Fifty years after the first Fluxus festival in Wiesbaden in 1962, considered a milestone in the founding of the movement, this program takes a look at Fluxus by examining its derivations and reinterpretations. Because of its complex, performative and decidedly anti-disciplinary nature, Fluxus is one of the most important art movements (it is sometimes described as a group or even an anti-movement) since 1945. However, its rhizomatic and cosmopolitan tension has resulted in it occupying a secondary spot in the narrations of contemporary art, and in it being situated in a fragmentary and superficial manner in the space between institutional critique, conceptual art and performance art. The fact that it arose at the same time as pop art, conceptual art and minimalism, has done nothing but heighten this peripheral nature. But Fluxus actually developed as a sphere from which to confront these dominant models: it represents pop unrelated to celebrity, but involved in the analysis of mass culture; it is conceptual, yet has nothing hermetic and is instead based on the performative capacity of language.
So, Fluxus to the People does not offer an analysis of the works but rather an opportunity to practice them, a collaborative exercise. It is not pluralist, in that it does not claim to be the facile co-existence of different positions, but it does promote a form of temporary collaboration in a given project without causing differences to evaporate. In short, it is all about reflecting on what "we" means, even if only for awhile.
The program has three fronts: a documentary space, a series of participatory actions that are very different from one another, and a concert.