Bloomsday 64: Actions/Agit Pop/Dé-coll/Age-Happening/Texte/Ausstellung
stanley brouwn, Bazon Brock, Franz Mon, Tomas Schmit, Wolf Vostell
1964
Bloomsday 64: Actions/Agit Pop/Dé-coll/Age-Happening/Texte/Ausstellung
Bloomsday 64: Actions/Agit Pop/Dé-coll/Age-Happening/Texte/Ausstellung
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The influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday ...
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Bloomsday 64: Actions/Agit Pop/Dé-coll/Age-Happening/Texte/Ausstellung
Stanley Brouwn, Bazon Brock, Franz Mon, Tomas Schmit, Wolf Vostell
1964
Frankfurt: Galerie Loehr
Unpaginated [322 pages] + 1 loose presentation belly band
29.6 × 21 cm

The influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of Ulysses take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.


 


For the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. Among its contributions are a short manifesto by Stanley Brouwn, a collage by Franz Mon, a typewriter poem by Tomas Schmit, the text for Nam June Paik’s Symphony No. 5, and décollages by Wolf Vostell.

Frankfurt: Galerie Loehr
Unpaginated [322 pages] + 1 loose presentation belly band
29.6 × 21 cm

The influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of Ulysses take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.

 

For the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. Among its contributions are a short manifesto by Stanley Brouwn, a collage by Franz Mon, a typewriter poem by Tomas Schmit, the text for Nam June Paik’s Symphony No. 5, and décollages by Wolf Vostell.

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The influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of Ulysses take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.

 

For the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. Among its contributions are a short manifesto by Stanley Brouwn, a collage by Franz Mon, a typewriter poem by Tomas Schmit, the text for Nam June Paik’s Symphony No. 5, and décollages by Wolf Vostell.

Frankfurt: Galerie Loehr
Unpaginated [322 pages] + 1 loose presentation belly band
29.6 × 21 cm

The influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of Ulysses take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.

 

For the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. Among its contributions are a short manifesto by Stanley Brouwn, a collage by Franz Mon, a typewriter poem by Tomas Schmit, the text for Nam June Paik’s Symphony No. 5, and décollages by Wolf Vostell.

MORE BOOKS

The influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of Ulysses take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.

 

For the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. Among its contributions are a short manifesto by Stanley Brouwn, a collage by Franz Mon, a typewriter poem by Tomas Schmit, the text for Nam June Paik’s Symphony No. 5, and décollages by Wolf Vostell.

MORE BOOKS