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1963

Man Who Runs

Fluxus Magazine cc V TRE, Edition 1964, Pg:1 & 2
Hosted by: Fluxus Magazine cc V TRE (1964)
New York Public Library - Stephen A. Schwarzman Building, 5th Avenue, New York, NY, USA

Fluxus

Collection · 10 items

Lori Waxman

Collection · 2 items

Score

Collection · 13 items

Surrealists

Collection · 2 items

Related

Walking piece

One-Minute Scenario

A 1960s New York based Fluxus work by Robert Filliou

Robert Filliou
book

Walking From Scores

Walking from Scores is a collection of about 100 non site-specific protocols, instructions, textual scores and graphics focused on walking, listening and sound production in urban space.

Elena Biserna
Walking piece

Walking Piece

Yoko Ono’s Walking Piece (Grapefruit, 1964) turns walking into art: follow another’s footsteps silently across varied terrains, fostering mindfulness, bodily awareness, and making the enactment of the instruction the artwork itself.

Yoko Ono
Walking piece

Stand Erect

Benjamin Patterson’s Stand Erect (1961) exemplifies walking instructions as art, focusing on movement patterns. The participant becomes part of the artwork, while Patterson guides and controls the body, mediating between the actor and their physicality.

Benjamin Patterson
Walking piece

Theatre Music

Theatre Music: Keep Walking Intently (1964) by Takehisa Kosugi, a Fluxus score, transforms the simple act of walking into focused, durational performance, highlighting individual and collective endurance while framing everyday movement as theatrical and meaningful.

Takehisa Kosugi

Fluxus

Collection · 10 items

Lori Waxman

Collection · 2 items

Score

Collection · 13 items

Surrealists

Collection · 2 items

Related

Walking piece

One-Minute Scenario

A 1960s New York based Fluxus work by Robert Filliou

Robert Filliou
book

Walking From Scores

Walking from Scores is a collection of about 100 non site-specific protocols, instructions, textual scores and graphics focused on walking, listening and sound production in urban space.

Elena Biserna
Walking piece

Walking Piece

Yoko Ono’s Walking Piece (Grapefruit, 1964) turns walking into art: follow another’s footsteps silently across varied terrains, fostering mindfulness, bodily awareness, and making the enactment of the instruction the artwork itself.

Yoko Ono
Walking piece

Stand Erect

Benjamin Patterson’s Stand Erect (1961) exemplifies walking instructions as art, focusing on movement patterns. The participant becomes part of the artwork, while Patterson guides and controls the body, mediating between the actor and their physicality.

Benjamin Patterson
Walking piece

Theatre Music

Theatre Music: Keep Walking Intently (1964) by Takehisa Kosugi, a Fluxus score, transforms the simple act of walking into focused, durational performance, highlighting individual and collective endurance while framing everyday movement as theatrical and meaningful.

Takehisa Kosugi
Walking piece
Man Who Runs, a 1963 piece published in Fluxus Magazine cc V TRE, was displayed on the second page as a map of the midtown New York Public Library, with arrows indicating the exit paths.

Man Who Runs was created in 1963 , and was published in the Fluxus Magazine cc V TRE in January 1964.
The piece was displayed on the second page of the magazine, and was presented as a map of the midtown New York Public Library. The map contained arrows indicating the path to run, beginning at the main entrance and continuing all the way to the third floor and out again.

Critic Lori Waxman, in “Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus” compares this score to Robert Filliou’s One-Minute Scenario, and points out how race and place deeply affect these scores. Filliou is a white French Protestant with a glass eye referencing a hotel, while Patterson is a Black man and references the library.

APA style reference

Patterson, B. (1963). Man Who Runs. walk · listen · create. https://walklistencreate.org/walkingpiece/man-who-runs/
Submitted by: Thandie Barretto

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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