Tom Rossotti: This is the Flux-Olympiad at the Turbine Hall here at the Tate Modern gallery. My name is Tom Rossotti, an artist who specialises in the intersection between sports and art. The Flux-Olympiad was first conceived of by George Macunias in the 1960s but never realised. So it’s a series of games, team games, races, that all have been created by Fluxus artists. And all trying to in some way invert or subvert the traditional notion of a competitive sporting event. So whether it’s the Stilt Soccer events where contestants are asked to attempt an almost impossible goal of playing Soccer on stilts, and other more fun, absurdist events that are in sync with Fluxus performances, like the team loop race, where everyone has to act like a tread in a bulldozer, the flipper race where people run down the track with flippers on – all these events end up having a comical presence that plays with the performative aspects of sports. Because sports are not just games and competitions; they are visual spectacles where people act a certain way, and in the Olympics or any serious sporting event, you are going to see a traditional way in which athletes, referees, announcers behave, and the silly sports, for lack of a better term, play around with that and turn it on its head. Looking at this museum here today and watching all these kids run around, it’s really hard to visualise and think about the art world in the Sixties, but it was a totally different place with rules, regulations, in terms of what could be shown, what was art, the traditional schools of art, very formalist and tight-thinking. So Fluxus decided they were going to break all those boundaries, thought that it was ridiculous. Art creation that did not take into account all these restrictive elements. So they did their best to break all those. And as you can see, they started a trend which has now been institutionalised, which is really fascinating; that the ideas that they put forward are almost obvious and – I don’t want to say cliché, but they’ve been ingrained so much into the culture of artistic production that everyone kind of takes them for granted. So it’s really interesting to see it being put forward, again, and recognising these artists as being the forerunners of a modern art museum where kids are hitting balloons around and throwing paper aeroplanes and not having Classical sculpture. So I think that’s at least why I am really excited about this, and why I really like the work of Fluxus. Release date in this format: 20 June 2008.