Fluxus Violin is evocative of Beuys’s Telephone T—--R, Beuys’s and Henning Christiansen‘s Green Violin, the object/action of a Fluxus concert and a Fluxus concert/performance by Nam Jun Paik. I share Beuys’s idea that information is the spiritual message contained in a material vehicle: ‘Spiritual, ideal, personal, human, physical, cognoscitive factors, indeed thought itself, only exist in theory, i.e., not physically, and they use corporeality as a form of expression.’
I also share most of the principles of Fluxus, the idea of language not as a means but as an end, destroying the boundary between art and life (I had been keeping the eggshells, for no specific purpose until the time came for the action to materialise). I am convinced that each individual is a work of art in himself, and I particularly agree with the idea that life itself becomes an artistic composition when it is expressed with absolute freedom and leaving nothing out, not even chance or the search for the irrational. At the same time, I transfer the Fluxus understanding into these two broken objects that are brought together, revived, alchemised and flourish as a result of the naïveté of play rather than of the introduction of an established rule.
The transmission of the violin chords to the interior of the eggs is the plastic integration of an idea in a physical material, and the receiver retransfers the spiritual content thus conveyed from an ideal level. Although the violin (the emitter) is dismantled in order to communicate with the interior of the eggs, it isn’t broken as in Nam Jun Paik‘s concert; in this evolutionary movement what are broken are the eggs (in this case, the receiver).