During the 1960s and 1970s, Fluxus, is one of the most radical and avant-garde movements of all time. Influenced by a multitude of sources, with the innovative ideas of John Cage and inspirations from surrealism and Dadaism, Fluxus was one of the most radical and avant-garde movements of all time.

With their operas they tried to blur the concepts of artistic creation by introducing the idea of anti-art. This approach brought the boundaries of art into the lives of artists, forcing them to express their everyday acts as artistic expressions. This revolutionary approach was imbued with a deep sense of irony, challenging the seriousness associated with traditional art. They sought to overturn the established norms of the art world by introducing playful, unpredictable and participatory elements.

This revolutionary approach was imbued with a deep sense of irony, challenging the seriousness associated with traditional art.

Here are some key personalities who were part of this international movement:

Starting with John Cage (1912-1992, USA), although he was not solely a Fluxus artist, he exerted a profound influence on Fluxus through his avant-garde compositions and philosophical ideas. Cage explored chance operations and indeterminacy, which resonated deeply with Fluxus ideals. His collaborations, such as the one with George Brecht on "Water Music" (1952), highlighted the fusion of musical and Fluxus sensibilities.

Starting with John Cage (1912-1992, USA), although he was not solely a Fluxus artist, he exerted a profound influence on Fluxus through his avant-garde compositions and philosophical ideas

One of the central figures of Fluxus, Yoko Ono (Japan, 1933), managed to capture the essence of the movement: she broke boundaries and engaged with the everyday through conceptual elegance. Her most influential work, "Cut Piece" (1964), invited the audience to participate by cutting off pieces of their clothes during a live performance. This provocative act not only challenged the traditional boundaries between artist and audience, but also questioned notions of vulnerability, trust, and personal space.

The performance "Cut Piece" (1964), invited the audience to participate by cutting off pieces of their clothes during a live performance. This provocative act not only challenged the traditional boundaries between artist and audience, but also questioned notions of vulnerability, trust, and personal space.

Nam June Paik (1932, Korea- 2006, USA) broke new ground in the art world with his approach to video art, most notably "TV Bra for Living Sculpture" (1969), an opera in which he incorporated small television sets into a bra worn by a female performer. Paik's exploration of technology and mass media challenged traditional forms of artistic expression, highlighting the potential of new media.

Paik's exploration of technology and mass media challenged traditional forms of artistic expression, highlighting the potential of new media.

George Maciunas (1931, Lithuania - 1978, USA) had a crucial role in shaping the identity of the movement by creating the Fluxus manifesto. His vision of Fluxus as a radical, anti-commercial force was intended to create that utopian space where art could flourish without the constraints of traditional institutions. Maciunas also created Fluxus editions, festivals and established a Fluxus network. All of this demonstrated his commitment to creating a community of individuals dedicated to revolutionary ideals.

George Maciunas created the Fluxus manifesto. His vision of Fluxus as a radical, anti-commercial force was intended to create that utopian space where art could flourish without the constraints of traditional institutions.

Finally, we would like to mention the German artist Joseph Beuys (1921-1986, Germany), who, despite not being a core member of Fluxus, shared similar ideals and collaborated with the movement. His concept of "social sculpture" and his belief that everyone could be an artist helped the collective creation of society as a work of art. With works such as "How to Explain Pictures to a Dead Hare" (1965), or "I like America and America likes me" (1974) he was able to show a commitment to the transformative power of art.

Joseph Beuys who, despite not being a core member of Fluxus, shared similar ideals and collaborated with the movement. His concept of "social sculpture" and his belief that everyone could be an artist helped the collective creation of society as a work of art.

In conclusion, Fluxus defied the conventional conception of artistic creation. The movement's emphasis on experimentation, participation, and the integration of art into everyday life left an enduring legacy in contemporary artistic practices that disrupted established norms, inspiring subsequent generations to question, experiment, and engage with the world in new and unexpected ways.