Flux Mystery Food by Ben Vautier

Here is a glimpse into my recent essay–a contribution to the Lexikon der Lebensmittel als Kunstmaterial [Von Apfel bis Zucker] (Engl. Lexicon of Food as Artistic Material [From Apple to Sugar]), edited by Ina Jessen and Fabiana Senkpiel. Originally published in German by Hatje Cantz Verlag.

An enigma surrounds Flux Mystery Food, which first appeared as canned food presented by the French artist Ben Vautier at the Fluxus Festival in Nice in 1963. A black-and-white documentary photograph captures Vautier consuming the contents of an unlabelled can— a unique and somewhat forgotten event, allegedly followed by him brushing his teeth [Image 1]. Whether appropriated for economic or aesthetic reasons, these unlabelled cans of food offered an intriguing experience. They emphasized gustatory perception, revealing their contents only upon consumption and thereby subverting the dominance of visuality.

The story of Flux Mystery Food can only be reconstructed from a few accounts. According to Hannah B. Higgins, in 1963, Vautier purchased “unlabelled cans of identical size in the grocery store and ate whatever was inside them—whether lychee nuts (as at the first performance), salmon, canned sausages, or sauerkraut.”[1] At Vautier’s request, George Maciunas later labeled them Flux Mystery Food [Image 2], transforming the riddle of canned food into a quintessential example of Fluxus’ multisensory nature.

Rather than being purely visual and perceived from a fixed perspective by a disembodied viewer, Flux Mystery Food demanded an active response from the spectator-recipient—participation, activation, and interpretation of the can’s contents. Today, its “container” also reflects the aesthetics of enclosures, a defining feature of Fluxus’ institutionalization and musealization.

Although not always immediately recognizable as such, the “artefacts” of the 1960s and ‘70s displayed today in vitrines of various collections were rarely conceived as autonomous objects. Rather, like Flux Mystery Food, they were integral parts of completed performances.

In the case of Flux Mystery Food, it is unclear when the act of eating unlabelled cans gave way to a more static presentation. This shift may have resulted from the cans’ incorporation into collections or the reluctance of recipients to consume their aged contents. Because the gustatory and olfactory experiences inherent in food-based art (as seen, for example, in the Nice festival’s event) were no longer guaranteed in later iterations of Flux Mystery Food—partly due to its editioning, which removed the performance from the artist’s control—the work could only conceal what it preserved.

As Ken Friedman observed, “the actual food in a can of Fluxus Mystery Food was a bit like the cat in Schrödinger’s thought experiment. Until the can is closed, the food can be anything. Once the can is opened, it takes on a concrete identity, and it is no longer mystery food.”[2]

The unopened Flux Mystery Food entices imagination and creates an anticipation of what might, indeed, be found inside, and in what condition. Not unsimilar to Piero Manzoni’s notorious Merda del Artista (1961)—the can filled with the artist’s faeces “conserved naturally”—the contents of Flux Mystery Food can only be guessed by a direct examination: touching, shaking, and accessing the can’s weight and the consistency—slight nervousness notwithstanding in the not improbable scenario when the metal enclosure incidentally gives in. The gustatory excitement increases the more one speculates what is hidden and what might unfold.

But the idea of purchasing unlabelled cans by thrifty consumers has been widely practiced inside and outside the artistic circles (see the cartoonist John Kricfalusi’s biographic illustrated accounts[3]). Drawn to processed food, Maciunas himself—committed to a living at economic limits, or even on the brink of financial collapse— used to buy and consume, from discounters’ shelves, large quantities of cans whose labels were missing.

Flux Mystery Food is neither a unique phenomenon amongst the food art generated by Fluxus, nor is it the last mysterious work in Vautier’s oeuvre (Vautier produced a series of mystery works such as, among others, an envelope included in Fluxus I (1964) containing black offset print on blue cardboard and concealing a blue card stating, “NO MYSTERY.”)[4]

In the mission to render the elitism and preciousness of art obsolete, Fluxus artists realized their avant-garde intention to merge art and everyday life in a wide palette of meals and dishes, using food as a medium.[5] Employed with the awareness of the process of consumption, degradation and decay, the canonical “Fluxfoods” include works by John Chicks, Maciunas, Benjamin Patterson, Takako Saito, Daniel Spoerri, Vautier, and Robert Watts. Not exactly food art, but rather a leftover from Maciunas’ avant-garde anti-diet, the collection of food containers from his consumed, often identical, meals in One Year (1973-1974), manifest the way in which the habitual—the ritual act of taking a meal—leaked into the aesthetics.

