From Artlex.com:

According to George Maciunas, Fluxus intended to “purge the world of bourgeois sickness...of dead art” in order to “promote a revolutionary flood and tide in art, anti-art, and promote non-art reality.” Fluxus attempted to “fuse the cadres of cultural, social, and political revolutionaries into a united front and action.” Similarly, Dada artists produced works that were nihilistic or reflected a cynical attitude toward social values—and, at the same time, were irrational, absurd and playful, emotive and intuitive, and often cryptic.

 
These attitudes and stylings remain alive and well thanks to the artists involved in Noise.Water.Meat. Richard Vergez and Giselle Zatonyl, participants in the project were also the curators of Saturday’s show. The show took place at Roxanne’s on Main, where spectators were treated to a barrage of sights, sounds and experiences at the third installment of N.W.M.’s art and music exhibition.

 
Upon entering, I could see that humor was going to be forefront in the event. There was a bathroom sink in the middle of the patio, along with a seating area that surrounded a kiddie pool, garden hose and toys. My favorite outdoor seating area, however, had to be Nathan Moyer’s tent, where ghost-like images flashed across the screen as his two films continuously looped through the night.

 
Once inside, I was immediately drawn to the graphic works of Vena Paylo. Her “Lipstick in Crimson Blu” combined the pop and pulp of Lichtenstein with a psychedelic backdrop. Every bit of it screamed serigraph; so I was surprised to find that the medium for this skillful creation was acrylic on canvas. Stephanie Marie Garcia gave everyone the urge to vomit (in the best way possible) with her red splashes of liquid over photo stills of a man physically rejecting his meal in “The Dinner Party.”

 
Between Giselle Zatonyl, Jenny Nelson, and Jacqueline Gomez, photography was tackled in three totally different ways. Giselle’s abstract panels left me pondering the unidentified objects and their mysterious crimson glow. Jenny’s large-format digital print of an “unnamed” city harkened film noir. And I could not help but think of Nam June Paik when I saw Jacqueline Gomez’s “Untitled Portrait Series.” Her installation featured a television in the corner with abruptly shifting narratives blurred in static and black and white.

 
Other memorable works included the beautifully bizarre and perfectly vertical world created in collage and print by Richard Vergez, as well as Cathrine Hawarth’s broken-legged ballerina in her triptych of untitled pencil drawings.

 
But the true heart of this event were the performances. I saw three of the four: first Threat, then Richard Vergez and Giselle Zatonyl, followed by Whistling School for Boys. Threat was what you might expect—an assault on the ears as well as the instruments they played. One of these instruments included a food processor whirring what sounded like glass-turned-to-sand. This audio attack was as amusing as it was brutal.

 
Second up, Richard & Giselle created an equally ear-rupturing sound using feedback and miscellaneous objects. Watching the beautiful couple collaborate was intriguing: Richard was entranced with thudding wires, while Giselle rhythmically mesmerized center stage with her device of choice—a sewing machine.

 
Last, and most likely the favorite of the night, Whistling School for Boys, played on humor to amuse and delight the crowd. Despite what the name WSFB might convey, this "group" is comprised of a single mighty woman—imagine my surprise (thank you for the correction)! First handing out kazoos, then enticing everyone to chant, “We saw penises touching each other!” she then began building peanut butter sandwiches, dancing and swaying to the music all the while. In the background a slide show played with images that I unfortunately did not see enough of (I was too engulfed in the sandwich making). The performance finally came to a climax as WSFB played “Peanut Butter & Jelly with a Baseball Bat” and offered up her sandwiches to the dancing onlookers.

 
This kind of art show may not be for everyone…but it should be. It was unconventional, unhampered, and most importantly, fun. For fans of the absurd: don’t miss the next one— they are usually every couple of months and are chock-full of new artists and performers.