|
|
Both
art appearances take place mainly beyond usual art institutions (galleries,
museums, art trade).
Every person is creatively, otherwise human life would not be possible!
The creative potential beyond private atmosphere mostly never appears!
And if so, it seldom was be aware!!! –
There was no reacting public, no attentive(considerate) public!
George Maciunas activated a public accidental with shown examples and
provoked with it for unusual mental and physical actions! –
Fluxus was born!
Unintentionally, but welcome, a communicative integration developed
itself, while activating paths are put down; constructive reactions
(playing together) became components of creative provocations, unusual
creative play and teamwork was requested.
Ways of thinking and ways of acting are realized by alienated demands!
Beyond the face to face of vision the postal system became a welcome
medium of the distribution.
Letters, tickets(maps), packages u. similar post things, provided with
stamps and arbitrary collaging material were exchanged about aimed thoughts.
The inflationary easy possibility of cooperating resulted in, that the
produced results were simple and were often primitive; They flattened
now and then up to pure nonsense!!
Results had to become sorts and juriert to come again into an intelligent
horizon. Letters and post dispatch continued as stations of distribution.
Criterias of quality determined the new controlled expiration of the
creative game. The new more demanding “pictures” existed (consisted)
mainly of the bases of reading and writing: texts, words, letters, parts
of letters, similarities to words and marks similar to letters became
the material of acting.
The classic and almost from each accessible and from everybody controlled
procedure of the reading and writing became the first working content
for the different choices.
One reflected on old traditions: symbolism, lettrism, structuralism...
The wide field of visual and concrete, in short, the whole experimental
poetry developed itself into an exclusive, qualitatively revalued new
mail art. The re-discovering of old historically proved artistic values
is to be stated.
The top of almost 20-years-qualified artistic work of Cesar Espinoza
via more than 7 biennales has led away to a point in which the “
experimental poetry “ within the world-wide international art landscape
has found a stable firmly platform.
The big curve from Malarmé (1850), Lewis Caroll (1865) to Morgenstern
(1905), about Appolinaire (1914), Schwitters (1920), Tristan Tzara up
to present like Gomringer, Jandl, Kolar, Valoch, Lora-Totino, Dick Higgins,
Todorovic, Clemente Padin and all the other we know .
|
