The exhibition Chronische Fluxitis | Chronic Fluxitis tests an unusual concept. It arranges the collection’s works systematically according to the date of their origin. The sequence does not attempt to demonstrate thematic consolidation or art historical lines of development, but surrenders the juxtaposition and coexistence of the works to a largely coincidental process that is bound only to chronology. This leads to surprising encounters with a variety of works when progressing through the exhibition spaces. Collages, drawings, objects, texts, scores, pieces of music, and instructions find common ground. The playful survey is by all means in a position to stimulate new levels of insight and meaning that transcend what one is already familiar with.

The “Fluxus virus” has a number of historical predecessors, several protagonists of which are presented in the first hall of the exhibition. One is the literary-artistic DADA movement, which as early as the 1910s attempted to sound out the depths of sense and nonsense with an inexhaustible wealth of ideas and humor. Marcel Duchamp is another point of reference, whose artistic approach anticipated much of which we now associate with Conceptual Art. But John Cage’s innovative understanding of music, which takes coincidence seriously as an artistic method, has lastingly influenced numerous Fluxus artists.
The Bremen-based Maria and Walter Schnepel Collection is of outstanding international significance. It comprises more than 1,300 works by renowned artists such as Arman, Jospeh Beuys, George Brecht, Robert Filliou, Richard Hamilton, Yoko Ono, Dieter Roth, Takako Saito, Ben Vautier, and many more

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