P E R F O R M A N C E H I S T O R Y [ E X C E R P T S ]
Trace for Orchestra
by Robert Watts
Flux-Solo Variation
Chewed Drawing
by Larry Miller
Flux-Solo Variation
Laughing
by Willem DeRidder
Flux-Solo Variation
FLUX SOLO A series invented by Miller for a multi-city tour in Germany in 1997, developed at the invitation of Boris Nieslony, of Black Market Collective. Carefully researched to be inclusive of a panoply of scores and instruction by numerous Fluxus contributors, the program varied at each venue. It was later reprised in another iteration for PSi-13 (Performance Studies International) seminar at NYU in 2007. Above, performance at Trinitatiskirche, Cologne, Germany, September 1997. Below, flyer for NYU Seminar (2007).
All Photos © Pietro Pellini, 1997/2023 / Cannot be reproduced without permission.
Larry Miller, Chewed Drawing for Orchestra
Flux Concert, Art Interactive , Cambridge, MA
Ay-O’s Rainbow for Conductor, Flux-Concert at Lafayette College, 199???
Performed by Larry Miller and students.
Photo © George Panichas. May not be reproduced without permission.
George Maciunas, For Adriano Olivetti
Collective performance, Odense, 1997. Performers, from left: Ben Patterson, Philip Corner, Larry Miller, Ben Vautier, Alison Knowles, Eric Andersen. Photo © Dorte Krogh. Cannot be reproduced without permission.
Remote Music, by Larry Miller. Harpsichord Concert organized by George Maciunas, Berlin, 1976.
IMITATION DUCHAMP is a participatory performative cooperation between audience, the resonant energies of Duchampian explorations, and Miller’s invitational score. Photos of the generative image are provided. Props and necessary artifacts are available. Imitation Duchamp has been performed at Judson Memorial Church for Fluxus Ala Carte, 1992, and other venues during performance series in Europe. Notable participants included Geoffrey Hendricks and Helena Hungria.
Imitation Duchcamp
Imitation Duchamp
Imitation Duchamp Geoff Hendricks
E C L I P S E
Performed at Franklin Furnace, 1980, Eclipse was a live contemplation about the Mona Lisa, dreams about the end of the world, the negativity that eclipses our lives, and other edgy concerns of the day. Presented in the early years when “Performance Art” had not yet been precisely defined, this piece seen in a low-tech, limited setting, with slides, audiotape, film and other media, was one of the builders of the genre.
View Video from Franklin Furnace vimeo documents history.
