A new retrospective celebrates the artist’s ability to warp technology

By Thomas McMullan

The two artists and long-time collaborators speak to Evan Moffitt about the influence of Fluxus, the importance of improvisation and the challenge of reckoning with art history 

By Evan Moffitt, John Armleder and Christian Marclay

I cut my skin to liberate the splinter evokes the dissonance and precarity of post-apartheid South Africa

By Ian Bourland
Paulo Bruscky, Conexão (Connection), 2013, suitcase and collage, 34 × 54 × 18 cm. Courtesy: the artist and Galeria Nara Roesler, New York/Rio de Janeiro/São Paulo

On the eve of his solo exhibition at Centre Pompidou, Paulo Bruscky talks about mail art, fluxus and outwitting the Brazilian military dictatorship

By Evan Moffitt

Father and son duo Yoshi and Tashi Wada talk Fluxus, Hindustani singing and home-made instruments

By Sara Cluggish
Takehisa Kosugi performing Music Expanded at the Whitney Museum of American Art, 2015. Courtesy: Whitney Museum of American Art; photograph: Paula Court

‘That one artist has applied such a diversity of materials (paper, cloth, plants, violin, electronics) to such a breadth of pursuits (music, dance, publishing, performance art) is remarkable.’

By Matthew Erickson
Robert Watts photographed by Larry Miller at the Flux-Harpsichord Concert, Akademie der Künste, Berlin, 1976

Annette Leddy explores how the late Fluxus member Robert Watts sought to bring the universe into the home

By Annette Leddy