Géza Perneczky - Ruud Janssen
Géza Perneczky - Ruud Janssen
Géza Perneczky - Ruud Janssen
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Géza <strong>Perneczky</strong><br />
NETWORK ATLAS<br />
Works and Publications<br />
by the People of the First Network<br />
Volume 1:<br />
A - N<br />
A Historical Atlas<br />
for the Post-Fluxus Movements<br />
as Mail Art, Visual Poetry, Copy Art, Stamp Art<br />
& Other Relative Trends with Addresses, Projects,<br />
Publications & Exhibition Events<br />
(Unedited manuscript for letter size)<br />
*<br />
Update: April 2003. © Geza <strong>Perneczky</strong><br />
Soft Geometry, Cologne
It's very important for me to say that I consider<br />
my occupation as an artist as very small and<br />
insignificant but at the same time as one of<br />
great dignity. I mean the refusal to accept<br />
compromisses with power, no matter of what<br />
kind it is, and the rejection of the use of art and<br />
the artistic work as its instrument...<br />
Es muy importante para mí expresar que el<br />
ejercicio de mi profesión artística lo veo como<br />
una actividad muy modesta, pero con mucha<br />
dignidad a la vez. Me refiero a la actitud de<br />
rechazo de todo compromiso con el poder,<br />
cualquiera que sea, y de la utilización de la<br />
actividad creadore como instrumento de él...<br />
Es ist für mich sehr wichtig zu sagen, daß ich<br />
meine künstlerische Tätigkeit als sehr<br />
bescheiden betrachte, gleichzeitig aber als eine<br />
von großer Würde. Ich meine damit das<br />
Zurückweisen von Kompromissen mit der<br />
Macht, egal welcher Art sie ist, und das<br />
Zurückweisen der Benutzung der Kunst und<br />
der künstlerischen Tätigkeit als ihr<br />
Instrument...<br />
(Guillermo Deisler: Some events... )
1 a Collective de Arte Postale» Faculdade de Filosofia. Arapongas Brasil 1978 →<br />
°1 a Collective de Arte Postale. Doc. List of 29 parts. 1978 <br />
«A 1. Waste Paper Comp. Ltd.» (Hazel Jones & Michael Leigh) → Leigh<br />
!Aakoun, Pjotr Dr.! (Peter Moreels) 6 rue de la Croix Rouge. Pecq, B-7740 Belgium 1992<br />
↑ Changed addresses, the order of which is not clear: 6 rue Sainte Caip, 18 rue des Soeurs<br />
Noires, nc 84 Chausse de Renaix, 5 Terasse de la Modeleine, all in Tournei, B-7500,<br />
.............................................................................................................................................................<br />
^Ekstraktion (Mail Art magazine, after the start in the form of unbound or stitched <br />
A/5 assembling, ~20 p. 30-100 copies, 1984-, ir.)<br />
^#1, #3, #1984, #Nov, 1985<br />
^Frenetic. Un simply regard (Mag. Mail Art compilation. A/5. phc., 16 p. 1985-, ir.) <br />
^#1<br />
^Collective Brainwash (A/5 assembling in envelope {30}, 1986, #1 only?)<br />
<br />
^#1 Our Brains in Blue Water (June 1986, 23 parts.)<br />
^Invitation to the 2nd issue (not realized): Agri-Culture<br />
Aarssen, <strong>Ruud</strong> v. / Joseph, Robert / → Rook, G. J. de, Van Dortmondnstr. 19. Arnhem, Netherlands 1971<br />
Bloknoot (Mag. with visual poetry & concept art, also assembling issues {125-150}. <br />
D, Mayor, H. W. Kalkmann, P. Finch, J. Valoch, M. Nannucci, C. Padín,<br />
J. Urban, P. Stembera & others. A/4, offset, ~100 p. or: A/4 material<br />
collected and fixed into letter files of 35x25 cm. 1970-72, 3-4x yearly?)<br />
Abajkovics, Péter → Leopold Bloom<br />
Abbot, Steve 545 Ashbury, N° 1. San Francisco, CA-94117 USA 1981<br />
^Soup. A pineering journal of newest development in writing & the art. (A generous <br />
edited magazine with many visual matter. Cut A/4, offset, ~50 p.<br />
1981-, y?)<br />
^#2<br />
Ackerman, Al (!Blaster!) 425 East 31st St. Baltimore, MD-21218 USA 1997<br />
↑ 2407 Maryland #1. Baltimore, MD-21218 - “ - 1995<br />
↑ 208 Rout St. San Antonio, TX-78209 - “ - 1990<br />
↑ 137. Burr Rd. San Antonio, TX-78209 - “ - 1988<br />
↑ P. O: Box 15035 San Antonio, TX-78212 - “ - 1985<br />
↑ 1220 SE. 30 Portland, OR-97214 - “ - 1978<br />
↑ 2623 S. E. Belmont Portland, OR-97214 - “ - 1975<br />
.............................................................................................................................................................<br />
^The Laughing Postman (Mag. Each issue focused on a specific aspect or personality <br />
of Mail Art. A witty contribution to problems and theories of underground<br />
art trends. Letter, phc., ~10-20 p. 1975-81?, #1-8?) Portland<br />
^#11<br />
^Maître Ling & autres histoires. (Prose, translated by Philippe → Billé, 80 p.) <br />
La Tête Reposée, Plein Chaut, Bassac, F-16120, 1975<br />
^Ask Ling (Mag. in the form of series of open letters to friends and artists, Letter <br />
& digest size, phc., ~4-20 p. 1980-, irregular numbering!) San Antonio<br />
^#37, 38, 45<br />
Confessions of an American Ling Master (6 stories including the Bread Doll Fancier <br />
/ In Hellish Benares / The Squid Boys of Terre Haute. Book, Publishers<br />
Group South West – Allihies, Bantry, West Cork, Ireland, 1984)<br />
+Smile (Mag. with handmade cover, 1984, #1) Neoist Study Centre, San Antonio <br />
^Emils 69 (Smile mutant [anagramm] by !Dr. Emil Steiner!, digest, phc., 12 p. <br />
1984? #1), Portland<br />
^The Wire (Mag. Smile mutant. Digest, phc., 18 p. 1984, #1 only?) Editor:<br />
<br />
!Sharon Wysocki! Progressive Press. 7320 Colonial, Dearborn
Heights, MI-48127<br />
^Birk Neark. Karen Eliot's own magazine. (Mag. A pamphlet about the → Smile <br />
mania. Digest, phc., 20 p. 1985? #1) Mad Dog Press / San Antonio<br />
Rotational Situationism. „Levi-Strauss“ Style (Essay) In: PhotoStatic (→ Dunn), <br />
N° 40, Dec. 1989, 1509-1511 p.<br />
^Proud Cray (Prose, 28 p.) → Feh! Press, New York, n.d. (~1993-94)<br />
<br />
^The Blaster Al Ackerman Omnibus (Collected texts, 228 p.) → Feh! Press, 1995 <br />
→ Neoism / Literature: István → Kántor: Some of the Monty Cantsins.<br />
~<br />
Source: (Gerald Simonsen's letter to Géza <strong>Perneczky</strong>): « ...The guy has published over 5000<br />
different magazines in the past 20 years, always works while hearing a Ling Pillow<br />
case over his head through which he constantly slumps slurps Mogan David wine,<br />
holds several degrees in philosophy and mathematics, smokes Fatima cigarettes,<br />
runs a clinic for disturbed people out the back of his house, and sleeps in a coffin.<br />
I have know the good Doctor for nearly 20 years. I even testified as a character wittness<br />
at the trial. In the past several I have worked for him as a bodyguard when he<br />
has found it nessary to travel. Lectures, autograph parties, ect. I hope this helps you<br />
in what ever you are looking for...» (1775 Cliff Rd. Eagan MN-55122, July 12, '89)<br />
Al Ackerman: Letter to Géza <strong>Perneczky</strong>, Dec. 30, 1988. Quoted in: <strong>Perneczky</strong>:<br />
A Háló. Ed. Héttorony, Budapest, 1991. (Original English text: 299-230 p.) and<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993.179 p.<br />
Reprinted in: The Blaster Al Ackerman Omnibus, 1995, 121-122 p. In this letter,<br />
Ackerman describes his very intensive small magazine editorship activity and<br />
mentions the following titles:<br />
Gnom Club News, Clark Ashton Smith Fellowship Newsletter, Scientific Electricity,<br />
The Gulf Bulletins, The Other Room Magazine, Drunkard R.N.S., Dummysm,<br />
14 Secret Masters of the World Intelligencer, Oral Suctions Magazine, White Worm<br />
Review, Harry Bates Club Magazine, Do You Have Crabs?, Wire, Edgar Allan Poe<br />
Inspirator, Ask Ling, Davy Crockett's Misteryous Son, Unowned Worlds, The<br />
Keeper, Whap!, Hidden Love Romances, The Shrunken Heads Collector, Moonhead<br />
News, Parking Lot Reporter.<br />
Al Ackerman: Lettre à Géza <strong>Perneczky</strong> / Lettre à Philippe Billé In: Maître Ling &<br />
autre histoires. Translated into French by Ph. Billé. La Tête Reposée / Plein Chant,<br />
Bassac, F-16120, 1995. 69-71 and 72-73 p.<br />
Literature:<br />
John Held Jr.: Al Ackerman (An interview of the almost mythical mailartist)<br />
In: N D, # 15, 1991. 29-33 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light of<br />
their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993.<br />
«...As for the people sharing my mailbox, yes, I have a few aliases. It has been<br />
suggested that I attend Pseudononymous Anonymous on a frequent basis. The<br />
Blaster (→ Ackerman) recently sent me a suitable annotated copy of the most recent<br />
issue of the Multiple Personality Disorder Journal. This is wild exaggeration. There<br />
is Edward R. Gonzo, the Slightly Warped journalist. There is also Ace The Postcard<br />
Pal, which was an accidental postle wraparound of the name of the shop I owned,<br />
The Postcard Palace. He is a collector of Kalkala and exaggeration postcards. Some<br />
names were given to me; Wingo Fruitpunch... Any Salyer gifted me with Rasta Bob<br />
Gnarly... Sidney Lurcher comes into play as the excruciatingly bad poet... Felino<br />
Zepellini was created for my Italian-American Correspondents...<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: Mail-Interview with Rudi → Rubberoid. TAM-960140. 1996)
Vittore → Baroni: Al Ackerman. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 120-121 p.<br />
«Adalbert Stifter Verein» Hochstrasse 8 München, D-818669 Germany 1991<br />
^Böhmische Dörfer, Cat.: 23x17 cm., offset with 16 colour images, 64 p. Exh.: <br />
Ostdeutsche Galerie, Regensburg / Museum, Cesky Krumlov. 1991<br />
Adams, Jim c/o Kwantlen College, Box 9030 Surrey, V3T 5H8 Canada 1992<br />
^UFO Celebration. Inv. 1992<br />
<br />
Adamus, Karel Dudelská 685 / 13. Trinec VI. CZ-739 61 Czech 1990<br />
↑ 689 š 13. / Okr. Frydek-Mistek Trinec VI. Czechoslovakia 1984<br />
↑ 739 61. / Okr. Frydek-Mistek Trinec VI. CS-685 13 - “ - 1978<br />
.............................................................................................................................................................<br />
Envelope works by cuting, punching & collageing, all in size of 11x22 cm. horz., <br />
~<br />
Literature:<br />
used as correspondence material from 1970-1972<br />
Karel Adamus: Poems Pictures. In: Und, #8. (→ Käsmayr) Edition & Verlag<br />
Boczkowski, D-3500 Kassel, Kirchhainer Strasse 3. 1971.<br />
Adler, Jeremy (The Nat. Poetry Centre) 21 Earls Copurt Square, London, SW5 United Kingd. 1974<br />
A, AB, ABC... (Unbound envelope mag. for vis. poetry with a title that expands from <br />
issue to issue. A/4, phc. & offset, 1974?-, ir. ) The Nat. Poetry Centre<br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. 592 p.<br />
with over 500 illustrations, Russian. Ed. Simplicii. Kaliningrad, 1998. 117 p.<br />
Affelder, Jessie 8808 South Grove Oak Park, IL-60304 USA 1990<br />
↑ c/o School of the Art Inst. of Chicago, Columbus Dr. / Jackson Blvd. IL-60603 1982<br />
.............................................................................................................................................................<br />
Curator of the artists' books collection in the Library of the School of the Art Institute <br />
in Chicago, 1980s<br />
°Button Art Show. Doc. /Art Institute. Chicago, 1980<br />
<br />
International Artists' Book Show. (Curator: J. Affelder) Exhibition in 1981. Cat.: in <br />
1982. Introduction by J. Affelder, essays by Michael Day and Janice<br />
Sydner. Exponats list, addresses + presses, distributors and archives.<br />
°How Do I Cope with the Loss of an Idol? Doc. /Art Inst. Library. Chicago, 1982 <br />
°Some People Say We Look More Like Sisters... Doc. 1 sheet in plastic cover with <br />
the list of 90 parts. / Art Instiute, Library. Chicago, 1982<br />
Agius, Juan J. Livres & Multiples. C. P. 5243 Genève 11, CH-1211 Switzerland 1987<br />
agius.books@netsurfer.ch<br />
↑ Da Costa Editions. Korte Kreizersdwarstraat 18. G J Amsterdam, NL-1011 1984<br />
.............................................................................................................................................................<br />
^Kunstenaarsboeken: twalf benaderingen. (with → Carrión, Ulises) Cat.: A/4, offset, <br />
8 p. Text (Dutch & English): A. de Vries. Exh.: Museum Waterland,<br />
Weerwal 5, Purmerend, NL (J. J. Agius, F. Bonillon, A. Heibel, D. v.<br />
Kleef, F. Sanguinett, B. Sleeuwenhoek, U. Carrión, A. Geritsen,<br />
J. H. Kocman, T. Ockerse, G. <strong>Perneczky</strong>, P. Petasz) 1982<br />
~<br />
Seurce: ^Juan J. → Agius: Catalogues of Books & Multiples /Livres & Multiples. #1-13.<br />
(Concrete & Visual Poetry, Conceptual Art, Fluxus, Mail Art & Related Media,<br />
Artists' Books, Magazines, Documentations – the cats. included also the whole<br />
archive material of the Other Books and So archive by Ulises Carrión after his<br />
death.) 24x 10.5 and 24x15.5 cm., phc/offset, ~16-20 p. Genève, 1992-1996<br />
Later issues as flyer, also e-mail/online service from the 1990s.
~<br />
Literature:<br />
^Juan J. Agius: The Alternative Communication: Correspondence and Mail Art.<br />
(Special items from the Mail Art part of the Other Books and So archive, a selection<br />
of 338 docs. between 1973 and 1983) Prepared for this „Network Atlas“ publ.:<br />
A/4, 30 leaves, phc. Genève, 1996<br />
«Juan Agius began in 1977 in France making illustrated books, object books.<br />
Having met Ulises → Carrión, he realized that there is another possibility as an art<br />
form, the book. He tried with a collection, keeping an approach of „book-works“ as<br />
work of art. After study in Paris, he started making book objects in France, creating<br />
a symbiosis from the French idea of books as art forms:<br />
1) Books as visual exploration of material<br />
2) More conceptual, more bookworks that are subjejctive<br />
3) From illustrated text to text-image – not the visual into text, but just<br />
the Idea<br />
...He says that creation is not the problem; the problem is the distribution –<br />
to know one's targets, to bring this works to the public, containing galleries but<br />
galleries also come to him to ask him to curate exhibitions. Agius feels that it is<br />
easier to bring people to bookworks than before with exhibitions and collections<br />
already in museums... He does go to artists to show them more about the medium.<br />
The future, for Da Costa Editions, includes unlimited editions with communication,<br />
TV, radio... Some of the artists published are François Righi, François<br />
Bouillon, Ulises Carrión, Roberto Comini, Axel Heibel, Cornelia Vogel, Michael<br />
→ Gibbs and Christian Appel.»<br />
(Da Costa Editions. In: Umbrella [→ Hoffberg]. Vol.7, #1. 7 p. 1984)<br />
Agrafiotis, Demosthenes, 23 Xenias Street Athenes GR-11527 Greece 1984<br />
Clinamen / Χλιναµεν (A/4 sheet mag. on Mail Art, folded to A/5, phc., 1980- m.) <br />
Aguiar, Fernando Apartado 50253 Lisboa P-1707 Portugal 1996<br />
^O Dedo (Poema en 22 andamentos, June 1977 - March 1978). Concrete poetry in <br />
self edition. 31x11 cm., offset, 32 p., canvas cover. Lisboa, April 1981<br />
^Poemografias. Exposição itinerante de Poesia Visual. (supp. Fund. Gulbenkian) <br />
Org.: Fernando Aguiar & Silvestre Pestana. Cat.: A/4, offset, 24 p.<br />
Text: Aguiar: Poemografias: um projecto (Portuguese)<br />
Exhs.: Lisboa, Gal. Diferenca / Torres Vedras, Gal. Nova / Évora. 1985<br />
de Arte / Lagos, Gal Mercado de Escravos / Coimbra, Gal. C. A. P. C.<br />
Artists:<br />
Abilio, Alberto Pimenta, Anna Hatherly, Antero de Alda, António<br />
Aragão, António Barros, E. M. de Melo e Castro, Fernando Aguiar,<br />
José-Alberto Marques, Salette Tarares, Silvestre Pestana.<br />
^1° Festival Int. de Poesia Viva. Cat.: 26x19 cm., offset, 248 p. Texts: F. Aguiar, <br />
E. M. de Melo e Castro / Museu Municipal dr. Santos Rocha, Figuira<br />
da Foz. April May 1987<br />
^Rede de Canalizaçao (Una interrenção consoante) (Broch. 16x16 cm., 32 p.) <br />
From the III. Festival Int. de Arte Viva, em Almada: «Alternativa 3».<br />
Edition of the author + Camara Mun. de Almada. 1987<br />
Poesia: Quatras Escritas, Novos Supertes. Cat.: (Port. /Engl.) / Museu de Setúbal. <br />
1988<br />
^II. Encontro Nacional de Intervençao e Performance. (Org.: Aguiar) Cat.: 26x11 <br />
cm., offset, 112 p., 139 artists. (Port. / Engl.) / Galeria Municipal<br />
Recreios Desportiros, Amadora, Portugal. July 8 - Aufust 7, 1988<br />
^Concreta, Experimental, Visual Poesia Portuguesa 1959-1989. (with Gabriel Rui <br />
Silva) Cat.: 27.5x20, offset, 72 p. Text: Ana Hatherty (Port. / Italian)<br />
/ Università di Bologna. April 10-17, 1989<br />
^Visuelle Poesie aus Portugal. (A/5, offset, 60 p.) experimentelle texte N°22, Siegen <br />
1990
~<br />
Source:<br />
~<br />
Literature:<br />
Who is Who / Fernando Aguiar (In: A.M.A.E. → Ibírico, N° 17, Marzo-98.)<br />
Exhibition list / Performances. Further publications by Aguiar (Books):<br />
Poemas + ou - Histó(é)ricos. Ed. of the author. Lisboa, 1974<br />
O Dedo. Ed. of the author. Lisboa, 1981<br />
Minimal Poems. Ed. experimentelle texte. Siegen, 1994<br />
Indicis. R. Salvo Editions. Barcelona, 1995<br />
(Anthology): Poesia Experimental Portuguesa Dels 90. R. Salvco Ed. Barcelona,<br />
1994<br />
(1° Festival Int. de Poesía Viva): A large and lavishly produced catalogue with alot<br />
of works reproduced, also includes documentation on atists books/magazines submitted<br />
and 29 bilingual essays/statements from different writers... all exploring<br />
different aspects of the word and image fusion. Writers include, E. M. de Meloe<br />
Castro, G. Bleus, A. Aragao, J. Blaine, J-F. Bory, B. Ferrando, D. Higgins, etc... the<br />
one I foun most interesting was by Ana Hartherly entitled, „Experimental Poetry:<br />
From before to Now“, which is a brief survey of Portugese experimentalists.<br />
Fernando Aguiar, the curator, is to be commended for organizing this event. My<br />
only qualm about this catalogue is that is has a weak spine and my copy is rapidly<br />
falling to bits.» (Stephen → Perkins: Catalogues. In: Box of Water, N° 4, 1988)<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. 592 p.<br />
with over 500 illustrations, Russian. Ed. Simplicii. Kaliningrad, 1998. 113 p.<br />
Aguillard, Leslie (Artemis Art) Box 4435 Denver, CO-80204 USA 1984<br />
^Grand Canyons. Inv. 1984<br />
Aiello, Alessandro Via Naxos 161 Giardini (ME), I-98030 Italy 1986<br />
↑ Via Cervignano 15. Catania, I-95129 - “ - 1984<br />
.............................................................................................................................................................<br />
Constrictor Magazine (Mag. with a sea of fractured imagery, contacts and record, or <br />
tape reviews, A/4, phc., 24 p. 1984-, ir.) Catania<br />
^Imbezill / Adult, the recycled xerox bulletin. (Mag. on Mail Art and graphic, A/6, <br />
phc., ~32 p., 1986, #1-3) Giardini<br />
^#1, 2, 3<br />
^Not-Recovering Flover / WERK (Register-texts + images) 42x10 cm, phc., 3 sheets. <br />
Giardini, n.d. (~1988)<br />
^Manipulated and stolen images recyclation. (by «doctor Long Peter», ) A/4, phc., <br />
24 p. 1988<br />
^Force Meat (Statement: The avantgarde/power electronics opinion-magazine,<br />
supplement to „Il sorris o verticale“ book, written in idiosyncratic<br />
english, tape & publication review, recycled graphics section.<br />
A/5, phc., 50 p. 1988)<br />
^#1<br />
→ Natale Musarra / Il Sorriso Verticale<br />
~<br />
Literature:<br />
<br />
(Constrictor Magazine, #8): «Printed on black and white xerox this collage of the<br />
Italian language covers the harder edge of new music. Containing pieces/reviews on<br />
Force Mental, Grok, Interchange, Leather Nun, Pure, mail art, etc... There's all types<br />
of strange visuals so even if you can't read the language you'll get the general<br />
feeling...» (Publication Listing. In: Unsound (Multimedia magazine with booklets<br />
& tape supplements, →Davenport. Vol 2, N° 2, 1985. 42 p.)<br />
(Imbezill, Small): « Serves as both catalog of cassette releases and a collection of<br />
images which make very deliberate use of xerographic quirks (espacially that dirty<br />
but almost typographic look) and produce a set of opieces of text float to the surface<br />
of random forms sort of like a dreamscape.» ( Lloyd → Dunn: Mail Review. In:
PhotoStatic. N° 22, Febr. 1987, 706 p.)<br />
(Imbezill, #3): «This is the final issue of this small format booklet created from<br />
recycled images and plagiarised material plus 3 pgs. of magazine reviews. „More<br />
then ever the COPY is an unique ORIGINAL, sine recyclating, the process of<br />
creation are destroyed and randomly planned aesthetic typologies appear anyhow<br />
LOGICAL.“...» (Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988)<br />
Alessandro Aiello: Re-Cyclation Manifiesto. In: El Djarida (Burial issue 7).<br />
Ed.: Guttorm → Nordø. Tabloid, newsprint, 24 p. (n.p.) Trondheim N, 1988.<br />
!Ajax! c/o Bondage. 17 rue de Montreuil, Paris, F-75011 France 1986<br />
^Derisoire (French graphzine of a late generation / with works by Pissier, Ossang, <br />
Tillier, Ajax, Galdo, Marker, F. kervizic, etc. and the publication of the<br />
Manifeste Reseau 666. by → Tillier. A/4, phc., 24-28 p. 1986?-, ir.)<br />
^#1, 2<br />
Ajtony, Árpád / Happ, Béla (as initiators) Budapest Hungary 1971<br />
Expresszió Self-manipulated dissolved/spreading magazine (In A/4 size, Hungarian<br />
underground publ. with free variable contains, typewritten pages, each<br />
copy has been changed its content spontanous like a new mutation.<br />
An amalgam of samizdat literature in the communismus and early mail<br />
art phenomena. The magazine exists in a few copies, same of them in<br />
the Art Pool Archive, Budapest → Galántai) Budapest, 1971-72.<br />
Akita, Masami Merzbow. 7-32-14-105 Takinogawa, Kita-ku. Tokyo, 114, Japan 1992<br />
<br />
Alatalo, Sally c/o Sara Ranchouse Publishing, P. O. Box 476787. Chicago, IL-60647. USA 1984<br />
Warriors hate clowns and When you fall. Two books of 19x14 cm., offset (also <br />
colour) + screenprinted cover, 16 p. Visual and photographical matter.<br />
Chicago, 1984 / 1985<br />
The tempestous romance. 14x10 cm., colour offset, 28 p. Photographic and text <br />
matter. Chicago, 1985<br />
^Du Da (The periodical variously known as chicagodada [#1 only] Do Da, Doo Da, <br />
Do Dah, DuDa and DUZ. Object-mag. with booklets and «found object»<br />
supplements in very various form. The issues: 1984-89 Vol. 1-4: quarterly<br />
– altogether 16# / 1989-90 Vol. 5: #1-3 / 1990 Vol. 6: #1-2 / from<br />
1991 with the title DUZ, yearly only.) Chicago<br />
^# Vol.1 / 3,4; Vol.2 / 3,4; Vol.3 /1,2,3,4; Vol.4 /1,2,3,4; Vol.5 /1,2,3;<br />
Vol.6 /1<br />
^Collusion (Magazine by offset / phc. / electronic print like bound A/4 assembling <br />
with booklet supplements or postcard-collections in cover of 14x20<br />
cm.; ~34 p. or ~13 postcards. 1987-89, y.) Print: The School of the Art<br />
Institute, Chicago<br />
^#1, 2, 3<br />
Launching the Sara Ranchouse editionhouse for publication of DUZ magazine and <br />
var. bookworks with experimental literature and graphic/text collage<br />
works in a «Pulp Fiction Series» (authors: Sally Alatalo, Toby Greenberg,<br />
Doug Huston, Matthew Konicek, Karen Reimer, Kevin Riordan,<br />
Anne Wilson, etc.) Sara Ranchouse Publishing. (S. R. P.) Box 476787.<br />
Chicago, IL-60647, 1992<br />
Big stand-up emperor doll. (with Matthew Konicek) 33x14 cm., colour offset, 8 p. <br />
Illustration and text, printed on transparent acetate pages. S. R. P.<br />
Chicago, 1992<br />
Imperfect sutures. (with Anne Wilson) 22x15 cm., black and red offset, 16 p. + un- <br />
bound title sheet inserted in back cover. S. R. P. Chicago, 1995
«Albany, Junior College of» 140 New Scotland Avenue. Albany, NY-12208 USA 1990<br />
^Post Impressions. Diverse documents: Letter, phc., 4 p. / 8 p. and photos. <br />
Traveling show:<br />
Student Gallery, Albany, Campus Center, Room 101, Nov - Dec, 1986<br />
Hartwick College, Oneonta NY. Student Gallery. Jan-Feb, 1987<br />
Barbados Community College, West Indies. Spring 1987<br />
Stamp Act. (Curator: Willie Marlowe) Cat.: 10 p. (505 contributors, 8 of them <br />
from Russia), 1987<br />
^The Mail Box Blues. Cat.: Letter, phc., 12 p. February-March, 1990<br />
<br />
«Albany, Woorkspace» 278 S. Manning Blvd. Albany NY 12208 USA 1984<br />
^Post Historic Documents (with Luise Krasniewicz & Joachim → Frank) <br />
Cat.: in: Prop (Joachim → Frank ) N° 12. 1984<br />
«Alberta, Ring House Gall.» University of Alberta Alberta, Edmonton, T6G 2E2 Canada 1984<br />
^Peace Earth Peace. Doc.: one sheet of 61x46 cm., offset. 1984<br />
<br />
^Images of Peace. Doc. Legal, offset, 2 sheets. 1985-1986<br />
<br />
Albrecht/d, (Dietrich) (Reflection Press) Friedenaustr. 21 Stuttgart 1, D-7000 Germany 1988<br />
↑ Raichbergstr. 7 Stuttgart 61, D-7000 - “ - 1968<br />
.............................................................................................................................................................<br />
^Flug / Flux Blatt Zeitung (Info mag. A/4 & A/5, mimeogr. + phc., 1968-88, #1-49) <br />
^#15, 16<br />
^Everybody's Creativity (One of the first network activity by a selfpublished maga- <br />
zine. It contains answers to the question: «Is everybody creative?»<br />
Mimeographic issues, A/5., 26 p. 1971, #1-2).<br />
^#1, 2<br />
°A Concert at the I. C. A. (A performance documentation with J. Beuys) 10.5x14.5 <br />
cm., offset, 100 p. Reflection Press, Stuttgart, 1974<br />
^Yoshio Nakajima: ACTION. (Early performance art from 1970-71 documented by <br />
photos and text-reproductions, with a short foreword by Albrecht/d.<br />
A/5, phc. and mimeogr., 24 leaves. Reflectionn Press Nr. 34. 1974<br />
Bundeskartenschau (with A. Schmidt / «Elsässer») Cat.: A/4, mimeogr. & phc., <br />
140 p. / Stadtbücherei, Stuttgart, 1977<br />
°Violence permanente. Cut A/5, offset, 24 p. S. P. Stuttgart, 1977<br />
<br />
°Kotzet mit Spaß. (Xeroxed bookwork, 30x11 cm., 8 p., mounted to accordion) 1982<br />
~<br />
Source:<br />
^Albrecht d. – die letzten jahre – eine dokumentation, 1-2-3. Reflection Press<br />
N° 33. (Works, activities & publs. + press reaction in 3 volumes, ~ 20 p.) 1970-71.<br />
Gesamtkatalog der Reflection Press 1974 / 75. (Listing of magazine issues, books,<br />
catalogues, postcards, silkscreen works, graphics, etc. with press reaction, 28 p.)<br />
<br />
Literature:<br />
Albrecht/d.: Statement (about own publications and early assemblings) In: Stephen<br />
→ Perkins: Assembling Magazines. Internationale Networking Collaborations<br />
Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 (Print: 1997). 58 p.<br />
Alcorcón<br />
→ Ibírico<br />
«Aleph Group» P. D. Verzuno (BO), I-14040 Italy 1993<br />
^Box for Christmas Tree. Inv. 1993<br />
<br />
^Lovers. Inv. 1993<br />
<br />
^My Name is Dorian Gray. Inv. 1993<br />
<br />
^Rock-On / Fottball. Inv. 1994<br />
<br />
^Orientation. Inv. (“Send to Acidpunk”) 2000<br />
<br />
Alien, Gail 2717 Clement St. #4. San Francisco, CA-94121 USA 1987<br />
↑ 377. 4th Ave. San Francisco, CA-94118 - “ - 1985
.............................................................................................................................................................<br />
Mona Lisa Show Doc. / Blue Danube, 36 Clement St. S. F. July 15-Aug. 15, 1985 <br />
Summer of Love '87 Doc. 1987<br />
<br />
^Elvis Wanted Dead or Alive. Inv. Soft Touch Gallery, Haight St., San Francisco. <br />
1990<br />
Allen, Ben Flat 4. The Mote, Motelands. 132 Old Hollywood Road. Belfast. Bt 42 HN. North. Ireland. 1997<br />
↑ 94 Adelaide Grove, Sepherds Bush, London, United Kingd. 1986<br />
↑ 1. Carnhill Av. Newtownabbey, Co. Antrim, BT36 6LE - “ - 1980<br />
.............................................................................................................................................................<br />
Cabaret (Multimedia mag. collages, infos, review. A/4, offset, 16 p. 1980?- qu.?) <br />
^The Transmutated Envelope Mail Art Show. Cat.: A/3, phc., 12 ép. / Roy. College <br />
of Art, Kensington Gore, London, 1985<br />
^Neodata (Mag. Compilation of images by the editor + some mail and neoist artists. G <br />
A/5, phc., ~20-30 p. 1986?- ir.), London<br />
^#3<br />
^Particles from Space. (Offset publ. with Neoist texts & graphics {400}, A/4, 20 p.) <br />
Antrim , 1986<br />
^Youth Antem (Fanzine from partly Neoist editors: Martin, Ben Allen & others. <br />
A/4, phc., ~20 p. 1986?-, ~10#) Moneyreagh, N. Ireland<br />
^#10 (1987)<br />
^Photobooth Portraits (Offset, {300}, A/4, 32 p.) S. P., London, 1987<br />
<br />
^Photocollage, Postcards, Badges & Books, Photoboth Portraits. Cat. in form of a <br />
photocopied BW A/3 poster . Exh. at De Media, Eeklo (→ Boever),<br />
Nov 6 - Dec 3, 1987<br />
Almonde / Sigogneau, Paul / Chapiron, Chris. 2, impasse Lebouis, Paris, F-75014 France 1976<br />
^Bulletin-périodique (Graphic mag. with the works of the group → Bazooka. <br />
46x32 cm., offset / colour offset, ~12 p. 1976-, qu. #1-4?) Paris<br />
^#1, 2, 3, 4<br />
Alozen P. O. Box 215. Vercelli, I-13100 Italy 1989<br />
^Chaos. Mail Art project for the late XXth century. Cat.: A/4, phc., 64 p.<br />
<br />
(+ AUDAX #1, info-magazine). March 1989<br />
Altemus, Reed 16 Blanchard Rd. / Box 422 Cumberland, ME-04021 USA 1996<br />
Ylem Newsletter (One page info with art data. Letter size, phc., monthly, 1981- 1995?) <br />
^Bibliography of Copier Art (Nov. 17. 1993. Letter, 34 leaves, spiral bound) S. P. <br />
Altman, Roberto Beckagässle 144. Vaduz Lichtenstein 1971<br />
Apeiros / Apériodique Utopique (Exp. literary magazine with actionism and lettrism. <br />
Cut A/4, offset, ~72 p. 1971-77, #1-9)<br />
Altschul, Darlene (!Tarzana Savannah!) 5365 Orrville Ave. Woodland Hills, CA-91367. USA 1997<br />
↑ 5711 Donna Av. Tarzana, CA-91356 USA 1986<br />
.............................................................................................................................................................<br />
«Tarzana Savannah» Artists' Postage Stamp activity beginning about 1980, various <br />
stamps at the start in b/w, later also in multicolour print techniques.<br />
Often with the marking „Femalist“<br />
^Mail Art Ambassadors Stamp Album (with Chuck → Welch and Wally Darnell) <br />
(One of the most beautyful Mail Art publication: accordion book (8x)<br />
like a book in a size of 33x23 cm. by handmade „sky-paper“ and with<br />
18 artists' postage stamps by Welch, made as commemorative stamps<br />
to the Latinamerica trip of W. Darnell. Also an attendant brochure, text<br />
by Chuck Welch, letter size, 10 p. 1984-85<br />
^Find Vanishing Creatures. Inv. ~1985<br />
<br />
^Accordion folder. (9x) (Collages + orig. rubber stamps, 9 p.) S. P. n.d. (~1988) ®
^A Mail Art Tribute Kees Francke Exh. with a cat. in colour phc. (org. by Darlene <br />
Altschul & others) Show at the “Raadskelder”, Sluis, NL-4524 CD.<br />
February, 2003<br />
~<br />
Artistamps: ^Love Zap (Sheet of 16 diff stamps, b/w phc., + red rubber stamps on <br />
each stamp images. Rose, ocher or blue paper) DKA Production<br />
/ Femalist. n.d. (1985?)<br />
^We are the Whorls (Sheet of 16 stamps, 4 diff. images, phc. on rose<br />
paper, also hand colored sheets) DKA Post. n.d. (1985?)<br />
^Vanishing Creatures Series (Block of 4 stamp images, phc. on ocher<br />
paper, not perforated) First Day Issue (April 1985?)<br />
^Rubber Portraits (Sheet of 24 stamps, 4 diff. images, phc. on blue<br />
paper. Portrait images in rubber by Fran → Rutkovsky) 1986<br />
^October is Bat Month (Sheet of 25 id. stamps, red on rose paper,<br />
additional bat images and a longer text by black print over) n.d.<br />
1996?<br />
^Networker Issue 96 (Colour photocopied images of a stamp sheet of<br />
20 stamps, printed by black phc. on an offset reproduction from<br />
Picasso's woman painting. Perforation as photocopy only) 1996<br />
^Boundaries Borders and Desire (Block size publ. of a manual rubber<br />
stamped over and hand colored artistamp sheet of 16 id. stamps,<br />
original green print on yellow paper. The block is perforated)<br />
{20} 1997<br />
^Cocks (Sheet of 8 stamps, 4 diff. images. This is a «stamp in stamp»<br />
publ. originally by an identical stamp images of a cock's head,<br />
which has been completed in various way by black drawing.)<br />
{20} 1997<br />
Amen, Woody van Benedenstraat 87 Rotterdam BA, NL-3077 Netherlands 1984<br />
«Amis, Les» (E. Cheval, P. B. Conjoint, Cuerra, M. Duschnock, J. Banus, Tetranadon, Xanax 0,50,<br />
A. Lavillat, Caramel, Boiro, A. Tjoyas, S. Granier, Yamm Yudas, P. Zigmut)<br />
c/o 3 rue du Gond Angouleme, F-16000 France 198?<br />
^Votre Ami (Tabloid graphzine in 42x28.5 cm. size, offset, 40 p. Maybe the work of <br />
art school students in South-France? 198? #1 only? )<br />
Amsterdam / artists «Interplanetary Review» Postbus 10920, Amsterdam Netherlands 1974<br />
°Mark / Space (Assembling in envelope with rotating editions {200}. Works by <br />
G. P-Orridge, R. Crozier, O. Nations, P. Smith, P. Louwers, H. Targowski,<br />
T. Leary, P. Weiss, S. Vinkenoog, P. Taverner, J. Edwards & others.<br />
A/4 matter in envelope. 1974-, ir.) Amsterdam<br />
Mark / Space (Phantasmal texts and images, an «Interplanetary Review». A/5, offset <br />
booklet, supplement to the Oct. / Nov. issue of Mark / Space, 1976)<br />
And, Miekal Ed. Xexoxial Endarchy. Rt. 1 Box 131 La Farge. WI-54639 USA 1992<br />
↑ Dreamtime Village. Rt 2. Box 242 W. Viola, WI-54664, - “ - 1990<br />
↑ 1341 Williamson St., Madison, WI-53703 - “ - 1986<br />
.............................................................................................................................................................<br />
Launching the Xexoxial Edition with Lis → Was. Madison, 1979?<br />
<br />
The. (Xeroxed br., 24 p.) Accouint of the male archetypal THE... Madison, 1980<br />
^The Electrix Samsara Lightbook (3-colours silkscreen, 21x25 cm. horz., 12 p. {50})<br />
<br />
<br />
Xexoxial Endarchy, Madison + Survival Graphics, 1980<br />
^Chameleon, Bounce, Facility, Contact, Sample (Colour xerox book, letter, 74 p.) <br />
Xexoxial Endarchy, 1981<br />
^Absorbent Surface's (by Chuck Boyen), xeroxed broch. half-legal, 20 p.<br />
<br />
Xexoxial Endarchy, 1981<br />
→ Xexoxial Endarchy / also in the literature!
