Negociando la colectividad, negando la subjetividad.George Maciunas, el travestismo y los debates fluxus sobre el cuerpo

  1. Ignacio Estella-Noriega 1
  1. 1 Universidad Autónoma de Madrid (España)
Aldizkaria:
Arte, individuo y sociedad

ISSN: 1131-5598

Argitalpen urtea: 2017

Alea: 29

Zenbakia: 2

Orrialdeak: 283-298

Mota: Artikulua

DIALNET GOOGLE SCHOLAR lock_openSarbide irekia editor

Beste argitalpen batzuk: Arte, individuo y sociedad

Laburpena

This essay aims at delivering an analysis of the main ideas behind Fluxus, one of the most important art movements in the second half of the century: individualism, collectivism and corporality played a key role in the configuration of such a group. Using George Maciunas’ almost unknown work, Cross Dressing Ballet (ca. 1967), this essay explores the dilemmas gathered around such work in the context of Maciunas’ life and the wider context of Fluxus itself. In doing so the essay highlights several key concepts which intervene in the formation of this group and exposes how these provoked a series of debates and contradictions around the idea of the body that were essential in what we now associate with Fluxus. In its final chapters, the essay aims at contextualizing Maciunas’ works done at the end of his life, works that explore an unstable and unfixed identity through public acts of travestism and private acts of sadomasochism. Using Kaja Silverman’s theories, the essay concludes with an interpretation of such later works under the collectivist umbrella held by Maciunas himself

Erreferentzia bibliografikoak

  • Adorno, T. (2006). Vers un musique informelle. En Escritos musicales (pp. 503-549). Madrid: Akal.
  • Debord, G. (1999). La sociedad del espectáculo. Valencia: Pre-Textos.
  • Díaz Cuyás, J. (2009). Popular el Paraíso. La AAO en el Cabrito. En AA.VV. Desacuerdos: sobre arte, política y esfera pública V (pp. 115-128). Barcelona: MACBA.
  • Dreyfus, Ch. (Org.) (1989). Happening & Fluxus. París: Galerie 1900-2000.
  • Galcerán, M. (2009). Deseo (y libertad). Una investigación sobre los presupuestos de la acción colectiva. Madrid: Traficantes de sueños.
  • Hendricks, J. (Ed.) (1983). Fluxus etc. Addenda I: the Gilbert and Lila Silverman Collection. Nueva York: Ink and Press.
  • Hendricks, J. (Ed.) (1988). Fluxus Codex. Nueva York: Abrams.
  • Higgins, D. (1964). Postface/Jefferson’s Birthday. Nueva York: Something Else Press.
  • Huyssen, A. (1986). Mass Culture as Women: Modernism’s Other. En After the Great Divide: Modernism, Mass-culture, Post-modernism (pp. 44-64). Indiana: Indiana University Press.
  • Jarosi, S. (1998). Selections from an Interview with Billie Maciunas. En Friedman, K. (Ed.), Fluxus Reader (pp. 119-211). Londres: Academy Editions.
  • Kellein, T. (2007). The Dream of Fluxus: George Maciunas, An Artist’s Biography. Nueva York: Thames and Hudson.
  • Kubota, S. (2014). Interview with Shigeko Kubota. Nueva York: MoMA. Recuperado de http://post.at.moma.org/content_items/344-interview-with-shigeko-kubota
  • Maciunas, G. (1983). Tentative Program for the Festival of Very New Music (1962). En Hendricks, J. (Ed.), Fluxus etc. Addenda 1: The Gilbert and Lila Silverman Collection (141-143). Nueva York: Ink Press.
  • Maciunas, G. (2002). Purge Manifiesto (1963). En Hendricks, J. (Ed.), What´s Fluxus? What´s not¡ Why? (p. 95). Brasília: Centro Cultural Banco do Brasil.
  • Maciunas, G. (2002). George Maciunas to Tomas Schmit. January 1964. En Hendricks, J. (Ed.), What´s Fluxus? What´s not¡ Why (pp. 161-165). Brasília: Centro Cultural Banco do Brasil.
  • Maciunas, G. (1983). Conditions for Performing Fluxus Published Compositions, Films & Tapes (1964). En Hendricks, J. (Ed.), Fluxus etc., Addenda I: The Gilbert and Lila Silverman Collection (p. 158). Nueva York: Ink and Press.
  • Maciunas, G. (Ed.) (1966). Expanded Arts Issue [número especial]. Film Culture, 43.
  • Maciunas-Hutchins, B. (2010). The Eve of Fluxus. A Flux-memoir. Winter Park: Arbeiter Press.
  • Medina, C. (2003). Fluxus non-art and Anti-art. (Tesis inédita de doctorado). Universidad de Essex, Reino Unido.
  • Medina, C. (2005). The Kulturbolschewiken II: Fluxus, Khruschev, and the Concretist Society. Res 49/50, 231-243.
  • Midori, Y. (Ed.). (2009). Women & Fluxus. Women in Performance: A Journal of Feminist Theory, 19(3), 287-441.
  • Modelski, T. (1986). Femininity as Mas(s)querade. En MacCabe, C. (Ed.), High Theory, Low Culture (pp. 37-52). Manchester: St. Martin’s Press.
  • Moore, A. y Wacks, D. (2005). Being There. The Tribecca Neighborhood of Franklin Furnace. TDR: The Drama Review, 49(1), 60-79.
  • Moore, B. (1988). Tales of the Deckameron or the Making of this Deckorum Fluxorum. Preface for Maciunas Flux-deck. Nueva York: ReFLUX Editions.
  • Moorman, C. (2006). Una artista en el juzgado. Cuenca: Fundación Antonio Pérez.
  • O’Dell, K. (1997). Fluxus feminus. TDR: The Drama Review, 41(1), 43-60. Doi: 10.2307/1146571
  • Piekut, B. (2011). Experimentalism Otherwise. The New York Avant-garde and its Limits. Berkeley: University of California Press.
  • Schmidt-Burkhardt, A. (2004). Maciunas’ Leraning Machines: From Art History to a Chronology of Fluxus. Berlín: Vice Versa Verlag.
  • Shalleck, M. (1967). Part 1 E, People & C. v. Charlotte Moorman. New York Law Journal, 11-V.
  • Silverman, K. (1992). Male Subjectivity at the Margins. Londres: Routledge.
  • Stegman, P. (Org.) (2007). Fluxus East: Fluxus Networks in Central Eastern Europe. Berlín: Künstlerhaus Bethanien.
  • Yoshimoto, M. et alt (2009). An Evening with Fluxus Women. A Roundtable Discussion. Women and Performance. A Journal of Feminist Theory, 19(3), 369-389.
  • Williams, E. y Nöel, A. (Eds.). (1997). Mr. Fluxus: a Collective Portrait of George Maciunas (1931-1978) Based Upon Personal Reminiscences Gathered by Ay-O and Edited by Emmett Williams and Ann Nöel. Londres: Thames and Hudson.
Datuen iturria: Dialnet