| Abstract [eng] |
This paper explores the relationship between avant-garde art, specifically "Fluxus" art, and play. Avant-garde art uses everyday life itself (everyday objects, everyday spaces, etc.) as creative material. The paper argues that "Fluxus"'s main creative principle is play, gags. The basis of play in "Fluxus" art shows aspects of everyday life that would not appear through non-avant-garde artistic means, because everyday life is a desemanticized space. The game is conceptualised from a semiotic approach - from the perspective of cultural semiotics and from the approach of hermeneutic philosophy. This paper analyses the piece of "Fluxus" art – "Fluxus Wedding" using these two methods. The work reveals that the semiotic and hermeneutic approaches to the analysis of the "Fluxus" work do not contradict, but complement each other. However, the approach of hermeneutic philosophy grasps the way game is functioning in avant-garde art more accurately, because the game in "Fluxus" art is an event, but not a text - the game is experienced by participating in it, the field of the game's manifestation is the understanding of the meaning, but not the production of meaning. |