~<br />
Literature:<br />
«...What is this new manner of behavior called art? No where in art history has the<br />
transition toward collective underpinnings & massive deconstruction been so readily<br />
apparent – the culture has been put in our hands for the first time & the derivative &<br />
the original are placed side by side. BOOKS ARE PEOPLE TOO, & any life form<br />
capable of transmitting such a planentary momentum need be subject to continual<br />
genesis.» (M. And: Statement. In: Sarah → Jackson: Books Build Bridges / Copier<br />
Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 289. item)<br />
Anderson, Frank, J. ? Spartanburg, SC ? 1980<br />
°Mail Art Exh. Doc. List of 252 parts. Wofford College Library.<br />
<br />
Spartanburg SC, 1980<br />
Andersson, Peter Box 14050 Göteborg, DK-40020 Denmark 1973<br />
Embryo (Magazine for actionism and experimental art, many visual and poetry <br />
matter. A/4, offset, 48-98 p. N°13 = postcard issue. 1973?-, over #10)<br />
Andryczuk, Hartmut Hybridenland. Belziger Str. 29 Berlin, D-10823 Germany 1996<br />
↑ Urbanstr. 34 Berlin-61, D-1000 - “ - 1989<br />
.............................................................................................................................................................<br />
^Solypse – Prospekte 5. Satellits Sendungen (Experimental literature with drawings <br />
and photos. A/3, phc., 26 p. 111 signed and numbered copies. Göttingen,<br />
Fall 1984<br />
^Sternesprache (I.) Material by Chlebnikov (Werke I-II, Ed. Reinbeck 1972). <br />
Illustrations by Chanskaja Stanka (Hommage an Chlebnikov, Berlin,<br />
1986. 29.7x10.5 cm., phc., 32 p. n.d. (1986?)<br />
^Sternesprache (II.) Elaborated form of „Sternesprache I“, a book-object in a very <br />
limited edition. A/4, 6 colour phc. sheets, recto-verso print, + 8 BW<br />
photocopied transparent foils. Signed, dated: 3. Sept. '87<br />
^Jenseits der Südsee. „YR“ 1st. Deutsche Maori production. (Concrete Poetry.) <br />
A/5, phc., 12 p.,, 57 copies. October 1987<br />
^Teraz Mowie «...für vis. Poesie + verbale Kunst» (Mag. A/5, phc, also colour <br />
xerox pages, 20-50 p. Many Eastern European contributions. Published<br />
in an edition of 10-100. 1989- squ., over 20#)<br />
^#15, 16, 17, 20<br />
Launching the Ed. interWall and the Hybridenland Verlag for documents, catalo- <br />
gues, statements, / magazines and anthologies in alternative arts and<br />
experimental literature in self-edition. Berlin, 1993.<br />
^Steckenpferde. Int. Visual Poesie. (Coord.: Andryczuk) Cat.: A/5 in Z-form, phc., <br />
50 p. {169}. Galerie 13. Hannover. January 22 - February 19, 1993<br />
^Brieffreundinen & Brieffreunde. Cat.: A/4, phc. (also colour), 44 p. {70} Edition <br />
interWall N° 5 / Exhibited in Studio im Hochhaus, Zingerstr. 35. Berlin,<br />
D-13051. April 1995<br />
^Visuelle Poesie aus der USA. (Anth. A/5, 68 p.) expreimentelle texte N° 41-42. 1995 <br />
^Erste Eschatologische Internationale. Cat.: SA/5, phc. + offset, 40 p. {150}. <br />
/ Studio im Hochhaus, Berlin. June 1996<br />
^Hybridenland Editionsbox 1998. (Visuale literature and network material in wood <br />
box) Box of 31.3x22.2x6 cm. Hybrinden Verlag {25}. Berlin, 1998<br />
Content: Karl → Kempton: From Meditation on om... A/5, e-print, 60 p.<br />
Boris → Konstrictor: Leningrad: StuttgART: St. Petersburg.<br />
Cut A/5, , 6 p. With 2 orig. cards, painted over, rub. stamps<br />
Boris → Konstrictor: Ausgabe B. Miniaturen ½ IV.<br />
Cut A/5, 2 orig. postcards + rubber stamps.<br />
Pierre Garnier: Im 21. Jahrhundert... A/4, e-print, drawings, 40 p.<br />
Z. F. M. U. K. (Assembling, works by 12 artists) 28 leaves<br />
Valeri → Scherstjanoi: Lautgenommen. Audio-cassette.<br />
Register. A/5, phc., 12 p. (Text: German, with biographies)
~<br />
Source:<br />
^Hybriden Verlag 1993 / 94 (Xeroxed catalogues-leaflets of uniques or limited<br />
publs. by Andryczuk, Ilse & Pierre Garnier, Burkhard Heyl, Fredy Flores Knistoff,<br />
Boris Konstrictor, Rea Nikonova as well as a list of authors of the magazine Teraz<br />
Mowie, 1-17. issues)<br />
^Hartmut Andryczuk: Teraz Mowie N° 1-20 (Checklist leaflet), A/4, 1996<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 129 p.<br />
^Korrespondenzen – Hybride Literatur und Kunst. Exh. in the Studio Hochhaus,<br />
Zingsterstr. 25, 13051 Berlin. Curator: H. Andryczuk. Accordion book of 21x11 cm<br />
(3x), offset print. Berlin, 1999<br />
Anelli, Salvatore S. S. 19 Bis N. 50. Cosenza, I-87100 Italy 1983<br />
^Effetto Dossier. «mail art work in progress samoizdatel» (A compilation magazine. <br />
A/4, phc., 32-36 p. 1983-, ir. )<br />
^# 1<br />
^Fuori Rotta and other xerographied pages. (Photocopied Mail Art and graphic <br />
works in 3 brochures) A/4, phc., 6 / 5 / 5 sheets. Cosenza, ~1984<br />
^Aela ricerca di un titolo. Appurti per la memoria. (Graphic works and texts on <br />
the occasion of an travelling exhibition at the Galleria la Roggia<br />
(Pordenone), Centro d“Arte Spazio (Maddeloni), Exp-Arte (Bari).<br />
23x16 cm., offset, 16 p. October, 1984 - March, 1985.<br />
^Mail-World's-Artists-Family. (Thinking of Mail Art, towards an information-art –<br />
progetto su pace, guerra, e altro...) Congress / exhibition at the Centro<br />
Studi Mancini, Cosenza, 1984. Curated by S. Anelli, R. Granafei,<br />
S. Iagulli. Doc.: 21.5x16 cm., phc., 12 p. + offset cover.<br />
^Teaching of Pitagoras. Inv. 1985<br />
<br />
^Labhirint. Nuovi Spazi per Nuove Idee. (Statements by Anelli, F. Flaccavento,<br />
G. G. Marx, G. Deisler, and C. Padín.) Texts Italian, Spain and English.<br />
A/4, phc., 13 leaves. 1987-88.<br />
<br />
<br />
Angioni, Marcello 61 rue de Trèves Luxemburg Luxemburg 1977<br />
^Abracadabra (Magazine for experimental & vis. poetry. A/5, offset, ~60-80 p.<br />
1977-80, #1-5, 1-2xy.) <br />
^#1, 2, 3, 4, 5<br />
Anker, Mp Wichertstr. 68 Berlin, GDR-1071 1980<br />
Save the Small Things (Commonpress #38, not edited yet)<br />
<br />
- “ - - “ - Exh.: Fachschule für Werbung und Gest., Berlin, GDR, 1981 <br />
«Annaberg-Buchholz / Galerie am Markt» → Milde<br />
Anonym B. P. 14. Uccle 5. Bruxelles, B-1180 Belgium 1974<br />
Schède / Fiches d'operateurs anonymes. (Mag. with happenings, action art, photos <br />
etc., self the editor exists as a post box number only. A/4, offset,<br />
16-32 p. 1974-, m.)<br />
Anonym 11 Ascham Street London, NW5 United Kingd. 1974<br />
437 Springtown Road New York, NY-12561 USA 1974<br />
.............................................................................................................................................................<br />
Wallpaper (New York – London magazine with visuale & exp. literature, bound in <br />
wallpaper cover. Cut A/4, offset, ~50 p. 1974-, qu.)
Anonym Jan Brand? Voorburg Netherlands 77<br />
Zonnebul / Eksperimenteel-kulturelle uitgeverij (Xeroxed mag. with Mail Art,<br />
rubber stamps, vis. literature and theory. Cut A/5., phc., 32 p. 1977?-)<br />
®<br />
Anonym Box 20781 Seattle, WA-98102 USA 1985<br />
^Pounding Waves (Mag. for xerography. Digest, ~24 p. 1985-, m., over 20#) <br />
^#2, 17, 19, 20, 21, 22<br />
Anonym P. O. Box 10533 Minneapolis, MN-55458 USA 1986<br />
^Losing Faith (Mag. for graphics only. Digest, offset + phc., ~20-30 p.1986-, qu.) <br />
^#1, 6, 9, 10, 11<br />
~<br />
Literature: «I don't know what happened to issues #8 and #9 but this is what I got, a very nicely<br />
produced, light and dark little publication. Issue #7 features a spread of „true Comix<br />
Stories“ (one of which gives me a certain sense of déjà-vu about a personal trip to<br />
Moscow), but other than that the magazine is entirely graphic art. The styles range<br />
from neo-German Expressionism to adolescent male doodle-art and everything in<br />
between.» (Anastasia Coles: Print Reviews. PhotoStatic. N° 40, Dec. 1989, 1521 p.)<br />
Anonym 508 Howks Ave. Vancouver B.C. V6A 3H9 Canada 1989<br />
↑ 301-1010 Salsbury Dr. Vancouver B.C. V5L 4A7 - “ - 1987<br />
.............................................................................................................................................................<br />
^Pyramid Magazine (Mag. for Mail Art. Letter & digest sizes, phc., ~32 p.<br />
<br />
1987- squ. Issues not dated, not numbered? / «Cities» issue in 1990)<br />
^# Cities (1990)<br />
Anonym (Neoism anthropologically illuminated) Amherst, MA USA 1993<br />
Smile (Mag. from March 1993, #1 = «issue 100»)<br />
<br />
Antaki (A. S. B. L. Restaurant), 13 rue Roture Liege, B-4020 Belgium 1980<br />
^Cirque Divers (Info mag. by a restaurant with good contacts to the alternative scene. <br />
«If you're looking for humour and derision, don't miss Cirque Divers...<br />
is not only a booklet but a Theater/Café/Gallery/Restaurant/Jazz video<br />
club, too. [Métro Riquet, #6] 15x7.5 cm., phc., 32 p. 1980-, ~ #150)<br />
^# 99-100, 152<br />
!Anthroart!<br />
→ Hamann, Volker<br />
«Aorta» (Underground club) Spuistr. 189. Amsterdam Netherlands 1982<br />
^The WORLD, (Artist-World / World-Artist) Int. Mail Art Show Org.:→ Vlugt. <br />
Cat. as supplement for Artzien(→ Gibbs), N° 28, Nov. 1982 : 21x16.5<br />
cm., offset, 20 p. / Aorta. Amsterdam, October 23 - November 13, 1982<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 42-43 p.<br />
Aphesbero, Michael 3 rue Canihac Bordeaux, F-33000 France 1978<br />
^4 Taxis (Mag. with correspondants in Barcelona, New York and Roma. Booklets or <br />
prints by post-fluxus artists from French and the Mediterran zone.<br />
Mostly in A/4 size, offset. 1978-, ~15#, 2-3xy.)<br />
^#1, 2, P2, 3-4, 5, 8, 9-10, 12-13, 14<br />
~<br />
Literature: 4 TAXIS: an international magazine. In: Umbrella (→ Hoffberg), Vol. 6, #3, 73 p.<br />
«Appel, Foundation, De» Prinseneiland 7 Amsterdam LL, NL-1013 Netherlands 1990<br />
↑ Brouwersgracht 196 Amsterdam HD, NL-1013 - “ - 1986<br />
.............................................................................................................................................................
^Works and Words: International Art Manifestation Amsterdam (Festival for the <br />
Eastern European / Holland avant garde & alternative art with conceptual,<br />
performance, film and mail artists. Stichting De Appel, Filmmuseum<br />
Amsterdam, + with an exhibition in the Fundatie Kunsthuis)<br />
Cat.: 92 p. (Org.: Jossine van Droffelaar & Piotr Olszanski).<br />
De Appel. Amsterdam, 1980. Essays and documentation texts:<br />
Józef → Robakowski: Operative Photography<br />
List of film-contributions<br />
Jaroslav Andel: The Present Czechoslovakian Art Situation<br />
Tomas Straus: Three Model Situations of Contenp. Art Actions<br />
Czechoslovakia / Chronology 1960-1979<br />
Lóránd Hegyi: The Loss of Collective Validities<br />
L. Beke / L. Hegyi / D. Maurer: Hungary, art events 1966-1979<br />
Grzegorz Dziamski: Art in Poland During the Seventies<br />
Andrzej → Kostolowski: Possibilities of Art<br />
Poland / Chronology 1961-1979<br />
Jesa Denegri: The Situation of the New Art in Yugoslavia<br />
Yugoslavia / Chronology 1957-1978<br />
Artists with one-page contributions in the catalogue:<br />
G. Attalai (H), J. Bereš (PL), G. Bódy (H), M. Erdély (H), Tomislav (YU),<br />
B. Grinberg (NL), T. Hajas (H), Á. Háy (H), N. Hoover (NL), S. Ivecovic<br />
(YU), S. <strong>Janssen</strong> (NL), Zs. Károlyi (H), T. Konart (PL), J. Kovanda (CS),<br />
H. de Kroon (NL), Z. Kulik & P. Kwiek (PL), D. Martinis (YU), R. Maroquin<br />
(NL), D. Maurer (H), A. Mikolajczyk (PL), J. Ml Coch (CS), T.<br />
Murak (YU), A. Paruzel (PL), S. Peeters (NL), J. Robakowski (PL),<br />
T. Sikorski (PL), P. Stembera (CS), M. Stilinovic (YU), R. Todosijejvic<br />
(YU), E. Tót (H), Z. Warpechowski (PL), R. Waško (PL), A. van der<br />
Weide (NL),<br />
Artists who contributed to the exhibition: F. Aalders, J. Andel, G. Attalai,<br />
M. Cardena, B. Grinberg, M. Cardena, L. Durcek, V. Gudac, T. Hajas,<br />
K. Halász, V. Havrilla, S. Ivecovic, C. Jaworski, J. Józwiak, K. kelemen,<br />
M. Kern, J. Koller, T. Konart, J. Kowanda, R. Kutera, H. de Kroon,<br />
P. Kwiek, Natalia LL, A. Lachowicz, D. Martinis, D. Maurer, A. Mikolajczyk,<br />
K. Miler, S. Peeters, S.Pinczehelyi, J. Rishtr. J. Robakowski,<br />
T. Ryszkiewwicz & Z. Sosnowski, J. Szczerek, I. Szirányi, J. Valoch,<br />
J. Vetö, R. Vaško, A v.d. Weide.<br />
De Appel (The quarterly bulletin of the Appel Foundation, beginning in June 1981) <br />
~<br />
Literature: Jan van Raay: Reindeer Werk Live-In at „De Appel“. In: Artzien (→ Gibbs),<br />
Amsterdam. N°1, Nov. 1978. n.p.<br />
Flavio Pons: Feministische Kunst International. Panel discussion organized by<br />
Stichting de Appel... Dec. 10, 1978. In: Artzien, N°3, Dec. 1978 (→ Gibbs). n.p.<br />
Jan van Raay: Open Avond (Evening) at de Appel. In: Artzien(→ Gibbs), N°5,<br />
March 1979. n.p. (Further Open Avonds in the Appel in Artzien, Febr. 1980 /<br />
April-May 1980)<br />
«The Works & Words meeting last month in Amsterdam brought together artists<br />
from Poland, Hungary and Yugoslavia in a comprehensive 10-day programme of<br />
exhibitions, film, video, performance, lectures and discussions. The aim of the event<br />
was to give exposure to some of the latest artistic developments in these countries,<br />
and to provide the visitors with a sampling of similar developments by artists in<br />
Holland. Artzien conducted the following interview with two of the participants<br />
from Yugoslavia, Sanja Ivekovic and Dalibor Martinis...»<br />
(In: Artzien [→ Gibbs], Vol. 1, N°10, October 1979. n.p.)
→ GENERAL IDEA premiered their latest TV programme Test Tube at De Appel<br />
on 8 November... (The whole text of this production was reprinted in: Artzien<br />
[→ Gibbs], Amsterdam. Vol. 2, N°1, November 1979. n.p. In the same issue<br />
also an essay on this thema: General Idea – a Social Event by Hezy Leskly.)<br />
Hezy Leskly: The Apple and the Worms, I-II. A silly fairy tale for unintelligent<br />
children by an unintelligent writer. In: Artzien (→ Gibbs), Vol. 2, N°5, March<br />
and N°6-7, April-May 1980. n.p.)<br />
(Works and Words. About the document-catalogues published respectively):<br />
«...It is clear that the term „East European“ art is a misnomer, not so much because<br />
of the different circumstances in, say, Poland and Yugoslavia, but more because the<br />
new artistic languages currently in use are internationally recognised, and are operated<br />
outside of national cultural institutions. In Holland the State has already assimilated<br />
the avantgarde, whereas in the less „free“ countries it still has the position (and<br />
maybe the virtue) of being non-acceptable within the system.»<br />
(Michael Gibbs: Documents. In: Artzien, Vol. 3, N°1, Jan. 1981. 27 p.)<br />
«Apropos» Sentimattstrasse 6, Luzern Schwitzerland 1979<br />
^The Apropos T-Shirt Show. Cat. in form of a poster: A/2 (59.4x42 cm.), offset <br />
RV, with photodocumentation and participant list (over 60 parts.)<br />
Exh.: at the Apropos, Nov 15 - Dec 12, 1979<br />
Araujo, Avelino de Rua Seridó 486. Apt. 116. CEP 59020-010 Natal-RN. Brasil 1993<br />
°Cultura Alternativa. Doc. List of ~300 parts. / Centro C, Mendes, Rio de J., 1982 <br />
°Mostra de Arte Postal. Doc. A/3, offset colour / Centro de Cultura Alternativo. <br />
Rio de Janeiro, 1982<br />
^Poezine (Accordion (4x)-size mag. Vis. poetry. 23x15.5 cm. offset, 1993- bim.) <br />
^#2, 4, 5, 7, 9<br />
^Livro de Sonetos 1984-1994. (21x16 cm, offset, 54 p., {1000}) S. P. Natal, 1994 <br />
^Mostra Int. de Poesia Visual. (with Delmo Montenegre & J. Medeiros) Inv. 1995 <br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 133 p.<br />
Archetti Maestri «Last European Boys» Via C. Battisti 9. I-15011 Italy 1989<br />
^Fiumi e inquinamento / Rivers Pollution. Doc. A/3 poster phc., + an offset <br />
accordion folders in (5x) 22x10 cm., + postcard. Citta di Acqui Terme,<br />
Palazzo Robellini. November 25 - December 10, 1989<br />
Archivo Storico<br />
→ Baccelli, Vittorio<br />
Argañaraz, N. N. Miguelete 1669 Montevideo Uruguay 1982<br />
^O Dos / Revista de Arte de Vanguardia (Mag. for visual poetry with Mail Art colour. <br />
Half-legal, offset, 16-28 p. 1982-85, #1-5 in two series)<br />
^#1, 2<br />
«Arkade, Galerie» → Werner, Klaus<br />
Armleder, John M. (Gallery Ecart) 14 rue d'Italie Genève-1. CH-1211 Switzerland 1979<br />
↑ Gallery & Publication Ecart, 6 rue Pantamour, Genève-1. - “ - 1972<br />
.............................................................................................................................................................<br />
Happening Festival (The forming the artist group ECART: John M. Armleder, Claude <br />
Rychner, Patrick Lucchini; later also Gérald → Minkoff, Carlos Garcia<br />
& others) The festival was held in the cellar of the Hotel Richemond,<br />
Geneva, and consisted of 15 evenings between Nov. 18 - Dec. 3, 1969.<br />
Launching the Ecart Publication by the purchase of an offset machine and opening
the Ecart Galerie in the arcade localities of the house in 6 rue Plantamour.<br />
The Ecart published altogether 59 catalogues and artists' books<br />
or other kind of art publications in the years of 1973 –1982 and held<br />
a number of exhibitions and manifestations which supported the fluxus<br />
and post-fluxus mouvements, further the diverse conceptual and alternative<br />
trends of the international art scene in the 1970s.<br />
~<br />
Exhibitions and gallery events refering to network activities in Ecart:<br />
J. A.: Collage collectif par correspondence Nr. 1. (1972/73). (with Pat rick Lucchini <br />
– a collection of collage material in the form of correspondence art)<br />
Cat.: A/4, offset / colour, 40 p. Exh.: February 10 - March 9, 1973<br />
Gérald Minkoff / Art reported Stolen – An Analytical Work in a Reward Stimulation. <br />
Cat.: A/4, colour offoset print on blue & beige paper, 39 leaves in<br />
portfolio (32x24 cm.) {150}. Exh.: June 13 - ?, 1973<br />
Groupe Ecart / Ayacotl. (Participation on the 8 e Biennale de Paris) Cat.: A/5 horz., <br />
offset, 24 p. Ecart Publications. Genève, 1973<br />
John Gosling / Billard Drawings. 19 States of Play & Public Actions on Gallery <br />
Windows. (Window exhibition by graphic works on transparent foils)<br />
Cat.: A/4, colour offset, 20 p. {500}. Text: David → Briers. Nov. 1973<br />
Gérald → Minkoff – Jean Otth: Videoart. Cat.: A/4, colour offset, 28 p. {500}. Video<br />
Text by Pierre → Restany. Ecart Publications. March - April 1974.<br />
David → Zack / CV Nut Art Show. Facsimile catalogue of Mail Art pieces in enve- <br />
lope (of 35x25 cm.): colour offset print on diverse papers (12 pieces<br />
of 33x23 cm., 2 pieces of A/4, 1 shet of A/3 folded to two, and 1 piece<br />
of 25.3x21 cm.) stitched to 2 steps,{450}. Texts by D. Zack, David<br />
Gilholly, Ray → Johnson, and Sam Goodman (Not Art / Shit Art).<br />
Ecart Publications. Genève, Mai-June 1974.<br />
Endre → Tót / Correspondence avec John Armleder. (Facsimile edition of Tót's <br />
„zero correspondence“ with Armleder from 1973-74) Cat.: cut A/4,<br />
offset, also color print, 80 p. {500}. Ecart Publications. July 1974.<br />
Endre Tót / One Dozen Rain Postcards 1971-73. No catalogue. Exh.: June-July '74. <br />
Hervé → Fischer / Art et communication marginale – Tampons d'artistes. (Rubber ®<br />
stamp art) No catalogue. Exh.: November 14 - December 4, 1974.<br />
Robin → Crozier / Drawings, Collages & other Works. Cat.: with a letter of Crozier <br />
to Armleder: A/4, colour offset, 12 p. {500}. December 1974<br />
Raul → Marroquin / Installation Pieces – Peformances. No catalogue. Exh. & per- <br />
formances: March - April, 1976<br />
Dick → Higgins / Œuvres graphiques recentes, rétrospective des livres, documents, <br />
edition Something Else Press. No calatogue. During the exh.: Events,<br />
musique, théatre (performed by the Groupe Ecart, January 27 ).<br />
January - February, 1977<br />
David → Zack / Art Cause. No catalogue. Mai 26 - ?, 1977<br />
<br />
Ben (→ Vautier). No catalogue. February 23 - April 15, 1978<br />
Fluxus<br />
Ulises → Carrión / Box Clinch – Carrión versus Armleder; Carrión versus Merlin. <br />
(Performances) Mai 10, 1978<br />
Anna → Banana, Bill → Gaglione / Futurist Sound Performance. No catalogue. <br />
November 3, 1978<br />
Günther → Ruch: Vergangenheit / Zukunft / Gegenwart – Présent / passé / avenir.<br />
No catalogue, but an earlier publication from the year 1976.<br />
December 5 - ?, 1978<br />
~<br />
Selected Ecart Publications: artists' books and artists' works:<br />
Double Sphinx Series (Altogether 8 booklets, all in offset print, cut A/5 size):<br />
#1) Patrick Lucchini: (without title). 24 p. {250}. July 1973<br />
#2) John M. Armleder: Lézards sauvages I. 24 p. {250}. Nov. 1973
#3) John M. Armleder: Ayacotl – Excerpts. 40 p. {250 + 20}. Nov. '73<br />
#4) Gérald Minkoff: Alias. 64 p. {250}. Nov. 1973<br />
#5) Muriel Olesen: Dix fresques confuses à cinq voyelles. 32 p. {250}-<br />
July 1973<br />
#7) Gérald Minkoff: Touch your. 60 p. {250}. Nov. 1973<br />
#9) Mauricio → Nannucci: Provisoire & Définitif. 36 p. {250 + 50}.<br />
March 1975<br />
#11) Paul Armand Gette: Alnus glutinosa (L.) Gaertner. 20 p.<br />
{500 + 25}. Mai 1977<br />
Ecart Yearbook (planned as a periodical publ., one issue only). Texts by Armleder, <br />
John Gosling, Lucchini, Minkoff & Daniel Spoerri. 5x5x2.5 cm booklet,<br />
200 p. {430}. With a rubber stamp on the edge: homage à Diter Roth.<br />
Also stamps pn the first and éast leaves: E. P. G. 1973.<br />
Claude Rychner & Dougal (David McIntosh): Janvier 1975. (Poems by Michel <br />
Dufour & Allan Wall). 8.2x9.5 cm., colour offset, 12 p. {~200}. 1975<br />
Mauricio → Nannucci: Rose aux... An envelope (of 16.3x22.8 cm.) publication with <br />
17 contributions printed by colour offset on paper of diverse qualities<br />
and formats. The artists: John Armleder, Carlos Garcia, Patrick Lucchini,<br />
Ben Vautier, Aligheri Boetti, George Brett, Robert Filliou, Daniel<br />
Buren, James Lee Byars, Giuseppe Chiari, Robin Crozier, Antonio Dias,<br />
Ken Friedman, Jochen Gerz, Jannis Kounellis, Giulio Paolini, Claudio<br />
Parmeggiani, Endre Tót, Tim Ulrichs, Emmett Williams. April 1975<br />
Carlos Garcia: Country of Origin. 10x6 cm., 7 loose leaves (5 ones with orig. rubber ® <br />
stamps). 1975: 1st edition {50}; 1976: reprint {100}.<br />
Mauricio → Nannucci: Creare l'artista creativo / Ecritures, documents, editions. <br />
Diverse documents and print works as well as post cards, as magazine<br />
issues (Supra), artists' books (by Nannucci), slide, magnetic tape, info<br />
matter, invitations cards, and other efemera in a black cardboard box<br />
of 18.5x26x2.6 cm. {~50}. Ecart Publications. Genève, 1975<br />
Günther → Ruch: Vergangenheit / Zukunft / Gegenwart – Présent / passé / avenir. <br />
Cut A/5 size, colour offset, 36 p. with some transparent adhesive paper<br />
applications. {300}. April 1976<br />
Endre → Tót: TÓTalJOYS / 1971-75. Cut A/5 horz., offset, 12 p. {650} June 1976 <br />
Genesis → P-Orridge & COUM: G. P. P. v[ersus] G. P-O. / Mail Action. Cut A/4, <br />
offset, 104 p. {500}. September- October, 1976<br />
~<br />
Source:<br />
~<br />
Literature:<br />
Lionel Bovier & Christophe Cherix (eds.): L'irrésolution commune d'un engagement<br />
équivoque. Ecart, Genève 1969–1982. Exh. Cat.: of the Musée d'art modern et contemporain<br />
/ „mamco“ (October 28, 1997 - January 19, 1998) and the Cabinet des<br />
estampes (October 28 - December 21, 1997), Genève. With a chronological survey<br />
of the editors and additive essays by Catherine Quéloz, Christian Besson and Rainer<br />
Michael Mason, furthermore with an large documentation of the exhibition and<br />
manifestation events of the Gallery Ecart and the complete list of all Ecart Publications.<br />
Bibliography and index. 24x22 cm., offset, 156 p. Genève, 1997<br />
«ECART is a gallery/bookshop/publisher in Geneva run by John Armleder, Gerald<br />
→ Minkoff, Carlos Garcia, & others. The world „ecart“ means approximately „the<br />
space between things or the fact of making a step aside. It bears eventually the sense<br />
of deviation, digression, a gap, a swerving“ which sums up very well their activities<br />
with video, books, postcards, and with such exhibititors as Endre → Tót and Robin<br />
→ Crozier. Books by these 2 artists arrived recently in the post. (...) Ecart's Double<br />
Sphinx Series of booklets are, as their title suggests, something like riddles. In<br />
Touch Your (no. 7) Gerlad Minkoff presents the reader with enlarged details from a<br />
number annotated drawing of an elephant, and the upper sections from pages of an<br />
english-french dictionary, while in Alias (no. 4) we find permutations of the letters<br />
of the author's name and a selelction of faint xeroxed photographs. Not much to go<br />
on, but it's worth trying to work them out. One that I havn't yet been able to get into
is Muriel Oleson's Dix Fresques a Cinq Voyelles. Ecart are operating on the far-out<br />
fringe of the avant-garde, in a sort of no-mans-land without frontiers. But their<br />
works are not too distant...»<br />
(News and Reviews. In: Kontexts, #8 [→ Gibbs]. Amsterdam, 1976. 15 p.)<br />
Arnold, Heinz Ludwig. Pf. 638. Göttingen, D-3400 Germany 197?<br />
^Text + Kritik (Literature mag., 23x15 cm., offset, ~60 p. 197?-, qu.) Ed. Text + <br />
Kritik GmbH, München. In the issues 25 & 30: Konkrete Poesie I-II:<br />
^#25 / 1975: Experimentelle und konkrete Poesie, 48 p.<br />
^#30 / 1975: Kritische Ansätze zur konkreten Poesie, 60 p.<br />
Arnold, Tomy W. → Feh! Press<br />
Árnyékkötök (Shadow Fixers) (Zsuzsa Dárdai, János Szász, István Tenke, Ervin Zsubori, Dániel Erdély & others)<br />
Timár u. 17. fsz. 3. Budapest, H-1034 Hungary 1996<br />
↑ Ed. Cserépfalvi, Attila út 20. III. / 1. Budapest, H-1013 - “ - 1990<br />
.............................................................................................................................................................<br />
^Árnyékkötök (The «ancestor Árnyékkötök». Mag. for copy art only – no texts! <br />
A/5, phc., 18 leaves {12 copies only}. Appeared monthly, 1989. #1-6)<br />
^ #1-6<br />
^Árnyékkötök („Shadow Fixers“, from the #15 entitled as Árnyékkötök, co-media.) <br />
(Mag. for electrocopy art. Texts: Hungarian / English. A/4, phc., ~60 p.<br />
1990-, qu. ~ 30#) Budapest. The Issues (with guest authors/groups/events):<br />
#1 (90/1) Frankl Aljona, Klaus Banet, Daniel Cabanis, Joseph Kadar,<br />
Irén Kiss, Vera Molnár, Electrografia Museo Cuenos E, etc.<br />
#2 (90/2) R. Hervé, László Kerekes, Bálint Szmbathy, etc.<br />
#3 (90/3) György Vadász (1953-1985) issue.<br />
#4 (91/1) Fax-project Manufaxtura, Ágnes Haász, Gyula Máté, Vera<br />
Molnár, etc.<br />
#5 (91/2) Debra Millard, József Scherer, Gábor Tóth, etc.<br />
#6 (91/3) Cejar (Christian Rigal) issue. 1ere Biennale d'Electrographie<br />
Paris.<br />
#7 (92/1) Piermario Ciani / Stickerman. TRAX. Group Art-Reseaux.<br />
4th Int. Alternative Art Festival Érsekújvár/Nové Zámky SL.<br />
Essay by András Bohár<br />
#8 (92/2) State of Being, István Burger, Dániel Erdély, Ágnes Haász,<br />
Dezsõ Kiss, Slavko Matkovic, etc.<br />
#9 (93/1) Daniel Cabanis, Jamesa Duran, Jean Mathiaut, Dijon Art<br />
School – Intermedia.<br />
#10 (93/2) Georg Mühleck, Jürgen O. Olbrich, Andrej Tisma. COM<br />
TRUST Group. I. S. C. A. Ars Electronica '93, Linz<br />
#11-12 (93/3-94/1) FAX-projejcts: Send us a Fish (BBS, Budapest),<br />
S.O.S. live line (5th Int. Alternative Art Festival, Nové<br />
Zámky), City-Analysis (Autumn Festival, Budapest)<br />
#13 (94/2) Ars Electronica '94, Linz / Peter Weibel. Trench Art Festival<br />
in Romania. Graphic Biennale, Györ Hungary. Gyula Máté.<br />
#14 (95/1) Stephen Perkins issue (Street art collection, San Francisco)<br />
#15 (95/2) Eduardo Kac: Aspects of the Aesthetics of Telecommunications.<br />
Árnyékkötök retrospective show in Györ H.<br />
#16 (96/1) FAX issue: Essays by G. Bleus (Telecopying in the Electronic<br />
Netland), C. F. Vicente, Reed Altemus, Georg Mühleck<br />
& Paulo Bruscky.<br />
#17 (96/2) Concentration exhibition (János Saxon Szász). Works and<br />
essays by Zsuzsa Dárdai (Electro-Aura). Writings and works<br />
by István Tenke & Ervin Zsubori.<br />
#18 (97/1) Shadow exhibition at the Hungarian Photographic Museum,<br />
Kecskemét, April-May 1997. Essay by Miklós Peternák.
