Following in the footsteps of the original Dadaists and, at least in part, Neo-Dadaists, Fluxus was an international, interdisciplinary community of artists that gained popularity from the US to Europe, Japan and South Korea from the early 1960s to the 1970s.
Its founder, Lithuanian-American artist George Maciunas, chose the name Fluxus (flow) to indicate something that was constantly changing, fluid, dynamic and without a fixed form or place.
In fact, Fluxus was the origin of a way of creating art that was an uninterrupted flow of situations, sensations and multiple aesthetic and experimental experiences, art that found its essence no longer in being, but instead in happening and becoming, a type of art that became an event instead of an object.
Not surprisingly, the current had its roots in avant-garde actions such as happenings, performances, experimental music concerts, festivals, unorganized occasions, film documentation, and creative practices such as assemblage and collage.
The latter two forms of expression were fertile ground for the explorations of different Fluxus artists, who tried them out even if only for short periods of time. Notable names in this field include Wolf Vostell (Germany), Giuseppe Chiari (Italy) and Robert Watts (US).
Vostell was the main proponent of the use of assemblage and collage throughout his entire time as a Fluxus artist. He even went one step further with his electronic TV-Dé-coll/agen, which he created by isolating clips from television commercials to then remix them and recombine them as part of veritable video installations.
