Yoko Ono

On December 8, 1980, I had a date. I think it was my third or fourth date with this girl and I was at her place hanging out listening to music and drinking coffee Seriously, just coffee!. I don't what time it was when I left her house, but it was after midnight (EST), this I am sure of. As I normally did, I turned on the radio to WNEW- FM,, no Sirius/XM back then, a NYC rock station. They were playing a Beatles block which was not unusual. Seconds after driving away the DJ said that John Lennon had been shot and killed at The Dakota, he and Yoko's NYC home in Manhattan. 40 years later, I remember this moment as it was yesterday.

This book brings back that moment as if I was watching a high-def movie. The conversations contained herein are nothing short of historic, not just because of the subject, but because of what that subject was saying. John loved to talk. Here he opines on topics as mundane as food to deeply held beliefs about nuclear war, politics and religion. I vividly remember buying the December 1980 issue of Playboy and reading the abridged version of what was to become this book. The Playboy issue was published and delivered BEFORE John was killed. I still have that issue.

One does not need to be a fan of The Beatles or John Lennon for that matter, to enjoy this book. One needs to be curious about history, music and wants to get inside of won't of the true original minds of the 20th century. You may not agree with John's opinions and comments, but I can guarantee you you will find it hard-pressed to put this book down once you start it.… (más)

In 1962 the former Städtische Museum Wiesbaden hosted the Fluxus – International Festival of Newest Music, culminating in the legendary destruction of a grand piano. What was then understood as an affront against bourgeois traditions and is still remembered to this day, turned out to be the beginnings of world-wide, ground-breaking upheavals in the visual arts.

On the occasion of the 60th anniversary of the Wiesbaden concerts which are regarded in art history as the birth of Fluxus, a meandering river of exhibitions will originate from the Nassauischer Kunstverein Wiesbaden from July 14th, 2022. As in a musical canon, historic and contemporary melodies, voices and actions will overlap.

In the “Piano Nobile” of Nassauischer Kunstverein, pianos, grand pianos and cellos from the Archivio Conz, made by Sari Dienes, Esther Ferrer, Dorothy Iannone, Alison Knowles, Charlotte Moorman, Ann Noël, Takako Saito and Carolee Schneemann, transform the exhibition into a visual body of sound, framed by smaller cabinet exhibitions. A room dedicated to Mary Bauermeister, for example, shows very early and personal works by the considered “Mother Gaia” of Fluxus. Two other rooms, created in cooperation with Yoko Ono and Takako Saito, to further rooms playfully invite visitors to immerse themselves in the poetics and politics of Fluxus. While the literature on Fluxus emphasises the equal presence of female artists, sixty years of exhibition history nevertheless prove that they have largely disappeared or have been overlooked. The exhibition and research project FLUXUS SEX TIES / Hier spielt die Musik! gives voice to these female Fluxus artists in the shape of a participatory spatial installation, presenting a wide artistic kaleidoscope.

In parallel, contemporary voices complement the historical context. While Ann Noël manifests hitherto unknown Fluxus stories and memories with her textbook The Gospel According to St. Ann, which is based on her meticulous diary entries, Andrea Büttner‘s 5-channel video installation Piano Destructions reveals the (art-)historical gender dichotomy with powerful images and sounds. With a scolding chorus, Andrėja Šaltytė musically transports visitors back to the present and questions the politicisation of language and spaces with her latest video work Kijewer Zunge / I‘m not calling you to use foul language. God forbid!… (más)

Ok, this was a very important bk to me. In 1975 when I read this, I wd've just recently heard Ono's "Fly" LP wch I also loved enormously so when I read this it had plenty of impact. I was probably just learning about Fluxus in general at the time. This is "A book of instructions drawings by Yoko Ono" & it exemplifies Fluxus short performance index card scores - such as the ones also explored by George Brecht. I have "LIGHT PIECE" circled in pencil:

"Carry an empty bag.
Go to the top of a hill.
Pour all the light you can in it.
Go home when it is dark.
Hang the bag in the middle of your
room in place of a light bulb."

Love it. Imagining doing that seems fun even now 32 yrs later so this definitely endures the test of time for me. Then there's "PAINTING TO BE STEPPED ON":

"Leave a piece of canvas or finished
painting on the floor or in the street."

Now, many yrs later, she had a piece like this in a museum or a gallery & somebody walked on it & he was arrested & charged. Ono's comment was something to the effect that 'there are many ways to walk on something' as her way of saying that the guy was an asshole. I'm on his side. But, what the fuck, I give Ono slack - her husband was killed by an asshole or a Manchurian Candidate or whatever. Then there's a piece called "LINE PIECE III", another piece I have circled:

"Draw a line with yourself.
Go on drawing until you disappear."

A friend has told me that that's actually a well-known LaMonte Young piece but I suspect that Young might've done a similar thing that wasn't exactly the same or that there was enuf Fluxus cross-fertilization for pieces to have ambiguous authorship. Dunno. Anyway, this bk has a way of thinking that's completely out-of-the-box & I admire it for that. It's chock-full of ideas & she deserves to be considered a great artist even if she is from a rich banking family & has probably never had to work a day in her life. Privileged scum.… (más)