#19 (97/2) FAX-issue: Marie Paule Cassagne, Lilian A. Bell, etc.<br />
The chronology of internationale FAX-projects 1982-1996.<br />
#20 (97/3) FAX-issue: R. Maggi / FAX-show in Kaposvár H / M. Mitropolus<br />
/ Eyes project by I. Tenke, Budapest / Klaus Urbon:<br />
Museum für Fotokopie.<br />
#21-22 (98/1-2) Works from the Árnyékkötök-archives 1990-1998.<br />
Essay to the Árnyékkötök story by Géza <strong>Perneczky</strong>.<br />
#23 (99) Repertorium for the #1-22.<br />
^#1-22, 23, 26, 27, 29<br />
^Electrographic Art. (A/4, 17 phc. leaves in portfolio). Comm. Centre «Somogy», <br />
Kaposvár H. May 17 - June 15, 1991<br />
^Electrographic Art. Cat.: 20x14 cm., phc., 28 p. Selyem u 12, Nyiregyháza H. <br />
July-August 1991<br />
^FAX Catalogue (FAX matter on a 240 cm. long paper roll) Edition FÁME. FAX <br />
Exh.: Érsekújvár H. September 1991<br />
^Electrographic Art. Cat.: 21x21 cm., offset, 20 p. {300}. (Concept by → Szombathy) <br />
Texts: Bohár & Barna Exh.: Galerija Savremene Likorne Umetnosti<br />
Izlozbere Prostorije Galeje. YU. January-february 1993<br />
Launching the Gallery Black for exhibition about electrographic art in Budapest, 1997<br />
Invitation from the ISCA (→ Neaderland) to co-operation at an quartal-issue, <br />
New York, 1998<br />
^FaXi-mille: Date and Time. Fax and electrographic show included into the large<br />
exhibition “Internet Galaxis 99” at the Mücsarnok (Kunsthalle) in<br />
Budapest, Feb-March, 1999. Cat.: Horz. A/4, B/W phc., ~100 p. 1999.<br />
^Árnyékkötődések (Light and shadow art assotiations). Electrographic exhibition at the <br />
Liget Gallery, March-April, 2001, Budapest. Artists: Dárdai, Kováts,<br />
Tenke, Zsubori. Cat.: Horz. 14x20.5 cm. phc., 54 p. + cover.<br />
Documentation in images and texts, also statements of the artists in<br />
Hungarian and English.<br />
~<br />
Literature:<br />
«Arrowspire Press» → Egger, Walter<br />
FAX <br />
«The eight-year-long publishing activity of Árnyékkötők has been made joyful by<br />
several animating circumstances, or, if you like, utopias (there is nothing shameful<br />
about this word). I shall mention some.<br />
The issues of the periodical are marked by a small remark placed in the<br />
imprint or at the bottom of the page saying that in Eastern Central Europe their<br />
periodical is the only professional journal in the field of electrography. I must affirm<br />
at once that in these questions facts and not utopias are concerned. Furthermore, I<br />
must also add that this statement could easily have been as albeit there is busy<br />
copigraphical activity in Germanic countries, no professional journal exists there.<br />
Beside many other reasons the early upswing of the Árnyékkötők can be accounted<br />
for by the fact that in Hungary, as opposed to other“peoples' democracies“, private<br />
photocopying was slowly becoming accepted already in the eighties. As the regulations<br />
limiting the publication of periodicals became more relaxed, then, such a<br />
journal, growing from the underground movement, but edited with professional<br />
ambitions, was understandably received with interest.<br />
(Géza <strong>Perneczky</strong>: What do the Árnyékkötők copy? [On the 10. anniversary of<br />
the Group Árnyékkötök] In: Árnyékkötök, #21-22. Budapest, 1998. 41-66 p.)<br />
«Art Attack»<br />
!Art & Tal!<br />
«Artefax»<br />
«Artestudio»<br />
→ Nordø, Guttorn<br />
→ Figueiredo, Cesar<br />
→ Guerrero, Mauricio<br />
→ Morandi, Emilio
!Artistamp!<br />
«Artists' Books»<br />
→ Bidner, Michael<br />
→ Appendix: Artists' Postage Stamps<br />
→ Appendix<br />
«Artists' postage stamps / Artistamps» → Appendix<br />
!Art Dump! Box 147, Stn. J. Toronto, M4J 4X8 Canada 1990<br />
^Postmodern Postdogmatism. Inv. 1990<br />
<br />
«Art Lover»<br />
→ Szombathy<br />
«Art Metropole» 788 King St. Toronto, M5V 1N6 Canada 1989<br />
↑ 217 Richmond St. W. Toronto - “ - 1981<br />
.............................................................................................................................................................<br />
Books by Artists. Cat.: (with essays by Tim Guest & Germano Celant and with docu- <br />
mentation of books by over 50 artists. Exhs.: Nat. Gallery of Canada /<br />
Winnipeg Art Gallery, 1981) 20.4x26.5 cm., offset, 128 p. or 50 p. (?)<br />
Toronto, 1981<br />
^Evidence of the Avant Garde / Collection of intermedia + ephemera. Cat.: 26.5x19.8 <br />
cm., phc., 96 p. Toronto, 1984<br />
«Art Papers» P. O. Box 77348 Atlanta, GA-30357 USA 1991<br />
↑ 119 N 4th St. #303, Textile Building Minneapolis, MN-55401 - “ - 1989<br />
.............................................................................................................................................................<br />
Information about the Art Strike. In: Artpapers. Vol. 9, N° 3, November 1989<br />
Bob → Black on the Art Strike. In: Artpapers. Vol. 9, N° 4, December 1989 <br />
^Correspondents. Art Papers' Opened All Nite. Cat.: in: Art Papers, May-June <br />
1991. 2-35 p. Exh.: Tula Fundation Gallery, May 30, 1991<br />
!Arto Posto! (Dorothy Patrick Harris) 199 14th n. e. / Apt. 2505. Atlanta, GA-30309-3691. USA 1995<br />
artoposto@aol.com<br />
~<br />
Literature:<br />
«...When living in Minneapolis, Minnesota about eight to ten years ago, I took a<br />
workshop at the Minnesota Center for Book Arts on mail art. I was done in<br />
conjuction with the Walker Art Center, a wonderful contemporary art museum<br />
there. We modified text by – draft, can't remember famous artists' name now, type<br />
set on old press – added our modifications and art do it, then mailed it all over the<br />
world to a list of mail artists that Scott → Helmes had, asking these artists to modify<br />
our modifications and mail them back to the Walker museum... As a result of that,<br />
we started a rubber stamp/mail art group in Minneapolis, and it is still doing strong.<br />
I think. The → Bag Lady, whom I introduced to mail art and invited to that party,<br />
still lives in Minneapolis and participates in that group, and is coming to spend a<br />
week with me, to make art and play on the computer, in just a couple of weeks. And<br />
so the networking goes. I have since lived in St. Louis, Missouri; Chicago, Illionis;<br />
and now in Atlanta. In each in these Cities I formed groups that meet periodically to<br />
talk mail art, and have had mail artists visitors and house guests from all over the<br />
world, som of whom I had never met in person before, but knew through the mails,<br />
coming through or to each city...»<br />
(^<strong>Ruud</strong> <strong>Janssen</strong>: The Mail Interview with Arto Posto. TAM-950076, 12 p.<br />
A/5, phc., 1995.)<br />
«Artpool»<br />
→ Galántai, György<br />
«Artons Publishing» 183 Bathurst Street, 1st Floor Toronto, M5T 2R7 Canada 1988<br />
↑ 217 Richmond St. W. Toronto M5V 1W2, - “ - 1978<br />
↑ 489 College Street, 5th Floor Toronto, M6G 1A5 - “ - 1976
↑ Artons. 320 – 10st St. N.W. Calgary (Alberta), T2N 1V8, - “ - 1974<br />
.............................................................................................................................................................<br />
Editors: Robertson, Clive & Marcella Bienvenue.<br />
Centerfold. An interdisciplinary Artists' Newspaper.<br />
<br />
(Tabloid, newsprint, 1976-79, m.)<br />
^Fuse (Multimedia mag., the continuation of Centerfold. sA/4, offset, ~35-50 p.<br />
1980?- ) Toronto<br />
^#Vol. 4/ 2, 3, 6; Vol. 11/ 4<br />
<br />
~<br />
Literature: Judith → Hoffberg: Centerfold. In: Umbrella. Vol.1, #3. Glendale, 1978. 80 p.<br />
»There's a formidable history behind this politically-charged magazine stemming<br />
from the late '70s. It is a fisty item that picks on all sorts of bugaboos, governmental<br />
and otherwise. The issue at hand steers a bit more toward art, per se. It contains a<br />
thoughtful review of Toronto performance art...» (Lightworks [→ Burch], Glimmerings<br />
[Print review], N° 18, Winter 1986-87, 49 p.)<br />
«Artpool»<br />
→ Galántai<br />
Arts, Arno Klarlendalseweg 419 Arnhem GV, NL-6822 Netherlands 1984<br />
^Festival of Arts. (Drawings, paintings, prints, photos, objects, projects.) <br />
Cat.: 23.5x21 cm., offset, 72 p. Gemeentemuseum, Arnhem. 1982<br />
^Arts in the City. Doc. A/4, phc., 4 p. / Festival Arnhem, Post Office, May-June <br />
/ Living Room Arts, Nijmegen NL, September 1983<br />
^Arts on the Move. Cat.: 24x17 cm., offset, 16 p. Exh.: SBK Gelderland,<br />
<br />
Kerkstraat 19. Arnhem, NL. 1984<br />
^Arts above the Couche. Doc. A/4, phc., 4 p. / Kunstverein, Stadt. Museum, <br />
Kassel, D. 1984<br />
Another Art / Life Dinner (with Rob Thuis). A box of 26x15.5x5 cm. with contri- <br />
butions by Rob Thuis (tape), Art/Life magazine, Café Podium, Restaurant<br />
Prelude and the artists A. Arts, W. Krechting, J. O. Olbrich,<br />
N. Monro, A. Schnyder, J. Wessels (objects, text & image docs. in<br />
~ postcard size). {59} Korenmarkt. Arnhem NL, 1984?<br />
^Artibus Sacrum / The Arts Friends Show. (Exhibition and live-performances by <br />
A. Banana, M. Bloch, S. van de Burg, J. van Geluwe, W. Hainke, K.<br />
de Jonge, D. Kamperelic, R. Maggi, J. O. Olbrich, S. Paridaen, M.<br />
Peulen, C. Pittore, A. Schloss, C. Schmidt-Olsen, J. Sonntag.)<br />
Cat.: A/5, offset, 44 p. Exh.: Kunstcentrum de Gele Rijder, De-Korenmarkt,<br />
Arnhem. Oct 1-20, 1985<br />
»Art Strike 1990-93» → Appendix<br />
Artworks Comittee, The... Tokyo Japan 1985<br />
Art Works. The art-minded network. Limited edition. (Unbound, letter s. assembling <br />
published in spring folders in an edition of 150 copies. Thematic issues.<br />
Ca. 25 sheets per each publ., 1985-, bimonthly. A parallel / accessor publication<br />
to the Art Works by Steve → Peacock in the USA.)<br />
«A. S. A. C.» (Art Strike Action Committee, 1990-1993)<br />
ASAC California (Stephen Perkins), Box 170715. San Francisco, CA-94117, USA<br />
ASAC Eastern USA (John Berndt) 3523 N. Calvert St. Baltimore, MD-21218, USA<br />
ASAC Ireland (Tony Lewes) Allihies, Bantry, West Cork, Rep. Ireland<br />
ASAC Latin America (Clemente Padín) C. de Cor. 1211. Montevideo, Uruguay<br />
ASAC United Kingdom (Stewart Home) BM Senior, London WC 1N 3XX<br />
<br />
<br />
<br />
<br />
<br />
Ashworth, Robert P. O. Box 2161 Bellingham, WA-98227 USA 1984<br />
^Telling Tales / Robert's letter, etc. The Handmade Magazine Featuring Creative
Social Commentary. (Letter & digest size mag., phc. 8-20 p.<br />
1979-81 monthly, after 1981 quarterly)<br />
^#2, 14<br />
^The Super Number Mail Art Roster. Cat.: Letter, phc., 10 p. 1984<br />
^My West Coast Bike Ride. Summer 1987. Self edition. 21,6x14 cm., phc., 30 p.<br />
~<br />
Literatrure:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the<br />
light of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 174 p.<br />
«Asociación Latinoamericana y del Caribe de Artistas Correo» → Marx, Graciela Gutierrey<br />
«Asociacion Mail-Artistas Españoles» → Ibírico<br />
Atchley, Dana Ace Space Company. Box 62 Crested Butte, CO-81224 USA 1989<br />
↑ Phoenix College, Art Dept. 1202 W. Thomas Road, Phoenix, AZ-85013, USA 1972<br />
↑ Ace Space Company, Victoria Univ. Vancouver Island Canada 1970<br />
.............................................................................................................................................................<br />
Notebook One (Like assembling in letter size ringbook {250}, ~60 parts. 1970.)<br />
Space Atlas (Like assembling in letter size ringbook {250} 1971). ~120 parts.<br />
One of the first assembling like network publications. The address list<br />
of the Space Atlas has been taken over by the → Image Bank and it<br />
became a part of the int. network and the mail art net. Notebook One<br />
+ Space Atlas had altogehter 3 issues. 1970-1972.<br />
^Ace Space (One sheet info + additive info-matter, 1972-, #1-3?) Phoenix<br />
~<br />
Literature:<br />
«...One of the first project that began the consciousness of a network was done by<br />
Dana Atchley during his two years of teaching at the University of Victoria (1969-<br />
71). An American artist, separated from friends and a stimulating art community,<br />
he decided he needs to do something to keep up his contacts with the outside world.<br />
(...) Atchley went out and bought 250 empty three ring binders and invited all his<br />
friends to contribute pages... By the end of the year, there were about sixty contributors<br />
to the Notebook. Eric Metcalfe and Kate Craig helped Atchley assemble the<br />
issues, as Metcalfe was a student of his. (...)<br />
...In the end, Atchley was fired by the University, but had the foresight to<br />
apply to the Canada Council for a travel grant to go out and meet all the participants<br />
in the Notebook and Space Atlas... his „space trunk» containing his archive. This<br />
started him off on a ten year Road Show, which is what he titled his presentations of<br />
slides and stories about his work. This marked the end of Atchley's involvement<br />
with mail art.»<br />
(Anna → Banana: Mail Art Canada. In: M. Crane / M. Stofflet [eds.] Correspondence<br />
Art. Contemporary Art Press [→ Loeffler]. San Francisco, 1984. 237-238<br />
and 243 p.)<br />
«...Dana Atchley, a thirty-year-old Bostonite trained as a graphic designer and typographer,<br />
continous to produce exquisite prints... which he distributes throughout<br />
the correspondence systems. His own system, however, has to do with the coordination<br />
of other networks via a concept whereby „space is the connector of all things“.<br />
Atchley accomplishes this through a unique approach to both publishing and<br />
curating. His publication, Space Atlas, brought together pages designed by hand<br />
artists from all over the world, including printed pages and others made by hand or<br />
bearing stamps and stuffed envelopes. Each contributor bore the expense of reproducing<br />
250 copies of each of his pages, which were then sent to Atchley and<br />
assembled into 250 loose-leaf, three-ring nootebooks. Mailing and binding costs<br />
were subsidized by a $ 440 Cannada Art Council grant. Each artist received two<br />
copies. Nothing was rejected or edited, no rights were reserved and no copies were<br />
offered for sale. An earlier effort, Notebook One, followed similar principles.<br />
Atchley has since extended the notebook principle to traveling „space trunk“
...that can accomodate... video tapes, found materials, and so on. He has been hauling<br />
the trunk from one city to another...»<br />
(Thomas Albright: Correspondence Art. In: M. Crane / M. Stofflet [eds.]<br />
Correspondence Art. Contemporary Art Press [→ Loeffler]. S. F., 1984. 224 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 46 p.<br />
«Atelier du 3x3:33» B. P. 665–75531 Paris, cedex II. France 1986<br />
^Bandes (Tabloid mag. for Mail Art and graphic, 44x32 cm., offset, 8 p. 1986-, ir.) <br />
^#3, 5<br />
!Atmosphere Controlled! → Nielsen, Mogens Otto<br />
«Atom Club»<br />
(Rock & multimedia centre / W. Levy, Genetic Factor, G. Hobijn, W.de Ridder),<br />
Prins Hendrikkade 142, Amsterdam Netherlands 1985<br />
^Atom Club Magazine (Info booklets, 13.5x8.5 cm, offset, ~80 p. 1985-, qu.) <br />
^#1<br />
Attalai, Gábor Gróza rkp. 11 Budapest, H-1085 Hungary 1990<br />
L-P-C art (Land-Project/Post-Concept art)<br />
in: → Groh: Aktuelle Kunst in Osteuropa, 1972, 9 p.<br />
°Red-y-made pieces. (Applicated paper works on cardboard with rubber stamps,<br />
colour effects or orig. photos. 1-4 sheets, div. sizes, distributed as<br />
Mail Art uniques and multiples) Budapest, 1976-79<br />
«Audio Art / Audio Network» → Cassette Net<br />
<br />
® <br />
«Augenweide, Edition» c/o → Kowalski, Jörg, Halle D-06114 & Tarlatt, → Ulrich, Bernburg, D-06466 1987<br />
→ Tarlatt, Ulrich: Mein Zahn riesengroß. (The first edition of the Augenweide, <br />
«erotic dreams» by J. → Kowalsky, U. Prautsch, H. Schubert, 29 silkscreen<br />
illustration by U. → Tarlatt + 4 photos by J. Franke) {80}, 48 p.<br />
1987<br />
→ Deisler, Guillermo & others: Rauhnachtträume. (Dreams by 12 authors, graphics <br />
by G. Deisler, Steffen Vollmer & U. Tarlatt) {100}, 30 p., 1987-88<br />
Des Kaisers Bart. (The «last German-German anthology» about emperor Friedrich <br />
Barbarossa and the German unity. Texts by F. Weyh, W. Bartsch, P.<br />
→ Huckauf, J. Kowalski, H. U. Prautsch, T. Böhme, &10 silkscreens<br />
by Frieder Heinze, K. Süß, U. Tarlatt.) {150}, over size, 1990<br />
5 Jahre Edition Augenweide. Inv. to the exh. / Gal. Marktschlößchen, Halle, Am <br />
Markt 13. Accordion book (4x) with the history of the in 1987 launched<br />
(and in the first time illegal publishing) editionhouse as well as some<br />
book-illustrations and an list of authors. 1991<br />
~<br />
Source:<br />
^Ulrich Tarlatt. hortus animae. (Ed.: Erik Stephan) Cat.: 25.5x19.5 cm., offset,<br />
80 p. With the complete publication list of the artists' books 1987-1995 of the<br />
Edition Augenweide (22 items). / Museum Schloß Burgk / Galerie Himmelreich,<br />
Magdeburg / Cranach-Stiftung, Wittenberg. 1996<br />
AU+MA (Mail Art Urgent Action) GOM@ (Global Org. of Mail Artists) 1999<br />
Organisation committee: Cesar Regelo Campos, Tartarugo, Montse Fornós, Hans Braumüller,<br />
Clemente Padín, Fernando García Delgado, Jose Emilio Antón, Elías Adasme / Boek 861, Taller<br />
del Sol, Amma, Vortice Argentina, P.O. Box, Stidna. http://www.geocities.com/SoHo/Atrium/2759<br />
~<br />
^Libertad en la enseñanza de las artes / La influencia de los regímentes autoritarios. <br />
(Solidarity with Humberto Nilo, ex director of the Fac. of the Fine Arts,<br />
Santiago de Chile) Doc.: Poster of 70x50 cm, by black/red offset, r/v.
+ participation list: A/4, 4 leaves. Exh.: Escola d'Art i Disseny, Tarragona.<br />
March, 1999<br />
Australian Mail Artists<br />
°Recorder / Projet Mail Art. Cat.: 37x27 cm., offset, non-pag. A collective project<br />
by the University Union. Ed. Art Core Meltdown, Sydney. 1979<br />
<br />
Austrian Copy Artists<br />
^Zwischenbilder und elektronische Arbeiten von österreichischen Künstlern. <br />
Cat.: Cut A/4, offset, 152 p. Exh.: Landesmuseum. April 28 - June 5.<br />
Linz, 1994. Texts: Peter Assman: Transformationen der Wiederholung<br />
/ Carl Aigner: Bild-Laboratorien / Johannes Dornisch: Wie «es»<br />
sein könnte / Peter → Huemer: Dazwischen. / Artists' Statements.<br />
^13. Int. Triennale für Originalgrafik / Copy Art / High Tech-Reprokunst. <br />
Cat.: 20x20 cm, offset, / Grenchen October 1994<br />
→ Maerz Galerie, Linz<br />
Avau, Roger (!Metallic Avau!) Rue Martin van Lier 11. Bruxelles, B-1070 Belgium 1992<br />
↑ Av. Wielemans Ceuppens, 50 / A. Bruxelles, B-1190 - “ - 1978<br />
.............................................................................................................................................................<br />
^Aerosol («The only graffiti mag. in Europe», sometimes as Cat.: 30.5x21.5 cm., <br />
offset, ~8 p. 1978-87, #1-32) Street Arts & Co. Bruxelles<br />
^#16 = Cat., 18 = Cat., 21, 24, 25<br />
^International Graffiti Mail Art. Cat. in: Aerosol, Vol. IV, No 16, Aout 1981. <br />
A/3 sheet folded to two, offset. Exh.: Salon d'Art, rue Hotel des<br />
Monnaies 107/a. B-1060 Bruxelles.<br />
^Cirque Divers - Int. Graffiti Mail Art / 2. Cat. in: Aerosol, Vol. V, No 18. Jan. <br />
1982. 61x43 cm. folded to 4 (~A/4 size), RV. Exh.: at Cirque Divers,<br />
Roture 13, B-4020 Liege.<br />
^Graffiti / Bibliography. (1 xeroxed leaves, A/4) 1982<br />
<br />
^Mur des Communications. At the Cité de la Radio-Television, Patio 1 U. 1984 <br />
(Blvd. A. Reyers 52, 1040 Bruxelles) Project by Metallic Avau.<br />
Catalogue in the form of a poster with image & part. list. Rose paper<br />
of 61x38 cm., BW offset.<br />
^Art + Communication NETWORK (Mag. A/4, offset, 4 p. 1991-, qu.)<br />
<br />
^#1<br />
^Com 1000 (with a text of André Noël: Computerized sign drawing. Book, A/4, phc., <br />
71 p.) S. P. Bruxelles «1st English Edition, 1993»<br />
^COM 1000 News (Mag. by Avau's «drawing sign writing» A/4. phc., 4 p. <br />
1993-, #1?)<br />
^I . I> Semagraphic Communication Art. (The successor of the COM 1000, 1996-, ir.) <br />
^#1, 2,<br />
~<br />
Literature:<br />
«...It is sure the graffiti is my big adventure for about fifteen years. I've quickly<br />
understood that the graffiti would bring me into another sight about art. At first it's a<br />
free expression where life and art deeply mixed. It is a modest action because these<br />
works are spontaneous and mortal. The public graffiti lets us know that there are not<br />
the cultural organizers who impose their taste. It's the individual intelligence which<br />
lets everyone decide about the art. It brings you into a freedom of your choice, a<br />
wish to have another look at your moral/intellectual values. It is the look, the eye<br />
which create the artwork, which should stay a vulgar and lifeless object without this<br />
glance...»<br />
(Metallic Avau / Carmelite Convent / Brugelette / Belgium (Interview). In: Métro<br />
Riquet, N° 8, Paris, 1990 [→ Duvivier], 19-24 p.)<br />
!Axe Street Arena! 27788 N. Milwaukee Ave. Chicago, IL-60647 USA 1986<br />
Panic (Mag. for polit art / writings and images. Letter, offset. 1986-, qu.)
^Bolo'Bolo Mail Art Exh. (Bolos were largely self-reliant communities of 300-500<br />
people working on an imaginative plan of the substruction of the „Planetary<br />
Work Machine“ and the emergence of social order based on the<br />
autonomous authority of bolos.) Inv.: Letter size leaflet r/v. 1987<br />
~<br />
Literature:<br />
«This first issue of Panic serves as the catalogue for an international mail art show<br />
held in Chicago last year to celebrate Haymarket Centennial Week. A mash of<br />
articles, writings, images and anarchy.» (Stephen → Perkins: Magazines. In: Box<br />
of Water, N° 3, 1987)<br />
«A. Y. O.» P. O. Box 44123. W. Sommerville, MA-02144, USA 1985<br />
Bag of Wire Expose (BOWE) (Curious and disconcerting mixes of collages, writings, <br />
found pieces and quasi-informational text/image combinations.<br />
Half-legal, phc., 40 p. 1985?-, qu.)<br />
~<br />
Literature:<br />
«We've never actually been in contact with these xeroxers but have found a copy in<br />
a funky store in NY and been given a copy at a bookfair in MN. Says they come out<br />
quarterly, the graphics are imaginative and strange, the writing less so. Belongs on<br />
the shelf next to your old copies of PhotoStatic and Box of Water. (Mega Zines. In:<br />
Anti-Isolation [→ Xexoxial], #3-4, 1987. 10 p.)<br />
Ayah Okwabi Box 6055 Accra-North / Accra Ghana (Africa) 1985<br />
^Africa Arise. (with → Hamann, Volker, Berlin) Cat.: A/5, phc., 12 p. Edited in <br />
Berlin, 1988. Project in Ghana / Germany, 1987<br />
Baake, Rolf-Peter Postfach 301642 Berlin, D-1000 Germany 1981<br />
Gepein (Magazine in A/3 tabloid size with concrete poetry and concept art. Phc., <br />
collages, + orig. drawings, offset, ~80 p. 1981?-, #1-7)<br />
~<br />
Literature: Instant Media, #16 (→ Kretschmer)<br />
Baccelli, Vittore Archivo Storico. Via S. Giorgio 33 / C. P. 132. Lucca, I-55100 Italy 1996<br />
↑ Piazza S. Giusto 10 Lucca, I-55100 - “ - 1992<br />
.............................................................................................................................................................<br />
Fuck (Assembling for prints, stamps, Mail Art, poetry {200}. Folio and A/4 sizes, <br />
~15 sheets. 1978?-, over 20#)<br />
^Vittorio Baccelli Magazine (A/4 assembling {100}, folded to A/5, 1980-81, ir.) <br />
^#?<br />
^Vittori Baccelli in vitro (with V. → Baroni), 13 xeroxed & collaged A/4 leaves <br />
in plastic cover {20}, Forte dei Marmi, 1980<br />
^Mail Art & Sport. Cat.: A/4, phc., 14 leaves / Piscina & Bibl. in Capannori, 1996 <br />
<br />
Badao, Dao<br />
(Connection to → Rastorfer, J-M, or an Editionhouse only?)<br />
Case 54, Bergières Lausanne, CH-1000 Switzerland 1989<br />
^Send Postage Stamps for Karenni. Inv. 1989. (Curious para-philatelic movement <br />
about the “young state Karenni“. The result was pubished by→ Léopold,<br />
Pierre (?): Timbres pour le Karenni and Karenni: des artistes et des<br />
timbres, Ed. Dao Badao, Lausanne, 1990<br />
^Mail Art Projects / Mail Art Events. Invs. for data and documentations. 1994 / 1997 <br />
Backstain, Joseph Modern Art Institut. Bersenjevskaya Naverejnaya 20. Moscow, 109072, Russia 1996<br />
!Bag Lady, The! 108831 Sumac Lane Minnetonka, MN-55343 USA 1991<br />
^The Empty Envelope.Doc. / Empty Envelope Press. 233 East Wacker Drive. <br />
#3011. Chicago, IL-60601, USA. 1991<br />
^Small Books Documentation. Cat.: Digest, phc., 16 p. /School of the Art Inst. of
Chicago, Flaxman Library. November 1991<br />
^Shaped Books – at least 4 pages. Inv. 1992<br />
<br />
!Bag Post! → Barbot, Fernand E. J.<br />
Bak, Imre Petzvál u. 23/A. Budapest, H-1115 Hungary 1990<br />
↑ Nagybányai út 34. Budapest, II. - “ - 1972<br />
.............................................................................................................................................................<br />
Conceptual works in form of postcards and minibooks 1972-73, used also as correspondence<br />
material:<br />
^Big Art (1 km²). (Conceptual & visual literature works) Photocopied A/4 brochure <br />
with 7 sheets, + cover. S. P. Budapest, n.d. (1971)<br />
^Itt / Here. Booklet in the size of 13.3x20.3 cm. horz., offset + photo, 5 leaves, 1972<br />
<br />
^Booklets: Space and Time & Three Pictures / Három festmény. 13.5x20.5 cm. horz., <br />
offset, 3 leaves, 1972<br />
^Three Project / Három projekt. 12.5x20 cm. horz., offset, 4 leaves, 1972<br />
<br />
^My Shadow is my Art / my Art is my Shadow. Offset leaflet,14.5x21 cm. horz., 1972<br />
<br />
^Three leaflets: Portrait / Stilll Life / Landscape. Each 13.5x20.5 cm. horz., offset. <br />
1972<br />
^The Rising of Good and Bad. Postcard, A/6, offset b/w. 1972<br />
<br />
^Up - Down. Postcard in size of 10x21 cm.. horz., offset b/w. Galeria Akumulatory.<br />
Poznan PL, 1973<br />
^Three postcards with concepts in colour: Three Blue Squares / Three Yellow Squares / <br />
Three Red Squares. Each A/6 horz., offset colour. 1972<br />
Bäker, Heimrad Stockwiesen 13. Linz, A-4020 Austria 1970<br />
^Neue Texte (The best known review for visual and experimental poetry from Austria, <br />
26.5x21.5 cm., offset, ~40 p. 1970-, m.)<br />
^#5-6, 11, 15<br />
Bakhchanyan, Vagrich. 219 E. 84th St. Apt. 1-D. New York, NY-10028 USA 1987<br />
^Stalin Test. Project. New York, 1987<br />
<br />
Bakos, Zoltán ? Tapolca Hungary 1982<br />
Fixing of Sings. Doc. 1982<br />
<br />
Balbat, Made Veimeri 34 - 165. Tallin, 200038 Estonia 1992<br />
Artistamps: ^Statements about Mail Art (With <strong>Ruud</strong> → <strong>Janssen</strong>. Sheet of 16 diff. <br />
stamps, phc. on rose paper, not perforated) Marked: TAM / MB.<br />
TAM. Tilburg, 1992<br />
Baldacci. Luigi ? Pescara Italy 1980<br />
°Sull' uso del mezzo postale in arte. (Essay, 24.5x17 cm., offset colour, 20 p.) <br />
Centro di Documentazione, Pescara. 1980<br />
Baldwin, Dennis / Callahan, Brian, Level Head Quarters. P. O. Box 50164. Indianapolis, IN-46256. USA 1984<br />
Level (Assembling, mostly by Mail Art matter, sometimes bound, N°8 in textile <br />
bag, ca. 50 contributor's sheets per issue, the N°10 as a publication with<br />
audio cassettes. {100}. Various sizes, mixed technic, 1984?-, over #10)<br />
~<br />
Literature:<br />
(Level): «This is sort of a conceptual magazine, it is a piece where people from all<br />
over contribute. I received my Level in a small box, and people had contributed<br />
postcards, photos, xerox pieces, even a tiny plastic dolll with no legs. Level is fun<br />
and detailled, send to them for more information on how you too can contribute.»<br />
(Publication Listing. In: Unsound. Multimedia magazine with booklets & tape<br />
supplements, →Davenport. Vol 2, N° 2, 1985. 44 p.)
