Alison Knowles discusses the Fluxkit


Here is my Fluxkit for conceptual process. “Fluxkits  produce sensate forms of knowledge. Texts and objects are unrolled and unfolded to be heard, seen, and read. Fluxkits allows us to experience for ourselves, thereby generating a mechanism for our understanding of our place in the world. The primary experiences that Fluxkits generate, is an unmediated truth.” - Hannah Higgins

Sorry the photos are blurry, I had to use a crappy camera since my phone is apart of my Fluxkit!  Presenting this to Julia tomorrow in class and i can’t wait! ALSO a pillow is apart of my Fluxkit but i did not include it in the photo. Hopefully she wont guess what my experience was right off the bat. 

Flux Year Box 2 :: Eric Andersen, George Brecht, John Cale, John Cavanaugh, Willem de Ridder, Albert Fine, Ken Friedman, Fred Lieberman, George Maciunas, Yoko Ono, Ben Patterson, James Riddle, Paul Sharits, Bob Sheff, Stanley Vanderbeek, Ben Vautier, Robert Watts (1967)

A boxed anthology of works by 17 artists that was edited and assembled by Fluxus “chairman” George Maciunas beginning in about 1965. The second in a planned annual series, this piece was conceived as a “game box” that would hold small objects, flip books, cards, and films, including a handheld viewer for looking at the 8mm film loops.

Sketchbook Fluxkit
fluxkit within a sketchbook, envelope, event scores, 2013



- Event scores work like musical scores; they conduct a performer to carry out an act. In musical scores, the act is a musical piece. With event scores, the act could range from an avant-garde performance piece, a happening, a banal occurance, the imaginary, the physically impossible.

- The key to event scores is the enactment. If a score instructs an everyday situation, like getting out of bed, then the act of doing so upon a command would be a performance, an act, not the real thing on account of waking up.

- It’s in this parrallel between the re-enacment and the real action which a connection is made; the event score asks the performer to consider the real-life, spontaneous act as a performance, thereby blurring the boundary between performance and reality, between art and life.

- I also enjoy the physical interaction encouraged by the format of event score cards and fluxkits. The event score cards are individual art works, unlike pages from a book or magazine, the contents of which are unified by the format.

- I have written a set of my own event scores to form a sort of mini-fluxkit to explore the notion of the unified concept piece greater than the sum of its parts, each of which are individual artworks.


Contemporary Dialogues is included in “Art World” special edition on RFA Myanmar Video Channel


Art Radar Asia interviews Flux Kit to discuss about Contemporary Dialogues Yangon 2014. “The fact that in Myanmar there’s no structured art system offers a chance to deconstruct and discuss the internationally established system. This is an important process of awareness for Myanmar’s cultural actors to define what they want for their future, and it provides great input for international actors to rethink the system they consider standard.”