Let the answer take the shape of one of the Boites noires (Black Boxes) made in 1962 by the French artist Ben Vautier
, who signs his works "Ben.
The works of Ay-O, Yoko Ono, George Brecht, John Lennon, Nam June Paik, Geoffrey Hendricks, Jon Hendricks, Alison Knowles, Larry Miller, Mieko Shiomi, Ben Vautier
, Robert Watts, Emmitt Williams, Henry Flynt, Peter Moore and others are included in the exhibition.
At the heart of the festival was the Flux Concert, featuring performances of now classic Fluxus scores by artists such as George Maciunas, Ben Vautier
, George Brecht and Chieko Shiomi.
The works of Ay-O, George Brecht, Geoffrey Hendricks, Alison Knowles, Larry Miller, Mieko Shiomi, Nam June Paik, Ben Vautier
, Robert Watts, and Emmett Williams are included in this exhibition.
Certain occasional participants, already recognized as big guns from the outset--Joseph Beuys, say, or Yves Klein--now loom even larger, especially when compared to Fluxus's more Ionescan, Theatre of the Ridiculous writer-artists: Filliou or Ben Vautier
, for example.
Niki de Saint Phalle and Ben Vautier
are also featured here, as representatives, respectively, of Nouveau Realisme and Fluxus--two strains still largely alien to mainstream histories of art.
In Backsliding, Sideslipping, One Great Leap and the "Forbidden," 1994/2002, she quotes the interior of Le Corbusier's Villa Savoye within the museum space as the exhibition architecture for her own works as well as a selection from the permanent collection: Joseph Beuys, Ben Vautier
, Gerhard Richter, Umberto Boccioni, and Wilhelm Lehmbruck.
Mirz recalled the days of Ben Vautier
and others living in shop windows in derelict areas or chaining themselves to one another.
In grafting problems of sculptural process and construction onto existential predicaments, Wurm's works echo the oxymoronic concerns of two other masters of the successful fiasco and the noteworthy nonevent--Signer and Ben Vautier
All kinds of gestures were possible: Claes Oldenburg put up posters and publications, Ben Vautier
did a performance piece in which he provoked the audience, Kudo imprisoned himself in a cage, and so on.
But in the Walker, among various not-overworried reconstructions of Fluxus sites and events (the founding performances of Nam June Paik and others at Wiesbaden in 1962; the week Ben Vautier
spent in the window of a London art gallery in the same year), the feeling was stirring.