(Level, #9): «Not united by so much as a binding. Level is an eclectic package of<br />
things (much of it xerox stuff) thrown together like a salad & shipped out every so<br />
often. Contributors send in 105 on anything and Level assembles and mails. There<br />
are always, needless to say, surpises in every issues Includes a great little booklet of<br />
contacts.» (PhotoStatic. N° 19½, Aug. 1986. Lloyd → Dunn: Mail Review)<br />
«Balear, Edition» Apartado 471. Ciutat de Mallorca Spain 1976<br />
^Neon de Suro (Tabloid graph. mag. in the size of A/3 with monographical issues:<br />
Collective Paris-Néon: J. Palau, S. Gilbert, Mariscal, A Muntadas, J.<br />
Blaine, Collective New York, etc. Newsprint, 8 p., 1976-, ~ 8#) <br />
~<br />
Literature:<br />
^#Lund, #Bruno Richard<br />
«Each issue of this 8 page tabloids is done by someone else. As handprints, studies<br />
of genitalia on sculpture, or reprints of newspaper headlines 4 years apart, it seems<br />
to be art and definitely out there.» (Lightworks [→ Burch], New Art in Print, N° 11-<br />
12, Fall 1979, 60 p.)<br />
Balthaus, Fritz ? Berlin Germany 1982<br />
°Views-beside-Words (Assembling like publs. with black & colour offset pages + orig. <br />
works by vis. poetry & concept art {550}. 66 contributors; B. Anderson,<br />
B. Adrews, J. Baldessari, F. Balthaus (with disk 45), J. Blaine, U. Carrion,<br />
R. Crozier, R. diPalma (orig. rubbers), M. Gibbs, H. Hahn, D. D. Hompson,<br />
T. Kapelski, M. Rosenberg, J. A. Sarmiento, F. Truckk, E-A. Vigo<br />
& others. 33x25 cm., bound, 340 p.) Ed. Vogelsang, Berlin. 1982<br />
Balthazar, Jacqueline / Bury, Paul, 29 rue Jule Thiriar La Louvière, B-7100 Belgium 197?<br />
Le Daily-Bul (Offset magazine for concrete and vis. poetry. 21x16.5 and 21x11 cm., <br />
also orig. collages on the pages and the #7 with a hand painted cover,<br />
#13 like book-object in portfolio. 1957-68, #1-13?)<br />
°Daily Bul and Co. (Anthology. 22x16.5 cm., offset, 354 p.) Lebeer-Hossmann, <br />
Bruxelles, 1976<br />
Banana, Anna R.R. 22, 3747 Highway 101, Roberts Creek, BC, VON 2W2, Canada 2000<br />
↑ P.O. Box 2480 Sechelt. B. C. VON 3A0 - “ - 1995<br />
↑ 287 E. 26th. Ave. Vancouver B.C. V5V 2H2 - “ - 1992<br />
↑ P. O. Box 3655 Vancouver B.C. V6B 3Y8 - “ - 1981<br />
↑ 1183 Churchill St. San Francisco, CA-941114 USA 1973<br />
↑ R. R. 2, West Coast Road, Victoria B.C. Canada 1971<br />
.............................................................................................................................................................<br />
^Banana Rag (Mag. {200-2000}. 1971-90, #1-28) various size and technic, Victoria, <br />
Canada /San Francisco, USA/ Vancouver, Canada<br />
^#1-28<br />
^Somethimes Monthly Banana Rag (Banana Rag #9). Legal, offset, 14 p. Editor: <br />
Ms. Canadadda, Daddaland Edition. San Francisco, June 1973. Works<br />
by Daddaland (B. → Gaglione), Dada Processing (T. → Mancusi),<br />
Arthur Cravan (C. → Chickadel), J. Dowd, Stu → Horn, Genesis<br />
→ P-Orridge, Helicopter Art Co., & others.<br />
The First International Hosanna Banana Show. (with Bill → Gaglione) Cat.: A/4, <br />
phc/ip. 62 p. A Correspondence – Mail Art show with works by<br />
Haddock, → Ackerman, The Western Dakota Junk Co., C. → Stake,<br />
R. → Marroquin, Mr. Tip / Ms. Top, P. → Smith, R. → Crozier,<br />
C. → Padín, K. → Groh, and others at the Schwartz Gallery, Milano,<br />
1974<br />
^VILE (Mag. 1974-78, #1-7. Editor for the issues 1-6 Anna Banana. The issues ®<br />
4 & 6 have been signed by Bill Gaglione as co-editor, issue 7 was<br />
edited and published by Gaglione)<br />
1 = Vol. 1. N°1, Febr. 1974 (announced as February 14, 1985).
Letter, ip., 56 p.<br />
2 = Vol. 1. N° 4, «The Editors Vile». Sept. 1974. Letter, phc., 48 p.<br />
3 = Vol. 3. N° 1, Dec. 1975. Letter, offset, 66 p.<br />
4 = Vol. 1. N° 2 + Vol. 2. N° 1, «International Double Issue».<br />
Summer 1976. Letter, offset, 100 p.<br />
5 = Vol. 3. N° 2, Summer 1977. Letter, offset, 98 p.<br />
6 = Vol. 6. N° 3, 1978. Fe Mail Art. 18x25 cm., offset, 107 p.<br />
7 = Stamp Art. Winter 1979. Letter, rubber stamps, np. (Rubber stamp<br />
assembling, ed. by B. Gaglione, prod. manager: Joel Rossman)<br />
^#2, 3, 4, 5, 6,<br />
^The Sometimes Yearly Banana Rag (Banana Rag #11, a «special report» on the <br />
Banana Olympics). Legal, offset, 6 p. Banana Prods. S. F., May 1975<br />
^The Sometimes Yearly Banana Rag (Banana Rag #14, a mailer, included information <br />
on the prods. of VILE 4, 5, and 6, the European peformance tour of<br />
Banana and → Gaglione, the forthcoming visit of → Cavellini, an<br />
update od the Encyclopedia Bananica, the organisation of Interdada 80,<br />
and the forthcoming publ. of Stamp Art magazine by Gaglione and<br />
Joel Rossman). Legal, offset, 2 p., Banana Prods. S. F., June 1976<br />
^Introduction (to Fe Mail Art, an overview documenting some 110 female artists <br />
from 18 countries) In: VILE #6, Fe Mail Art, San Francisco, 1978<br />
^About VILE (Letter size book, offset, 108 p.) S. P. Vancouver, 1983<br />
<br />
^Mail Art: Canada & Western U.S.A. In: Flue / → Franklin Furnace, Vol. 4 #3, <br />
1984, 25-28 p. (See also: Mail Art Canada. In: M. Crane / M. Stofflet<br />
[eds.] Correspondence Art. Contemporary Art Press [→ Loeffler].<br />
San Francisco, 1984) )<br />
^International Art Post (IAP). Banana Prods. Full-colour «anthology editions» of <br />
artists' postage stamps from in- and outside of the Mail Art network.<br />
Photo offset print on gummed & perforated glossy paper, divided into<br />
full (with 36 stamps), half or quarter, etc. sheets / also block form for<br />
individual publications.<br />
The first sheet of the Vol.3, No. 1 publication contains 36 of triangle<br />
and square form stamps by A. Banana + 6 Northern American<br />
artists.<br />
Six single blocks of the Vol. 9, No. 1 are the cataloug for You & Me<br />
show at the Art Galllery of S. W. Manitoba.<br />
Authors of some individual compiled sheets:<br />
Airbush Emporium, Anna Banana, Buz Blurr, Dogfish, Harley,<br />
Robert E. Gerow, Intermedia Press, International Rocketship,<br />
Eleanor Kent, Lithotech Canada Ltd., Sir Real, Ed Varney,<br />
Graham Wade, etc.<br />
The edition structur of the first 10 volumes of the International Art<br />
Post publications:<br />
Vol. 1. 1988 / No. 1: I-II Sheets / No. 2: 1-4 Sheets<br />
Vol. 2. 1989 / No. 1: 1-4 Sheets / No. 2: 1 Sheet / No. 3: 1-5 Sheets<br />
Vol. 3. 1990 / No. 1: 1-2 Sheets / No. 2: 1-6 Blocks / No. 3: 1-7 Blocks<br />
Vol. 4. 1991 / No. 1: 1-7 Blocks<br />
Vol. 5. 1992 / No. 1: 1-2 Blocks / No. 2: 1-9 Blocks<br />
Vol. 6. 1993 / No. 1: 1-2 Blocks<br />
Vol. 7. 1994 / No. 1: 1-5 Blocks / No. 2: 1-5 Blocks<br />
Vol. 8. 1995 / No. 1: 1-2 Blocks<br />
Vol. 9. 1996 / No. 1: 1-6 Blocks / No. 2: 1-4 Blocks<br />
Vol.10. 1997 / No. 1: 1-4 Blocks<br />
^Artistamp News (Info mag. devoted also for the International Art Post publs. <br />
The best source in the field of artists' postage stamps in the 1990s<br />
with special columns for news, stories, artistamp catalogue and book<br />
update, artists' profiles, practicals, show and project informations, etc.<br />
Letter, offset on yellow paper, 4-12 p. 1991-96, squ, altogether 8 issues.
The new editor and publisher after the February 1996 issue: →Varney.)<br />
^The Banana in Contemporary Germany; Art Parodies Science. An abstract for the <br />
ISHC Conference, Ithaca, 1994. In: Ingrid G. Daemmrich: The Changing<br />
Seasons of Humor in Literature. Drexel University. Dubuque IA, 1995<br />
(The complete 12 pages paper available from A. Banana)<br />
^United States of Mind (The Artistamp Movement) In: American Inst. Graphic Arts <br />
Newsletter. March 1995, p. 36-39. / Banana Prods. Sechelt BC., Canada.<br />
Artistamps / Mail Art Network. Cat. Letter, phc. 8 p. Exh. at the Sunshine Coast <br />
Art Center. Sechelt BC, Canada. March, 1998<br />
~<br />
Bananapost Artistamps: The own artists' stamps of Anna Banana. Editions in b/w and black/red<br />
photocopy since middle 1970s. Since the 1980s perforated sheets with Colour<br />
Xerox further by Canon Colour Laser Copier. Some sheets have been made by<br />
photo offset print as part of the the International Art Post (IAP) productions (see<br />
above). Very selected list of publications:<br />
Bananart Edition (Sheet of 25 stamps, photocopied, {36}) December 1981<br />
^European Tour Commemorative – Fall 1986. Series of 15 diff. perforated stamp<br />
sheets in 3 groups. Each sheet was printed in a limited edition of 16 signed<br />
copies by Canon Laser Color Copier:<br />
1. Signs & Symbols Series, 1-9. (Sheets of 25 elongated rectangle stamps<br />
with diverse geometric forms, road signs & symbols, marine markers,<br />
signal flags, statistical illustrations of wedding couples or babies, etc.<br />
on map fragments of Den Haag, Copenhagen, Northern Denmark and<br />
Stockholm) Banana Post. 1987<br />
2. Putting Physical Fitness on the Map, 1-4. (Sheets of 30 square or 24<br />
triangle form stamps, photographic images of exercising men / women on<br />
Cologne City or Denmark maps.) Banana Post. 1987<br />
3. Unknown Artist Series, 1-2. (Sheets of 24 elongated rectangle stamps.<br />
Black boat and ship forms with red-green-white light signs or signal<br />
flags) Banana Post. 1987<br />
Banana Triangle. (Colored drawing by Canon Laser, open edition) San Francisco,<br />
1988<br />
Twenty Years of Fooling Around with A. Banana. (1970-1989) Sheet of 25 stamps<br />
with series of colored drawings, printed by Canon Laser. Open edition. 1989<br />
^Post Banana is not the same as Banana Post. (Sheet of 42 stamps, 15 images,<br />
colour phc., {12}) Nov. 1989. Anna Banana<br />
^Eyeful Tower (Block of 6 diff. stamps/eyes, colour photo offset, {1500})<br />
IAP, Vol. 2, No. 3., Sheet 2/5. December 1989. Banana Prods.<br />
Owen Sound for Your Summer Break. (2 blocks of 10 stamps, colored drawings of<br />
foot in cast and hands on cane collaged over tourist maps of Owen Sound,<br />
{20}) 1991<br />
50 Years Artistamps 1941-1991 (Sheet of 10 triangular stamps with colored ink<br />
drawings, Canon Laser print) 1991<br />
^Classic Ice Cream, 1-2. (Sheets of 18 stamps, 6 images with primary colour /<br />
natural colour faces per sheet, {6}) June 1992<br />
^A. Banana Goes to Germany 1993 (Block of 3 diff. stamps, colour photo offset)<br />
IAP, Vol. 6, No. 1., Sheet 2/2. 1993. Banana Prods.<br />
Joki was a colorful guy. (Sheet of 30 stamps, colored drawings by Canon Laser,<br />
{25}) September 1997<br />
^Italy Goes Bananas. (Block of 6 stamps, colored drawings by phozo offset print)<br />
IAP, Vol. 11, No. 2, Sheet 1/4. 1998. Banana Prods.<br />
~<br />
Source:<br />
Anna Banana: Vile History & April Fooleries / Futurist Sound (Mail Art tour of<br />
Europe, 1978) / Work Record 1971-1982. With illustrations. In: Anna → Banana:<br />
About VILE. Letter size, offset, 108 p. S.P. Vancouver, 1983. 1-10 / 83-104 /<br />
105-106 p.
«1971 was a hot year for mail art. In August of that year, I began my Town Fool<br />
piece in Victoria (Western canada), soon getting into the publishing game with the<br />
Banana Rag in an attempt to communicate better with the public. My first editions<br />
were done in runs of 1,000 as hand outs at local public schools. I mailed leftovers<br />
off to friends, among them Lee-Nova. He quickly put me in touch with the developing<br />
network by sending copies of the Image Request Lists (→ Western Front) that<br />
he and Morris had been producing from their Image of the Month mailings. Discouraged<br />
by the frosty reception I got from the citizens of Victoria, I began mailing to<br />
everyone on the request lists, sending whatever type of imagery they requested and<br />
including my Banana Rags, and request for banana images and informations. The<br />
response was overwhelming...»<br />
(Anna → Banana: Mail Art Canada. In: M. Crane / M. Stofflet [eds.] Correspondence<br />
Art. Contemporary Art Press [→ Loeffler]. San Francisco, 1984. 245 p.)<br />
Anna Banana: Women in Mail Art. (Adopted from the introduction to VILE #6,<br />
Fe-Mail Art by Anna Banana.) In: M. Crane / M. Stofflet (eds.): Correspondence<br />
Art. Contemporary Art Press (→ Loeffler). San Francisco, 1984. 279-297 p.<br />
Names of „fe-mail artists“ and other women in this article:<br />
Lisa Baumgardner (USA), Jeanie Black (USA), Jean → Brown (USA),<br />
Linda Burnham (USA) → !Cosey Fanni Tutti! (UK), Irene → Dogmatic (USA),<br />
!Ms Generality! (CDN), Hannah Höch (Berlin Dada), Judit A. → Hoffberg (USA),<br />
Leavenworth → Jackson (USA), Betty Kelly (AUS), Karol Law (USA), Noemi<br />
Maidan (CH), Barbara Moore (USA), Elaine Neour (USA), Giulia Niccolai (I),<br />
Sabina Ott (USA), Ms Zazu Pitts (USA), Jan van Raay (USA), Ula Rbaczeh (PL),<br />
!Rhoda Mappo! (USA), Meredith Rogers (AUS), Angelica → Schmidt (D), Janet<br />
Schmuckal (USA), Pauline → Smith (UK), Pat → Tavenner / Mail Queen (USA),<br />
Ashley Walker (USA), Martha Wilson (USA), May Wilson (USA), Ruth → Wolf-<br />
Rehfeldt (GDR).<br />
Represented by images only: Cheryl → Cline (USA), Pat → Fish (USA),<br />
Nancy Frank (USA), Eva Lake (USA), Ginny → Lloyd (USA), Scarlatina → Lust<br />
(USA), Ester → Nation (USA), Lowry Thompson (USA),<br />
^Bananapost. European Tour Commemorative Edition by Anna Banana. Offset<br />
print accordion folder (4x) of 21.5x9 cm. with data about a series of 15 limited<br />
edition artist's stamp sheets. Also «A little History of Artistamps», «About the<br />
Artist / this Editon», etc. Banana Prods. Vancouver, 1987<br />
^International Art Post. (Publication / artist name list and order form for the IAP<br />
artists' stamp sheets from Feb 1988 - Dec 1997, further for the Artistamp Collector's<br />
Album by Banana Productions) Letter size leaflet, phc. Banana Prods. Sechelt, 1998<br />
Literature:<br />
«(Sometimes Monthly Banana Rag, #9): «... the first issue of the Banana Rag to be<br />
published in San Francisco (it continud publication in the Bay Area until issue 15).<br />
From 1971-1973, the Rag was published in Victoria, British Columbia, Canada,<br />
where the editor was documenting and publicizing her activities as Town Fool, and<br />
staging such events as April Fool celebrations and collaborative parade participation.<br />
Eventually, the Banana Rag found its way into the hands of Gary Lee Nova<br />
(Art Rat) and and others involved in Vancouver's → Image Bank. From that point<br />
on, the editor became emeshed in the emerging Eternal Network. In this issue Anna<br />
Banana announces a name change to Ms. Canadada... The format includes rubber<br />
stamps, photobooth photographs, drawings, handwritten copy, and newspaper<br />
clippings, all collaged to produce an all-over mix of word and images.» (John →<br />
Held, Jr.: Bay Area Dada, 19970-1984: An Annotated Bibliography of Primary<br />
Sources. In: The Bay Area Dadaist. Stamp Art Gallery [→ Gaglione], S. F., 1997)<br />
(About Vile, 1983):<br />
«VILE was inspired by FILE Magazine's growing disdain for mail-art. It began at
Speed Print, a small instant print shop in San Francisco where it became apparent to<br />
me that anyone could be a publisher. In 1973, letters by Robert Cumming and<br />
Hudson of Ant Farm voiced FILE's viewpoint; that mail-art is a plague on art and<br />
ought to be wiped out immediately. As an ardent „mail-arter“, I disagreed, and so<br />
began work on the first issue of VILE which appeared in February '74 as a new<br />
forum for mail-art... For VILE, I visualized a magazine that would look like LIFE,<br />
but on close examination, would reveral its true nature; subtle put-down of the mass<br />
culture with nasty, dada, „up-yours“ type messages. However, it didn't take any<br />
close examination of the first couple of issues to see they looked nothing like LIFE<br />
beyond their covers. The material I received in response to my first invitation did<br />
not lend itself to presentation in the imagined format. It was all full-page artwork;<br />
collages, drawings and writings. Rather than delaying the first issue to ask for<br />
other, I published the material received, presenting it in a wrap-around cover over<br />
the vello bound pages...» (Anna Banana: About VILE. S. P. Vancouver, 1983, 2 p.<br />
Reprint: Vile History. In: Chuck → Welch (ed.): Eternal Network. A Mail Art<br />
Anthology. University of Calgary Press, 1995. 47-53 p.)<br />
(About «About VILE», 1983-84):<br />
«This 8th edition of VILE is its swan song – Anna is cutting back on her mail art<br />
and her responibilities as editor. However, if you don't know how important VILE<br />
has been to mail art, About VILE is a good place to start. Anna recounts the magazine's<br />
history and reproduces a good number of letters, mail art and images by<br />
others. A substantial portion of the issue deals with her Banana Olympics, her<br />
travels to Europe and her performance work (on which she continues to work).<br />
VILE is a send-up of General Idea's FILE and both are parodies of LIFE. VILE<br />
(as the early issues of FILE) provided a kind of mirror for the greater network of<br />
mail artists, documenting exchanges and amplifying various issues. Always there<br />
was at the fore a wiggy, high-spirited irreverence. VILE was not vile in any sense<br />
other than the way some blunosed art patron might approach it. It was wacky mail<br />
art fun and a sense of community from the 70s. It remains a considerable legacy.»<br />
(Lightworks [→ Burch]. These Things Too [Print review]. N° 16, Winter 1983-84.<br />
54 p.)<br />
Anna Banana: Mail Art Canada. In: : M. Crane / M. Stofflet (eds.) Correspondence<br />
Art. Contemporary Art. San Francisco, 1984. 233-264 p.<br />
Anna Banana: Mail Art: Canada & Western U. S. A. In: Flue (→ Franklin Furnace),<br />
Vol. 4 #3-4 (Winter 1984) «Mail Art Then and Now» issue, 25-28 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 63-65 p.<br />
«...One of my friends in Vancouver who was then a member of the Image Bank<br />
collective, responded with a copy of the Image Bank Request List. This little 2-page<br />
flyer brought the first information I had that there was, in fact, a network. It was a<br />
list of names and addresses of artists, and the sorts of images they wanted to receive;<br />
lips, clouds, 50s cars, that sort of thing. I went through my stack of old clip magazines<br />
and put together an envelope for each of the perhaps 20 artists listed, and<br />
mailed them out, with a copy of the Banana Rag, and a note stating that I was interested<br />
in receiving ANYTHING to do with bananas; images, news stories, jokes,<br />
music, whatever, as long as it had a reference to bananas. Within 2 or 3 weeks, my<br />
mail-box came alive, and here I had the sort of enthusiasm and response I was<br />
missing elsewhere in my life. Amongst the bananas, there were samples of the<br />
others' work, invitations to projects, etc., and before I knew it, I was HOOKED.<br />
In the course of the next year and a half, I responded to all the mail I<br />
received, participated in all projects I heard about, and expanded the number of<br />
artists I was exchanging with to perhaps 100. When I left Sooke (a town on Van-
couver Island), it was to go on the road, to meet my correspondents, and decide<br />
where I would live next. I intended to drive across Canada, down the eastern USA,<br />
across the southern states, and up to the West Coast. However, the van I bought to<br />
make this trip in turned out to be a lemon, and my start was delayed for 6 months.<br />
When I did leave Canada in May of 1973, I went south into Washington, Oregon<br />
and California. In the Bay Area, I met with all 12 of my mail art connections, and<br />
decided pretty quickly that was the place for me to live. (...)<br />
...Some mail-artists have a private life besides their mail-art life, but in your<br />
case it seems that your private life and your mail-art world got completely integrated.<br />
I remember the issue About VILE (1983), and it looked like your life and your<br />
art were the same at that moment. Some photo's of you and Bill Gaglione indicate<br />
the same. Am I right?<br />
During those years with Bill, we were both very involved with mail art and<br />
performance art, and there was very little time for anything else (except the everyday<br />
jobs/work we did to support that activity which took up the majority of our<br />
time! We just don't write about that stuff.), so I suppose you are right, at that<br />
moment, my life and art were very integrated. What isn't apparent from that view<br />
you had of us from VILE #8 (=About VILE), is that we both DID have jobs or<br />
paying work that is never spoken about in the context of the magazine.The humdrum<br />
work that just about everyone has to do to pay the bills. Bill had a variety of<br />
jobs over the year, and after working in a print shop, and for a weekly newspaper, I<br />
started my own graphic design and production company, Banana Productions,<br />
which is how I earned the money to publish VILE and the Banana Rag. (...)<br />
During those first two years (anew) in Canada, I tried to quit mail art. I did<br />
only one issue of the Banana Rag, in 1981, and I let the most mail accumulate,<br />
unanswered. Early in 1982, I convinced the local TV station to host my 10th anniversary<br />
April Fool's Day event; the Going Bananas Fashion Contest. I applied for a<br />
grant to create the new performance work, Why Banana? and in the fall of '82,<br />
toured it across Canada and the USA. After that, I applied for funding to produce<br />
About Vile, so that I could bring VILE to an official conclusion, use the materials<br />
that people had sent for it, and wrap up that period of my life. (...)<br />
In 1984, I was back in San Francisco for the Inter Dada '84 events, and spent<br />
3 weeks working with my friend Victoria Kirkby on a performance, In the Red,... In<br />
'85, I quit the producing job, and free-lanced my design services, both to the printer,<br />
and to other clients and connections I had begun to develop. I continued printing<br />
and sending the Banana Rag, and in the fall of '86, I did a second tour of Europe,<br />
this one solo.<br />
At the moment you are very active with artistamps. When did you start with<br />
those? What is so fascinating about them?<br />
I did my first artistamp in response to an invitation by Ed Varney in the mid-<br />
70s. He reproduced a number of my stamps on one of his many „anthology sheets.“<br />
The first ones I did were in B&W, and he printed them in black and red. Then somewhere<br />
around '76 or '77, Eleanor Kent, who was a neighbor of mine in San Francisco,<br />
got a Color Xerox machine in her home, and invited me to come and work with<br />
it. I produced my first two editions on that machine, along with many other collages<br />
and postcards, and Eleanor introduced me to Jeff Errick of Ephemera, which produced<br />
buttons, postcards and stamps. (...In 1987) I utilized the brand new Canon<br />
Laser color copier, and was very impressed with the results. However, these were<br />
still pretty pricey to produce, and that's when I started doing the figuring necessary<br />
to cost out a full-color printed edition. I circulated this information in 1987, and in<br />
1988 produced the first two editions of International Art Post. (...)<br />
There are many aspects of artistamps that engage my attention. I think the<br />
first thing that grabs me about them, is that they parody of an official currency /<br />
medium of exchange. People still do double-takes when looking at an envelope with<br />
artistamps on them. Because they look so REAL, the question always comes up,<br />
„are they real/legal?“, „Can I mail a letter with these?“ I like this aspect, because it<br />
startles people, and makes them question what is real. Since I have a healthy dis-
espect for most government agencies, this is very satisfying...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Anna Banana. A/5, 14 p. TAM<br />
Publs.: TAM-960092, Tilburg, 1995)<br />
Anna Banana: Artistamps in the Mail-Art Network. In: Rubberstampmadness<br />
(→ Sperling), Vol. 18, #93, May-June, 1997.<br />
Vittore → Baroni: Anna Banana e Bill Gaglione. In: Arte Postale. Guida al network<br />
della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 92-95 p.<br />
^Anna Banana: On Artistamp News. In: James W. → Felter: Artistamps /<br />
Francobolli d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo,<br />
2000. 90-95 p.<br />
Banville, Bernard, (!Xona!), Chevalier Ave. / 30. Olive St. Greenfield, MA-01301 USA 1983<br />
^Nebuleux 'gazine (Mag. postfluxus images and collages, sA/6, phc., 8 p. 1983-, #?) <br />
^#1<br />
^Void (Mag. with editor's graphics. Letter, phc., ~24 p. 1983-84, #1-2?) Xona Prods. <br />
^#2<br />
Barber, Daniel ? ? ? 1977<br />
°The Secret Code Work Book (Xeroxed bookwork) 21.6x13.8 cm., 20 p. n. d. <br />
°Some of the names have been changed (Xeroxed publ.) cut A/5, 20p. 1977<br />
<br />
°Send no more letters, please! (Xeroxed spiral book) Letter, 6 p. 1977<br />
<br />
°Superman. (Xeroxed spiral book) Letter, 14 p. 1977<br />
<br />
Barbery, Stephan Camera Obscura. 52 rue Stévin Bruxelles, B-1040 Belgium 1983<br />
^Camera Obscura (The only high quality colour mimeogr. magazine of the Mail Art <br />
scene, handmade character, mostly A/5, ~12-20 p. 1983-84, no regulary<br />
numbering but entitled the issues, #1-13?)<br />
^# 1984: „if you want to die“; „Fuerza Magica“<br />
Crocodila Mundi (Like assembling, «graphix» anth., A/4, phc. and mixed techn. <br />
1983, #1 only? ) Camera Obscuura Edition, Bruxelles<br />
Nord, Quest, Est, Sud (Collective publ. by Camera Obscura, L J B, Nina Childress, <br />
and Placid) 44 p. Paris?, 1984<br />
^P.O.W. Art, I-II. (People in the Other World's Art) Vol. I. 264 xeroxed sheets / <br />
Vol. II. xeroxed 60 sheets. Bookwork in box. Entr' act Camera Obscura,<br />
Bruxelles. n.d. (~1984-85)<br />
~<br />
Source:<br />
~<br />
Literature:<br />
^Camera Obscua News. Horz. A/4 sheet, photocopied, folded to an A/5 info flyer.<br />
Front side: B/W images + headlines. Back side: Cassette and book offering. Also<br />
colour portraits (of artists/by artists?), etc... Additive orig rubber stamps. Dec. 1984<br />
«I try to survive in this world. I don't believe in inspiration, just in work. I do the<br />
more images I can during the day. My images come from my life, what I find is<br />
wrong, in my life in the world. I feel like a little point in the univers that I don't<br />
understand. Only 2 girls and animals and univers are important for me. Save the<br />
world if we can (?). Fight money (the „new peste“), fault words, fault minds, believe<br />
in reality, „beaute“, and positive things around us.» (S. Barbery: Statement. In:<br />
Sarah → Jackson: Books Build Bridges / Copier Art – Bookworks. Cat.: TU ° NS. /<br />
National Postal Museum Halifax, 1986. 4. item)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
oftheir periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 146-147 p.<br />
Barbot, Fernand E. J. / Claudine (Bag Post) 2939 Avenue Y. Brooklyn, NY-11235 USA 1985<br />
^For Pepace on the Earth (by Claudine Barbot) Inv., 1989
~<br />
Literature:<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 96-97 p.<br />
Barbot, Gérard Bob Art. 2939 Ave. Y. Brooklyn, NY-11235 USA 1990<br />
^The Waterloo 2 nd International Postal Art Exhibition. Inv. University Waterloo <br />
(Ontario), 1985<br />
Artistamps: ^Homage 2 Vincze László (Sheet of 12 + 1 diff. stamps/nudes, b/w <br />
phc .) n.d.<br />
^Gaia Netwalk Congress (Sheet of 8 stamps in triangular form, 2 diff. <br />
images, b/w phc.) n.d. (1984?)<br />
^MON'AO (Sheet of 9 stamps, 4 images/Mona Lisa, b/w phc.) n.d. <br />
Barboza, Diego Calle Paez, Don Robertico, Apto 31, Chacao, Caracas Venezuela 1976<br />
^Buzon de Arte (Mag. for postfluxus graphism, vis. poetry, and theory on 73x55 cm.<br />
one sheet of 72.5x54 cm. to fold, offset. 1976, #1-2 only?)<br />
^#2<br />
Barnett, Carol (Snail Art Colony) United Kingd. ?<br />
(TAM data)<br />
<br />
Barnevelt, Aart van Ten Katestr. 53 Amsterdam Netherlands 1984<br />
c/o Stempelplaats, St. Luciensteeg 25. Amsterdam - “ - 1977<br />
.............................................................................................................................................................<br />
^Niet-stempels. Rubber exh. in Stempelplaats. Inv./Doc. A/4 sheet, offset. 1977 ® <br />
Artists: J. Armleder, T.v.d. Burg, M. Gibbs, F. de Jong, G. <strong>Perneczky</strong>,<br />
Sosno.<br />
^Rubber (Rubberstamp mag. A/5, offset. 1978-82, more → Stempelplaats) ® <br />
^Handstamped Selfportraits. (Commonpress #15) 59 postcards in cover, rubber ® <br />
stamped. September 1979<br />
^Time Based Arts catalogues, 1984, 1985, 1986-87, more → Time Based Arts<br />
1990 1990<br />
→ Stempelplaats<br />
→ Time Based Arts<br />
~<br />
Literature:<br />
Aart van Barnevelt / Ronald Wigman: Stempelen. (Book in Dutch language about<br />
history, applications and the making of your own stamps. Offset, 100 p. 'S-Hertogenbosch<br />
NL, 1982<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 73-74 p.<br />
Baron c/o Mather Gallery Cleveland, OH USA 1978<br />
°Baron's Mailbox. Cat.: Lettere, phc., 10 p. 160 parts. Mather Gal. Cleveland, 1978 <br />
Baroni, Vittore (Near the Edge Ed.), Via C. Battisti 339, Viareggio, I-55049 Italy 1996<br />
↑ Via. Raffaelli 2. Forte dei Marmi, I-55042 - “ - 1979<br />
.............................................................................................................................................................<br />
Artists' postage stamp activity in collaboration with other networkers (~30 different <br />
sheets) and many done by himself, ~1978-1985.<br />
Small booklets in limited editions with a visual poetry/collage content, from 1978 <br />
^Arte Postale! (Mail Art mag., partly assembling, in very var. form, but very often <br />
