{"product_id":"fluxfilm-anthology","title":"Fluxfilm Anthology","description":"\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFormat \u003cstrong\u003eDVD Interzone\u003cbr\u003e\u003c\/strong\u003eOriginal format \u003cstrong\u003e16mm\u003cbr\u003e\u003c\/strong\u003eYear \u003cstrong\u003e1962-1970\u003cbr\u003e\u003c\/strong\u003eArtist(s) \u003cstrong\u003eNam June Paik, Dick Higgins, George Maciunas, Yoko Ono, Jeff Perkins, Paul Sharits\u003cbr\u003e\u003c\/strong\u003eRunning time\u003cstrong\u003e 120 min\u003c\/strong\u003e\u003c\/p\u003e\u003ch4 style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eFilms\u003c\/strong\u003e\u003c\/h4\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eZEN FOR FILM\u003c\/strong\u003e\u003cspan\u003e by Nam June Paik (1962-1964) 8'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eINVOCATION OF CANYONS AND BOULDERS (FOR STAN BRAKHAGE)\u003c\/strong\u003e\u003cspan\u003e by Dick Higgins (1966) 0'23\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eEND AFTER 9\u003c\/strong\u003e\u003cspan\u003e by George Maciunas (1966) 1' \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDISAPPEARING MUSIC FOR FACE\u003c\/strong\u003e\u003cspan\u003e by Chieko Shiomi (1966) 11'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eBLINK\u003c\/strong\u003e\u003cspan\u003e by John Cavanaugh (1966) 2' \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e9 MINUTES\u003c\/strong\u003e\u003cspan\u003e by James Riddle (1966) 10' \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e10 FEET\u003c\/strong\u003e\u003cspan\u003e by George Maciunas (1966) 0'23\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e1000 FRAMES\u003c\/strong\u003e\u003cspan\u003e by George Maciunas (1966) 0'43\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eEYE BLINK\u003c\/strong\u003e\u003cspan\u003e by Yoko Ono (1966) 0'35\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eENTRANCE TO EXIT\u003c\/strong\u003e\u003cspan\u003e by George Brecht (1965) 7'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eTRACE #22\u003c\/strong\u003e\u003cspan\u003e by Robert Watts (1965) 3'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eTRACE #23\u003c\/strong\u003e\u003cspan\u003e by Robert Watts (1965) 3'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eTRACE #24\u003c\/strong\u003e\u003cspan\u003e by Robert Watts (1965) 1'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eONE\u003c\/strong\u003e\u003cspan\u003e by Yoko Ono (1966) 5'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eEYE BLINK\u003c\/strong\u003e\u003cspan\u003e by Yoko Ono (1966) 0'15\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eFOUR\u003c\/strong\u003e\u003cspan\u003e by Yoko Ono (1967) 6'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eFIVE O'CLOCK IN THE MORNING\u003c\/strong\u003e\u003cspan\u003e by Pieter Vanderbeck (1966) 5'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSMOKING\u003c\/strong\u003e\u003cspan\u003e by Joe Jones (1966) 5'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eOPUS 74, VERSION 2\u003c\/strong\u003e\u003cspan\u003e by Erik Andersen (1966) 1'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eARTYPE\u003c\/strong\u003e\u003cspan\u003e by George Maciunas (1966) 2'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSHOUT\u003c\/strong\u003e\u003cspan\u003e by Jeff Perkins (1966) 2'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSUN IN YOUR HEAD (TELEVISION DECOLLAGE)\u003c\/strong\u003e\u003cspan\u003e by Wolf Vostell (1963) 7'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eREADYMADE\u003c\/strong\u003e\u003cspan\u003e by Albert Fine (1966) 2'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eTHE EVIL FAERIE\u003c\/strong\u003e\u003cspan\u003e by George Landow (1966) 0'19\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSEARS CATALOGUE 1-3\u003c\/strong\u003e\u003cspan\u003e by Paul Sharits (1965) 0'28\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDOTS 1 \u0026amp; 2\u003c\/strong\u003e\u003cspan\u003e by Paul Sharits (1965) 0'35\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eWRIST TRICK\u003c\/strong\u003e\u003cspan\u003e by Paul Sharits (1965) 0'28\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eUNROLLING EVENT\u003c\/strong\u003e\u003cspan\u003e by Paul Sharits (1965) 0'05\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eWORD MOVIE\u003c\/strong\u003e\u003cspan\u003e by Paul Sharits (1966) 4'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDANCE\u003c\/strong\u003e\u003cspan\u003e by Albert Fine (1966) 2'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003ePOLICE CAR\u003c\/strong\u003e\u003cspan\u003e by John Cale (1966) 1'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eFLUX FILM #36\u003c\/strong\u003e\u003cspan\u003e by Peter Kennedy \u0026amp; Mike Parr (1970) 2'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eFLUX FILM #37\u003c\/strong\u003e\u003cspan\u003e by Peter Kennedy \u0026amp; Mike Parr (1970) 1'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eJE NE VOIS RIEN, JE N'ENTENDS RIEN, JE NE DIS RIEN\u003c\/strong\u003e\u003cspan\u003e by Ben (1966) 7'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eLA TRAVERSEE DU PORT DE NICE A LA NAGE\u003c\/strong\u003e\u003cspan\u003e by Ben (1963) 3'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eFAIRE UN EFFORT\u003c\/strong\u003e\u003cspan\u003e by Ben (1969) 2'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eREGARDEZ-MOI, CELA SUFFIT\u003c\/strong\u003e\u003cspan\u003e by Ben (1962) 7'\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e+ includes a 32-page booklet by Maeva Aubert\u003c\/span\u003e\u003c\/p\u003e\u003ch4 style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/h4\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eIn the early sixties, Fluxus followed in the footsteps of the Futurist and Dada avant-gardes, challenging the dictates of fine art and official culture. \u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFluxus's multidisciplinary aesthetic assimilated influences as diverse as Zen thought, science, and everyday life for purely poetic ends. Initially perceived as an international network of pranksters, the playful artists of Fluxus were, and remain, radical visionaries who attempted to reconcile art and life.\u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), the fluxfilms anthology is a collection of 37 short films ranging from 10 seconds to 10 minutes in length. Elements of ephemeral environments, these films—some of which were intended to be screened in loops—were presented at events and happenings of the New York avant-garde. This collection of films, made by the artists mentioned above, celebrates the entire ephemeral spirit of Fluxus.\u003c\/p\u003e","brand":"Various","offers":[{"title":"Default Title","offer_id":56788869579083,"sku":"SQ0578468","price":28.01,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/3034\/9643\/files\/processed_DVD--Fluxfilm_Anthology.webp?v=1773411383","url":"https:\/\/re-voir.com\/en\/products\/fluxfilm-anthology","provider":"Re:Voir","version":"1.0","type":"link"}