A selection of works introduces this section dedicated to the topic of Flow. Despite unique modalities and times, the authors participated in the same international network called Fluxus, characterized by the interest in temporality and loss of the Object. Besides negating the dogma of authenticity and physicality of the artwork, all the authors included in this project engaged in research connected with mathematical and engineering sciences. Such an exploration resulted in the creation of autogenerated poetry in a programming language (Alison Knowles, House of Dust, 1967; Nanni Balestrini, Tape Mark I, 1961) and the transposition of scientific images in binary code (Nam June Paik, The First “Snapshots” of Mars, 1966). The importance of chance and its deriving depersonalization can be traced back to John Cage’s influence. John Cage (Los Angeles, USA, 1912 – New York, USA, 1992) introduced the concept of indetermination and openness to chance in music, drawing on the Zen approach. Finally, the artwork’s indefiniteness and openness to aleatory data are the basis for one of the most fruitful inventions of Fluxus: the event scores. These textual scores intended for actions and performances put the artwork’s idea before its physical representation and the repeatable instruction before the single event. They are often collected in editorial products that deny the unicity of the work of Art (Yōko Ono, Grapefruit, 1964; Mieko Shiomi, Events and Games, 1964).
All the artworks exhibited in this room belong to Luigi Bonotto’s collection.