FMErá engages a fluxes perspective in its approach to producing, fabricating, and documenting interdisciplinary art. It acknowledges no boundaries between mediums while favoring projects which "make do" and find advantage in what is difficult and available. It shies away from hierarchical projects and organizations where artists are elevated to a god-like  status and then held at a distance from lesser artists and patrons and saved only for a privileged few. It embraces systems which press for both vertical and horizontal integration of social and aesthetic structures while not giving up vital energy to struggling with those who cling to the opposite. It tries to lead by doing and example.

The push for fair play and equality within society is now taken for granted—an ongoing movement coming from the left of the political spectrum, the American transcendentalists, Gandhi, Martin Luther King, Jr. and so forth.  However, starting already in the 1970s, a reaction against the fluxes and post modern influence of John Cage, Merce Cunningham, Joseph Beuys, George Maciunas, and so many others, a powerful reactionary tendency which has reasserted itself to an extent that the pre-world war 2 modernist concept of art, the antithesis of Cages 4'33", has again become dominant. This is a narrowness which hallows fixed and well-defined art mediums, where intermedia art is held with suspicion and even reviled, and where elitism and exclusivity is embraced like a Teddy Bear. In this sense, the social left and center left, from whence artistic invention must originate, is now quite similar to the the social right. It denounces artistic integration and clammers for craft excellence. The resulting stagnation is not unlike the post American Civil War reconstructionist ideal which would account for art intended to shock rather than lift individuals and society. Such art, itself off-the-shelf, intensifies aesthetic rigity while pretending to confront it using methods of confusion and double talk. Efemera is intent on doing its part to reverse this trend using an integrative approach to producing, fabricating, and documenting interdisciplinary art.


Dan Senn (Watertown-Prague): artistic director
David Means (Minneapolis): Echofluxx Ensemble
Oskar Kubica: logistics, Echofluxx Ensemble
Tereza Kučerová (Prague): translation, housing
Caroline Senn (Watertown-Prague): adjudication,
Michael Karman (Spain): Echofluxx Ensemble,
    photography, adjudication
Nicholas Senn (Milwaukee): adjudication.

Echofluxx site