Not only did Fluxus generate one of the most fascinating food arts in the history of the 20th century avant-garde, but also established eating practices as sociality and conviviality, an occasion on which the wider social circles of Fluxus gathered, talked and celebrated the everyday. Among these events were Alison Knowles’ Identical Lunch(es) and George Maciunas’ themed banquets. Possibly taking inspiration from Spoerri’s extant culinary experiments,[6] these banquets were organized as “monomeals” that utilized either only one ingredient, e.g. eggs or fish, or they were composed of transparent foods or of dishes maintained in one colour.[7] Preceding by decades the relational aesthetics[8]  and metabolized, as David Joselit puts it, both in the bodies and in consumer networks, Fluxus food became a post-Duchampian bio-readymade to be consumed in an everyday ritual.[9]

Against the belief that food conservation provides a stable artifact, Flux Mystery Food only apparently might be regarded as docile, fixed and well conserved matter. Whether considered art or culinary culture, the contents of such edible objects, if kept too long in storage, might corrode the can and contaminate their immediate surroundings with their smelly, sticky expulsion. The processes of aging and decay, which are intrinsic factors of all works of art and material culture, impact the way in which the cans interact with their environment. A story has it that a food can from the Fluxus collection at the Getty Research Institute—a can of sardines which necessarily lacked an expiration date— needed to be replaced due to its corroded, ready-to-burst character.[10] An event like this can only be imagined: A work spreading its toxic, aged, and reeking contents over its surroundings (other works!)— a convulsion of degradation, decay and age, and an evidence of conservation’s fallacy in purporting to keep things stable. Here is the programmatic Fluxus outpour—an unstoppable discharge and flux at its best.


From: Hanna B. Hölling. “Fluxus Mystery Food by Ben Vautier.” In Lexikon der Lebensmittel als Kunstmaterial, edited by Fabiana Senkpiel and Ina Jessen, Berlin: Hatje Cantz, 2024.

Continue reading in German, or purchase this book.


[1] Hanna B Higgins, Fluxus Experience, Berkeley: University of California Press, 2000.

[2] Author’s email correspondence with Ken Friedman, August 21, 2022. Though an argument might be made that the visibility of food does not necessarily reveal its full identity.

[3] Randy Ludacer, “Cans without Labels,” Beach Packing Design, …..

[4] George Maciunas, ed. Fluxus I (New York: Fluxus, 1964). Vautier also endured a 24-hours performance spent  in a nailed box that offered yet another variation on the theme of mystery. Rolf Beil, Künstlerküche: Lebensmittel als Kunstmaterial -von Schiele bi Jason Rhoades. Köln: DuMont 2002, 124.

[5] See Hanna B Higgins, “Food, The Raw and the Fluxed,” in Fluxus and the Essential Questions of Life, edited by Jacquelyn Bass, 13-21, Chicago and London: Chicago University Press and Hood Musuem of Art, XXX), 13; Natilee Harren, “The Eternal Metabolic Network: Fluxus, Food, and Ecofeminism,” in Living Matter: The Preservation of Biological Materials in Contemporary Art, Proceedings from a Conference Held in Mexico City, June 3-5, 2019, edited by Rachel Rivenc, Kendra Roth. Los Angeles: Getty Conservation Institute, 2022. https://www.getty.edu/publications/living‑matter/

[6] John Hedricks, “Daniel Speori,” in Ubi Fluxus Ibi Motus, 1990-62, edited by Achille Bonito Oliva (Venezia and Milan: Edizioni Mazotta, 1990),262 translated from French in David Joselit, “The Readymade Metabolized: Fluxus in Life,” RES: Anthropology and Aesthetics 63/64, Wet/Dry (Spring/Autumn 2013):193.

[7] Cecilia Novero, Anti-diets of the Avant-Garde: From Futurist Cooking to Eat Art (Minneapolis: University of Minnesota Press, 2010), 241; Higgins, Fluxus Experience, 47.

[8] Coined by art critic, historian and curator Nicolas Bourriaud.

