The exhibition space, developed as part of an educational project during Julia Hartmann’s Voluntary Cultural Year in cooperation with the artist duo 431art, is a tribute to the late Fluxus artist Ben Patterson, whose work left a lasting impact on the Wiesbaden art scene. Inspired by Patterson’s artwork “Ben’s Bar – Why People Attend to Bars: To Be Heard, To Be Seen, To Be There”, the space is reimagined in a contemporary form.
Benjamin Patterson is considered one of the seven founding members of the modern Fluxus movement, which was officially launched in 1962 during the premiere of “Fluxus: International Festival of the Newest Music” in Wiesbaden. A passionate musician, Patterson increasingly turned to the avant-garde art form from the 1960s onwards. Fluxus places emphasis on the act of creation itself and the role of the performer over the final product, blurring the boundaries between art and everyday life. His works are known for their multimedia diversity, including solo performances, improvised electroacoustic music, and humorous objects. Patterson was known for his subtle wit and nuanced political views, which also manifested in his commitment to the civil rights movement. In the exhibition space Fluxus Today, various elements reminiscent of Benjamin Patterson’s art have been integrated into the design.
For example, a double bass is featured in the room, symbolizing a central component of his artistic practice. As a musician and composer, Patterson explored the possibilities of the double bass in his works, such as his well-known piece “Variations for Double Bass” from 1961. These compositions illustrate his fascination with exploring the materiality of sound and expanding the concept of music through unconventional means. His work with the double bass helped shape his unique legacy within the Fluxus movement.
Ben’s connection to frogs was a humorous and creative aspect of his art. At documenta 14, his sound graffiti “When Elephants Fight, It Is the Frogs That Suffer” was presented as a frog symphony, composed of layered natural frog sounds, hidden political messages, and philosophical insights performed by choirs. The click frogs placed around the room are meant to recall these artworks. Patterson also used Morse code in various works to create an alternative form of musical communication and to challenge traditional notation. A segment of Morse code on the wall hides part of the title of Ben’s Bar: “Why People Attend to Bars: To Be Heard, To Be Seen, To Be There”, establishing a direct link to the piece. The core Fluxus idea of the seamless transition between daily life and art is reflected in the interactive postcard sculpture, which invites visitors to become active participants in the creative process. Visitors are welcome to take the postcards with them.
Through auditory, visual, and tactile experiences, the exhibition space combines Ben’s diverse artistic elements, offering a new, modern interpretation of the action art of Fluxus—while simultaneously honoring one of its greatest pioneers.
