… As with Dada, performance in the 1960s was made possible by the highly flexible interrelationships of artists. The groups and locations where performances were held were fluid, and in 1961 George Maciunas came up with the idea of Fluxus, a magazine for performances that never came to fruition. Fluxus eventually became the name of an international organization that linked performers across the board. The word, a play on the Latin word fluxus, meaning "flow," and the English word flux us, meaning "to fuse us together," was appropriate for the fluid relationships of performers at the time. The same can be said for the activities of artists exhibiting at the Yomiuri Independent Exhibition (Japan Independent Exhibition), which was thriving under the influence of the New York art world, and for the various art groups that gradually began to form in Japan through the intermediation of Ichiyanagi Satoshi and Ono Yoko, who studied under Cage. … *Some of the terminology that mentions "Maciunas, G." is listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
… ダダがそうであったように,1960年代のパフォーマンスは,芸術家たちの非常に柔軟な相互関係によって成り立っていた。パフォーマンスを行うグループや場所は流動的であり,61年にジョージ・マチューナスGeorge Maciunasがパフォーマンスの専門誌を作るために考え出した〈フルクサスFluxus〉(雑誌は実現しなかった)は,やがて当時のパフォーマーを横断的に結びつける国際的な組織の名になったが,ラテン語で〈流れ〉を意味するfluxusと英語のflux us(われわれを融合する)とをかけたこの語は,当時のパフォーマーの流動的な関係にふさわしいものであった。このことは,ニューヨーク美術界の刺激を受けて活気づいていた〈読売アンデパンダン展〉(日本アンデパンダン展)出品作家たちの活動と,ケージに学んだ一柳慧(いちやなぎとし)や小野洋子らの媒介でしだいに日本にも形成されはじめたさまざまな芸術グループにもあてはまる。… ※「Maciunas,G.」について言及している用語解説の一部を掲載しています。 出典|株式会社平凡社世界大百科事典 第2版について | 情報 |
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