[9] Joselit, “The Readymade Metabolized.”

[10] Marcia Reed, „Killing with Kindness? The Challenges of Conservation and Access for Living Matter,” in Living Matter: The Preservation of Biological Materials in Contemporary Art, Proceedings from a Conference Held in Mexico City, June 3-5, 2019, edited by Rachel Rivenc, Kendra Roth. Los Angeles: Getty Conservation Institute, 2022. https://www.getty.edu/publications/living‑matter/; Albrecht Gumlich,“Hooked (1980) by Ben Patterson,“ Interview with Aga Wielocha and Hanna Hölling, Radio Fluxus, Episode 1, https://activatingfluxus.com/radio-fluxus/. My sincere thanks to Aga Wielocha for drawing my attention to the missing date.

The second volume of Performance: The Ethics and the Politics of Conservation and Care has been published!

I am pleased to announce that the second and final volume of our series on performance conservation has seen the daylight from Routledge. The book is available Open Access from November 2024 and since a few weeks, also as a hard cover.

Representing the output of the research project “Performance: Conservation, Materiality, Knowledge,” this volume brings together diverse voices, methods, and formats in the discussion and practice of performance conservation.

Conservators, artists, curators and scholars explore the ontology of performance art through its creation and institutionalization into an astonishing range of methods and approaches for keeping performance alive and well, whether inside museum collections or through folk traditions. Anchored in the disciplines of contemporary art conservation, art history, and performance studies, the contributions range far beyond these to include perspectives from anthropology, musicology, dance, law, heritage studies, and other fields. While its focus is on performance as understood in the context of contemporary art, the book’s notion of performance is much wider, including other media such as music, theater, and dance as well as an open-ended concept of performance as a vital force across culture(s).

While providing cutting-edge research on an emerging and important topic, this volume remains accessible to all interested readers, allowing it to serve as a singularly valuable resource for museum professionals, scholars, students, and practitioners.

With contributing authors: Amelia Jones, Michaela Schäuble, Thomas Gartmann, Philip Auslander, Puwai Cairns, Black Art Conservators Valinda Carroll, Kayla Henry-Griffin, Nylah Byrd and Ariana Makau, Brandie MacDonald, Sandra Sykora, Rosanna Raymond, Urmimala Sarkar Munsi, Dorota Gawęda and Eglė Kulbokaitė, Gisela Hochuli, Joanna Lesnierowska, Ido Feder and the editors, Emilie Magnin, Jules Pelta Feldman and Hanna B. Hölling.

For more details, visit Publisher Link or read the book freely available via Open Access.

Research Festival and Exhibition “Conserving Performance: Performing Conservation”

This is a first glimpse into the schedule for a long-awaited research festival and exhibition, “Conserving Performance: Performing Conservation,” which is currently in its final planning phase by the members of the project Performance: Conservation, Materiality, Knowledge. The events, which also mark the conclusion of the research project, will take place in venues across Switzerland from September 14 to September 29, 2024.

Please save the dates and join us this fall at Tanzhaus Zürich, ADC Genève, Aargauer Kunsthaus, Muséee cantonal des Beaux-Arts Lausanne/PLATEFORME 10, Dampfzentrale Bern and HKB Bern.

With speakers: Sara Wookey, Megan Metcalf, Peter Pleyer, Catja Loepfe, Declan Whitaker, Florence Jung, Simona Ciuccio, Cori Olighouse, Thomas Plischke, Eszter Salamon, Rachel Mader, Eszter Salamon, Saša Asentić, Nina Mühlemann, Rebecca Gordon, Sabine Gebhardt Fink, Muda Mathis, Andrea Saemann, Dorothea Rust, Chris Regn, Gisela Hochuli, Tabea Lurk, Julia Asperska, Joanna Leśnierowska, Andrej Mirčev, Emilie Magnin and Hanna Hölling. 

Follow this link for a preliminary schedule.

Open Access Publication Grant for the anthology on performance conservation!

How many books can I read? - The Statesman

We are delighted to announce that our forthcoming anthology, Performance: The Ethics and Politics of Conservation and Care, has been granted funds by the Swiss National Foundation to cover the Open Access processing fees. Published by Routledge, the book will be available in hardback, paperback, and e-book formats this summer. For a sneak peek, check out some key details and a brief summary of the book.

