Natasha Lushetich


Based on Michel de Certeau’s notion of space as a practised place and on Derrida’s blind tactics, (a non-teleogical, playful and processual negotiation between a multiplicity of factors), this paper explores the manner and the extent to which Flux-Tours rewrite public space. Being in the first place performative-perceptual ready-mades, Flux-Tours – e.g. George Maciunas’ Manhattan Tour of Dead-Ends, Nam June Paik’s Tour of Public Lavatories, Jonas Mekas’ Aleatoric Tour and Willem de Ridder’s Tour of Stains and Traces –operate by reversing the universal-particular polarity and by focusing on the insignificant and the accidental.

In examining the different ways in which these tours deconstruct the logic of monumentalism – which postulates the monument as a stable, permanent and, most importantly, interpellative sign that functions as a political tool -– this paper seeks to articulate an archeology of experience that is processual and temporally heterogeneous in nature. Public space is here seen as a layering of the different species of time – thick time, deep time, sacred, profane, metronomic, melodic time – and their respective processes of tracing and ‘coagulation’ in the passerby’s inner geography. In uncovering the processes of dynamic co-constitutivity of disparate – as well as seemingly irrelevant – forces and factors, Flux-Tours effectively render palpable the becoming-space of time.

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