No Fluxus Room



Davide Tidoni: Threshold
Davide Tidoni: Feedback + Dancer-on-the floor
Louis D’Heudières: Laughter Studies
Philip Corner: Gong !
David Helbich: Line-up
Alison Knowles: Wounded Furniture
Davide Tidoni: Obstacles + My Target it your eyes
Annika Kahrs: The lord loves changes

On the invitation of Guy Gypens, we will bring together works, performers and a public on one of the floors of the Citroën Garage’s Showroom (Kanal) within the context of an 6 months lasting exhibition of the Swiss visual artist-curator John Armleder (April 2020-November 2020), whose work was strongly influenced by the work and personality of John Cage.


The first 1 and 2nd floor of the showroom will be equipped with basic light, our own sound system with speakers on stands, an analogue mixing board, long xlr cables and a set of microphones. The space will be used in various directions (cfr the Liquid Room, but without the risers and the multiple sound-systems). Works will be performed by a small crew of ictus musicians, performers of p.a.r.t.s research cycle and possible a larger group of p.a.r.t.s training students. Works with and without clear ending and beginning, mostly without scores, mostly inside the space but not only.

NOTES about the works

The lord loves changes, it’s one of his greatest delusions (2018) :
For organ and whistling choir : slowly performing a deconstruction of rhythm and melody. Whistling performers confront the prolonged tone of an organ, moving between protest gestures and delicate formations of sound. In this performance, whistling intertwines with music to form a confrontation with its context of protest, creating a musical interaction of tensions.

Neele/Neo Hülcker, a German performer/composer, Post-Cage work in the era of social media. Since 2 years she prefers to be called Neo, thematising in her work as well the change of her woman’s voice into the voice of a man.
Crackles (2017) for bodies on stage.

Laughter Studies : The series Laughter Studies gets its name from the idea of a world where humans have lost the ability to do things which once came naturally to them, such as laughing. In such a world, people would have to learn how to laugh, cry, acquire language, even breathe, solely through artificially imitating pre-recorded sounds of these basic functions. Taking this idea as a springboard, all pieces in the series are based around performers vocally imitating and describing assembled collages of sounds.

Line up (2010): written for the Berliner Maulwerke, a vocal performance ensemble founded quite some time ago by Dieter Schnebel (Armleder must have known him too)
"ok, you all know the drill. when your number is called, step forward and repeat the phrase you've been given. understand? number one, step forward." (The Usual Suspect)
Ephemeral character studies, between strict protocol and reading the public. Active relation with the public (public as a score).

GONG/Ear ! (1974):
Philip Corner studied with Henry Cowell and Olivier Messiaen, and was one of the original Fluxus conspirators. As part of the body of his 'Metal Meditations' work, Gong/Ear is a decades-long series of improvisations with dancers. Utilizing his favorite Paiste tam-tam, these two recordings from Corner's NYC Leonard Street loft in 1989 are a feedback loop of perceptions between gong and dance: 'the initiating sound (or is it the dancer's posture?) is made physically audible. Responsive movement is turned back into sound. Musical attentiveness sends it back and it continues.'

Agenda for this project

February 2021
  • Date Show Location
  • Sat 06.02 No Fluxus Room Kanal - Brussels - Belgium

    No Fluxus Room

    Huelcker, Kahrs, d'Heudières, Helbich, Corner, ... read more