Performance: The Ethics and the Politics of Conservation and Care

This book focuses on performance and performance-based artworks as seen through the lens of conservation, which has long been overlooked in the larger theoretical debates about whether and how performance remains.

Unraveling the complexities involved in the conservation of performance, Performance: The Ethics and the Politics of Conservation and Care (vol. 1) brings this new understanding to bear in examining performance as an object of study, experience, acquisition, and care. In so doing, it presents both theoretical frameworks and functional paradigms for thinking about—and enacting—the conservation of performance. Further, while the conservation of performance is undertheorized, performance is nevertheless increasingly entering the art market and the museum, meaning that there is an urgent need for discourse on how to care for these works long-term. In recent years, a few pioneering conservators, curators, and scholars have begun to create frameworks for the long-term care of performance. This volume presents, explicates, and contextualizes their work so that a larger discourse can commence. It will thus serve the needs of conservation students and professors, for whom literature on this subject is sorely needed.

This interdisciplinary book thus implements a novel rethinking of performance that will challenge and revitalize its conception in many fields, such as art history, theater, performance studies, heritage studies, and anthropology.

With chapter contributions by Pip Laurenson, Rebecca Schneider with Hanna Hölling, Gabriella Giannachi, Helia Marcal, Shadreck Chirikure, Iona Goldi-Scott, Brian Castriota with Claire Welsh, Farris Wabeh, Kelli Morgan, Kongo Astronauts (Eléonore Hellio and Michel Ekeba), Dread Scott, Karolina Wilczyńska, Megan Cori Olinghouse with Megan Metcalf, Erin Brannigan and Louise Lawson, Cauleen Smith and Jacob Badcock.

Editors: Hanna B. Hölling, Jules Pelta Feldman and Emilie Magnin

The book has emerged from the collaborative research project, Performance: Conservation, Materiality, Knowledge, situated at the Bern University of Applied Sciences – Academy of the Arts and supported by the Swiss National Fund.

Book Presentation: Object-Event-Performance

Wednesday, February 22, 2023, 5 p.m. CET / 11 a.m. EST

The SNSF research project Performance: Conservation, Materiality, Knowledge, in collaboration with the SNSF research project Activating Fluxus, is pleased to host a public presentation of the book titled  Object-Event-Performance: Art, Materiality, and Continuity Since the 1960s (2022; ed. by Hanna B. Hölling). The event will take place within the Research Wednesday seminar series.

Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved.   This event features a book that revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museum professionals increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. As participants in conservation, the contributors to this volume—often non-conservators—form a community of practice that share common interests.

Speakers include: Hannah B Higgins, Gregory Zinman, Andrea Gyorody and Megan Metcalf. Moderator: Jules Pelta Feldman.

The book asks what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself.  Object-Event-Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. With chapters by Hannah B Higgins, Hanna B. Hölling, Gregory Zinman, Andrea Gyorody, Alison D’Amato, Megan Metcalf, Rebecca Uchill, Susanne Neubauer, Beryl Graham and Johannes Hedinger, this book aims to become a welcome resource on contemporary conservation for art historians, scholars of performance, dance, theater and museum studies, curators, and conservators.

The book has been published by Bard Graduate Center, within the series Cultural Histories of the Material World (series editor: Peter Miller) and is available from the University of Chicago Press (PDF and cloth).

My review of We Are in Open Circuits now available in English – Metropolis M

Archival activations — Writings by Nam June Paik 

25.05.2020 | FEATURE — Hanna B. Hölling

We Are in Open Circuits: Writings by Nam June Paik (2019) terminates a long silence in publishing primary sources related to Nam June Paik’s work. The volume sheds new light on Paik’s artistic-philosophical project which is currently on view in the traveling exhibition Nam June Paik: The Future is Now soon to reopen at Stedelijk Museum Amsterdam.

What does it mean to work across media and genres utilizing cutting edge technologies to produce artistic work? What does it mean to compose works “unusually” rather than to follow a pre-imagined ideal? Can assembling the world from found materials, embracing chance and error, and tinkering with what is already given become an alternative to the conventional modes of creation?

