Historically, and not by chance, the waterways - both natural and artificial - play an important role in the development of cities. This is determined in equal measure by physical and economic reasons, but also by symbolic, cultural and political ones. Rivers or channels, in fact, mark a territory. They form a border: not a static barrier, but rather a dynamic border, a ‘fluid’ one, in fact.
And so it is for Brussels and, in particular, for the channel around which we have chosen to carry out the festival TEMPO al TEMPO_2016, between the municipalities of Molenbeek and Anderlecht.
Fluxus is also an international network of artists, composers and designers known for having mingled in the 60s, different media and different artistic disciplines in an effort to merge in a united front the cultural renewing instances and social and political action. In addition to an expressive artistic movement, Fluxus can be called an attitude towards life, an attempt to eliminate the dividing line between existence and artistic creation.
The Fluxus origins can be traced in many of the concepts expressed by the American composer John Cage and his theory of experimental music of the 50's ... experimentation, which provides for triggering actions, without knowing what result would eventually lead, thus giving much more importance to the process of creation than to the final product (to the fluxus, in fact).
Fluxus is developed outside of schools, academies, coordinated groups, in a 'floating' path that contaminates as an indispensable constant the genesis process of all arts. It is a magnet for many artists all around the world; it is a current of energy that knows no boundaries...
"Fluxus existed before it was given a name and still exists today, as a form, a principle and a way of working."
[Dick Higgins, British composer, poet, printmaker, and founding member of Fluxus]
As Valerio Dehò, art critic and curator, remembers us on Flash Art 306, November 2012:
"Fluxus remains as an attitude and an idea, also as art’s limit, and this even more nowadays that we are used to evaluate everything in terms of consensus and market, or programmed scandal. It does not represent a past world, but a message to the new generations that will look at it like a frontier to re-cross, a territory to be regained."
Because, as John Cage pointed out:
"Art is about to become herself, life."
That's what we want. And that is why we practice this kind of music, always open to experimentation and improvisation. But improvisation cannot be improvised, as the talented bassist and composer Joëlle Léandre remembers us, because...
"To play music is the invention of the self… and the improvised music is a social and political statement."
That's what we want. And that is why we accompany the flow of water of the Brussels canal as well as with our notes, even with many small events, exhibitions, installations, field recordings, sound walks ... All this, keeping to listen to the city and hoping to contribute to the flow of meetings, exchanges, relations which are interwoven with life.
So see you on the Brussel’s channel, then. From 13 to 16 October 2016, but also before and after... follow the Canal Fluxus.