Felt : Fluxus, Joseph Beuys, and the Dalai Lama PDF
Preview Felt : Fluxus, Joseph Beuys, and the Dalai Lama
felt This page intentionally left blank felt Fluxus, Joseph Beuys, and the dalai lama Chris Thompson University of minnesota press minneapolis | London see page 305 for information on previous publications. portions of The Art of War: The Denma Translation, translation, essays, and commentary by the Denma Translation Group, copyright 2001 by The Denma Translation Group, are reprinted by arrangement with shambhala publications, inc., Boston, massachusetts. www.shambhala.com. portions of The Secret History of the Mongols, translated and edited by Frances Woodman Cleaves (1982), appear courtesy of harvard–Yenching institute. Words and music of “Ghetto Defendant” by Joe strummer and mick Jones copyright 1982 nineden Ltd. and Emi Virgin music, inc. All rights for the United states and Canada controlled and administered by Emi Virgin music, inc. All rights reserved. international copyright secured. reprinted by permission of hal Leonard Corporation. Every effort was made to obtain permission to reproduce material in this book. if any proper acknowledgment has not been included here, we encourage copyright holders to notify the publisher. Copyright 2011 by the regents of the University of minnesota All rights reserved. no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechani- cal, photocopying, recording, or otherwise, without the prior written permission of the publisher. published by the University of minnesota press 111 Third Avenue south, suite 290 minneapolis, mn 55401-2520 http://www.upress.umn.edu Library of Congress Cataloging-in-publication Data Thompson, Chris, 1975– Felt : Fluxus, Joseph Beuys, and the Dalai Lama / Chris Thompson. p. cm. includes bibliographical references and index. isBn 978-0-8166-5354-6 (hardcover : alk. paper) isBn 978-0-8166-5355-3 (pbk. : alk. paper) 1. Fluxus (Group of artists). 2. Beuys, Joseph--Friends and associates. 3. Bstan-’dzin- rgya-mtsho, Dalai Lama XiV, 1935—Friends and associates. i. Title. ii. Title: Fluxus, Joseph Beuys, and the Dalai Lama. nX456.5.F55T49 2011 700.92'2--dc22 2010044989 printed in the United states of America on acid-free paper The University of minnesota is an equal-opportunity educator and employer. 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 (Remember that we sometimes demand definitions for the sake not of the content, but of their form. our requirement is an architectural one: the definition is a kind of ornamental coping that supports nothing.) —ludwig wittgenstein, Philosophical Investigations Robert Filliou, Télépathique musique no. 21, Art-of-Peace Biennale, Hamburg, 1985. Photograph: Herstellung Druckhaus Hentrich, Berlin. Courtesy of Marianne Filliou. This page intentionally left blank Contents Prefaces | ix intrigue: toward the scripting of intimate space | 1 1. interhuman intermedia | 49 2. Rate of silence | 85 entanglement | 133 3. what happens when nothing happens | 139 4. overgave | 193 Acknowledgments | 251 Notes | 253 Publication History | 305 Index | 307 This page intentionally left blank prefaces i on January 23, 1998, i made my first visit to Amsterdam to meet with Dutch artist and writer Louwrien Wijers, who had organized the 1982 meeting between German artist Joseph Beuys and his holiness the XiV Dalai Lama of Tibet. This meeting was the subject of my ph.D. research, which i had just begun a few months before. in fact my first step as a researcher had been to write a long letter to Wijers in october 1997, explaining my great interest in this meeting and in her work. it was the kind of heartfelt and effusive student letter that one, in looking back on it, cannot imagine writing as a “profes- sional scholar,” and it was probably precisely for this reason that it got so prompt and warm a reply, in a way that no well-seasoned prose ever could. she wrote telling me that she was delighted that some- one was actually interested in this meeting and its consequences, and she invited me to come to Amsterdam as soon as i could, to meet her and begin a conversation in person. This book is the result of that conversation; it is an indirect result, in that the project that has unfolded from that point to this has been circuitous and anarchic, but a direct result in the sense that it was from precisely that moment— my receipt of that welcoming reply from an artist i had never met— that the project started. And upon its completion, of even those parts that had nothing directly to do with her, this book reveals itself to be circumscribed by that friendship in a way that makes this at once my project and her invention. After arriving at schiphol Airport i took the train to Amsterdam Centraal and then, following the canals, managed to find my way to ix Wijers’s home. Just one block from it, i passed the bar that, i would soon learn, had been the favorite haunt of her close friend the Dutch
The list of books you might like
