CfP: Fluxus International: Reception, Interpretation, Appropriation (Crossroads 2012, Paris, July 2-6, 2012)
Crossroads in Cultural Studies, Paris, July 2-6, 2012:
Call for paper proposals for panel on “Fluxus International: Reception, Interpretation, Appropriation”
This panel invites explorations into the transnational flow of Fluxus practitioners and practices and their codification in art historical narratives. As a small but global network of visual artists, composers, filmmakers and performers under the leadership of self-appointed ‘Fluxus Chairman’ George Maciunas in the 1960s and 1970s, the loosely knit Fluxus collective shared a common anti-art anti-establishment sensibility, yet often produced profoundly diverse opinions and practices in their local variations.
Emerging as a movement in New York and initially guided by Maciunas’ Fluxus Manifesto of 1963, the reverberations of Fluxus bred concurrent activities in Japan, Europe, and beyond, strengthening the ties between the New York art world and global locations. Yet the local activities and legacies of Fluxus practitioners, and the contribution of women to Fluxus activities are often limited to the periphery of museum collections and art history. Half a century later, Fluxus has transformed from a radical and disperate movement into a historicized avant-garde represented in museums and collections which often interpret the movement via localized versions of the Fluxus legacy.
How were Fluxus activities developed and received internationally? How are Fluxus activities interpreted in relation to local practice? What is the relevance of Fluxus to contemporary artists? How has the legacy of Fluxus and its practitioners been appropriated by local art historical narratives?
Contributions exploring the Fluxus activities of women in Japan and East-Central Europe are particularly welcome. Papers may be either historical or theoretical in method.
- international interpretations and local receptions of Fluxus feminisms
- institutional challenges presented by Fluxus objects and ideologies
- absorption of international Fluxus networks (Japan, Central and East Europe) by dominant art histories
- appropriation of Fluxus in national art historical narratives
- transnational Fluxus histories
- Fluxus and emerging global markets
- aesthetic legacy of Fluxus in contemporary art
Please submit at 250-word abstract and short bio by September 25th, 2011 to Inga Untiks, York University; email@example.com.