Fluxus was a pivotal movement in redefining art's role and the
artist's identity in the contemporary world, so that its aesthetics
- as well as many of its gimmicks - have become so deeply embedded
in our social setting that we now no longer realize where they
originally came into being. Fluxus has been described as the most
radical and experimental art movement of the 1960s, challenging
conventional thinking on art and culture. It had a central role in
the birth of such key contemporary art forms as concept art,
installation, performance art, intermedia and video. The amount of
Fluxus-related scholarly activity has increased since 2009, when
New York's Museum of Modern Art acquired the world's largest
collection of Fluxus works, the Lila and Gilbert Silverman
Collection, and this in turn led to a series of exhibitions, first
at MoMA and subsequently at other institutions worldwide. Focusing
on Japanese artists involved in Fluxus, the book proposes a new
understanding of this movement which, in spite of its
anti-academicism, its aversion to authorial identity and the
ephemeral character of its output, is "the best documented and best
cross-indexed art movement in history," (Nam June Paik 1994, 77).
The book presents postwar Japanese radical avant-garde and the
related and highly refined discourse and debate behind it,
enlightening crucial if less known aspects of (local) Fluxus
history and theory.
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