Fluxus
| Fluxus artists |
|
|---|---|
| Related artists and musicians | |
| Flux-works | |
| Related articles | |
| Critics and historians | |
Authority control databases
| International | |
|---|---|
| National | |
| Artists | |
Eric Andersen (born 1940 in Antwerp) is a Danish artist associated with the Fluxus art movement. He lives in Copenhagen, Denmark.
In 1962 Andersen first took part in one of the early concerts given by Fluxus held during the Festum Fluxorum in the Nikolai Kirke (Nicolas Church) in Copenhagen.[1] He soon took an early interest in intermedial art.[2][3] In his Opus works from the early 1960s, Andersen explored the open interaction between performer and public,[4] developing open self-transforming works, such as arte strumentale.
Andersen’s performances depend very much on the public. This is true of not only his Fluxus actions but also his installations, to which the public may be prompted to contribute. From 1962 to 1966 he worked closely with Arthur Kopcke, turned in the late 1960s to mail art and then in the 1970s was concerned with geographical space. His most eminent works include Hidden Paintings, Crying Spaces, Confession Kitchens, Lawns that turn towards the Sun and Artificial Stars.
Andersen was often a guest in the former East Block countries. In 1966, he held a three-day event in Prague with the Fluxus artists Tomas Schmit and Milan Knížák. Those were the first Fluxus events in Czechoslovakia. In Poland he exhibited in Galeria Akumulatory 2 in Poznań and in the Galeria Potocka in Kraków.
In 1996, the year in which Copenhagen was Europe’s cultural capital, Andersen arranged a three-day inter-media event involving parachute-jumping, helicopters, mountaineering, live sheep and 500 singers walking on water.
In 2017 the book The Glorious Way of Unproductivity was published by Per Brunskog. A textbook in inter-media, based exclusively on Eric Andersen's work.[5]
