Selected films by Fluxus artists

Admission starts at $5

April 22, 2023, 5pm
172 Classon Avenue
Brooklyn, NY 11205

Join us at e-flux Screening Room on Saturday, April 22 at 5pm for Fluxfilm, a screening of selected films by Fluxus artists. Dating from the 1960s and compiled by George Maciunas, the founder of the Fluxus movement, Fluxfilm Anthology consists of 37 short films ranging in length from ten seconds to ten minutes. This screening will feature a selection of works from the anthology by various Fluxus artists, preceded by an introduction to the works’ historical context by Andrew V. Uroskie

Playful, humorous, and emphasizing process and experimentation, Fluxus brought together artists working in diverse media. This program presents moving-image works that were originally shown as part of the events and happenings of the New York avant-garde, projected as part of Fluxus festivals, and distributed in a variety of formats, including stand-alone 16mm prints, compilation reels, and short 8mm loops. Made by artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, these films celebrate the ephemeral humor and trust in chance, demonstrating that “anything can be [moving-image] art and anyone can do it.”

The event is organized in collaboration with The Film-Makers’ Cooperative.

For more information, contact program@e-flux.com.

–Two flights of stairs lead up to the building’s front entrance at 172 Classon Avenue.   
–For elevator access, please RSVP to program@e-flux.com. The building has a freight elevator which leads into the e-flux office space. Entrance to the elevator is nearest to 180 Classon Ave (a garage door). We have a ramp for the steps within the space.            
–e-flux has an ADA-compliant bathroom. There are no steps between the Screening Room and this bathroom.

Film, Avant-Garde
Experimental Film, Fluxus

Andrew V. Uroskie is Associate Professor of Modern Art and Media at Stony Brook University, where he teaches in the MA/PhD Program in Modern Art History and Criticism and the MA Program in Philosophy and the Arts, and the Graduate Certificate in Media, Art, Culture and Technology. Focusing on film, video, sound, installation, and performance, his writing explores how durational media have helped to reframe models of aesthetic production, exhibition, spectatorship, and objecthood. The author of Between the Black Box and the White Cube: Expanded Cinema and Postwar Art (Chicago UP), Uroskie’s essays on modern and contemporary art, film, and visual culture have been published in October, Grey Room, Organized Sound, and numerous other academic journals and anthologies—most recently, the Jonas Mekas: The Camera Was Always Running (Yale UP) and Expanding Cinema: Theorizing Film through Contemporary Art (Amsterdam UP)—and have been translated into six languages. His forthcoming book, The Kinetic Imaginary—an interdisciplinary history of the emergence of temporality and movement in postwar American art—has been supported by the Creative Capital / Arts Writers Foundation Book Award.

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