with thematic issues. 1979-, sm., over 80 issues.)<br />
Some publs. have appeared with a double name – Etoatlerpsa!, The<br />
Yahoo Bulletin, etc. – or under a fake name: Bidet, S. I. N. EWS, etc.<br />
The issues N° 1-51 have a multistructured form. The main component<br />
(inclusive title and back pages) forms a layouted compilation of text
and graphic matter received by mail, and that produced by the editor.<br />
Its medium is folio size leaves (33x22 cm.) with one side instant print<br />
(like offset), or, beginning at the N° 29, A/4 sheets likewise one side<br />
photocopied. Sometimes, this part of the publications is clipped together<br />
with a loop, or, oftentimes, it is stitched to a brochure. The other component<br />
is an assembling matter: between the leaves, or separate (and sometimes<br />
collected into smaller covers), there are, as inserts, loose sheets of Mail<br />
Art and visual poetry contributions. Its number is, because of the enclosed<br />
project advertisements and small invitation flyers, difficult to determine.<br />
After its 51/53. issues, Arte Postale! took up a booklet form (often under<br />
the weight of 20 grams, to save trees and postage...) with a regular, on both<br />
sides printed text/images photocopied matter, often enriched (as well<br />
as the pages of the first 50 issues) with manuale interventions by blots<br />
of colour, small glued inserts, rubber stamp images, etc.<br />
1979: (the 1-3 issues together form a musical trilogy)<br />
1 DEMONIA. 12 folio leaves, ip., clipped together with a loop at one of their<br />
corners. {100} October 1979<br />
2 PATTI SMITH ROCKIN' DEMONIA. 9 folio leaves, ip., + 2 A/4 sheets as<br />
inserts, clipped together with a loop at the corner. {100} November 1979<br />
3 ART SONGS FROM DEMONIA. 10 folio leaves, ip., + 3 A/4 sheets and<br />
some collaged graphics as inserts, clipped together with a loop at the<br />
corner. {100} December 1979<br />
1980:<br />
4 MORE POLITICAL SATIRE: POST SCRIPTUM . 9 folio leaves, ip.,<br />
+ 1 A/4 sheet as insert, stitched. {100} January 1980<br />
5 CAVELLINIANA. 11 folio leaves, ip., stitched. {100} February 1980<br />
6 AMERICAN MAIL ART DADA. 9 folio leaves, ip., stitched. {100}<br />
March 1980<br />
7 REFLUXUS ISSUE. 6 folio leaves, ip.,+ 4 sheets as inserts, stitched. {100}<br />
April 1980<br />
8 AUTOBIOGRAPHICAL ISSUE I. 8 folio leaves, ip., + 1 sheet as insert,<br />
stitched. {100}. May 1980<br />
9 UK SPECIAL. 5 folio leaves, ip., + 6 A/4 sheets as inserts, stitched. {100}<br />
June 1980<br />
10 AUTOBIOGRAPHICAL ISSUE II. 5 folio leaves, ip., + 9 ~A/4 sheets as<br />
inserts, stitched.{100} July 1980<br />
11 AUTOBIOGRAPHICAL ISSUE III. 2 folio leaves as front and back pages,<br />
ip., + 10 var. sheets as inserts, stitched.{100} Aug. 1980<br />
12 ALL STARS ISSUE. 6 folio leaves, ip., + 13 var. sheets as inserts, stitched.<br />
{100} September 1980<br />
13 T-SHIRT ISSUE. {100}. Additional a special „Badge Show“ supplement,<br />
4 folio leaves with an introduction text and participant list, distributed<br />
separately {400}. October 1980<br />
14 DEVELOP MY DREAMS. 1 folio leave as front page, ip., + 9 var. sheets as<br />
inserts. Stitched. Addendum: Cat.: booklet, in size of 21x10 cm., 9 p.<br />
{100} November 1980<br />
15 (title image: teacher with kids). 4 folio leaves, ip., + 9 var. sheets as inserts,<br />
stitched.{100} December 1980<br />
1981:<br />
16 VISUAL POETRY ISSUE (40 contributors). 2 folio leaves as front and<br />
back pages, ip., + ~60 various sheets, the whole matter is clipped<br />
together with a loop at one of its corners. Addendum: A True Matchbook<br />
Poem by V. Baroni. {100} January-February 1981<br />
17 ETOAPLERSA! 2 folio leaves, ip., + 11 ~A/4 sheets, clipped together<br />
with a loop at the corner, + 25 sheets in various sizes as loose inserts.<br />
The whole material packed into an envelope (28x21 cm). {100}
March 1981<br />
18 THE YAHOO BULLETIN. 5 folio leaves, ip. + rubber stamps, + 14 ~A/4<br />
sheets, clipped together with a loop at the corner and folded to half,<br />
+ 25 various sheets as loose matter. In envelope of 28x21 cm. {100}<br />
1st April 1981<br />
19 THINK ABOUT MAIL ART. 4 folio leaves, ip., clipped together with a<br />
loop at the corner and folded to half, + 16 loose sheets as inserts.<br />
A small addendum: Bern Porter commemorative artists' postage stamps<br />
in a mini cover. The whole material packed into an envelope<br />
(28x21 cm.). {100} May-June 1981<br />
20 UT FONA RES. 8 folio leaves, ip., + 13 var. size sheets as inserts, clipped<br />
together with a loop at the corner and folded to half. In an envelope<br />
(28x21). {100} July 1981<br />
21 44 88! 6 folio leaves, ip., + 6 ~A/4 sheets, stitched. Further 14 loose<br />
inserts. The whole matter folded to half and packed into an envelope<br />
(28x21 cm.). {100} No date (July 1981)<br />
22 MIDSUMMER ISSUE. 3 folio leaves, ip., + 15 insert sheets, stitched<br />
together and folded to half. Further insert: a package card size material.<br />
In an envelope (26x19 cm.). {100} August 1981<br />
23 THE YAHOO BULLETIN (II). 5 folio leaves, ip., + 10 ~A/4 inserts, stitched<br />
and folded to half , packed into an envelope (26x19 cm.). {100}<br />
September 1981<br />
24 BOXED EDITION in 3D cardboard box of 24x24 cm. with plastic bag<br />
including many loose leaflets and objects (ping-pong ball, heavy mail,<br />
matchbox, stickers, ear-fricher, etc.) by ~ 40 participants. The cover is<br />
black/white offset glued on cardboard. {100} October 1981<br />
25 THIS ORDER. 5 folio leaves. ip., + 10 insert sheets, stitched and folded to<br />
half, packed into an envelope (26x19 cm.). {100} December 1981<br />
26 YEARBOOK 1981. With an offset booklet, 16x11 cm. size, 16 p., + 23<br />
loose sheets as inserts. The whole matter in an envelope (33x23 cm.).<br />
{100} 31st December 1981<br />
1982:<br />
27 POSTCARDS BOX. 35 cards and an A/4 size text-sheet (folded to quarter)<br />
in a carboard box of 15.5x11x3 cm. {100}. January-Februry 1982<br />
28 CONFIDENCES. 2 folio leaves as front and back pages, ip., with 12 inserts,<br />
stitched. Further 10 loose sheets. The whole matter folded to half and<br />
packed into an envelope (26x19 cm.). {100} March 1982<br />
29 CRISIS OF #29. («The invisible Hobson») 2 A/4 sheets, phc., as front<br />
and back pages, + 8 stitched and 9 loose inserts, folded to half. {100}<br />
April 1982<br />
30 EAST-WEST CONNECTION. Altogether 25 loose leaves, mostly in ~A/4<br />
size, phc., folded to half. {100} May 1982<br />
31 (vintage postcards) 30 loose phc. leaves in postcard size, also some A/4<br />
contributions folded to quarter. {100} June 1982<br />
32 BIDET. Assembling like publ. with 20 ~A/4 leaves, clipped together with<br />
a loop at one their corners, + 2 loose inserts, folded to A/5. {100}<br />
July-August 1982<br />
33 (mask cover) Unbound matter from 9 larger (~A/4) and 16 smaller pieces,<br />
folded into an A/5 size. {100} September 1982<br />
34 ARE YOU IN LOVE? (A collaged laurel leave for C. → Pittore on the<br />
title page) Unbound matter from 10 ~A/4 and 10 smaller pieces,<br />
folded to A/5. {100} October 1982<br />
35 BIENNALE DE PARIS. Unbound matter from 10 ~A/4 and 12 smaller<br />
leaves, folded to A/5. {100} November 1982<br />
36 (badges cover) Unbound matter: 5 ~A/4 and 12 small sheets, + the US fanzine<br />
Counterspud #6 as insert. All folded to A/5. {100} December 1982<br />
1983:
37 S. I. N. EWS I. 7 ~A/4, phc., stitched, and 6 smaller sheets. (This issue is not<br />
folded!) {100} January 1983<br />
38 CONCEPTUAL MAFIA. 10 A/4 or letter size leaves, stitched. {100}<br />
March 1983<br />
39 LEWD CARESS (also CARE N° 8). 35 ~A/5 size sheets + cover in a plastic<br />
bag (also a «rubber» toy-baloon by Baroni like supplement). {100}<br />
April 1983<br />
40 (old Forte dei Marmi photo). Unbound matter: 8 ~A/4 + 6 smaller pieces,<br />
folded to A/5 issue. {100} May 1983<br />
41 S. I. N. EWS II. 7 ~A/4 size sheets folded to A/5 + 15 small pieces in a<br />
special cover of 24x18 cm. {100} June 1983<br />
42 POST-ART GUERILLA. 6 ~A/4 (folded) and 12 smaller sheets in an<br />
envelope (25.5x17 cm.). {100} July 1983<br />
43 NETWORK ART. 9 ~A/4 (folded) + 13 smaller pieces in a Network Art 43<br />
envelope. {100} August-September 1983<br />
44 (postman & drummer) Loose matter: 7 ~A/4 and 15 ~A/5 sheets. {100}<br />
October-November 1983<br />
45 S. I. N. EWS III. 15 ~A/4 leaves, stitched, + the A/5 size booklet as an<br />
insert: The 7 Tables of SIN (7 leaves, clipped together at a corner).<br />
{100} December 1983<br />
1984:<br />
46 A TRIP TO AKADEMGOROD (Neoist issue). 8 A/4 sheets + 30 small pieces,<br />
all as loose matter in a cover (26x19 cm.). {100} January- February 1984<br />
47 MAIL ART SHOW SHOW CATALOGUE. 9 A/4 size sheets, stitched, + 14<br />
smaller, loose inserts. {100} March 1984<br />
48 MCMLXXXIV! Stitched matter: 11 A/4 size and 12 smaller pieces. {100}<br />
April-June 1984<br />
49 THE MINIATURE ISSUE (in a normal audio-cassette box). Various small<br />
works (leaflets, stamps, mini sheets folded, etc.) by ~ 40 participants.<br />
July-September 1984<br />
50 SILVER ISSUE. 24 ~A/4 leaves, enriched by smaller graphic and print<br />
collages, stitched to a book, further 17 other pieces, the whole matter in<br />
a silver cover. {100} October 1984<br />
1985:<br />
51 S. I. N. EWS IV. Stitched booklet by 11 A/4 leaves. Inserts: an artists' postage<br />
stamp sheet by V. Baroni, + 8 small pieces in a cover of 23x16 cm. {100}<br />
(This is the last assembling like issue in the series of the Arte Postale!<br />
publications.) January 1985<br />
52 SCRIPTA VOLANT. (As the Cat.: of a Mail Art project) A/6 size booklet,<br />
photocopy, 24 p. + cover, insert: A/4 poster, folded. {200}<br />
February-March 1985<br />
53 HOMMAGE A VITTORE BARONI (Organized and edited by M. → Pawson)<br />
Unique pieces by fifty-some networkers: 30x22 cm., phc., loose works<br />
in black/white cover. One copy only, no date. (April-May 1985)<br />
Geza <strong>Perneczky</strong> received an interesting facsimile work of this issue from<br />
Mark Pawson. It is an image and text compilation by blue and brown phc.<br />
on A3 size half-transparent paper, folded to two = A4.<br />
(It seems that this pseudo-facsimile is not an unique work!)<br />
54 CORNUCOPIA. Booklet in A/6 size, phc., 24 p. + cover. Insert: one A/4<br />
size artistamp sheet. {300} June-December 1985<br />
1986 →<br />
55 MAIL ART HANDBOOK. A/6 size, phc., 24 p. + cover. {500} January-<br />
December 1986<br />
56 MAIL ART & MONEY DO MIX! A/5 size booklet, with a real coin glued<br />
to each cover, phc., 28 p. + cover. Supplement: one A/4 sheet. {100}<br />
January-June 1987<br />
57 THE BOX GAME. A/5 booklet, phc., 24 p. + cover. Supplement: one A/4
size poster. {500} July-December 1987<br />
58 THE B. A. T. MANUAL. A/6 booklet, 32 p. + cover, pages are painted over<br />
and collaged. {300} January-December 1988<br />
59 ALTERNATIVE PHILATELY. In cover: 4 A/4 (folded) and 4 A/5 sheets,<br />
+ one artistamps sheet as supplement. Phc. Text: Vittore Baroni:<br />
Other Stamps. {500} January-June 1989<br />
60 (the making of) NETZINE. (A collective project with proposals and various<br />
texts.) A/5 size brochure, phc.: 24 p., unbound, in a cover of 23x16 cm.<br />
{unlimited edition} July-September 1989<br />
61 SMILE. A/6 booklet, phc., 30 p. + cover. {unlimited} October-December<br />
1989<br />
62 B-ART ISSUE. A/6 booklet, phc., 40 p. + cover. Insert: TRASH poster, A/4,<br />
by Baroni. 250 copies with an insert book by G. → Ruch. {500}<br />
January-December 1990<br />
(no Arte Postale! in 1991)<br />
63 LET'S NETWOK TOGETHER. With 7“ record. Its cover is an offset booklet<br />
in a size of 19x19 cm., 12 p. Computerized cover art & concept by Piermario<br />
Ciani {600}. Also texts and participant list of the Music & Mail<br />
Art Do Mix project (Vinyl Love Junkie). January-December 1992<br />
63bis META CONCERT IN SPIRIT. (cassette) {93} January-December 1992<br />
64 UTOPIA INFANTILE. (V. Baroni & R. → Crozier) A/6 booklet, phc., 20 p.,<br />
hard interventions. {100} January-March 1993<br />
65 GLASS ENIGMA. (David Drummond-Milne) A/6 Booklet, phc., 20 p.<br />
+ cover, {100} April-June 1993<br />
66 THE ONE MAN SHOW. (24 contributors to the theme) A/6 booklet, phc.,<br />
24 p. {100} July-September 1993<br />
67 STICKERMAN SCRAPBOOK. A/6 booklet, phc., 24 p. {100}<br />
October-December 1993<br />
68 ARTURO FALLICO SPECIAL. A/6 booklet, phc., 20 p. {100}<br />
January-December 1994<br />
69 RAY JOHNSON LIVES! A/5 booklet,phc., 12 p., hard interventions.<br />
{Unlimited} January-February 1995<br />
70 THE NO INSTITUTE / JÜRGEN O. OLBRICH. A/6 booklet, phc., 20 p.,<br />
colour-xerox work glued on covers, various hand-interventions. {100}<br />
March-April 1995<br />
71 FUN IN ACAPULCO. A/6 booklet, phc., 24 p. A postcard is enclosed in<br />
150 copies. {300} May-September 1995<br />
72 ONE YEAR LATER. A/5 booklet, phc., 12 p., hard interventions. {81}<br />
1-13 January 1996<br />
73 A DECK OF POSTCARDS. A/6 booklet in plastic envelope, phc., 24 p.<br />
with same colour-xerox cards glued in. {100} October-December 1996<br />
74 MY OWN PRIVAT INTERNET. (With the advertisement: THE BIG SELL<br />
OUT: Buy a share-piece of the E. O. N. Archive! – intended as a joke)<br />
A/6 booklet, phc., 8 p. with hand interventions. {300} 14-17 January 1996<br />
75 LUTHER BLISSETT MAN OF THE YEAR. A/6 booklet, phc., 20 p., with<br />
hand-interventions, big sticker enclosed. {100} 18 January - 1 April 1996<br />
76 SCISSURES 1. A/6 booklet, phc., 32 p., hand-interventions, a postcard<br />
enclosed. {300} May-September 1996<br />
77 THE MAIL-INTERVIEW WITH VITTORE BARONI (by <strong>Ruud</strong> → <strong>Janssen</strong>).<br />
A/5 booklet, phc., 8 p. {unlimited edition} October - December 1996<br />
78 (THE MAKING OF) ARTE POSTALE. A/6 booklet, phc., 16 p. {unlimited<br />
edition} January - December 1997<br />
79 LA-LAMENTO PER RAY → JOHNSON. In brown bag size A4, including<br />
Scissures 2 (16 pp.) and various loose leaflets, a d-i-y bunny mask,<br />
a cassette with track for Ray Johnson by Le Forbici di Manitù, 1 cardboard<br />
moticos, 1 stamps-sheet, etc. {31 numbered copies only}.<br />
Date: January 13th, 1998 (day of performance-tribute to Ray J.).
80 DICK → HIGGINS LETTER reprint on yellow paper, only 2 pages (single<br />
A4 sheet), 60 copies, an instant commemorative issue, October 28th 1998<br />
81 THE INCONGRUOUS MEETINGS 1998 Catalogue. 12 pages with inserts,<br />
250 copies, January-June 1999<br />
82 THE TABLE OF THE LITTLE ICONOCLAST. ( Cat.) A/5 booklet<br />
with 12 pages + cover, partly perforated, partly loose sheets. {400}<br />
July 1999 - June 2000<br />
83 THE DAVID ZACK PROJECT. A/3 sheet with recto-verso phc. print, folded<br />
to 8 (result: A/6), 150 copies. July-December 2000<br />
84 LE FORBICI DI MANITÙ – SCISSURES 3. A/3 sheet with recto-verso phc.<br />
print, folded to 8 (result: A/6), 150 copies. January 2001<br />
85 JUST 4 F.U.N. (The Year of Virtual Land – Creative De-Globalisation).<br />
( Cat.) Horz. A/5 booklet, phc., 24 p. + cover. The catalogue of the<br />
“Virtual Land” artistamp project with participant list and texts + many<br />
artists’ postal stamps (partly as printed images or glued on collages in the<br />
catalogue, partly as supplement artistamp sheet [A/3, B/W phc., perforated],<br />
and a number of additional original stamps – among them many<br />
colourful pieces – in a separated cover). 201 copies. 2001<br />
86 LON'S MEMORIAL JUKE-BOX. An audio tribute to Lon Spiegelman.<br />
«…I copied on cassette some of these songs, jumps and scratches included, in<br />
the same semi-casual order that I picked them from the box […got from Lon]<br />
(but if you listen closely, you will be able to hear bizarre "correspondences",<br />
popular music has its ways of talking to us.). We are what we eat, buy, listen,<br />
and something of Lon's personality might well be trapped among these dusty<br />
vintage grooves. May his soul now be reunited with his beloved wife Linda.»<br />
E.O.N. - December 2002<br />
87 THE BOOKLET OF OZ (A David Zack tribut booklet, selected texts by Zack<br />
edited and introducted by Vittore Baroni, notes by István Kántor and Al<br />
Ackerman). A/5 booklet with 52 + 4 pages + cover (+ 3 colour-copy images<br />
in the book). 100 copies. January-March 2003<br />
^#1-52 complette, + nearly all later issues.<br />
Political Satire: Post Scriptum. (Commonpress #23) A/5, loose pages, 110 p. with<br />
serigraphed cover in a size of 16.5x23 cm., ~250 participants {500}.<br />
Forte dei Marmi, September 1979<br />
°Political Satire. Esposizione Int. di Arte Postale! (Commonpress #23, + separate<br />
copies). Inv. Poster of 69x50 cm., silkscreen. Biblioth. Comunale,<br />
Forte dei Marmi, 1979<br />
^The Badge Show. Inv. 22x33 cm., sheet, phc. + rubber stamps. Silkscreen poster<br />
as suppl. (Cat.: in Arte Postale! N° 13) 1980<br />
^Lieutenant Murnau – Janus Head. Assembling like compilation {10} by 10 xeroxed<br />
leaves + one 45 rpm record, intended as a limited Mail Art ed. 1980.<br />
Lieutenant Murnau – Janus Head. 20x21 cm. stitched booklet, phc., 52 p. with same<br />
hand-interventions, + one 33 rpm 7“ record. {500}. 1980<br />
(Also further various audio-mag publs. under the pseudonym Lt. Murnau,<br />
which was one of the early «multiple names» in the network.)<br />
^Cere e arcobaleni . Collective work with Sara & Piero Simoni on graphic, handdrawing<br />
& typewriter poetry. 33x22 cm., mix. technic, 10 sheets +<br />
1 text sheet in yellow cover , 100 copies. Borgo Cappuccini, Livorno.<br />
March 1981.<br />
Launching (with P. → Ciani) the collective multimedia project → TRAX. 1981<br />
(TRAX activity till 1987)<br />
^Real Correspondence (A series of one-page mailers with var. themes and contents,<br />
7 undated sheets in the early 80s, + one called THE B.A.T. from Febr.<br />
1987, + 3 in a new series, 4-8 p. each, 1991-92. All phc. with some<br />
manual interventions.<br />
Area Condizionata. (Cassette mag. with int. contributors + enclosed booklets, phc.,
16-24 p. + var. gadgets in plastic handbag. 1983, #1-3)<br />
^Scripta Volant. Cat.: in: Arte Postale! N° 52. Exh.: Circ. di Prod. di Poesia, <br />
Firenze, 1985<br />
^Smile / Snarl (Smile mutant on the occasion of the «9° Festival Neoista» in Arte-<br />
Studio Pontenossa [→ Morandi], also as → TRAX 1085, with audiocassette.<br />
A/5, phc., 8 p. 1985, #1) Agenzia Neoista<br />
The Box Game. Cat.: in: Arte Postale! N° 57. / Forte dei Marmi, Italy, 1987<br />
^Recycled Mail (Stitched A/4 booklets with «old» correspondence with over 100<br />
participants. Partly numbered, dated & signed ) 1987<br />
^The B.A.T. Man UAL. Cat. in: Arte Postale! N° 58, 1988. A/6, phc., 34 p. {300}<br />
Pocket Calculator Poems. Orig. xerox ed. in A/3 by Baroni. Reprint in A/5 size<br />
{~500} by Vox Pop records (45 rpm record enclused), Milano, 1989<br />
Launching the publishing house AAA / Artisti & Allibratori Associati, 1994 <br />
(with Piermario Ciani). Among the 14 first publs. authors as Stewart<br />
→ Home or Luther → Blissett, further 3 artists books (in cut A/5 size)<br />
by Baroni & Ciani using pseudonyms:<br />
^Mino Cancelli: La Cultura del Caos (The Culture of Chaos) with 100<br />
different pages of typographical mistakes.<br />
^Erica Moira Pini: La morte del libro (The Death of the Book) with 100<br />
white pages with three pistol shots.<br />
^Evita B. Torroni: Tre allegri ragazzi morti. 100 yellow pages without<br />
any text, a pun on the Italian «yellow» mystery books.<br />
^Arte Postale. Guida al network della corrispondenza creativa. Cut A/5, offset,<br />
256 p. Text Italian. AAA Editioni. Bertiolo, 1997<br />
With shorts chapters in the book:<br />
A. Ackerman, A. Banana & B. Gaglione, V. Baroni, K. Bates,<br />
J. M. Bennett, G. Bleus, H. Bzdok, U. Carrión, A. G. Cavellini,<br />
Church of the SubGenius, P. Ciani, R. Cohen, R. Crozier, G. Deisler,<br />
M. Diotavelli, G. Galántai, J. Held Jr., E.F. Higgins III, R.<br />
<strong>Janssen</strong>, R. Johnson, H-R. Fricker, P. Küstermann, H. Mittendorf,<br />
R. Nikonova & S. Segay, J. O. Olbrich, C. Padín, M. Pawson, G.<br />
<strong>Perneczky</strong>, P. Petasz, C. Pittore, G. P.Orridge, R. & R. Rehfeldt,<br />
Rocola, G. Ruch, M. Scott, S. Shimamoto, R. Summers, E. Varney,<br />
E-A. Vigo & G. G. Marx, C. Welch<br />
^A Year of Incongrous Meetings. Inv. in form of an open letter. 1998 <br />
→ TRAX<br />
→ Neoism / Literature: Smile-Snarl, Statement<br />
~<br />
Artistamps: ^Great Men Series #2 (Sheet of 25 diff. stamp images, offset on green <br />
paper, not perforated) V. Baroni & David Drummond Milne<br />
^Francobolli Vale L.1000 (Sheet of 64 diff. stamps, offset on light blue<br />
paper, not perforated) Vittore Baroni. B#W. 4 – 80 (1980)<br />
^Homage to Râ Stamps (Sheet of 20 diff. stamps, offset on light yellow<br />
paper, not perforated) Vittore Baroni. B&W 6/80<br />
^Mama Dada (Sheet of 16 diff. stamps, offset on light blue paper, not<br />
perforated) Vittore Baroni. B&W. 9 / 1980<br />
^England O Italy (Sheet of 16 diff. stamps, offset, not perforated) vittore<br />
baroni & robin → crozier. near the edge stamp series n.7/81<br />
^Stamp Art Memories (Sheet of 16 diff. stamp, offset on green paper,<br />
not perforated) Mario → Lara & Vittore Baroni. B&W 3 – 1981<br />
^Collaboration Stamps (Sheet of 12 diff. stamp images, offset on rose<br />
paper, not perforated) V. Baroni & E-A. Vigo. B&W - 6 - 1981<br />
^Mail Art Stamps (Sheet of 15 stamp images, offset on rose paper, not<br />
perforated) by Vittore Baroni & Arturo Fallico. 1981<br />
^Carlo Pittore & Vittore Baroni Present... (Sheet of 15 stamps, offset<br />
on rose paper, not perforated) N. E. Coopstamps one: eighty two<br />
^S. I. N. Stamps (Sheet of 30 diff. stamps, b/w phc., not perforated) 1985.
Folio 1.<br />
^S. I. N. Stamps / Lugosi Béla (Sheet of 33 diff stamps, phc on yellow<br />
paper, not perforated {100}) 1985. Folio II. For mad vampirs only<br />
^Vittore Baroni first thirty years... (Sheet of 30 nearly id. stamps, phc.,<br />
not perforated) S.I.N. AP! 55. 1986<br />
^Marty Cantsin (Sheet of 20 diff. stamp images, phc. on rose paper, not<br />
perforated {200}) Near the Edge Ed. Folio 1° Vittore Baroni fecit<br />
^Bat Post (Sheet of 26 diff. stamp images, phc. on red paper, not perforated)<br />
BAT AP! 58. Collective stamp sheet. Jan-June 1988<br />
^Historical Puzzle, Series N3 (Sheet of 24 diff. stamps. phc. on green<br />
paper) E.O.N. Art Post. V.B. – 1988<br />
^The Risk! (Sheet of 16 + 16 diff. stamps, phc. on red paper, recto/verso,<br />
not perforated) Coop-sheet by V. Baroni & Günther → Ruch, 1988<br />
^Philatelic Heroes & Villlains (Sheet of 24 stamp images, phc. on yellow<br />
paper, not perforated {50}) Near the Edge Eds. 1991<br />
^Automatic Doodles... / Automatic Babble... (Sheet of 20 diff. stamps,<br />
phc. on green paper, not perforated {50}) P. Ciani & V. Baroni, '91<br />
~<br />
Source: <strong>Ruud</strong> → <strong>Janssen</strong>: Vittore Baroni. Mail-Interview. In: Arte Postale! N° 77, 1996<br />
^Last TRAX (Offset booklet, 60 p., + 12 stamps, 4 postcards, 3 stickers and one<br />
record in black vinyl, 1987). The publ. is an illustrated summing up report (with a<br />
theoretical introduction by V. Baroni and a retrospective essay by P. Ciani) about<br />
the TRAX activities (text: Italian and English). Further→ TRAX / Literature<br />
Literature: «...I think (an I hope!) that also most of the more mail artists feel the ambiguity and<br />
the fraily of the Eternal network as it works now: there is a swarming variety of<br />
mail-art shows every month, and thousand of individuals spending money to keep<br />
an enormous emount of cards and envelopes circulating in the postal systems of half<br />
the countries of the world, but the network lacks completely a clear idea of what<br />
they are all doing and why. (...) First of all, the stress in this expression is on a twoway-communication,<br />
that would be enough to determine a radical change in the way<br />
of doing and divulging art...»<br />
(V. Baroni: Letter to Umbrella. In: Umbrella [→ Hoffer], Vol. 3, # 5, 99- 100 p.)<br />
Karl Schmieder: Vittore Baroni. (Interview about TRAX and other publications)<br />
In: Unsound (→ Davenport) Vol. 3, N°4. 1986. 26-31 p.<br />
(Arte Postale!, #56): «Documentation of an amusing mail-art project. Entitled „Mail<br />
Art and Money Do Mix“ this volume tells of the editor sending out legal tender in<br />
respectable amounts (like $20 in the currency of the recipient's country) attached to<br />
a form letter with one of 5 options selected for the receiver then to do with the<br />
money. Among which are: drink to Baroni's health with it, buy Baroni a „compulsory<br />
gift“, for use as a payment to make the receiver stop sending „that awful mail<br />
art“, as a phony chain letter, and as incentive to xerox loads of the recipient's<br />
wonderful mail art. Needless to say, the results are very humorous and this to my<br />
mind is a welcome relief from the bulk of mindless mail art I receive. If you can get<br />
a copy of this, do. It's great.» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 27,<br />
Nov. 1987, 919 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 13, 91-92, 119-<br />
120, 133-134 p.<br />
Baroni, Vittore: The Hidden Link: The Mail Art Phenomena. Part 1-2. In: The<br />
Works (→ Salzberg), Vol. 3, N° 5. and N° 6. Block Island. July and August 1989,<br />
8 + 17 p. and 10 + 16 + 18 p. Reprinted in: Chuck → Welch (ed.): Eternal Network.
A Mail Art Anthology. University of Calgary Press, 1995. 157-163 p.<br />
Artist Profiles: Vittore Baroni, NEAR the EDGE Editions (About Baroni's artists'<br />
stamps). In: Artistamp News (→ Banana), Vol. 3, N° 1-2. February 1993<br />
Arte Postale! 1979-1995: Memories of a Mail Art Magazine Maker<br />
As the old saying goes, I am not an artist, I am a networker. When I started<br />
utilizing the mail art net, I was looking for something that the traditional art system<br />
could not give me. At that time, in the late seventies, I tried to restrain myself as<br />
much as I could from creating „fine“ images. I didn't want to make „artworks“ and<br />
develop a style or please myself æsthetically. I wanted to find new ways to communicate<br />
my ideas, avoiding all the usual traps and clichés of the gallery-museumcritic-artmagazine<br />
routine.<br />
I was very young and naif, and of course I was also wrong (a style always<br />
develops in spite of yourself, and you can't hide away indefinitely your love for<br />
pencils and colours), but my clumpsy idealism lead me instinctively to fully and<br />
whole heartedly embrace this correspondence art thing. It was so liberating, the<br />
whole anarchic idea of Mail What Thou Wilt Shall Be The Whole Of The Law.<br />
Furthermore, operating at distance (as those travelling the Internet are realizing<br />
thirty years later) permitted you to disguise yourself with harmless trickery,<br />
switching sex, age, status, credo and (pen)names fast as you would lick a stamp.<br />
It was not art in the traditionally accepted sense, yet you could pretend it was and<br />
„play artist“ with hundreds of others grown-up kids, create new real/fake art myths<br />
and throw them in the face of the official Artclique, or simply forget that such a<br />
thing as a cultural elite existed and make up your own ideal (net)working dimension,<br />
a planetary web with you at the centre.<br />
For me, a networker is a new kind of cultural worker, with a new role in<br />
society and new tools and strategies of intervention at his/her fingertips: a sort of<br />
„cultural animator“, a meta-artist who creates contexts for collective expression,<br />
instead of traditional art works. I always felt that, in the mail art medium, the „art<br />
work“ is not represented by the single postcard or letter I mail, but by the whole<br />
process of interaction with my contact(s), including their replies and the spiritual<br />
link that is actived between us. A complete mail art project, a collection of contributions<br />
from dozens or hundreds of different people (not necessarily „artists“!)<br />
responding to one request or theme, is another form of what I regard as a proper<br />
networking art piece: not the single contribution, but the sum of all the interacting<br />
mailings.<br />
In this sense, photocopied (or offset printed) and self-distributed mail art<br />
magazines, often including manual interventions and original pages submitted by<br />
various contributors, are yet another form of genuine art work generated by<br />
networking practices. I consider the thousands copies of Arte Postale! that I<br />
lovingly hand-assembled one by one in the past sixteen years as the best single<br />
docu mentation of my multifarious activities as a full-free-time networker. While<br />
many content themselves with simple lists of names and addresses, I believe there<br />
are infinite ways to turn a mail art catalogue or magazine into a fully satisfying little<br />
art piece in itself. All those unexpected holes or original fragments glued on the<br />
pages, one-of-a-kind enclosures or hand signed messages are not intended to mimic<br />
the preciousness of pricy artists' books, but to make the experience of reading a<br />
mail art magazine as fresh, unique and intimate as that of reading a personal letter.<br />
If only in a few cases I have been able to achieve this, then I am an happy networker.<br />
(Essay by V. Baroni, written for the Arte Postale! exhibition in Hasselt,<br />
Belgium, 1996, organized by Guy Bleus. In: <strong>Ruud</strong> → <strong>Janssen</strong>: Vittore Baroni.<br />
Mail-Interview. / TAM-Publs.: TAM-960147. / Arte Postale! N° 77, 1996 )<br />
Vittore Baroni: Vittore Baroni. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 162-163 p.
