Since that coup, the museum has placed a number of pieces from the collection on view, including three performances/performative stagings of works by Alison Knowles, Ben Vautier
, and Yoko Ono.
Examinations of food references in Dada and the definition of in/edible (Novero's term, 257) in Ben Vautier
's oeuvre ("Convivia of the Neo-Avant-Garde") serve to round out the discussion.
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.
Rather more fun is Ben Vautier
's Bizarre Bazaar, only the fourth time he has created this strange store adorned with curiosities, from a picture of the Mona Lisa to an artificial leg.
, a Swiss who joined the movement in 1962, declared that everything is art and began signing whatever came to hand.
That Ben's Black Box should be interpreted as the "box of art" is implied by its own claim to the name of art and by the status of its author as an artist who openly walks in the footsteps of his chosen master: I, Ben Vautier
, feel authorized by Duchamp to make art out of whatever I fancy, and you may feel the same.
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
. With all three, the "work" of art is dispersed, existing simultaneously and inseparably across concept, performance, and documentation.
Installation pieces that use language - Ben Vautier
's 1962 Ben's Window, for example, or Jean-Luc Vilmouth's 1997 Bar Seduire - deliver their messages in English (or Japanese).