Nam June Paik is rightly acknowledged as a pioneer and propagator of the use of new technologies to generate works that expanded our understanding of what an artwork is, what it does, and how it perseveres over time despite its technological transformations. Notably an action performer and grant experimenter of television in his early years— his emergent intermedia practice owed much to his musical and aesthetic studies in Japan and Munich as well as to his involvement in the avant-garde and electronic music and Fluxus in Germany— Paik spent most of his adult time in New York adapting the language of video and television as an artistic means. The works he created, and these which rest dormant in archival sketches, writerly drafts, and visual mock-ups, speak to his immense ambition and will to experiment with the potentialities offered by then little-explored electronic media.

The works Paik created speak to his immense ambition and will to experiment with the potentialities offered by then little-explored electronic media

Nam June Paik installeert TV Buddha in het Stedelijk Museum. Foto: Rene Block

Paik ranged widely in his selection of materials and the interdisciplinarity of his activities. He challenged the common understanding of an artwork as a physical object and how an artist might relinquish uniqueness and singularity in favor of producing many versions of his works. Among Paik’s greatest innovations—and among the greatest challenges to traditional collecting, conservation, and presentation—was his rejection of the singular authentic object, in support of which he habitually released work in numerous versions, variations, and clones. Moreover, Paik’s open-ended creative process allowed for modifications and interventions long after his artworks began their life as part of a museum collection—an issue that became increasingly familiar, if not problematic, to the custodians of the so-called “new media.”

Reading through Paik’s collected writings, one gets a chance to interpret his works on display in a new light. For instance, Paik’s instructions and scores reprinted in this volume render their realization—the physical manifestations of his artworks—repeatable by liberating them from the obligation to persist in one ongoing, unique manifestation. At least two installations on view at the Stedelijk follow this logic: TV Garden, 1974 (a techno-ecological garden featuring a video Global Groove) and TV Buddha, 1974 (a minimalistic, sculptural ensemble including a Buddha statue gazing at its televisual image displayed in real-time on a monitor via a closed-circuit video). A reading of certain media installations in light of their historical-ontological proximity to conceptual art allows to build a parallel between these conceptual tendencies, score-based works, and installation instructions. Rather than limit these art­works to the conditions of installation art—space, viewer, temporality—we can approach them as intrinsically conceptual works: based on a concept conveyed in instructions or a score and executed by others in an extension of the notion of collaboration. This “execu­tion by the others” imposes a new challenge on conservation and curation. Whereas cura­tors appear to enjoy increasing interpretative freedom in executing these works—for instance, making the curatorial decision to reinstall TV Garden along the ramp of the Guggenheim Museum or in a more confined, rectangular space of K21 in Düsseldorf—conservators often remain trapped in the convention of fidelity to the material and its initial occurrence. Strikingly, TV Buddha, which was to be replaced by a similar, less antique statue and a monitor during a renovation at the Stedelijk, had to remain in its physical form as a material “original.” On the other side of this spectrum, the recent manifestation of Paik’s multimedia work Sistine Chapel, 1993, at Tate Modern functions today as a free curatorial interpretation rather than a genuine reconstruction (that is, one that follows the reliance on the sameness of materials, technologies and the parameters of time and space).

Nam June Paik, Hommage aan Stanley Brouwn, 1984. Collectie Stedelijk Museum Amsterdam. Foto: Peter Tijhuis

Nam June Paik, One Candle / Candle Projection, 1989. Tentoonstellingskopie, met dank aan de Nam June Paik Estate.

The MIT volume of 445 pages extends these objectual observations to the realm of the written word (mainly in, or translated into, English—a wish allegedly expressed by Paik). The readers encounter Paik’s vivid intellect in a variety of notated formats and forms: From “speculative writings” that entail Paik’s canonical texts such as “Exposition of Music” (1963), “Afterlude to the Exposition of Experimental Television” (1963) or “Electronic Video Recorder” (1965) to less familiar haiku-style scores, work and performance instructions, scripts and plans for new projects, commentaries and letters to his friends and mentors.

The writings reveal Paik as an intensely political person. Filtered through his intellectually and geographically nomadic, always questioning and critical attitude, his commentaries on culture and politics create a fascinating picture of the time in which he was active. His modest, unassuming manner and a charismatic willingness to collaborate and share credit afforded him opportunities to realize large-dimensional projects, such as his intricate video walls and complex satellite pieces. As we move through the book, the editors offer introductions and commentaries on Paik’s projects that help contextualize the original sources.