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 137 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 96-99 p.<br />
^Vittore Baroni: The postage stamps’ revolt. In: → Felter: Artistamps / Francobolli<br />
d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo, 2000. 6-27 p.<br />
(Baroni’s own artistamps: 98-99 p.)<br />
Barreiro Mail Art. (Biblioteca Municipal) Rua da Bandeira, Barreiro, P-2830 Portugal 1989<br />
(All the catalogues of this exhibition series have been illustrated very generouse –<br />
well usueable source material)<br />
Salâo Internacional de Arte Postal. Cat. Biblioteca Municipal, June-July 1989 <br />
2 a Exposiçao Int. Arte Postal Barreiro. Anos '90. Cat. A/5. 1990 <br />
3 a Exposiçao Int. de Arte OPostal, Barreiro, 1991. Cat. A/5. 1991 <br />
4 a Exposiçao Internacional Arte Postal. Cat. A/5. Nov. 1992 <br />
^A Festa. 5 a Edição do Salão Int. de Arte Postal. Cat.: A/5, offset, 64 p. Biblio- <br />
teca Municipal do Barreio. November 1993<br />
^O nú. 6 a Exposição Internacional de Arte Postal. Cat.: Horz. 16x23.5 cm., <br />
offset, 66 p. Biblioteca, Barreio. November 12-26, 1994<br />
<br />
O Cinema. 7 a Festival Internacional de Arte Postal. Cat.: November 1995 <br />
O Racismo. 8 a Exposiçao Internacional. Cat. Horz. size. Dec. 1996<br />
<br />
Os Oceanos. 9 a Exposiçao Int. de Arte Postal. Cat.: A/5. Nov.-Dec. 1997 <br />
^A Terra. X. Exposiçao Int. Arte Postal. Cat. 20x21 cm. 108 p. Sept. 1998<br />
~<br />
Literature:<br />
^Retrospectiva Arte Postal Barreiro 89 / 98. (with detailed data of all exhibitions<br />
and colorful reproductions of the catalogue-title-pages) 21x21 cm. col. offset, 12 p.<br />
Camera Municipal do Barreiro, Biblioteca / Espaço Jovem / Galeria Finisterra, 1999<br />
«Barreiro, Camera Municipal» International Art Postal Salon. Barreiro Portugal 1993<br />
Yearly Mail Art exhibition with documentations<br />
<br />
^Invitations: The Party, 1993; The Nude, 1994; The Cinema, 1995; The Racism, 1996;<br />
The Oceans, 1997; The Earth, 1998; Century XXI., 1999<br />
Bartkowiak, Heinz Stefan Körnerstr 24 Hamburg, D-22301 Germany 1996<br />
Edition: Forum Book Art. 1996-<br />
<br />
Bartling, Manfred (Asyl der Kunst) Hauptstr. 3 Gross-Häuslingen, D-2818 Germany 1990<br />
^Tree in One Triptich. Inv., 1990<br />
<br />
^Cain and Abel. Inv., 1996<br />
<br />
<br />
!Basic!<br />
→ Renault, Frédéric<br />
Bates, Keith 2 Ferngate Drive Manchester, M20 9AX United Kingd. 1997<br />
↑ (The Eclectic Hermit) 34 Goulden Road, Manchester, M2O 9ZF. - “ - 1992<br />
.............................................................................................................................................................<br />
Activity in «fake tickets and bogus labels» as Mail Art ephemeras.<br />
<br />
^Another Stamp Album. Cat.: A/5, phc., 24 p. 1984<br />
<br />
°Comic to Comic. Cat.: A/4, offset, 24 p. 1984<br />
<br />
^Ticket Art. (Make a ticket for a real or imaginary event...) Cat.: A/5, phc., 48 p. <br />
1985 (A second Ticket Art project: 1992)<br />
^Elements / Language / Visual Art / Audio Art. Inv., 1985<br />
<br />
^Jackson Pollock's Shoes. Cat.: A/5, phc., 32 p. / with «Christie's Mail Art», <br />
8. Dover St., London, WiX 3PJ. 21 September 1991<br />
~
Literature:<br />
Vittore → Baroni: Keith Bates. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 76-77 p.<br />
«Bay Area Dadaist» → Mancusi, Tim / → Gaglione, Bill / → Chikadel, Charles<br />
→ Caravello, Steve<br />
→ Cazazza, Monte<br />
→ Dogmatic, Irene<br />
→ Friedman, Ken / Weekly Breeder<br />
→ Lloyd, Ginny<br />
The Weekly Breeder publications of the Bay Area Dadaist:<br />
NYCS Weekly Breeder. (Vol. 1) #1-11, Edited by Ken Friedman, 1971<br />
NYCS Weekly Breeder. (Vol. 1. ?) further 12 issues. Ed. by Stu Horn, 1972<br />
NYCS Weekly Breeder. Vol. 2. N° 10 (#1) Ed. by Tim Mancusi. Letter, ip., 2 p.<br />
May 1972<br />
NYCS Weekly Breeder. Vol. 3, N° 2 (#2) Ed. by Tim Mancusi. Letter, ip., 7 p.<br />
June 1972<br />
NYCS Weekly Breeder. Vol. 3, N° 3 (#3) Ed. by Tim Mancusi. Letter, ip., 10 p.<br />
Christmas 1972<br />
The NYCS Weekly Breeder. Vol. 4. N° 1 (#4) Ed. by → Caravello, Steve, 1972<br />
The NYCS Weekly Breeder. Vol. 3. N° 5 (#5) Ed. by Tim Mancusi. Letter, ip.,<br />
15 p. 1973<br />
(announced as May 1953!)<br />
The NYCS Weekly Breeder. Vol. 3. N° 6 (#6) Ed. by Tim Mancusi. Letter, ip.,<br />
34 p. 1973<br />
The Very Last NYCS Weekly Breedeer. Vol. 3, N° 7 (#7) Ed. by Tim Mancusi.<br />
Letter, ip., 17 p. Autumn 1974<br />
The New York Correspondence School WEEKLY BREEDER. Vol. III, 1981. Letter, <br />
phc. 200 p. Ed. Tim Mancusi and the Bay Area Dadaists. (A complete<br />
compilation of the seven issues of the NYCS Weekly Breeder edited<br />
by the members of the Bay Area Dada group. Also reprints of an article<br />
from The Print Collector's Newsletter [Sept-Oct. 1977]; Howerdena<br />
Pindell: Artists' Periodicals.)<br />
The New York Correspondence School WEEKLY BREEDER. Vol. VI. N°1. (#8) <br />
Ed. Tim Mancusi. Letter, phc. ? p. (With the mini-editorial: A Brief<br />
History of the NYCS Weekly Breeder; «... I asked Bill (Gaglione) if he<br />
wanted to put out a 20th anniversary issue this May... Always be dada<br />
and remeber that „Traditional family values“ is just another code phrase<br />
for intolerance.)<br />
~<br />
Sin City. (Mag. in mini size, 8p. ip., 1972-73, #1-2) Further→ Mancusi<br />
<br />
Weekly Readers Da-jetst. (by Perry Mancusi aka Indian Ralph) Vol. 1, N°1. <br />
Letter, ip., 8 p. San Francisco, Nov.-Dec. 1972<br />
The West Bay Dadaists / Flash Art / QUOZ? (Series of neo-dada mags. edited by <br />
Charles Chikadel. Altogether 12 publs. appeared between May<br />
1973 and winter 1975-76 in an edition of mini size, instant print,<br />
8–48 p. Trinity Press, San Francisco. Further→ Chikadel.<br />
Soloway, Rick (ed.): Clouds over Albuquerque / For Left-Handed, both mini, ip., 16 p. <br />
Mr. Tip & Ms. Tops Favorite Recipes „Cookabook“, digest ip., 24 p.<br />
(Contributors were asked to submit their favorite recipe, which ranged<br />
from Tim Mancusi's peanut butter and jelly sandwich to A. M. Fine's<br />
„How to Cook an Atomic Bomb“.<br />
Nu-Art, magazine with cartoons, #1 only, mini, phc., 20 p.<br />
<br />
Punks. (A series of 29 photobooth portraits, «...were photographed May 2nd, 1975, <br />
and include K. Doll, J. Rossman, B. Gaglione, C. G. Civatelli, T. Mancusi,<br />
Indian Ralph, O. L: Nations and J. Zontal») Mini, phc., 32 p.<br />
The NYCS Weekly Breeder. (Re-birthed publication!) Vol. 1, N° 2 (#1) Edited by
B. → Cleveland and Robert Rockola. Tabloid, phc., 15 p. Edition La<br />
Mamelle Inc., San Francisco, June 1980<br />
Cushman, Barbara: The 1980 Cooperative Color Xerox Calendar.<br />
The 1981 Cooperative Color Xerox Calendar.<br />
Color Xerox Annual.<br />
1983 Color Xerox Annual.<br />
New Art 84.<br />
(Spiral bound colour xerox calendars 1981-84. All publs. legal size,<br />
colour xerox, 15-16 p. A Fine Hand Prod., S. F. More: → Cushman)<br />
Stamp Art. Eds.: Joel Rossman, Tim Mancusi, Bill Gaglione. (55 participants)<br />
Letter, phc., San Francisco, 1980<br />
Fallout (Mag., ed. by → Smith, Winston. #1-2: digest, phc., #3-5: tabloid, newsprint,<br />
24-40 p. 1980-84, squ.) Fairfax CA. Further→ Smith, W.<br />
Cenizas #18 (Mag., with guest editor Geoffrey Cook. A visual poetry special issue,<br />
digest, phc., 40 p.) Ed. Romax, San Francisco (Rolando Catellion)<br />
Neo-Roc International Mail Art Exhibition. Cat.: Letter, phc. & rubber stamps,<br />
28 p. Org.: Marlon Rockola (editor of the Cat.:) & B. Gaglione. 112<br />
parts. / Fort Mason (alternative space). San Francisco, Febr. 1982<br />
~<br />
Literature:<br />
<br />
<br />
<br />
Robert Camuto: Mailomania. (Covers the Bay Area mail art activity with Banana<br />
and Gaglione at the forefront) In: Boulevards (tabloid). Vol. 2, N° 1. San Francisco<br />
Vittore → Baroni: Interview with Bill Gaglione & Anna Banana (espacially about<br />
the Bay Area Dadaists). In: Punk Artist. N° 4. Ed. Graziano Origa. Milano, 1979<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 50-51 p.<br />
«In 1968, Gaglione began working at Barons Art Supply, where owner, Edward<br />
Aaron, a former lawyer and army surplus salesman, encouraged a relaxed atmosphere<br />
among the staff. Steve → Caravello, who became the photographer of record<br />
for the group, began working at Barons soon after, joined the following year by<br />
Charles Chickadel. The core group of the Bay Area Dadaists congealed when Tim<br />
Mancusi, Gaglion's from Long Island Island moved to the area in 1969... In the<br />
seventies, artists went alternative, circumventing the established away institutions.<br />
For the most part, the Bay Area dadaists operated away from the mainstream,<br />
building new support systems through correspondence, publications, performances<br />
and festivals... From 1972, they were all involved in the mail art scene...<br />
Gaglione and Mancusi became the editors of The New York Weekly Breeder,<br />
which had first been published by Fluxus member Ken → Friedman. Friedman<br />
passed the editorship on to Stu → Horn of the Northwest Mounted Valise, who in<br />
urn relinquished his editorship to the Bay Area Dada group... These publications<br />
were produced at a crucial time, when photocopying was replacing mimeograph<br />
as the favored medium of self-publishing... The publications of the Bay Are<br />
Dada group marked a shift from the underground writings of the psychedelic area.<br />
They had a harder edge, in part due to the New York roots of Gaglione and<br />
Mancusi, and precursed the turn from hippie to punk and industrial sensibilities...»<br />
(John → Held, Jr: An Introductory History of Bay Area Dada Publications. In:<br />
The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione]. San Francisco,1997)<br />
«In many ways, this issue (#4) of the Breeder attains it's classic look. Reprinted<br />
newspaper articles are collaged with visual material, much of it pornographic in<br />
nature, all of it just a bit off kilter. For instance, on page three the following scraps<br />
from newspapers are gathered together on a collages background... The headline on<br />
page one reads, „Re-elect the President“, and there is social commentary running<br />
throughout.» (John → Held, Jr: Bay Area Dada, 1970- 1984: An Annotated
Bibliography of Primary Sources. In: The Bay Area Dadaist. Edition Stamp Art<br />
Gallery [→ Gaglione]. S. F. 1997)<br />
«Bazzoka, Group» c/o (O. Clavel ?) 34 rue Montholon Paris, F-75009 France 1975<br />
^Bazooka (Epoch making graphical publ. A/4, offset (partly colour print), 28-54 p. <br />
1875: #1 Bazooka, #2 Loukhoum Breton, #3 ?)<br />
^#1, 2<br />
^Bazooka Production. (by Olivia Clavel, Loulou, Kim Bravo), Tabloid size book, <br />
offset, 36 p. / Futuropolis, Paris, 1977 / 1987<br />
^Un Regard Moderne, Resistance Graphic (Mag. Tabloid size, newsprint, ~32 p. <br />
1978, m. #1-6) Editor: Loulou Picasso (Edition Liberation / Bazooka,<br />
27/30/32 rue de Lorraine, Paris, F-75019)<br />
^#1, 3, 4, 5<br />
^Clavel, Olivia: Matcho Girl. Les aventures de Télé. (Book, 72 p.) Tabloid size offset <br />
book with «Bazooka graphics». Le Dernier Terrain Vague, 1980<br />
^Picasso, Loulou & Lacroix, Hugo: Affairisme et literature. 22x13.5 cm.,offset, 48 p. <br />
Le Dernier Terrain Vague. Paris. 1983<br />
^Clavel, Olivia !Télé!: Peintures (6 colour cards + text-accordion, 6 p., by D. Mallerin) <br />
DTV / Galerie Chistophere, Paris, 1990<br />
→ Larsen, Lulu (Lulu)<br />
→ Renault, Philippe<br />
→ Loulou Picasso (Duprés, Jean-Louis )<br />
→ Clavel, Olivia /Olivia Télé<br />
Kiki Picasso (Chapiron, Christian )<br />
Vidal, Bernard / Bananar<br />
Bailly, Philippe / T5Dur / T5<br />
Tirmel, Jean Pierre<br />
~<br />
Literature:<br />
^Jean Seisser: La Gloire des Bazooka. (Illustrated monography, French.) Offset<br />
book, 272 p. Éditions Robert Laffont, S. A. Paris, 1981. The chapters:<br />
Les espoirs flous.<br />
Bazooka au singulier désigne le groupe. Bazooka au pluriel désigne les membres<br />
du groupe. Bazooka au singulier désigne aussi un membre du groupe. Bazooka<br />
production est la signature utilisée indifféremment par n'importe quel Bazooka.<br />
L'épopée Bazooka.<br />
Sur le marchepied punk le flash éclate dans la tête.<br />
«Libération» successivement: dictature graphique fondation réactiviste et résistance<br />
graphique.<br />
La nuit européenne.<br />
Les yeux brulés.<br />
Les Bazooka à travers Bazooka.<br />
Lulu Larsen est né le 7 aout au Mans. Mission impossibile. Il signe ses dessins Lulu<br />
ou Lulu Larsen. Mais il s'appelle. Philippe Renault et ses parents. L'appellent<br />
Phillipe.<br />
Bernard Vidal est né le 7 mai 1954 à Alger. La difestion lente. Il signe ses dessins<br />
d'abord Bananar, puis Bernard Vidal. Il est surtout connu sous te sobriquet<br />
Nanar.<br />
Loulou Picasso est né le 13 mai 1954 à Masingerbe. La parole du bègue. On<br />
l'appelle Loulou. Il signe ses dessins Loulou puis il rajoute Picasso. Son vrai<br />
nom est Jean-Louis Duprés.<br />
Olivia Clavel est née le 14 octobre 1955 à Paris. Un joli garçon (marin). Elle signe<br />
généralement de son nom. A un moment: Electrik Clito plus souvent: Olivia<br />
Télé Clavel.<br />
Kiki Picasso est né le 15 avril 1956 à Nice. Le dessin qui tue. Il utilise d'innombrables<br />
pseudonymes: Kim Bravo, Kriss Plak de Krass, Marie Scouleursavecgout,<br />
Professeur Kolbe. On l'appelle généralement Chap ou Kiki. Sa mère<br />
l'appelait Titan quand il était enfant. Puis il abandonne tous ces pseudo-
nymes pour signer Kiki Picasso et plus récemment de son vrai nom: Christian<br />
Chapiron.<br />
Philippe Bailly est né le 29 mai 1957 à Déville-lès-Rouen. L'érotisme de l'angoise.<br />
Il signe ses dessins Ti5Dur ou Ti5 Absorption. Plus généralement Ti5. Ou<br />
simplement T5. On l'appelle Philippe.<br />
Les lignes brisées.<br />
Le panier de crabes.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 139-141 p.<br />
Bealy, Allan P. O. Box 383, Village Station New York, NY-10014 USA 1980<br />
↑ Box 813, Station A Montreal P.Q., H3C 2V5 Canada 197?<br />
.............................................................................................................................................................<br />
Da Vinci (Mag. Letter, offset, 1973?-, #1-3?) Vehicule Art Inc., Montreal<br />
<br />
^Benzene Magazine (Fluxus like mag., also vis. poetry. Tabl., newsprint, 24 p.<br />
1980-, 3xy.) De Press. New York<br />
^#1<br />
~<br />
Literature:<br />
(About Da Vinci) VILE #4, Summer 1976 (→ Banana, Anna): Introduction.<br />
Bechi, Lizzie / Crozier, Robin Bristol United Kingd. 1983<br />
Mail Art. Cat.: / Arnolfini Gallery, 1983<br />
<br />
<br />
Beerens, Rudy P. C. Box 732 Maastricht Netherlands 1981<br />
^P's Magazien (Underground mag. with dadaistic texts, photos, graphics, and <br />
visual poetry. Hand interventions. Issues not dated, not numbered.<br />
A/5 and A/6, phc., ~30 p. 1981?-)<br />
^# Doorstromen S.V.P., A/6, 30 p.<br />
Beke, László Pozsonyi út 4 Budapest, H-1137 Hungary 1982<br />
↑ Polgár u. 7. Budapest, H-1033 - “ - 1972<br />
.............................................................................................................................................................<br />
^Ahogy azt a Móricka elképzeli (Open corresp. brochure, like samizdat magazine. <br />
Text: Hungarian A/4, typewritten, 26 leaves. 1972. #1 only)<br />
World-Famous World-Archives / of ideas, concepts, projects. Doc. 1972 <br />
The Last Mail Art Exh. (1972-78?) / Artistic Errors (not exhibited) / Hatvani Lajos <br />
Museum. Hatvan H, 1978<br />
Bell ? ? France 1984<br />
Journal des Chats (Compilation mag. by exp. literature & graphics. A/5, 1984-, ir.) <br />
Bellini, Lancillotto Arte Naturale. Via Adelardo N° 8. Verona, I-37139 Italy 1990<br />
^Between Correspondence and Art / Tra corrispondenza e arte. (with the Gruppo Arti <br />
Visive di Verona) Catalogue in the form of a poster of 65x46 cm.,<br />
2 colours offset, with participant list, + 2 A/4 sheets, phc., as document.<br />
Exh.: at the Palazzo verità Montanari, Verona, March 22-28, 1986<br />
^Arte Naturale. Inv., 1988<br />
<br />
^The Artist's Family. Cat.: A/4, phc., 18 p. 1990 ®<br />
Arte Naturale. Cat. 1990<br />
<br />
~<br />
Literature: ^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 136-137 p.<br />
Below, Peter (Art Base) Leyendeckerstr. 27 Köln, D-50825 Germany 1996<br />
↑ Bismarkstr. 12 Würzburg, D-8700 - “ - 1986<br />
↑ (Ego Post) Steinheilstrasse 12, #14 Würzburg, D-8700 - “ - 1980
↑ Schrannenstr. 19 / P. O. Box 229 Kitzingen, D-871 - “ - 1976<br />
.............................................................................................................................................................<br />
°Correespondence with U. Carrión (Doc.) A/4, phc./dactylography. 30 p. Unique <br />
material in exchange between Below and Carrión. 1976<br />
^Handlungen. (Book with actions and performans, also Mail Art documentations. <br />
Cut A/5. offset, 132 p.) Omnibus Press / Mixed Media, 1976<br />
^Illusionäre Realitäten, Reale Illusionen. Dokument dreier Tage und Nächte. <br />
(with e. m. p.) A/5, phc., 24 leaves. {40} Ubbeboda Artist Union,<br />
Sweden / Lurchi-Edition. Kitzingen, 1976<br />
^Mail Art. In: Materialien an der Fachhochschule Würzburg, 1981-82, edited by <br />
Hubert Kretschmer. Other texts in this publ. (all German): U. Carrión:<br />
Mail art and the big monster. L. Spiegelman: Statement, G. Lloyd:<br />
Judit Hoffberg and the Umbrella, H. Zabala: Art is Prison.<br />
A/5, phc., 22 leaves. Würzburg, 1977.<br />
^Eroticism and Art (Commonpress #3) A/4, offset, 24 p., 56 participants. Mixed <br />
Media Ed. Kitzingen, March 1978<br />
°Young Generation and Political Reality. Inv. A/4, phc. 1 sheet. Kitzingen, 1978 <br />
Artistamps: °Ego Post (Sheet of 49 stamps, 7 diff. images, sepia on white) 1978 <br />
°Abnorm Post ( Sheet of 72 diff. stamps, phc.) Mixed Media, 1979 <br />
Bacillus Catalogues, #1-5. (Periodical publs. for the exhibitions and other art events <br />
at the Bacillus Art Space, Steinheil Str. 14, Würzburg, D-8700, curated<br />
and edited by Peter Below) Ed. Mixed Media. Kitzingen, 1979-1980<br />
1) Kunstvermittlung in der Diaspora I. A/4, phc., 38 leaves. Nov. 1979<br />
Photos & contributions by Wulle Konsumkunst, E. F. Higgins<br />
III., Rod Summers, P. Below, Angelika Link, Niels Lomholt,<br />
Horst Kraus, Albrecht/d, etc.<br />
2) Kunstvermittlung in der Diaspora II. A/4, phc., 48 leaves. Jan. 1980<br />
Exhibition by David Drummond Milne, contributions by H. J.<br />
Hummel, Petra Homeger/Ms. Occultic, P. Petasz, H. Kraus, Peter<br />
Below & others<br />
3) Neueste Nachrichten aus der Diaspora. A/4, phc., 54 leaves, spiral<br />
bound publ. March 1980<br />
Contributions by the artists from the magazine Schwantz / Frankfurt,<br />
Gábor Altorjay, Tamás Szentjóby, A. P. Stucker, J. Witsch,<br />
P. Reuth, W. E. Baumann, R. Knödler – E. Lepetit, T. Niggl, etc.<br />
4) Geschäftspapiere. A/5 material in a portfolio of 26x18 cm. Inserts:<br />
Art Space. Würzburg-Grombul (A/5 size offset brochure by the →<br />
Lomholt Formular Press) + loose photocoped matter + some original<br />
objects, also 4 postcards by T. Niggl. n.d. (1980)<br />
Additional catalogue: Niels → Lomholt: Mr. Klein Project. A/4 horz.,<br />
offset colour print, 12 p. April 26, 1980<br />
5) Kunstvermittlung in der Diaspora. A/4, phc., 48 leaves. Mai 1980.<br />
Exhibition & graphic material by Joachim → Frank, film contributions<br />
by Stan Brakhage & Werner Nekes, etc.<br />
Multimedia Festival / Diaspora. Cat. A/4, phc., 110 leaves. Mixed Media Ed. 1980. <br />
Contributions by artists from Sweden, + J. O. Olbrich, Jan van<br />
Raay, R. Summers, H. W. Kalkmann, Albrecht/d, André Maguin,<br />
Groupe CAIRN, R. Crozier, Fred Truck, E. A. Vigo & others.<br />
°Instant Art for Instant People. Visual fragments from 4 performances. (A/4, phc., <br />
rubber stamps, collage, offset, 20 p. Mixed Media. Kitzingen, 1980<br />
°Identität / Realität. (Offset, rubber stamps, orig. photo) Mixed Media, 1980 ®<br />
A magazine for... (Mag. with correspondence and visual matter, for some friends <br />
only {10}. «This means that the addresses are different each time<br />
and no one will ever have a complete collection.» A/4, phc. 1980-, sm.)<br />
°Lebenszeichen. (Bookwork by coloured drawings maginified by xerox, + rubber ®<br />
stamps) A/4, 26 p.. Mixed Media. Kitzingen, 1980<br />
^Struwel Peter Scrapbook. (A cooperative work of Robin → Crozier, Geoffrey
Young, A. Barrio, Spudz/Cees Franke, Pete → Horobin and Peter<br />
Below. Below started a German children book for an «add to things<br />
and images» action in 1977. After the intervention of Crozier, Young,<br />
Barrio and Franke, in January 1981 the book was given to Pete Horobin,<br />
who destroyed it in the sense of a Destruction/Ceeation action. After<br />
this final result, the pile of loose pages have been photocopied and bound<br />
to a new book in 10 copies by Peter Below.) A/4, phc., 101 leaves + cover.<br />
Mixed Media / Kriptonic Press. Würzburg. February, 1981<br />
^The Neoist Network's First European Training Camp Würzburg, June 21-27, 1982. <br />
(with I. → Kántor) A/4, offset, 72 p. Kryptic Press, Würzburg /<br />
Centre de Reserche Neoists – Monty Cantsin, Montreal, 1982<br />
^An open letter to Monty Cantsin. (A/4, 17 leaves, xeroxed matter {16}) Responses <br />
by: Pete Horobin, Vittore Baroni, David Zack, Mark Bloch, R. U. Sevöl,<br />
Tentatively, István Kántor. Kryptic Press, Würzburg, n.d. ~1982<br />
^Buddhette Documents I-II. (with Petra Weiß & Piotre N. N.) A/4, phc., ~50 leaves<br />
recto/verso in a portfolio. Editions to commemorate the (xerographical<br />
and Mail Art like) activity of the Budhette University in the Ultimate<br />
Akademie Köln (→ Pellini). {30} Kryptonic Press. Köln, 1996-1997<br />
#1: Gelasasenheit. 1996<br />
^#2: Weiblichen in Männlichen (und vice versa) . 1997<br />
~<br />
Literature:<br />
P. Below: Info Exchange (About the planning of an alternative art space in<br />
Würzburg.) In: Umbrella (→ Hoffberg). Vol. 2 / #6. 143 p. November 1979<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 64-65 p.<br />
Bennecke, Reinhardt / Lory, Ekkehard ? Hannover Germany 1975<br />
DA²=! (AHUA 1) A/4 publ. especial for xerography with dadaistic colour. 66 p. <br />
{500}. Dadahnova. Hannover, 1975<br />
<br />
Bennett, John M. Luna Bisonte Prods. 137 Leland Ave. Columbus, OH-43204 USA 1975<br />
^Lost and Found Times (One of the most known network mag. for visuale poetry. <br />
Digest size, offset print or phc. Issue 1 and 2 each with one sheet,<br />
issues 3-7 each with 21 leaves in cover, ubound, later stitched issues<br />
with 24-36 pages. 1975-, 2-3xy., over 40#)<br />
^#17, 18, 20, 21-22, 23, 27<br />
°Meat Dip / Blank Wall (15 / 17 stickers with rubber stamps in envelope) 1976 / 80 ®<br />
°Select Labels. Digest, offset, 16 p. Lina Bisonte prod. Columbus, 1976<br />
<br />
^Time Release. (concrete poetry by short sentences) Digest size, phc., 12 p. 1978 <br />
^Contents. Visual poetry. 14x10,75 cm., phc., 14 p. 1978<br />
<br />
^Nose Death. Digest size, phc., 12 p. 1984<br />
<br />
^13 Spits. (dedicated for V. Baroni) A Clarel Edition, 1986<br />
<br />
^Ash. (with Robin → Crozier.) Visual poetry. 14x10.75 cm., phc., 8 p. 1999 <br />
^Agon. (with Robin → Crozier.) Visual poetry. 14x11 cm., phc. on re paper, 8 p. 1999 <br />
There exist also copies with hand interventions by R. Crozier.<br />
~<br />
Literature:<br />
«I am interested in the word, in language as a vehicle for containing or referring to<br />
the whole of my experience alive. My work has moved in several directions toward<br />
that goal: language as poetry, as conceptual object, as visual object, as somatic<br />
graph in handwriting. Usually I try to combine two or more of these aspects in my<br />
search for a total expression. The placing of experience or self into language is<br />
perhaps the most unique aspect of being human. It is sometimes difficult, painful or<br />
joyful process. It is the self coming alive and leaving itself simultaneously...»<br />
(J. M. Bennett: Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art<br />
– Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 167. item)
«Bennett cranks outhis work and the work of his cronies with relentless regularity.<br />
Lost and Found Times features mostly poetry of the grainy, grit school. Tough but<br />
inward. Part surreal daydream, part concrete. With „Ack's Wacks“ as a ongoing<br />
item (Al → Ackerman's tangents into real life as he imagines it) the tone is set.<br />
The tape sounds like the poems and collage read, only louder.» (About N° 26,<br />
booklet + cassette, in: Lightworks [→ Burch]. Glimmerings [Publication review]<br />
N° 20-21, 1990. 64 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 76 p.<br />
«Is it possible to describe what is do delighful about Mail Art?<br />
What's delightful about receiving Mail Art is that it's so full of people's uninhibited<br />
expressions, off-the-cuff blurtings, or careful, lunatic constructions. It's<br />
about as close as one can get these days to a „pure“ art, one with no agenda, no<br />
career-building motives, etc. (This doesn't mean it doesn't have political or social<br />
messages – it often, even usually, does – but the functionality of that is inpersonal)<br />
Anyway, receiving Mail Art stimulates my own creative processes... What I like<br />
about making Mail Art is that it's a medium in which I can either disitribute my<br />
main work, poetry, and/or do completely spontaneous things that often surprise me<br />
and serve as a source of ideas for other projects. (...)<br />
Lost and Found Times is an avant-garde literary magazine that includes the<br />
occasional bit of Mail Art. It began in 1975 as a single-sheet publication of fake<br />
lost-and-found notices that was stuck under car windshields in parking lots... When<br />
the other editor died suddenly in 1978 (Doug Landies or Mr. Sensitive) I continued<br />
to publish it, gradually expanding its literary aspect. (...)<br />
Your use of rubber stamps is quite interesting, too. Some mail artists in the<br />
USA and Europe like to use several rubber stamps to make a (realistic) visual story<br />
out of them, but you like to combine rubber stamps which don't fit together to give<br />
some kind of message...<br />
...I want to make something never made before, something I, and others, will<br />
see for the first time. This is my goal in all my art and writing. Rubber stamps are a<br />
quick way to achieve this: with a couple movements of the hand, you can make a<br />
bizarre combination of images and/or words and thus have an instant experience of<br />
seeing the world as if for the first time: the world becomes new and exciting, and on<br />
continues to learn about it. On a less metaphysical plane, I enjoy rubber stamps as<br />
objects and for their potential to create works in multiples, a fascination related to<br />
my work as writer, whose works are reproduced in books, which are the ultimate<br />
„multiple“ art form. Perhaps this is a contradiction (or unity of opposites): I want to<br />
create things no one has seen before, but create them in many identical copies. Vive<br />
la contradiction!...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with John M. Bennett. A/5, 16 p.<br />
TAM Publs.: TAM-960123, Tilburg, 1996)<br />
Vittore → Baroni: John M. Bennett. In: Arte Postale. Guida al network della<br />
corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 110-111 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 153 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 100-101 p.<br />
Bennett, John (Also) 137 Leland Ave. Columbus, OH-43204 USA 1995<br />
^Typewriting in a Swimming Pool (Br. 24 p.) Found Street / Luna Bisonte Prod. 1975
Bennink, Sylvia ? Almelo, NL Neatherlands 1985<br />
^The Bright Red Briefcase. Mail Art project. Cat.: Horz. 14x30 cm., offset by red <br />
and black, 12 p. Almelo, July 1985.<br />
Bentos, Acoste Magallanes 1424 / 903 Montevideo Uruguay 1985<br />
^Defence of Animals. Doc. Legal, phc., one sheet. 1985-86.<br />
<br />
^Mail Art /Book 86, Edition. Invitation on postcard. 1986<br />
<br />
^Friends – Mail Art on Video. Inv., 1986<br />
<br />
Berardi, Rosetta Viale Petrarca 402, Lido Adriano AR, I-48020, Italy 1992<br />
^Ravenna from the World (with Giovanni → Strada), Cat.: 22x24 cm., horz., <br />
offset, 114 p. Ed. Essegi. Texts by G. Guberti, R. Berardi, G. A. Cavellini,<br />
E. Baj, C. Spadoni, J. Held Jr., A. Tisma. /Exh.: Saletta Ancora,<br />
Ravenna, September-October 1992<br />
^Lo Specchio / The Mirror. Cat.: 24x17 cm., offset, 32 p. / Arte Studio Sumithra, <br />
Via Pasolini 43/45, Ravenna. April-May 1993<br />
Berezianski, Andrzej ? Poznan / Worclaw Poland 1970<br />
^Matematyka. Cat.: 19x17.5 cm., offset (yellow print), 12 p. Conceptual-visual <br />
works exhibited in the „A“ Gallery in Gniezno, Poland. 1970<br />
^Periodik (Mag. for conceptual works and experimental literataure, one of the <br />
earliest artists' periodic publ. in Poland. Collaborators: → Kozlowski,<br />
→Kostolowski. 23x21 cm., phc. + offset + partly hand made technics<br />
as typewritten pages, hand drawings, mimeogr. etc. {~40}, 1972-75?<br />
~2xy. #1-5?) Poznan<br />
^#1, 4, 5<br />
Berger, Udo Expanded Media Editions Basel – Paris, Swiztzerland- France 1975<br />
Soft Need (Mag. Literature accompagnied by vis. matter from concept artists. <br />
Cut A/4, offset. 1975?-, bim? ~ 20#)<br />
Berger, M.<br />
→ !Harlekin Art!<br />
«Bergkamer / Workshop» Dept. of Arts and Culture Bergkamen, D-59192 Germany 1982<br />
^Art for Surviving. Mail Art Workshop, Bergkamen 1982-/83. Cat. and anth. ® <br />
by original rubber stamps, edited by the Dept. of Arts and Culture,<br />
Bergkamen in cooperation with the Commune of Gütersloh, Germany<br />
in 1200 copies. Horz. 20x21 cm., offset, 70 p. for texts + 191 leaves for<br />
rubber prints.<br />
Bergmann, P. T. Webgasse 30 / 1. Wien, A-1060 Austria 1982<br />
^You, I and the Post (answering form to fill and send to). Inv., 1982<br />
<br />
Bericat, Pedro F. Associacion Amuna Duse (12). Apt. 4.033. Zaragozza, E-50002 Spain 1989<br />
^Mutualismo Laboral de Trabajadores Autonomos, de Servicios de la Industria <br />
y de las Actividades Directas para el consumo. (Beside Mail Art matter<br />
also artists' publications and magazines) Cat.: 24x17 cm., offset,<br />
52 p. – with large address & magazine lists. Exh.: Zaragoza, 1989<br />
^ 1. Festival / FAX „AUDISEA“. Cat.: A/5, offset, 36 p. (FAX: 976-253701) 1995 FAX<br />
^Audio-Noise Project at the Gallery Berde. Inv., 2000<br />
<br />
Berkhoff, Arthur (Pregroperativistic Movement) (Basis Orguna) P. O. Box 11839 Amsterdam Netherlands. 1985<br />
^Send Ashes to the Pregropertivistic Movement! Inv., 1984<br />
<br />
Lisme (Anagram of «Smile») (Neoist mag. A/5, N°5=A/4, phc., 1985-87? #1-5) <br />
Basis Orguna / AKAUCN, Amsterdam.<br />
Listed issues:<br />
LISME 1 (A/5, 20 p. 1985)
LISME 2 (A/5, 20 p. «Diving issue», May 1985)<br />
LISME 3 (A/5, «Key issue», 24 p.)<br />
LISME 4 (A/5, 28 p. 1985)<br />
LISME (A/4, 18 p. 1986)<br />
^NOW (Mag. 29.7x10.5 cm., phc., 16 p. 1986? #1 only?) Basis Orguna / AKAUCN<br />
<br />
Berlin, Post-Museum → Museum of Post & Telecommunication, Berlin<br />
«B. E. R. M. Kollegium» Richard Sorge Str. 24 Berlin, GDR-1034 1988<br />
^Recycling Mail Art.(«Second hand» material from the archives of mail artists) <br />
Cat. in the form of 4 accorodion folders, each with 4 postcards<br />
(BW offset) + participant list (A/4 sheet), + A/3 poster in BW photocopy.<br />
Exhs. in the Bezirksbüro, Berlin, further at the Kulturhaus Potsdam,<br />
Galerie «Blick», and in the Kulturhaus «Hans Marchwitza», Postdam,<br />
1988<br />
Recycling Mail Art / Actions Month (Guests: G Lipinsky, H. Bartnig, P. Küstermann, <br />
H. Otto, J. Klaffki) Kulturhaus Potsdam, Galerie «Blick», March 1989<br />
Recycling Mail Art / Action Month. Doc. in: Bermlina Zeitung. (News, 1989, #1) <br />
Bermejo, Mª Luz<br />
→ Inismo<br />
Berndt, John (!Monty Cantsin!) P.O. Box 22142 Baltimore, MD-21103 USA 1988<br />
↑ 3523 N. Calvert St. Baltimore, MD-21218 - “ - 1984<br />
.............................................................................................................................................................<br />
^Smile (Neoist mag., also audio-cas. & T-shirt. Letter, digest, phc. 1984-87, #1-8) <br />
Known issues:<br />
SMILE (A/4 size, 10 p. 1984?)<br />
