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Fluxglissando: shortly fluxartists will be suspended in the sky in Paris and subsequently pulled through the sea in a boat near Copenhagen, Italian fluxpublisher, Francesco Conz, related with delight during his recent visit to Brisbane. His voyage to Australia was orchestrated to co-curate together with Nicholas Tsoutas and Nicholas Zurbrugg an exhibition of FLUXUS textile art-multiples, all of which were published by Editions Francesco Conz, Verona. The exhibition was hosted by Brisbane's Institute of Modern Art (I.M.A.) and is currently touring within Australia.
Francesco Conz sees fluxart as "the last…the only possibility" for humankind. He deems a marriage between art and technology/science as necessary and inevitable, perhaps for our physical continuance, and certainly for our continuance con brio.
One might have believed oneself listening to the Futurist poet F. T. Marinetti in the days prior to World War 1, though Conz does not claim the position as a "new" one. But the fact remains that the speaker is Francesco Conz in 1990 in Brisbane. Conz is making his Australian fluxcontribution to a year that has celebrated the...well, let's not call it an art movement...FLUXUS mentality. His participation is very timely in the wake of the post-Duchampian focus of the Sydney Biennale, the full-on investigation of FLUXUS at the 1990 Venice Biennale, and the various spin-of shows in Australia and elsewhere.
As to why FLUXUS does not lend itself to being deemed an art movement (and how and why do we call anything an art movement in any case?) - this might be elucidated by the designation of the American fluxartist Emmett Williams:
In the beginning there was confusion. This confused beginning began in Europe in 1962 when George Maciunas said... The rest of this article is available to subscribers of Eyeline