Follow the cues: You're in a Happening with Allan Kaprow

To Kaprow, a Happening was "A game, an adventure, a number of activities engaged in by participants for the sake of playing."

If you are in a middle of an event that happens, congratulations, you are finding yourself in a Happening with capital H.

As we all know,, Allan Kaprow is credited with being one of the pioneers and key figures associated with the development of "happenings", representing back then a form of avant-garde art in the 1950s and 1960s that blurred the boundaries between traditional art forms, incorporating elements of performance, theater, and audience participation.

Happenings were typically immersive and interactive experiences, often taking place in unconventional settings, and they encouraged the active participation of the audience. Kaprow's work in this area was influential in the evolution of performance art and the broader Fluxus movement, which sought to break down the barriers between art and everyday life.

But how did he come up with such concept, and why?

The American artist Allan Kaprow began creating happenings as a response to what he saw as the limitations of traditional art forms and the desire to push the boundaries of artistic expression. Several factors contributed to his decision to explore this new art form:

1. Reaction against conventional art: Kaprow was dissatisfied with the conventional art world and its focus on static, passive art forms like painting and sculpture. He felt that traditional art was becoming too formulaic and disconnected from everyday life.

Allan Kaprow (center, with beard) and participants in his “Yard” (1967), at the Pasadena Art Museum. Credit...Julian Wasser/Getty Research Institute, Los Angeles

2. Interest in interdisciplinary art: He was inspired by artists like John Cage, who experimented with incorporating elements of chance, sound, and performance into their work. He wanted to create art that could bridge the gap between different artistic disciplines, blurring the boundaries between visual art, music, theater, and everyday life.

3. Emphasis on audience participation: Kaprow believed that art should be a participatory experience rather than a passive one. He wanted to engage the audience directly, encouraging them to become active participants in the creation and interpretation of the artwork.

4. Exploration of the "here and now": Kaprow was interested in capturing the immediacy of the present moment. Happenings were designed to be experienced in real-time, often in unconventional settings, to create a sense of spontaneity and unpredictability.

5. Social and political commentary: Some of Kaprow's happenings had social and political themes, addressing issues such as consumerism, conformity, and the alienation of modern life. He saw happenings as a way to engage with and comment on contemporary society.

Allan Kaprow's Fluids, 1967. Fluids was first created in October 1967 at various public locations in California. With the assistance of volunteers, Kaprow built several structures measuring around 9 m long, 3 m wide and 2.4 m high, using ice blocks as his material. Once in place, these ice structures were simply left to melt. In its temporality and materiality, the work represents a challenge to the traditional understanding of art in public space.

Overall, Allan Kaprow started making happenings as a means of breaking free from the constraints of traditional art and exploring new possibilities for artistic expression that were more in tune with the dynamic and ever-changing nature of modern life.

At the forefront of what became one of the main ingredients in performance art, Allan Kaprow actively involved the public in his happenings by creating immersive and participatory experiences that encouraged audience engagement and interaction. Here are some ways in which he involved the public during his happenings:

1. Audience Participation: Kaprow's happenings often required active participation from the audience. Attendees were not passive observers but were encouraged to take part in the unfolding events. They might be asked to interact with objects, performers, or each other, blurring the line between performer and spectator.

2. Open Structures: Kaprow designed his happenings with open and flexible structures, allowing for spontaneity and unpredictability. This meant that the audience could shape the direction of the happening through their choices and actions, making each performance unique.

3. Choice and Agency: Participants were often given choices or tasks to complete during a happening. These choices could range from simple actions to more complex decisions, giving the audience a sense of agency in shaping their experience.

4. Use of Props and Environments: Kaprow frequently incorporated props and created immersive environments that encouraged tactile exploration. Audience members might be invited to touch, move, or rearrange objects within the environment, fostering a sense of interactivity.

5. Dialogue and Communication: Some happenings included elements of dialogue or communication between the performers and the audience. This could involve conversations, instructions, or even collaborative storytelling.

6. Location and Site-Specificity: Happenings often took place in unconventional locations, such as parks, streets, or warehouses. The choice of location itself invited the public to encounter art in unexpected places, blurring the boundaries between art and everyday life.

7. Time-Based Experiences: Happenings were typically time-based and ephemeral, emphasizing the transient nature of the art form. This encouraged the audience to be present in the moment and fully engage with the unfolding event.

8. Documentation: Kaprow sometimes documented happenings through photographs, videos, or written descriptions, which could later be shared with the public. This documentation allowed a wider audience to experience the happening, even if they hadn't been present during the live event.

Overall, Allan Kaprow's approach to involving the public in his happenings was characterized by a desire to break down the traditional boundaries between artist and audience, creating dynamic, interactive, and often unpredictable art experiences that actively engaged participants in the creative process.

Art as life

"Allan Kaprow: Art as Life" is a phrase often associated with Kaprow's artistic philosophy. It encapsulates his belief that art should be an integral part of everyday life and not separate from it.

Kaprow's happenings and other artistic endeavors were aimed at breaking down the boundaries between art and life, making art a lived experience rather than a distant or passive one. This concept underpinned much of his work and his desire to engage the public in immersive, participatory, and sensory-rich experiences that reflected the immediacy of the present moment.

The public's response to Allan Kaprow's happenings varied widely. Attendees actively engaged in the events, participating in physical actions and group interactions. These immersive and unpredictable experiences sometimes led to confusion, but also sparked discussions and reflections. The public's reactions ranged from curiosity and excitement to discomfort and contemplation, making happenings a dynamic and thought-provoking form of art.