SMILE now is never. (By Monty Cantsin /J. Berndt – A/4, 14 p. 1985?)<br />
SMILE issue 2. (A/4, 12 p. includes 2 audiocassettes, 1986)<br />
^SMILE issue 3. The answer is the destruction of the question. (A/5, 8 p. 1986?)<br />
^SMILE 1 issue 4. vol. «Formalism» (A/5, 16 empty p. 1986)<br />
^SMILE issue 6 vol.1 / issue 7 vol. 1 ( A/4, 24 p. screenprinted cover, 1986-87?)<br />
SMILE T-SHIRT (in small, medium and large form, by John Berndt)<br />
^SMILE (Art Strike issue with a text suppl. about the NYC Neoist apartment<br />
festival by J. Berndt. Digest size, yellow cover, 12 p. 1989-90)<br />
^K7U: Ultimatum II. – New Literature. (Brochure, letter size, phc., 20 p.)<br />
<br />
Texts: Berndt: Dialectical Immaterialism / Berndt &→ tENTATIVELY:<br />
Ultimatum II. Nouvelles Litteratures – New Literatures, 11-19 September<br />
1987 / tENTATIVELY: Generic As-Beenism. Baltimore, 1987<br />
^Opening Gaps and Filling Them Up... 18x18, phc., 12 p. / Western Cell Division, <br />
~<br />
Source:<br />
~<br />
Literature:<br />
Dialectical Immaterialism Press, Baltimore, 1989. (Art Strike matter)<br />
^John Berndt & Graf → Haufen: The Secret of the Smile. (A/5, 4 p. n.d. / Berlin,<br />
1987?) A brochure making known some Smile publications by J. Berndt and<br />
S. → Home. About the Smile 6/7 by Berndt: «... was initialy prepared for 64th<br />
Neoist APT festival in Berlin and consequently reflected some of the concerns<br />
associated with neoism at that time...»<br />
(Statement of SMILE, Issue Three. The Answer is the Destruction of the Question):<br />
«The modes of discourse create their own (pseudo) answers. Only illusonary<br />
movement can take place within the existing frameworks. Consequently, our actions<br />
towards revolutionary movement must find their basis in the undermining of<br />
existing (i. e. accepted) forms of disicourse. To this end, we formulate (meta)<br />
nihilism as a point of departure, not because we „believe“ in it, but because it is a<br />
tentatively convienient position on the self-reflexive extreme of the mode of<br />
discourse (the „contradictionary“). We will „progress“ „beyond“ this „reference“<br />
point only in that we intend to deconstruct the underlying capitalist power relations
which caused its materialization (from the historical negation of radical inertia with<br />
pseudo-leisure in the first place). We have not illusions that meaning can continue<br />
in some way to „progress“ or can be done away with instantaneously – we<br />
impassively addresss the illusionary „progress“ of the „human cindition“ of the<br />
supression on (in) active refusal...»<br />
(K7U – Ultimatum II): «The package contains a booklet and a tape. Also known as<br />
Karen Eliot, Monty Cantsyn, and Charles Boyd, John Berndt is based in Baltimore,<br />
Maryland and is a graduate of the „Nuclear brain physics surgery school“ and has<br />
partipated in the →„Artists' Strike“ and other cultural conspiracies. His esoteric life<br />
activities have frequently been exhibited through the twin contexts of the art world<br />
(socially sanctionned imagination). Moore often than not, these exhibitions actions<br />
have involved diverse media of information recording and playback, and have<br />
reflected a perverse philosophical concern with questions of thruth and identity.»<br />
(Publication Reviews. In: Métro Riquet [→ Duvivier], #8. Paris, 1990. n. p.)<br />
Bernhardt, Martin c/o Noak, Karl-Marx-Platz 15 Greifswald GDR-2200 1987<br />
^... vom Adam zu Neuem Menschen... Inv., 1987<br />
<br />
Berry, Carolyn 78 Cuesta Vista Drive Monterey, CA-93940 USA 1987<br />
Literature: «My artists books originated from skills learned as a child transposed in form onto<br />
children's school books that had been written in, stamped on, covered with cloth<br />
and nibbled by mice. The character of these old books gave me the idea to make<br />
one-of-a-kind books. My books were developed on my own and independent of any<br />
other artist or their work. (...) The memories of old family textbooks gave me the<br />
impetus to treasure, then buy and develop a from of art to combine words and form<br />
in a meaningful way. They incorporate copy art pages, original photographs,<br />
paintings, and found objects to express the fragility of life and hopefully the tenacity<br />
of existence.» (C. Berry: Statement. In: → Jackson: Books Build Bridges / Copier<br />
Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986.168. item)<br />
Bertini, Gianni Via Malpighi 1. Milano, I-20129 Italy 1970<br />
MEC (One man mag. with vis. poetry and review. 23x25 cm., offset. 1969-71, #1-2) <br />
Bertola, Carla / Vitacchio, Alberto, Corso de Nicola 20. Torino, I-10128 Italy 1980<br />
^Offerta Speciale. Ricettario di Poesia Internazionale. (Magazine for experimental /<br />
visual poetry and multimedia. 23x16 cm., offset, ~60 p. 1978-, ~2xy.)<br />
Prima series 1978-1987, 1-14 issues, the last five ones with the title:<br />
10) Torta da indovinare; 11) Artur Pétronio (monography);<br />
12) Spuntino Notturno; 13) Soup of the Day; 14) Gioie della<br />
Mensa<br />
Nuova series 1988-, (from the 3rd issue /Béchamel 200 copies have<br />
visual hand made by artists):<br />
1) Vini d'annata; 2) Mail Art Project; 3) Béchamel; 4) Breakfast;<br />
5) Prêt-à-manger; 6) Picnic; 7) Stuzzichini; 8) Cin Cin; 9) Plume<br />
Cake; 10) Torta Paradiso; 11) Manicaretti; 12) Convitto;<br />
13) Dessert; 14) Sciroppi; 15) Adesso Pasta! 16) Christmas<br />
Diner; 17) Bonarda; 18) Tartine; 19) Cream? 20) Buon Compleanno;<br />
21) Happy Birthday! 22) Churrasco; 23) Biscotti<br />
^# Series 1: #13 – Series 2: #12, 13, 19, 20, 21, 22, 23<br />
Read and Mail. (Poems read by their authors.) Cassette publications #1-2. 1981-1983 <br />
Busta Sorpresa (Surprise envelopes with original vis. poetry works in 50-60 copies) <br />
1984-, showed in two exhibitions in 1988 and 1990 (~20 issues)<br />
Paté de Voix (Sound poetry collection on casettes) About 10 issues from 1985 <br />
^Libri Da / Autore. (Artists' book collection at the Offerta Speciale) Cat.: 21x16 cm., <br />
color offset, 32 p. Text (Italian & English): C. Bertola. Exhibition:<br />
Studio Laboratorio di Anna Virando. Torino, December 1990
Visual editions. (Series of photocopied brochures with visual poems by the authors<br />
of the Offerta Speciale in 35 numbered copies, from 1998)<br />
A/5, phc, 16 p.: 1) C. Bertola; 2) A. Vitacchio; 3) A. Loras-Totino;<br />
4) F. Aguiar; 5) R. Kostelanetz; 6) C. Figueiredo<br />
~<br />
Literature:<br />
<br />
^Dmitry →Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations, 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 157, 225 p.<br />
Bertolino, Christian 53 rue du Sahel Paris, F-75012 France 1990<br />
^Nonotte et Patouillet (early issues by → Jocelin?)(Little graphzine in plastic bag <br />
with small object supplements {50}. A/5, phc. -124 p. 1986?-, ir., late<br />
issues were not numbered)<br />
^#1, 2<br />
~<br />
Literature:<br />
«...It is almost an artists book looking like a small and nice flag, it will surely attact<br />
every bra-fetichists, featuring lots of writings, short stories and graphics, mostly<br />
humorous and surrealistic about this curious object.»<br />
(Publication Reviews. In: Métro Riquet [→ Duvivier], #8. Paris, 1990. n. p.)<br />
Bertozzi, Gabriele-Aldo / Ed. Pagine, Viale Mazzini 146, Roma, I-00195. Italy 1993<br />
^Bérénice. Rivista quadrimestrale di studi comparati e recherche sulla avanguarde<br />
(Mag. for experimental and visual literature. 24x17cm., offset, ~180 p.<br />
1993-, qu.) Ed. Pagine. Roma <br />
^#1, 2, 3, 4<br />
Beurard, Patrick / Loth, Catherine, M.E.M., 15 rue Pierre Blanc Lyon, F-69001 France 1980<br />
Cahiers de Leçons de Choses (Mag. 22x17 cm., offset, ~160-72 p. 1980-, ~2xy.) <br />
Beveren, Peter van P. O. Box 1577 Rotterdam CN, NL-3000 Netherlands 1986<br />
↑ Herengracht 66. Amsterdam BR, NL-1015 - “ - 1984<br />
.............................................................................................................................................................<br />
°Art Information Festival. (Cat.: A/4, offset, 234 p.) Middelburg NL, Vleeshal, 1975 <br />
^Transit (Almanachs #1-5, with Brand, Jan & other, 1975-1977) See → Brand <br />
Bias, Lisa 69 Etnuria, Apt. C Seattle, WA 98109 USA 1994<br />
It's in the Cards. Doc. 1994<br />
<br />
Bidner, Michael !Artistamp ! P. O. Box 3. Station B. London, N6A 4V3 Canada 1984<br />
Pioneer activity in artists' postage stamps 1982-1989, also a plan for a worldwide <br />
artistamp archive with exhibitions and a catalogue publication with<br />
international validity. This has been the famous plan for the “Standard”<br />
catalogue realized fater the death of Bidner by Rosemary Gahlinger-<br />
Beaune in a strong reduced form as a CD publication. The denomenating<br />
“Standard” was used also by → Dominique (Bug Post / Bugmaster, alias<br />
Dominique Johns), but her work was more a popular handbook for the<br />
artistamp freaks.<br />
^Statement (about Mail Art, art galleries, philately and artistamps) 80x10 cm. size <br />
computer print with additive rubber stamps. Distributed as circular by<br />
Mail Art correspondence, ~1982<br />
^Artistampex. Known also as ”Cindarella Philately” or Artistamp Exhibition. Epoch <br />
making venture for the history of the artists’ postage stamps. Poster and<br />
diverse invitation flyers and cards were distributed. Exhibition at the<br />
Forest City Gallery in London, Ontario, in Canada. June 1-9, 1984<br />
^World Postex 86 – Artistampex / Cinderellex. Inv. to a filatelic and Mail Art <br />
event for Vancouver, Postal Station “E”, in the co-operation with the<br />
AMS.DAS graphic studio (Bidner self). Letter size leaflet with interesting<br />
theoretical text by Bidner on the back. Offset, r/v. print, 1986. (No further
data about the realisation of this show)<br />
Artistamps: ^Rocket Mail Artistamp (Block of 4 diff. stamps, phc. + red rubber <br />
stamp) n.d.<br />
^Artystamp (Sheet of 6.5x7 cm stamps with photographed autoportrait.<br />
phc, on red paper) n.d.<br />
^Mail Art Masterpiece (Reproduction of a sheet of 16 diff. stamps,<br />
in the first stamp an advertisement text about ongoing artists'<br />
postage stamp catalogue of Bidner, b/w) Signed A/5 sheet, 1983<br />
^Stamp Drive (Sheet of 69 stamps, 1 is dubble sized, 18 images, phc.)<br />
Copyright 1985-05-13 Artistamps London Canada<br />
^RUSH Artistamps (Sheet of 50 selfadhesive labels with stamp images,<br />
49 images, b/w phc.) n.d. (1980s)<br />
^Mail Art first day of issue (40 sheets of diff. stamps, phc. on yellow<br />
paper) In mirror image: Artistamps M. Bidner '87. 07. 15<br />
Michael Bidner died April 5. 1989. His artistamp collection and Mail Art archive 1989<br />
was menaged by Rosemary Gahlinger-Beaune, 5515 Jersey Avenue.<br />
Burnaby-BC. V5H 2L3 Canada. A large part of the photocopied documentation<br />
was going to the Artpool Archive (→ Galántai), Budapest.<br />
~<br />
Seurce:<br />
«The original concept for the artistamp project grew out of a desire and perceived<br />
need for philatelic documentation of privately printed stamps by artists, specimens<br />
of which had found their way into my stamp collection. The word „artistamp“ was<br />
coined to describe these items and replaces awkward usage of „artist's stamp“ and<br />
„artists' stamps“. (...)<br />
On April 1, 1982 (and continuing through to 1990) I began an ambitious<br />
research program to compile a comprehensive catalogue and handbook of artistamp<br />
produced by mail artists. The cataloguing and universal numbering of artistamps<br />
worldwide is a philatelic first. (...)<br />
An artistamp data base, exhaustive in scope for the philatelist and contemporary<br />
in attitude for the mail artist, is being created using micro computer technology<br />
coupled with the Spellbinder word processing system. Soon this information<br />
will be handled by a full-feature data base management system...»<br />
^(ARTISTAMP / AMSDAS: Background. Letter size leaflet, recto/verso,<br />
phc. on yellow paper, n.d. – 1983?)<br />
«...The artistamp data base has grown to nearly1000 artisampists representing<br />
almost 50 countries and it will be sometime after the deadline when I close entries<br />
to the data base for this edition at noon on April 1st before a final version will be<br />
ready for shipping. (...)<br />
As you may know, the release date for the reserved First edition of the<br />
Standard Artistamp Catalogue + Handbook (Canada + Worldwide) comprising 500<br />
loose leaf pages with text and facsimiles in black + white packaged in a binder for<br />
shipping is a set for Noon, April 1, 1984. The book may be currently reserved until<br />
the publication date for $50 (CDN) plus shipping... A series of 5 annual supplements<br />
has been planned to update the listings... Issuing Authorities listed in the<br />
artistamp catalogue will receive: 1/ two copies of their listing as it appears in the<br />
catalogue, 2/ a list of all the participants for whom artistamp numbers have been<br />
assigned, 3/ a mailing list of the issuing authorities which is not part of the catalogue<br />
package to the public, 4/ a checklist of all the assigned artistamp numbers,<br />
5 docu mentation of all the ARTISTAMPEX shows.<br />
The inaugural ARTISTAMPEX – Cinderella Philatelic Artistamp Exposition<br />
+ Bourse is being held in London, Ontario, Canada (natch) at the Forest City<br />
Gallery. (...)»<br />
^(Computerwritten letter /circular? to Géza <strong>Perneczky</strong> with the headline:<br />
1984 – International Year of the Artist from January 8, 1984)<br />
Literature:<br />
Rosemary Gahlinger-Beaune: A World of Artistamps: Remembering Michael Bid-
ner (with a preface and some bibliogaphical data by C. Welch). In: Chuck →<br />
Welch (ed.): Eternal Network. A Mail Art Anthology. University of Calgary Press,<br />
1995. 54-58 p.<br />
!Big Dada!<br />
→ Varney, Ed<br />
Bilejic, Dusan ? Zrenjanin Yugoslavia 1971<br />
Neuroart (Object-accumulation mag. in A/4 size, in a lessing edition: 33→0 copies <br />
at 1-33#, but not the whole series has been realized. 1971, 3# only)<br />
~<br />
Literature: B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the<br />
1970s. In: Stephen → Perkins: Assembling Magazines. Internationale Networking<br />
Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996<br />
(Print: 1997). 52-54 p.<br />
Billé, Philipp BP 249. T:(56) 818072 Bordeaux France 1995<br />
↑ 30 rue de la Vieille tour Bordeaux, F-33000 - “ - 1984<br />
.............................................................................................................................................................<br />
^Ljmit∋ (Mag. with special issues in var. sizes: A/4, A/5, A/6, phc. There exist also <br />
issues as phcopied matter in envelope format in edition of 100. 1982-87,<br />
#1-30)<br />
^#6, 7, 8, 15, 22, 23, 24, 27, 28<br />
^Ljmit∋ # 24 – Carton postal. (Post card assembling in envelope, 14 parts, 14 pieces <br />
+ 1 text card. {100} April 1986)<br />
^Poqo (Mini graphzine, one artist in each issue, A/6, phc., 8 p. 1986-88, m. #1-35) <br />
^#1, 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 19, 24, 26, 27, 29, 30,31, 32,33, 34, 35<br />
^Bizarr (Collective graphzine, without any text. A/4, phc., ~10 leaves. 1986-, 1-8#) <br />
^Supplement: Bazaar (One shot edition checklist by Ph. Billé, 1986)<br />
^#1, 2, 3, 4, 7, 8<br />
^Lettre documentaire (Theor. & informative A/4 one-sheet mag. 1987-92, ~ weekly. <br />
First series numbered as 1, 2, 3,... etc. ~180#?)<br />
^Economy & Business / Transparitions. 25 leaves, S. P. {50} Bordeaux, 1987 <br />
^Le Chantier du Chai, slide archive. 1. catalogue, July '87. Published by Billé as con- <br />
servator in the collection 23 rue du Chai des Farines, 33000 Bordeaux.<br />
(1-317 slides: works & publications from the Mail Art network)<br />
Cat.: A/5, phc., 8 p. Bordeaux, 1987<br />
<br />
^Lettre documentaire, nouvelle séries: Sept. 1992-, numbered as I, II, III, IV, etc.)<br />
^The Manuel / Handbook Proj. Cat.: in: Lettre documentaire N° 154-157. Nov. '95 <br />
~<br />
Source: ^Catalogue de l'edition graphice photocopiée en France. (20 p.) In: Ljmit∋ N° 28<br />
^Lettre documentaire, #41 = index for N° 1-33<br />
~<br />
Literature:<br />
(Bizaar, #1) «...is a queasy and reeling series of strong-tasting images which rely on<br />
starkness for their power. Not everything here is great or even good, but all of it has<br />
some kind of effect. There are enlarged halftones of faces which lokklike refugees<br />
or political prisoners: this has the same quality of poorly printed terrorist literature<br />
which you see on the news sometimes. Shows what has become a sort of of visual<br />
vernacular. There is a jagged drawing of a demon on a toilet and there is sansom<br />
note lettering. All the pictures are full page and printed on one side of the sheet, so<br />
this is more like a portfolio...» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N°<br />
25-26, Summer 1987, 875 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 145<br />
Bini, Giampiero Via della Torre 90. Firenze, I-50135 Italy 1982<br />
Original Art Magazine (Assembling, folio size. 1982, #1-2?)
Birjukov, Sergey Ul. Virti 160 – 60 Tambov, 392032 Russia 1996<br />
^Muza Zaumi. (Zaumnist poems, A/6, offset, 32 p.) S. P. Tambov, 1991<br />
<br />
^Sub Alia Forma. (Book of visual poems, A/5, offset, 16 p.) Akademia Zaumi, <br />
Tambov, 1997<br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 161 p.<br />
Black, Byron ?<br />
Black, Bob c/o Loompanics Unlimited. Box 1197 Port Townsend, WA-98368 USA 1986<br />
^The Abolition of Work and Other Essays. (Book, 162 p.) Loompanics, 1986? <br />
^The Abolition of Work and Other Essays. (Brochure, 28 p.) → Feh! Press, 1993 <br />
~<br />
Literature: «(The Abolition of Work...) As Black describes his activities and being: „I go for<br />
baroque. I'm a lowlife hierarch, I picked the Locke and entered the Avant-Garden<br />
of Eden.“ Black's essays are what one could expect to hear if, through some quirk<br />
in the athmosphere. AM radio bands overlapped late one night and you picked up<br />
a fundamentalist preacher, an abusive call-in talk show, and an all-news station.<br />
The reception would be clear; the static results from the combination. Worth<br />
tu(r)ning into this „high priest of nihilarity“.»<br />
(Lightworks [→ Burch], Glimmerings [Print review] N° 18, Winter 1986-87, 48 p.)<br />
Black, Jeanie / Raman, Ely 451 West Broadway New York, NY-10012 USA 1996<br />
8x10 Art Portfolio (Portfolio mag. with matter collected and partly also printed by <br />
the editors, like an assembling {100}. Letter size with ~30-60 leaves<br />
by ~15-30 artists, issues not dated and not numbered, 1970-72, #1-9)<br />
~<br />
Literature:<br />
«Factors that led up to 8x10 art portfolio. Well, there was the technical factor,<br />
having a little A. B. Dick offset press avaible... in my studio... So, in the early<br />
1970s I was quite involved in using an offset press as a vehicle for making art... I<br />
was very involved in the idea of alternative distribution projects – as well as the<br />
general idea of using non-traditional metarials and techniques to make art.<br />
In 1971 I contributed to Art Work No Commercial Value edited by Jerry<br />
Bowles; to Space Atlas, edited by Dana → Atchley, and → Kostelanetz's Second<br />
Assembling. In 1972 I sent stuff to Third Assembling and Bill Vazan in Montreal for<br />
Contacts. After that it began to be more and more mail art exchanges, as well as<br />
work on 8x10 art portfolio, Five Silent Songs, and other unique or (very) limited<br />
editions of various Books... I had a good connection with Fluxus. I participated in a<br />
number of Fluxus events...<br />
So 8x10 art portfolio did have a decent art pedigree... art rather art<br />
historical. Looking through all those issues of 8x10 art portfolio I realize that our<br />
historical consciousness (or self-consciousness?) was notably absent. The issues<br />
were not numbered or dated, the contributions often not properly identifieid (or<br />
footnoted) and we did not include serious (academic) verbiage identifying what we<br />
were doing in the context of art. Too busy making art to write or talk about it. I am<br />
not sorry we were not more self-conscious about the conceptual edges we were<br />
pushing – just as I am not sorry, that the work in 8x10 art portfolio was not<br />
produced on „good“ paper. There is a rather magnificent esthetic integrity about<br />
8x10 art portfolio. It was „pop“ art in the tradition of Warhol and Duchamp, in the<br />
tradition of Bianchine Supermarket, before pop art became Pop Art and was coopted<br />
by Castelli and Co.<br />
And it was art, art as distinct from entertainment or decoration or social<br />
display. And it went the way of so many things that were vital in the 1970s...»<br />
(Ely Raman, 1996)<br />
«What Ely has not included in this rather long letter is that within my<br />
memory the idea of 8x10 (the name came from the fact that I am a photographer)
came about on a night that we had a fair amount to drink and in the wee hours of the<br />
morning decided to attemp to produce a very slick version of what 8x10 later<br />
became... Each artist received one issue as recognition of their participation. The<br />
criteria (which was followed in most cases) was that rthe work fit on an 8½ x 11<br />
inch piece of paper. If the artist was using „found art“ that was smaller than that size<br />
we requested that they attach their piece to an 8½x11 sheet of paper. In some cases<br />
the participating artists sent 100 copies of their piece. In other cases we reproduced<br />
the work with the use of both paper and metal plates...» (Jeanie Black, 1996)<br />
(8x10 Art Portfolio. Two views – 26 Years Later. In: Stephen → Perkins:<br />
Assembling Magazines. Internationale Networking Collaborations. Cat.: Half-legal,<br />
phc., 64 p. Subspace, Iowa City. 1996 (Print: 1997). 20-21 p.)<br />
Blaine, Julien. Editions Nèpe, Le Moulin de Ventabren Ventabren, F-13122 France 1980<br />
Robho Les Carnets de l'Octéor. (with Jean Clay) (Early form of post-fluxus mag. <br />
with theory, sociology, cultural criticism, politrics, happenings, etc.<br />
41x27.5 cm., offset. 1967-71, #1-6)<br />
^Doc(k)s (Encyclopedical publ. for all kind of alternative and experimental art, very <br />
voluminous issues (often 300-400 pages) thematic order according<br />
to countries and species. 21x18 cm., offset. 1976-, bim., over 100#)<br />
The issues from 1976-1987:<br />
#1-4. Amerique Latine (Padín, Deisler, Ogaz, Glusberg...). Summer 1976<br />
#5-6. (Experimental poetry in the world + Mail Art.) Spring 1977<br />
#7-8. Special Japon (Poetry actual, manifestos + Mail Art). Summer 1977<br />
#9-11. (Poemes and poetry in the world «B» + Mail Art) Winter 1977-78<br />
#12-14. Yougoslavie et Catalans (Todorovic, Figueres...). Summer 1978<br />
Special Post-Cards (120 cards mostly by mail artists). Winter 1978-79<br />
#15-18. Corsica et Pologne (Works, manifestos + Mail Art). Winter 1979<br />
Destinataire Paris (200 postcard reprs. mostly by mail artists) Fall 1979<br />
#19-22. (The poetry + Mail Art in the Eastern European block) 1979-80<br />
#23-26. Russes (Actual/dissident poetry + Mail Art stamps). Summer 1980<br />
#27-34. Grand Virage (French poetry in alternative publs.). Winter 1980<br />
#35-39. Elementary Poetry in USA... (+ Mail Art). Fall 1981<br />
#41-45. Les non-officiels Chinois (+ Mail Art). Winter 1981-82<br />
#46-49. Adjonction et Additif (To the earlier themes + Mail Art). 1982<br />
#50-53. Espagne (Sarmiento + manifestos + Mail Art). Fall 1982<br />
#54-59. Les Allemands (Vostell, Garnier + actual manifestos). Spring '83<br />
Dixieme Anniversaire Circa (54 mail artists...). Winter 1983<br />
#60-65. British Best... (Labelle-Rojoux, Basement Group). Winter 1983<br />
#66-70. Les Quebecois (Martel, Gelinas, etc. + Mail Art). Winter 1984<br />
#71-75. Italie(s) (Spatola, Sarenco..., + publs. + Mail Art). July 1985<br />
#76-79. Australia (Selentitsch, Potage. Young, Maraux). July 1986<br />
#80-86. Portugal (Aguiar, Melo e Castro, etc., + actualities). Winter 1987<br />
^#23, 35, 80<br />
International Audio and Visual Mail Art Fair. (Organized by J. Blaine, P. → Restany <br />
and Liliane Vincy) December 6, 1979 - January 31, 1980. Gallery Lara<br />
Vincy, 47 rue de Seine, Paris F-75006 (Inv. in: Umbrella, 2/#4, 83 p.)<br />
°A vos postes: postezi timbres. Cat.: with 62 parts. In: Doc(k)s #23. '80. 165-221 p. <br />
^Conjunction 18. (Accordion book with vis. poetry, 12 p.) J. & J. Donguy, Paris, 1980 <br />
Collection Zerosscopiz 845 (Mag. A/4, offset. 1980-, ir.) Monographical brochures, <br />
each issue devoted to an artist. Visual matter (graphic, poetry) only.<br />
#0 J. Blaine: Reprenoins la ponctuation à zero.<br />
#1 Carlos Ginzburg: L'Exotisme, le tourisme et les vacances<br />
#2 F. J. Bory: Poèmes mécaniques<br />
#3 Tolsty: Receptes à l'usage des jeunes émigrés russes<br />
#4 G. Maciunas / B. Buczak / E-A. Vigo / J-Blaine / M. Lara:<br />
Histoire de timbr(e)s<br />
#5 P. Garnier: Poèmes Blancs
~<br />
Source:<br />
#6 H. Hoogstraten: The Atlas Darwing<br />
#7 I. & V. Bakchanyan: Franci-American-Russian Friendship<br />
#8 J. Marin: Semens<br />
#9 A. Labelle-Rojoux: Projets sans suite<br />
^# Olbrich<br />
Doc(k)s Made in World. 1976-1987 / Première série: le tour du monde. (Catalogue<br />
au 01/01/1990) 21x10 cm., offset, 24 p. Editions Nèpe. Ventabren, 1990<br />
~<br />
Literature: «Here's one very dense alternative in print. The Anthology Doc(k)s, is thick (350<br />
page or so) and square in shape. The content has an unrelenting quality that is very<br />
visual and very international. One finds page after page of collaged socio-politico<br />
statements, mail art material and documentation of public performance. Within the<br />
formidable and unstopable feel to Doc(k)s there is a staunch and almost unapproachable<br />
quality. Production quality is clumsy and over-inked and while this may<br />
favorably flavor the intent of certaint contents, it overly homogenizes the rest...»<br />
(Lightworks [→ Burch], Art Alternatives in Print, N° 13, Fall 1980, 51 p.)<br />
«Talk about breadth and depth, no other magazine comes close to the vouile and<br />
diversity of works published by Doc(k)s. The latest issue is devoted to the Italian<br />
movement, impressive in its quantity and quality, with an open section for contributors<br />
from around the world, as well.» (Review in Score, #7. [→ Hill] Letter size,<br />
offset, ~1988.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 105 p.<br />
!Blaster!<br />
→ Ackerman, Al<br />
Bleus, Guy T.A.C. 42.292 Administration Centre, Kerkplein 7. Box 43, Wellen, B-3830 Belgium 1995<br />
^Indirect Correspondence. Abstract about the possibilities of network communi- <br />
cation – with diagrams and photocopied examples from the postage<br />
trafic. A/4, phc., 5 leaves. Distributed 1979-1981.<br />
^Are You Experienced? Love / Hate / Fear / Suicide. Cat.: 18x14 cm., offset <br />
booklet, 20 p. + 17 microfiches, 485 parts. + poster{600}of 80x56 cm.<br />
with 1018 works by ~800 authors. Exh.: Vrije Universiteit of Brussels,<br />
October, 1981<br />
^Telegraphy. Cat.: 42x29,7 cm., phc., 12 p. {750}/ Provincial Museum Hasselt, <br />
Belgium. March-April, 1983<br />
^World Art Atlas. Cat.: 10x16..5, horz., offset, ~600 (!) p. {800}. S. P. 1983 <br />
^B. T. S. / Aerogrammes – Commonpress Retrospective (Commonpress #56) <br />
Cat.: 821 p. on microfiches, + A/5 booklet, offset, 142 p. 570<br />
participants. With the first bibliography (!) of the Commonpress publs.<br />
Museum Het Toreke, Tienen, Belgium. September 1984<br />
Artistamps: (Without title) (Sheet of 20 diff. stamps / nude with postage stamps, <br />
mixed techn.) n.d. (1986?)<br />
^PLAN – Gids, Guide, Führer. (with Gerard Caris, Robert Garcet) Cat.: 20x12.5 <br />
cm., offset, 120 p. / Bonnefantenmuseum – Dominikanen-church,<br />
Maastricht, November 1988<br />
^Telephon-Project. 3. Oct. 89. Doc.: Photos, list, poster, etc. / Provincial Museum <br />
Hasselt. 1989<br />
Telephon-Project. «Screams against int. art burocracy» 90' cassette in box. 1990 <br />
^Artists' Books Catalogue '90 / Administration Centre. A/4, phc., 19 sheets. 1990 <br />
^Art is Books. (Artists' Books). Cat.: A/5, offset, 120 p. / Provinciale Centr. Openbare <br />
Bibliotheek, Hasselt. 1991<br />
^Mail Art Manual. Do Viajante em Portugal. Cat.: A/5, offset, 86. p. / Cultuur- <br />
centrum Heusden, Zolder / Administration Centre, Wellen. 1991
Statements by F. Aguiar, C. Andre, M. Avau, E. Baj, A. Banana,<br />
V. Baroni, J. Blaine, G. Broi, P. Ciani, J. Corsaro, Crackerjack Kid,<br />
K. D. Haeseleer, J. Evans, G. Fini, P. Frank, H. R. Fricker, K. Friedman,<br />
K. Groh, J. Held Jr., C. vd Heyden, J. Hoffberg, Ibírico, R. Johnson,<br />
R. & D. Kamperelic, J. Klaffki, L. Levine, E. Lund, R. Maggi,<br />
J. Mariott, E. Morandi, R. C. Morgan, R. Nikonova, J. O. Olbrich,<br />
J. Olivera, S. Paridaen, G. <strong>Perneczky</strong>, C. Phillpot, C. Pittore, D. Plunkett,<br />
Rubberstampmadness, G. Ruch, S. Segay, S. Shimamoto,<br />
L. Spiegelman, C. Stake,, R. Summers, A. Tisma,<br />
^Als kunst bestempeld: mail art internationaal. Cat.15x20 cm. horz., offset, 48 p. <br />
Texts: G. Bleus, U. Carrión, L.v Halem, B. Koevoets, K. Zijlmans<br />
Exh.: Stichting Het Nederlandse PTT Museum. S' Gravenhage, 1992<br />
^Building Plans & Schemes. Cat.: 19.5x20 cm., offset, 104 p. Texts by G. Bleus, <br />
D. Wieërs, R. Geladé. Statements by over 20 artists. / Cultuurcentrum<br />
Essay by Bleus: Dedicated to the Unknown Architect (English)<br />
Heusden-Zolder NL, August-September 1993<br />
^A Networking FAX-Project & Performance. Cat.: A/4, phc., 160 p., spiral bound. FAX<br />
{500}. Exh.: De Fabrik. Baarstraat 38, Eindhoven NL. March 28 -<br />
April 4, '93<br />
Artistamps: ^Netland (Sheet of 12 stamps, 2 images, phc. {100}) 1993? <br />
^ Netland / Put your Stamp in my Artistamp (Sheet of 12 id. stamps,<br />
phs. {100}) 1993?<br />
^Tolerance (Sheet of 20 id. stamps, phc.) 1993?<br />
^En dialog tussen de postbode en zijn electronische shadow alsmede / En algemene <br />
discours over MAIL ART... S. P. 120 p. {500}, 1994<br />
^In a Memory of Ray Johnson. Doc. in the form of a death-notice: 24x22 cm, <br />
offset, 4 p. / Begijnhof, Zuivelmarkt 33, Hasselt. Febr. 22 - March 22<br />
1995<br />
^Mail Art Memorabilia TAC-42.292 Cat.: A/5, offset, 16 p. / Postmuseum, 40 <br />
Grand Sablon, Bruxelles. (FAX: 012-741415). 1995<br />
^The Artistamp Collection, Poster of 60x42 cm, colour offset / Begijnhof, <br />
Zuivelmarkt 33, Hasselt B-3500. 1995<br />
^The Artistamp Collection, 2 nd Edition. Catalogue on CD-ROM! 1996 <br />
^T. A. C. retrospectives: Lightworks, Stamp Art Mag., Umbrella. Cat.: in: Programma <br />
Brochure Voorjaar '96 / 7 p. by the Prov. Centrum voor Kunst, Begijnhof,<br />
Hasselt. January-May 1996<br />
^Mail Art from the West. Inv. Exh. at the EU-administration, Maastricht. 1996 <br />
^Working in a Coal-Mine / Mail Art Networkers are Miners. FAX & Internet-Art. <br />
Cat.: Text by G. Bleus: Telecopying in the Coal-Mine. A/4, phc.,<br />
64 p., spiral bound, 48 parts. Org.: G. Bleus, Adm. Centre + Our House<br />
/ Bart Scheppers, FAX: 32-89-355 899. Genk B-3600, Sept. 20, 1997<br />
^RE: The E-Mail-Art & Internet-Art Manifesto. (Published as the Vol. III. #1, <br />
December 1997, of the Elctronic Mail Art Netzine E-Pêle-Mêle.<br />
38 parts.) Cat.: A/5, offset, 36 p. Ed. The Administration Centre. 1997<br />
(Newer contributions in: E-Pêle-Mêle, Vol. III, #2. 1997)<br />
^Now Ray is dead I smoke Johnson. Inv. to the Gallery Brasseurs, Liege, 1997 <br />
^E-Pêle-Mêle. (Volume III., number 2, Dec. 1997) Electronic Mail Art Netzine. <br />
Edited by The Administration Centre-42.292 / Guy Bleus.<br />
Content: E-mail interview with G.Bleus by R. <strong>Janssen</strong> + essays by Bleus.<br />
(See: Literature, blow). 1997<br />
^Kunstenaarsboeken / Artists' Books. From the Archive of the Administration Centre) <br />
Cat.: A/5, offset, 28 p. Literair Museum, Blampslaan 35, 3500 Hasselt.<br />
September 9 - November 7, 1998<br />
^1001 Desks. Invitation to the City Groningen. Cat. on CD-ROM! 1998<br />
<br />
^Ambiorix. Inv. Project at the City Torngerem, Belgium. Cat. on CD-ROM! 2000 <br />
^A Journay to Utopia. Essay also in English to the Mail Art Catalogue: L’Utopia by <br />
the Comune di Vicenza, Italy, curator: Anna Boschi.
