FLUXUS 2025 – OPEN TINY BIG - Art as a State of Being, Not an Exhibition

FLUXUS 2025 – OPEN TINY BIG - Art as a State of Being, Not an Exhibition

Berlin, October 2025. Between Sonnenallee and Karl-Marx-Straße—where everyday life pulses and the city reveals its raw, poetic sides—a space opened for three days that was anything but ordinary: the OPEN TINY KIEZKIOSK at Treptower Straße 84 became the stage for a state of artistic exception—FLUXUS 2025 & COLLAGE – OPEN TINY BIG.

What happened here wasn’t an exhibition. It was a state. A flow. An invitation to think, feel, and co-create. Around 50 visitors—including artists, writers, cultural managers, and art-loving flâneurs—found their way into this temporary resonance space, which defied the conventions of the art world and instead celebrated the unfinished, the spontaneous, and the processual.

From Chicago to Hannover to Berlin – A Movement in Motion

Back in August, FLUXUS 2025 had already dissolved boundaries between performance, dance, and visual art at an interdisciplinary festival in Chicago. Under the direction of Ellyzabeth Adler and the charismatic host Kao Ra Zen, the audience didn’t just witness a movement—they became part of it, unfolding between body, space, and idea.

In Hannover, the energy carried forward into the ZINNOBER Art Festival in early September. The Kunst & Musik Etage transformed into a vibrant archive of possibilities—with over 180 international positions that rejected commercialism and instead foregrounded the moment and the act of co-creation.

Berlin: The Neighborhood as a Stage for the Unpredictable

In Berlin, FLUXUS 2025 became a radically open gesture. The event kicked off Friday with a powerful performance by Susanne Schumacher: “What is Fluxus? Say it loud – OPEN TINY BIG”—a call, a statement, a poetic departure. Her sculptural action on Saturday, “Hommage to Wolf Vostell”, supported by Friedrich Schumacher, revived the legacy of the Fluxus pioneer in a new form—raw, direct, tangible. Once again, street cruisers were cast in cement and concrete, this time in smaller formats.

Asma Ounine introduced her screen-printing action “Berlin Bears – Print”, bringing a hand-operated spindle press into play—a tactile experience that made art literally graspable. Rainer Wieczorek contributed with his wall painting “Peaceman” and an assemblage of materials pressed into poetic symbols of peace and resistance. His works weren’t objects—they were impulses for thought.

Lars Schumacher, initiator and poetic mind behind the project, presented his “Asphalt Philosophy”—an urban concept that sees art as an integral part of city life. The introduction of Event Scores—open instructions for artistic actions—rounded off the program and invited everyone to become part of the process.

A Space Full of Voices, Gestures, and Possibilities

What defined OPEN TINY BIG wasn’t just the diversity of contributions—it was the atmosphere: conversations on the sidewalk, spontaneous interventions, quiet gestures, loud thoughts. Art wasn’t consumed here—it was lived. Visitors weren’t spectators, but co-creators of a collective process.

Looking Ahead: Art as an Invitation to Process

FLUXUS 2025 showed that art doesn’t need to be finished to be effective. That it doesn’t need to be perfect to move us. That it doesn’t need to be elitist to be relevant. The Berlin edition was a promise: that art can still be a place of encounter—open, curious, defiant.

Those who were part of this flow won’t forget it. And those who missed it can look forward to what’s next: FLUXUS 2025 may be a completed exhibition project in part—but the connections it sparked have grown into a living network, a state in motion. More stations are imaginable—and desirable: temporary resonance spaces that defy the traditional art system and instead celebrate the unfinished, the spontaneous, and the processual.