The use of ready-made object in the context of fluxus and its investigation related with Joseph Beuys

The term Fluxus was first introduced by George Maciunas in 1961. Fluxus, which was usually not understood as a movement in the traditional sense, means 'flow'. Fluxus originally chosen as the title of a lecture series by Maciunas became the title of an art movement for American, European and Japanese artists who had been looking for new forms of expression in art that combines festivals, events, shows and publications. Even though the effects of Fluxus has survived today, it had its peak between 1962-1978. Artists like George Maciunas (American), Nam June Paik (Korean), Joseph Beuys (German), John Cage (American), Wolf Vostell (German), Yoko Ono (Japanese), Geoff Hendircks (American) and Dick Higgins (British) were said to set up the fundament principles of the movement. Even though it was highly influenced by some other art movements such as Futurism and Dada, its members avoided to describe themselves barely as a new Dada club. Among the objectives of Fluxus, there was a desire to stand against the consumption in terms of human and material resources. It can be said that they resisted to portray art as artists' livelihood or something to foster his ego. Fluxus has always become an avant-garde movement which sends the aesthetical concerns backward while simultaneously overemphasizing the philosophical aspects. It has played an important role in expanding the limits of the material used as well as the methods. Its artists endeavored not to adopt traditional objects of art; they rather adopted what is temporary instead of that of permanent, process instead of the finished product and the wide usage of waste material. This is the reason why we trace the works of artists in photographs.