Hop on a train and go. Probably it would be a fairly typical Fluxusinstruktion. In particular, who travel with the Swedish rail traffic nowadays often includes a certain degree of randomness; you can never be quite sure when or if it will actually come up. And for the 1960s radical movement in art, it was important to elevate the everyday into art. This Sunday I'm able to in all cases take me to the Uppsala Concert & Congress hall, where Elena Wolay – the woman behind among other things the live scene and the fanzine Jazz Is Dangerous – temporarily occupied the concert hall with a less than three hours long Fluxusfestival.
of Fluxus Swedish protagonists, Bengt af Klintberg, and pours the water down in a mikrofonförstärkt receptacle on the main floor. With a ”happening” that ”Drip music”, George Brecht, in true John Cage-the spirit of the stress that everything is musical. The downside likes to talk about men (it was the highest number of these) who played in the costume and of course one can argue that some modernists not only solid apart the piano, but also cut the branch they sat on.
by making everything into art devalues it in the end, its value. By extension, it became a musikklimat where all are artists, but where no one wants to stand for fiolerna.
In the Nam June Paik– ' One for violin,” is it for other Carl Michael von Hausswolff as a break, yes, literally pulveriserar, a violin. ”I shall now transform a sphere to a straight line,” continued af Klintberg ingenious and begins to peel his orange. Since the radar he up the gaps and offer the audience to taste – if they justify the choice of a certain gap. Fluxus wanted to involve the spectators, but few dare to move forward.
has had its price: the contemporary experimental music, living in the margin and in the long term, become a musealt objects to set out, as on this minifestivalen. I miss at the same time endeavour to invite and explain, the ambition to connect to the context backwards and forwards in the art and history of music. Admission is free and here to be experienced, but we found there is in the first place they are already consecrated.
When Marja-Leena Sillanpää draws a straight line and follow it on a cirkeltejpat paper until it stinks spritpenna in the whole hall is probably most in the congregation familiar with La Monte Young's influence on the musical minimalism, and the whole dronegenren.
In this way it is fun to relive a number of more and less well-known performance piece. But it also calls for reassessment: Is the antikommersialism or a waste to crush the useful gadgets or smear into the hands of an abundance of hand cream, as in Alison Knowles ”Nivea cream piece”?
trying the humor. When Wolay yourself, roll up your sleeves and, according to La Monte Young's instruction plays the same tonkluster on the wing 566 times (I lose count). Or when af Klintberg, living out the love of three oranges with zenbuddistiskt staring calm before the encore – Yoko Ono's ”Wall piece” – where the ensemble is eloquent enough dunks your head in the wall.
Read more music reviews by Johanna Paulsson , for example, about when ”as it is in heaven” premiered at the musikalascenen .