lindsay McLuhan Caged (in Electronic Art II) One for Violin Solo Participation TV performance in the Ramsbott home Random Access Music: Exposition of Music – Electronic Television Robot K-456 Schallplatten-Schaschlik: Exposition of Music – Electronic Television Simple As Boring As Possible Triangle tv with microphone TV Set for your Mind TV Story Board TV-Buddha TV-Garden Primitive Music Video-Tape Monthly Magazine Wrap around the World Yellow Peril ! Zen for Film Zen for Head
Nam June Paik «Participation TV» Alfons Schilling «Random Pattern Stereo» Karlheinz Stockhausen «Study I» Ulrike Rosenbach «Dance for One Woman» Paul Sermon «Telematic Vision»
Nam June Paik
«Traitor, you left fluxus (Postcard to Nam June Paik)»
When in 1964 the composer Karlheinz Stockhausen came to New York with 'Originale' (‘Originals’), a piece first performed in Cologne in 1961, a severe conflict divided the Fluxus movement. Paik, who had been cast in the Cologne production some years earlier, took part along with other avant-garde artists like Charlotte Moorman, Allan Kaprow and Allen Ginsberg. By contrast, George Maciunas and several Fluxus disciples saw in Stockhausen a 'characteristic European-North American ruling-class Artist'. They demonstrated outside the theatre with placards with slogans like 'Fight Musical Racism' or slogans of similar nature, and terrorized the renegade performers with postcards like the one shown here.