Paik’s modest, unassuming manner and a charismatic willingness to collaborate and share credit afforded him opportunities to realize large-dimensional projects, such as his intricate video walls and complex satellite pieces

The book does not amend Paik’s often idiosyncratic formulations, his wandering between various languages and symbolic systems of language and notated music. The many pages of reprinted documents provide a fascinating insight into Paik’s restless spirit, his preferred modes of inscription and annotation, his circling around concepts and their active reworking on the page often marked by endless amendments.

Although the volume credits other sources, such as, among others, the archives Sohm and Beuys and the papers of the Internationales Musikinstitut Darmstadt, it largely—and successfully—builds upon materials drawn from Nam June Paik Papers. Since 2009 housed at the Smithsonian American Art Museum as a gift of the Nam June Paik Estate, this collection is notably the richest source of archival materials spanning almost the entirety of Paik’s oeuvre. Working through Paik Papers in the fall of 2019 somewhat simultaneously with the appearance of Paik’s collected writings, I glimpsed a world of his creative process shaped by a restless mind. Instructions, plans, screenplays, scripts, invoices, and endless lists presented a vast realm of Paik’s activities impossible to order in any representable, finished register. One of the benefits that comes from the great effort of selective ordering such idiosyncratic, versatile life project like Paik’s into a collected volume is that it offers an apparently complete, even if only momentary, overview of his intellectual effort. This non-definite, assembled result is an attempt to “mount a few new antennae on the tower of Paik’s oeuvre as signals to others,” as Zinman aptly puts it. The editors master this task in an elegant manner providing the reader with an unprecedented opportunity to delve into Paik’s scripted cosmos.

Nam June Paik, TV-Buddha, 1974. Collectie Stedelijk Museum Amsterdam. Foto Stedelijk Museum Amsterdam.

Zaaloverzicht Nam June Paik – The Future is Now, Stedelijk Museum Amsterdam (14 maart t/m 23 augustus 2020). Foto: Peter Tijhuis

Zaaloverzicht Nam June Paik – The Future is Now, Stedelijk Museum Amsterdam (14 maart t/m 23 augustus 2020). Foto: Peter Tijhuis

Writings based on archival sources, their selection, assemblage and ordering from the chaos of multiple spaces and loci, are never objective, impartial or unbiased. Like an interpreter of a musical score, a scholar, curator or for that matter any activator of these materials actualizes the archive according to his or her interests, background, education and knowledge. The archive is never neutral; it not only reflects the episteme of the times of its activation, but it also further determines it. The archive—understood here as a totality of materials left behind by an artist—conceals as much as it reveals. Certain areas of knowledge cannot be activated for political, social or economic reasons. Various realms of the archive remain unavailable due to geographical or personal constraints.

In We Are in Open Circuits, certain motifs in Paik’s writings reflect earlier thoughts or act as “protentions” (in Husserlian sense) to those yet to be explored. This logic of activating and working through the concepts by using what is already given is also intrinsic to artworks such as TV Buddha, nota bene the first of Paik’s work to enter a public collection – the Stedelijk. Paik initially conceived TV Buddha to fill a gap in one of his exhibitions at the Bonino Gallery in New York. When the Stedelijk museum acquired it, the former director of the museum Edy de Wilde asked that the piece be unique. “I have too many new ideas to devote my time for the repetition of an old work,” Paik responded. In the end, TV Buddha spawned perhaps the largest series of works in Paik’s oeuvre. We don’t mind—one simply can’t get enough.

DEZE TEKST IS GEPUBLICEERD IN METROPOLIS M NR 1-2020 SENSORY. STEUN METROPOLIS M, NEEM EEN ABONNEMENT. ALS JE NU EEN JAARABONNEMENT AFSLUIT STUREN WE JE HET NIEUWSTE NUMMER GRATIS TOE. MAIL JE NAAM EN ADRES NAAR karolien@metropolism.com

NAM JUNE PAIK: THE FUTURE IS NOW is at view at Stedelijk Museum Amsterdam until August 23, 2020. The museum will re-open on June 1.

We Are in Open Circuits: Writings by Nam June Paik,edited by John G. Hanhardt, Gregory Zinman and Edith Decker-Phillips, The MIT Press 2019

https://www.metropolism.com/nl/features/40893_archival_activations_writings_of_nam_june_paik