~<br />
Literature:<br />
«42.292» – on August 2, 1979, at 2 pm „Guy Bleus“ was registered in the Benelux<br />
Mark-Office at Hague (Holland) as an individual mark with the number 42.292.<br />
Administrative Art: Instant Study – delivery of qualifications, Vrijhe Universiteit,<br />
Brussels-Pannenhuis, Antwerp. Administration – delivery of identity cards of Mars<br />
(fake Belgian I. D's) and other certificates, Pannenhuis, Antwerp-Vrije<br />
Universiteit, Brussels» (Information about T. A. C. 42.292 Administration Centre)<br />
Guy Bleus: Indirect Correspondence (Theoretical essay with diagrams, 1979).<br />
In: Clinch, N°3, 1983 (→ Ruch) A/5, phc., n.p.<br />
Guy Bleus / Value-Schreder. In: N D, N° 2. Austin TX, 1983 (→ Plunkett) 12-14 p.<br />
«...This view of the history of art refers to what has been called „art as an individual<br />
mythology“: artists realize their own history and myth. Applying this idea to the<br />
mail art network (=all mail artists together) it means the realization of a collective<br />
mythology. Here every mail artist has his/her role and function. But not one role is<br />
more true or important than another. Every judgment of value stays a mere personal<br />
judgment. It can't be generalized in the mail art circuit without injuring the democratic<br />
principle of co-partnership in mail art. A mail artist and his/her work are more<br />
or less important for another mail artist depending on the intensity of their communication<br />
and the interpersonal impressions all this.<br />
Every mail artist must be encouraged to write hiis/her own mail art biography<br />
and bibliography, so that all this culminates in a collective bio-bibliography,<br />
a network of crawling signs of the mail art life. The epistemological problem, if<br />
there must always be a relation on truth between the activities and the places<br />
„where“ or the period „when“ these activities happen, stays an open issue. Anyone<br />
is free to transform the objective assumed lies of the history of art into subjective or<br />
intersubjective lies or truths.<br />
Since the urinary bowl of Duchamp, everything can be art. Since Beuys,<br />
everybody can be an artist. It all depends on the way one looks at it, on the way one<br />
thinks. The aesthetic observation, the perception and the state of consciousness<br />
become more important than the created object. (...) More important (vitally<br />
important) than monetary considerations, the works of art or the art fetishes are the<br />
instincts of self-preservation, the wild intuitive thinking and the process of creating.<br />
(...) This feast of questioning and answering and artistic creating, of writing and<br />
writing in margins (J. Derrida), or intellectual and artisitic creating, of an art that is<br />
never finished, is the real art of this age. It finds its most important representation in<br />
the communication-art or mail art.»<br />
(Guy Bleus: Art as Collective Mythology: Mail Art. Foreword to John →<br />
Held: Mail Art: an Annoted Bibliography. The Scarecrow Press, Inc. Metuchen<br />
N. J. & London, 1991)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 123-125 p.<br />
Guy Bleus: Philately: Mail Art in Disguise? In: Artistamp News (→ Banana).<br />
Vol. 4, #1. March 1994)<br />
Guy Bleus: Art is Stamps (1993). In: Artistamp News (→ Banana). Vol. 4, # 2.<br />
October 1994.<br />
Guy Bleus: Communication: 44 Statements. In: Chuck → Welch (ed.): Eternal<br />
Network. A Mail Art Anthology. University of Calgary Press, 1995. 85-87 p.<br />
Vittore → Baroni: Archivi / Guy Bleus. In: Arte Postale. Guida al network della
corrispondenza creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 212-215 p.<br />
«...Mail-art is a „pèle-mèle“ of stories, tales, recitals and reports // // it is not a<br />
complete entity // The mail-art society is a virtual frame-work enclosing an artistic<br />
chaos; it is a pell-mell of reciprocity and exchange // // The History of mail-art is a<br />
selected reconstruction of histories, events, facts and artifacts // // Like Chronos, the<br />
god of time, was eating his own children, the eternal netland history is eating the<br />
netlanders // // Well, who cares? // // Yet, every mail-art networker must be encouraged<br />
to write his or her own history of netland // // Mail Artists art post- historical<br />
myth-makers...<br />
...It's not that I want or don't want to publish that much // // Mail-art and<br />
administration-art include publishing // // Furthermore, it's always a series of<br />
coincidences // // It just happens...<br />
... // Mail-art, being the mother of the internet, is a cybercity that never<br />
sleeps //...»<br />
(<strong>Ruud</strong> <strong>Janssen</strong>: An E-Mail Interview with Guy Bleus. In: E-Pèle-Mèle, Vol.<br />
III. #2, 1-12 p. The Administration Centre. Wellen, December 1997.<br />
Guy Bleus: A Dialog between the Postman & his Electronic Shadow / Telecopying<br />
in the Electronic Netland / In Quest of Netland / Re: The E-Mail-Art & Internet-Art<br />
Manifesto. In: E-Pèle-Mèle, Vol. III. #2, The Administration Centre. Wellen, Dec<br />
1997.<br />
<strong>Ruud</strong> <strong>Janssen</strong>: The E-Mail Interview with Gus Bleus. Mail Art from Surface Mail<br />
to Cyberspace. Ed. by Joel S. Cohen. Produced and printed by Ragged Edge Press.<br />
NYC, 1998<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 165 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 102-105 p.<br />
^G. Belus: The trill of collecting artistamps. In: James W. → Felter: Artistamps /<br />
Francobolli d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo,<br />
2000. 100-103 p.<br />
!Blissett, Luther!<br />
→ Home, Stewart: Green Apocalypse<br />
→ Guglielmi, Federico<br />
→ Baroni / Arte Postale!' N° 75<br />
More information about Luther Blissett:<br />
http://www.dsnet.it/qwerg/blissett/bliss0.htm<br />
http://www.pengo.it/luther<br />
~<br />
Literature:<br />
Autori Vari / Piermario Ciani: Dal great complotto a Liuther Blisset. AAA<br />
Edizioni,Bertiolo, I-33032, 2000. Offset, 254 p. (A very visual publication)<br />
Bloch, Julie Hagan 51 Mongaup Road Hurleyville, NY-12747-5406, USA 1996<br />
Self carved rubber stamps since 1967, to time about 2000 stamps. Mail Art activity ®<br />
since the middle of the 1980s.<br />
Carving Stamps. (Publication about the genre) Self-edition. Hurleyville, 1989 ®<br />
~<br />
Litearture: ^<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Julie Hagan Bloch. A/5, phc., 12 p.<br />
TAM Publs.: ?, Tilburg, 1998
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 138-139 p.<br />
Bloch, Mark S. (P. A. N.) P. O. Box 1500 New York, NY-10009 USA 1981<br />
^Pan Mag (One of the best known Mail Art info rag with theoretical and personal <br />
opinions on the network, its exhibitons, on alternative and radical<br />
movements and events, also lit. publs, of the editor, all in a veritable<br />
improvised «xerox salad». Letter and digest, phc., 1982-, ~ 30# )<br />
^#2,4, 6, 8, 9, 10,11, 12, 13, 15, 16, 17, 18, 19, 20, 21, 22, 24, 26, 28, 29<br />
The P. A. N. Project. In: Flue (→ Franklin Furnace), Vol. 4 #3, 1984, 35-36 p. <br />
^C-NILE (Smile-mutant in the Pan Mag N°15, Letter size, texts on Neoism with an <br />
object supplement: a magnifying glass (!). Phc., 1985)<br />
^Postcard Project by P.A.N. Cat.: Letter, phc., 10 p. in: Panmag N° 13, 1985. <br />
^The Last Mail Art Show. Inv. to Galleria dell’ Occio, 267 E. 10 St. New York, 1985<br />
^An Thems of Hope and Terror (In. Panmag #24, 30 p.) 1988<br />
<br />
Panscan (Host system: ECHO - Sysop: Stacy HORN, tele(phon) conferecing, from<br />
1990)<br />
→ Neoism / Literature: C-NILE, Cover Story<br />
~<br />
Literature: Mark Bloch: The P.A.N. Project. In: Flue (→ Franklin Furnace), Vol. 4 #3-4<br />
(Winter 1984) «Mail Art Then and Now» issue, 35-36 p.<br />
<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 128 p.<br />
«...(1976-77) I began to send Mail Art to people on postcards without<br />
knowing what Mail Art was. I watercolored and drew on the cards, too. I became<br />
interested in rubberstamps that way. That led me to The Rubber Stamp Album by 2<br />
women.. (→ Miller & Thompson) I got Ed → Higgins address out of it and sent<br />
him some Mail Art... I came across a little poster for Mail Art show stapled o a tree<br />
with Bill → Gaglione's address on it. I sent him something... I also saw the work of<br />
Ray Johnson in that Rubber Stamp Album for the first time. It made an impression<br />
on me... But I didn't know I could write to Ray myself. So I didn't start with him<br />
until 1980 or so. Ed Higgins also started me with Ed Golik Golikov, an early member<br />
of the New York Correspondence School living in Denver Colorado...<br />
By late 78 I decided to make my activities official. I contacted my friend<br />
Kim Kristensen in Ohio, back where I used to live, and asked him if wanted to be<br />
PAN Midwest. He said OK. Michael Heaton, another guy I had been sending art to<br />
through the mail after my graduation from college moved to New York and he<br />
became PAN East. I lived in Laguna Beach California and became PAN West.<br />
(...) Things developed rapidly. I was very inspired by the Inter-dada 80 festival.<br />
I met → Cavellini for the first time. Also Buster → Cleveland, Ed Higgins, as<br />
I said above, as well as Bill Gaglione and other „2nd generation“ of mail artists. I<br />
also had the pleasure of meeting Al Hansen... He was in John Cage's composition<br />
class at the New School with Dick → Higgins and the other pre-fluxists and was an<br />
important contributor to the first happenings... he and Cavellini drew portraits of<br />
each other in a Pasadena coffee house...<br />
I realized then that the Mail Art network would allow me to collaborate with<br />
people of Hansen's stature if I wanted, too. I was also very impressed with the other<br />
mail artists and the spirit of dada that engulfed the various events I attented. (...)<br />
Now here were a whole lot of people who had studied dada as I had, who valued<br />
it's anarchistic spirit and were taking actions to promote it in a new context. I was<br />
thrilled... Things changed drastically in 1982 when I moved from LA to New York.<br />
I saw a poster that said Cavellini was going to be in New York. I called the number<br />
and ended up speaking on the phone to Buster Cleveland. He said I could perform at<br />
the gig. So I was part of a bill that included many of the people I had been corresponding<br />
with. One of them was Carlo → Pittore. I will never forget our initial
meeting, he was yelling to me from the bottom of a stairwell and his big smile and<br />
warm greetings were like a Welcome Home to the network...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Mark Bloch. A/5, phc., 12 p.<br />
TAM Publs.: TAM-960115, Tilburg, 1996)<br />
Block 11<br />
Circle of French graphic underground artists: Bruno Charpentier / RV (Hervé Caux) / B. Bocahut,<br />
→ Charpentier<br />
Block, Friedrich W. Julienstr. 8, Kassel D-34121 Germany 1996<br />
!Blood Bliss!<br />
!Bobart!<br />
→ Fox, Harry<br />
→ Barbot, Gerald<br />
!Bob X! & !X no! (Michael Roden) Ed. Xex Graphix. P. O: Box 240611, Memphis, TN-38124, USA 1983<br />
Edition Xex Graphix is a fertile publ. house for weird, surrealistic mini-comics, 1983- <br />
^Xex Graphix News Letter (Review mag. with informations about comics from the <br />
USA: Digest, phc., ~40 p. 1985?-, qu.)<br />
^#8, 9<br />
^Crazy Men Deluxe. (Digest, offset, 28 p.) TBH Comix, Milford / XEX Graphix,1985 <br />
XEX Mail Art (Mail Art compilation booklet, 23x15 cm., colour xerox cover) n.d. <br />
Bocahut, Bruno / Charpentier, Bruno, 51 rue E. Raspail Arcueil, F-94100 France 1985<br />
^Dusex (Generously edited French graphic mag. A/3 and A/4 size, phc., offset, <br />
and silkscreen. 1985-, yearly? ~5#)<br />
^#5<br />
«Boekie Wokie» Artists Books Shop. Gasthuismolensteeg 16. Amsterdam AN, NL-1016, Netherlands 1988<br />
^Book-Catalogue. Cat.: A/5, offset, ~140 p. 1988<br />
<br />
Boever, Jean de c/o De Media (club, gallery), Molenstraat 165, Eeklo, B-9900 Belgium 1984<br />
^De Media Bulletin (Program and infomag of the club «De Media» with Mail Art <br />
news and exhibition reviews. A/3 folded to A/5, phc. 1984-, m., ~ 50#)<br />
^#1-10, 16-20, 23a, 34, #MA, 43, 44, 45<br />
^Frontières / Mail Art Project (with Driewerf Hoera / Association Frontières) <br />
Cat.: A/4, offset, 68 p. Exh.: De Media, Eeklo / DRAC, 1 rue<br />
des Lombard, Lille F, 1985<br />
^West & East – Exhibition at De Media. Inv., 1986<br />
<br />
^Small Mag Archive. In: De Media N° 23/a. A/4, phc., 8 p. September 1986 <br />
^Megazine-Bulletin (Flemish review of alternative mags. & fanzins, A/3 folded to A/5, <br />
phc., 1987-, ~bim.) Eeklo, De Media<br />
^#1, 3, 7, 8<br />
^Kleine Blaadjes Catalogus. (Alternative 'zines) Cat.: A/4, phc., 48 p. / De → Media, <br />
Eeklo. 1988<br />
^Fanzine as an ... object. Cat.: A/5, offset, 58 p. / Invitation & project for an exhi- <br />
bition in the «Bruzzle Festival 1990». Introduction essay by Jean de<br />
Boever (English). St. Gorikshalle, Brussels. Sept. 13-20, 1990<br />
Later exhibitions:<br />
K. E. Osthaus Museum, Hagen, Germany. Sept. 21 - 23, 1990<br />
Third Annual Small Ppress Fair, London. September 29, 1990<br />
De Media in Eeklo, Belgium. October 5, 1990<br />
Confort Moderne – Poitiers, France. November 11, 1990<br />
~<br />
Selected exhibitions and events in De Media 1984-1989:<br />
1984: Guy Bleus – Willy Dé. December 30, 1983 - February 16, 1984<br />
Ko de Jonge – John P. Jacob / Hype. February 17 - March 3
Jürgen O. Olbrich – Bernd Olbrich – Joseph W. Huber. March 3 - May 10<br />
European Apotheosis of G. A. Cavellini (Festival). May 19.<br />
Sjoerd Paridaen. May 11 - June 21<br />
The Mail Art Magazine (Media Mail Art project). July 1 - August 31<br />
Arno Arts. September 7 - October 19.<br />
Géza <strong>Perneczky</strong>. October 20 - December 19.<br />
1985: Frontières (Media Mail Art project) March 27 - May 15.<br />
Day of „Kleine Blaadje“ (Small Press Festival with G. Schraenen). April 5.<br />
Ruggero Maggi. August 1 - September 15.<br />
Chuck Stake's visit. October 30.<br />
Ferenc Gögös (Hungary) – Rob Thuis (NL). October 19 - November 27.<br />
East-West: Hommage to Shimamoto & Cohen (Media Mail Art project).<br />
October 30 - January 10.<br />
Shoso Shimamoto and Ryosuke Cohen in De Media. December 28.<br />
1986: Robin Crozier. January 11 - February 27.<br />
Rudy Wilderjans – Guy Stuckens. February 28 - March 4.<br />
Art Unidentified (20 Japanic artists). April 4 - May 15.<br />
The Worker's Paradise (Mail Art project by XCL Franke). August 22 - 31<br />
Bruno Deprez/Gorodok – André Lanois – Dr. Pjotr Aakoun. Sept. 5 - Oct. 16.<br />
Andzrej Dudek Dürer in De Media. October 10.<br />
Artistamps (Collection of Guy Bleu). October 17 - November 11.<br />
Anna Banana's performance. November 22.<br />
No War in my Town (Project by Peter Küstermann). Nov. 15 - Dece. 12.<br />
1987: Günter Ruch / Decentralised Mail Art Congress '86 docs. Jan. 17 - Feb. 19.<br />
Metallic Avau. February 20 - March 26.<br />
Henning Mittendorf. March 27 - April 30.<br />
Kun Nam Baik (South Korea). May 1 - June 12.<br />
Carlo Pittore. October 2 - May 11.<br />
Ben Allen. November 6 - December 3.<br />
Klaus Staeck's posters. December 4 - January 7.<br />
1988: Ruggero Maggi. January 8 - february 3.<br />
Joseph W. Huber. March 4 - 30.<br />
Paul Rutkovky. April 1 - May 4.<br />
Bilder für Africa (120 int. artists). June 10 - 26.<br />
Ryosuke Cohen. August 5 - 31.<br />
Mail Art in Action (G. Bleus, Ch. François, Kode Jonge, J. v. Geluwe, etc.)<br />
October 28.<br />
Robert Rehfeldt. December 2 - January 4.<br />
1989: John Held Jr. March 31 - May 3.<br />
~<br />
Literature:<br />
(De Media): «Publication related to the 4-yr-old (sub-) cultural space of the same<br />
name situated in the Flemish part of Belgium. The Small Mags Archive (SMA),<br />
which this issue of the newsletter is mostly about, is on permanent display there at<br />
De Media. SM archivist Bola says the role of the archive is „to assemble, organize<br />
them & keep records & preserve them so that they can be at the service of those<br />
who want to consult them“, „them“ being fanzines, independent artzines, underground<br />
papers, alternative poetry papers, small graphic mags, etc. SMA is part of<br />
SMN, Small Mags Network, but Bola doesn't really describe this beyond the<br />
meaning of the word network. This newsletter alphabetically lists the names of the<br />
1,596 small mags in SMA's inventory, but lists no addresses! (Ugh! So much for<br />
networking!) The archive itself, he says, contains 318 different titles & about 1000<br />
magazines (?). (...) Listed in this publication are some of the events this org. has
sponsored, a variety of musical concerts, theatre, art exhibits & performance events<br />
that make me with Eeklo was as close as Chicago from here.»<br />
^(Contacts. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 23 p.)<br />
^De Media (D. → Plunkett's interview took place at De Media with Jan De Boever:<br />
«I don't concider myself an artist. My job is being an organizer. I think good<br />
organisation is an art...») In: N D #13, 1990, 27-29 p.<br />
Bogdanovic, Nenad S. Markovica 41. Odzaci, YU-25250 Yugoslavia 1996<br />
Dovrsi Marku / Finish the Stamp. 1981 (Exh.: Dom Omladine, Odzaci, 1983) <br />
°Mail Art Communication. Cat.: with 47 parts. A/5, mimeogr. 12 p. {100} <br />
(Text: Jaroslav → Supek, serbo-croatian) Oodzaci, 1983<br />
Mail Art Works (with → Supek, J. & → Gogolyák, S.) Exh.: Baske Vode, 1983 <br />
^Netto 100 g. (Book-object in a very limited edition: Found news paper & magazine <br />
pages bound to an book) 20x14.5 cm., ~50 leaves. January 1984<br />
^Total (Stitched A/5 assembling with issues for special themes and technics {133}. <br />
1984-88, #1-17)<br />
^#1, 5, 6, 8, 9, 10, 12, 13, 15, 16, 17<br />
^YU Telegramm Art. Cat.: A/5, phc., 12 p. with an offset cover. Exh.: Sala M. Z., <br />
Odzaci, November 23-28, 1984<br />
^Second Manifesto (Theory and info magazine, also assembling [#4 =A/5 matter <br />
in envelope]. A/4, phc., 1984-85, 2xy. #1-4)<br />
^#1, 3, 4 (Open Letters)<br />
^Imprimés. Cat. form of a poster (of 35x25 cm.): offset print with participant list. <br />
Exh.: Mai 12 - September 12. Library, Odzaci, 1985<br />
^What to do in the cellar? (with Tibor Toman) Cat.: in: Second Manifiest #3 <br />
Exh.: 1. Maj Gallery, Novi Sad. 1985<br />
^Happy New Year! Doc.: One A/4 sheet, phc. Exh.: Foto Galerija (Sava Stepanov) <br />
+ Library, Odzaci. April 30 - May 3, 1987<br />
^Music in Visual Art. Doc. A/5, offset, 8 p. Dom Omladine, Odzaci. Dec. 1987 <br />
Photography – Art and Communication. / Fotogallery Novi Sad. 1987<br />
<br />
^Networker Gallery Actions. Inv. to Mail Art projects in accordion form, 1996 <br />
^Man Gallery. (Mail Art performances and projejcts) Inv., 1998-2000<br />
<br />
~<br />
Literature: (About Total) Editor Statement: «By the beginning of February this year I received<br />
by mail a police decision, in which I was informed that the police had deprived me<br />
of a package from abroad containing 260 copies. These 260 copies were probably<br />
sent by one of my mail art friends as a contribution for taking part in my magazine<br />
Total or his participation in the fourth number of mail art magazine Second Manifesto.<br />
With the help of postal inspection, the police have depriced me part of<br />
contents of my packages several time. I know that because my friends informed me<br />
of the package contents. Maybe postal inspection and the police to fill up of the Big<br />
Brother archives. (Quoted in: Stephen → Perkins: Assembling Magazines. Internationale<br />
Networking Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa<br />
City. 1996 /Print: 1997. 35-36 p.)<br />
^Interview with Nenad Bogdanovic. In: N D, N° 9, Austin, 1987 (→ Plunkett)<br />
15-16 p.<br />
^B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the<br />
1970s. In: Stephen → Perkins: Assembling Magazines. Internationale Networking<br />
Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 (Print:<br />
1997). 52-54 p.<br />
~<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 173 p.
Source:<br />
TOTAL Magazine Monography 1984-1988 (Facsimile publication of the magazine<br />
issues #1-17 on CD, 133 copies). Multimedia Art Studio Odzaci, 2000<br />
Bogdanovic, Slavko / Mandic, Miroslav, Novi Sad Yugoslavia 1971<br />
^L. H. O. O. Q. (Cockoo-egg mag in the lit. mag. «Új Symposion» or distributed as <br />
typewritten pages, 1971-72)<br />
^#1, 4<br />
Closed letter / open letter. (Corresp.) in: → Groh, 1972.<br />
<br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 35 p.<br />
Bohár, András ? Budapest Hungary 1992<br />
Electrographic Art. Cat.: (Concept by → Szombathy) / Gal. Savremene Likorne <br />
Umetnosti Izlozbere Prostorije Galeje. YU. Texts: Bohár & Barna. 1993<br />
^Ars Poetica / TeleFAX. Cat.: /Community Centre, Kaposvár H, 1996<br />
<br />
!Bohm Art! 603, 2 nd Avenue St. Claud, MN-56304 USA 1992<br />
^Games ’92. Inv., 1992<br />
<br />
^Great Battles / Making Faces / Fun at Square One! / Street Machines. Inv., 1993 <br />
Bologna / artists Via republica 37 Bologna Italy 1977<br />
Il Laboratorio (Mag, 1977?-, )<br />
<br />
«Bonanova, Atelier» La Casa del Siglo XV / A. Segovia Spain 1977<br />
°Mail Art Exhibicion Internacional. Cat.: with 90 parts., 31.5x21.5 cm., phc., <br />
5 leaves. Studio Levi.Napoli, 1977<br />
°Negro Sobre Blanco. Doc. sheet with 171 parts. 16.6x12 cm., phc. La Casa del <br />
Siglo. Segova (E), 1978<br />
Bonvie, Rudolf / Klauke, Jürgen, Brüsselerstr. 1 Köln-1, D-5000 Germany 1977<br />
Kunststoff (Mag. on actionism, performance and body art. A/5 offset, 1977-, m.) <br />
Bonyhádi, Károly → Leopold Bloom<br />
!Bop, Mr.! Box 267 838. Chicago, IL 60626 USA 1985<br />
^The Danger Mail Art Show. Cat.: Digest, offset, 8 p. 1985<br />
<br />
^Summer Mail Art Show (with B. de → Vallance, Chicago). Cat.: Digest, phc., 8 p. <br />
Borba, Gabriel ? Sao Paulo Brasil 1979<br />
°Encarteley-Seca. (Assembling in envelope with works by L. F. Duch, J. Plaza, <br />
C. Fajardo, R. Silveira, M. Fridman & G. Borba. A/4, ) Sao Paulo, 1979<br />
Borillo, Mario ? Marseille France 1978<br />
°Poésie Expérimentale et Communication Parallèle. Le Mail-Art. (Essay, A/4, phc., <br />
5 leaves.) C.N.R.S. Laboratoire d'Informatique, Marseille, 1978<br />
Börjlind, Rolf / Mallander, J. O. / Regild, Carsten Hägerstein Sweden 1974<br />
°Vargen (Mag. for neo-dada and alternative culture. A/4, phc., mimeogr.1974-, squ.)<br />
°Vargen (The Wolf), #5=Cat.: for the exhibition. of new forms of communication and <br />
information / Moderna Museet de Stockholm: W. Vostell, Lomholt, J.<br />
Urban, S. Hanson, E. Partum, etc. A/4, offset, 1975.<br />
Bory, Jean-François 5 rue Cognacq-jay Paris, F-75007 France 1977<br />
↑ 10 rue de Nesle Paris, F-75006 - “ - 1973<br />
.............................................................................................................................................................
L'Humidité (with René Baudouin) (Magazine on avantgarde art and vis. poetry of a<br />
sociological inclination. A/4, offset, 1970-77 qu., #1-24)<br />
<br />
Bosch, Phoebe / Maloney, James, Red Sky Press. Seattle, WA USA 1986<br />
Sky Views Magazine / Written = Graphic Art (Mag. All kind of new and alternative <br />
art. Digest, phc. and offset. 1986-, m.)<br />
Boschi, Anna Via Asiago 23-25. Bologna, I-40131 Italy 1992<br />
Bottle project (to the 100th anniversary of the birth of Giorgio Morandi). Exh.: <br />
Spazio Kaos, Bologna. 1990<br />
^Thirty Years of Mail Art (in homage to Ray Johnson) Cat.: A/5, offset, 18 p. <br />
Texts: G. Gini, R. Maggi, A. Boschi. Exh.: Prisma Pagina Gallery,<br />
Bologna. April 1992<br />
^Remembering Giulietta, (with Tiziana Todi, dedicated to Giulietta Masina) Cat.: <br />
in Terzo Occhio, Jun. '95. / Galleria Vittoria, Roma. March 23-, 1995<br />
^Guglielmo Marconi (radio). Inv., 1995<br />
<br />
^Prehistory in Forli. Inv., 1996<br />
<br />
^30 Anni di Arte Postale. (Ray Johnson) Inv. to the Posta Italiane, Bologna, 1997 <br />
^Artist’s Books / Visual Poetry. Inv., 1998<br />
<br />
^Happy Birithday Castel S. Pietro Terme! Inv., 1999<br />
<br />
^2000: World-Wide Year of the Mathematics. Cat.: 24x17 cm., offset, 208 p. <br />
+ cover. 340 artists, 34 countries. Texts by Bruno d’Amore, Anna Boschi,<br />
Ruggero Maggi(Italian & English). Exh. at the Sala ex-Fienile, Castel S.<br />
Pietro Terme, August-September, 2000<br />
^Exit. Dedicated to Roberto Vitali (1926-2000), “storico e critico d’arte”. Exhibitions <br />
at the art galleries in Bologna, among them also a Mail Art show, curated<br />
by Anna Boschi. Large offset catalogue about the art show (but not any<br />
special Mail Art publication). January, 2001.<br />
^L’Utopia. Cat.: 23.5x16.5 cm., offset, 164 p + cover. Edition: Comune di Vicenza. <br />
A very voluminous work with large image material and some some essays<br />
(all in Italian & English): Guy Bleus: A Journay to Utopia; Monica Bonollo:<br />
The Mail Art’s irrevocable mark; Henning Mittendorf: Creativity and ethics.<br />
Exhibition: Chiesa di S. Ambrogio e Bellino, Vicenza. April-May, 2001<br />
~<br />
Literature:<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 181 p.<br />
!Bottinelli, Bickhard! Bottinelli Art Agency. Kantstrasse 7 Kassel, D-3500 Germany 1975<br />
Die Post als Künstlermedium. Cat.: A/5, instant print, 72 p. {700}. Essays by ®<br />
A. Schmidt, K. Groh, P. v. Beveren, H. Zabala, H. Fischer, R. Rehfeldt,<br />
Albrecht/d, P. Below, T. Ulrichs and others. Exhibition at the Foyer of<br />
the Hermann-Schaft-Haus in Kassel, November 1-30, 1975.<br />
An early attempt at Mail Art show (with extreme many rubber stamp<br />
art works) with contributions of German artists as Peter Below, Horst<br />
Hahn, Mike Hintz, Uwe Kreutzfeldt, Reinhard Mahl, Robert Rehfeldt,<br />
Gerd Scherm, Horst Tress, Wulle Konsumkunst & others. Survey and<br />
invitation to further participate – with 24 black/with images (!) – in:<br />
Magazin Kunst, N°3, 1975. Additive lecture with slide documentation<br />
about the show and its materials by Tim Ulrichs April 20, 1976<br />
Boumans, Bart Roessingsbleckweg 155. Enschede, NL-7522 Netherlands 1982<br />
& Postbus 1440 Enschede BK, NL-7500 - “ - 1986<br />
.............................................................................................................................................................<br />
^Care (Mag. + Assembling {75} with changed editors in var. form. 1982-, squ., 13#?):<br />
N°1-2-3... B. Boumans, NL<br />
N°4 ........ R. Crozier, UK.<br />
N°5 ........ C. Echevery, CO
N°6 .........S.v.der Burg, NL<br />
N°7 .........B. Porter, USA<br />
N°8 .........V. Baroni, I<br />
N°9 .........McLean, USA<br />
N°10 .......J. P. Jacob, USA<br />
N°11 .......B. Gaglione, USA. ~ Stampart #5<br />
N°12 .......R. Maggi, I<br />
N°13 .......L. Spiegelman, USA.<br />
^#4, 10<br />
^Stamp-postcard documentation. Inv. in form of request-card. 1982<br />
^Books of Souls, Silence & Friends. Cat.: A/6, phc., 12 p. Exhibitions:<br />
Akademic Centrum Kultury Palaczyk Wroczlaw (W. Ropiecki).<br />
Bart Boumans, Enschede Academy of Art, CARE mag and others.<br />
Edited by Ko de Jonge, Holland 1983.<br />
<br />
<br />
«Boury, Le» c/o Petou, Kris, En Poche, N°7. 36 Ave. Du 6. Juin. Caen, F-14000, France 1986<br />
Le Boury / AB Sexe. (Small French graphzine by 26 artists. {300} A/5 and A/6, <br />
phc., ~16-56 p. 1986-, about 10 #)<br />
^#7, 8, 9, 10<br />
Boursellier, Christophe c/o Groupe T. Z. 85., 23 rue Bayard, Paris F-75008 France 1981<br />
Casablanca (Mag. Mail Art with political colour, partly assembling. A/4, phc., <br />
1981?, #1-2) Groupe T. Z. 85, Paris<br />
Bowsza, Keith<br />
→ !Minóy!<br />
Boyles, Denis 50 Commerce St. New York, NY-10014 USA 1977<br />
The Journal of Art Performance and Manufacture (Mag. Art theories, new literature,<br />
etc. Letter, horz. size, offset. 1977-, m.)<br />
Bracho, Alexis Aptdo 702, Barquisimeto, VEN-3001 Venezuela 1998<br />
^Oxigen or Dead. Inv., 1996<br />
<br />
^Mail Art in Tribut to Damaso → Ogaz. Inv., 1998<br />
<br />
<br />
Bradley, Daniel 551 A Crwford St. Toronto, M6Q 3J9 Canada 1986<br />
^Push-Machinery (Mag. 35.5x21.5 cm. and half-legal sizes, phc., 8 p. 1986?-, ~12#) <br />
^#8, 9, 12<br />
Bradley, Steve S. / → Rutkovsky, Fran. 227 W. 1st Ave. Tallahasse, FL-32303 USA 1987<br />
^The Figure: Alternative Visions. Doc. Half-legal, offset, 8 p. 1987<br />
<br />
^CONTRAdiction. Doc. Letter, phc., 8 p., The Ware- house, Tallahassee. Nov, 1988 <br />
Bradley, Tony / Crowcroft, Ron, 'Burford'' Byways Selsey, NR Chichester, P O20 OHY, UK 1979<br />
& 148 High St. Selsey, M. Chichester, P O20 OQE, 1979<br />
.............................................................................................................................................................<br />
Black Boat (Mag. Alt. literature and graphics, style of nonsense. A/5, phc. 1979?-, #?) <br />
Brall, Artur c/o Verlag Kretschmer & Großmann Frankfurt am Main Germany 1986<br />
^Künstlerbücher, artists' books as art: Ausstellungen, Dokumentationen, Kataloge, <br />
Kritike. (Offset, 176 p.) Kretschmer & Großmann, Frankfurt, 1986<br />
Branco, Joaquim R. Voluntarios de Patria 389 / 622. Rio de Janeiro. Brasil 1979<br />
247 Av. Astolgo Dutra (c/o P. J. Ribeiro?), Cataguases M.G., BR-36770, Brasil 1979<br />
.............................................................................................................................................................<br />
^Tabu (One sheet mag. with «pop-eye» actionism, concrete and visual poetry: P. J. <br />
Riveiro, K. Staeck, R. Werneck, G. Mattaso & others. Folio, offset.<br />
1976-, m.) Cataguases /Ed. Totem, Rio de Janeiro
^#11<br />
^Totem (with P. J. Ribeiro and Ronaldo Werneck) (Offset magazine, 32x23 cm, 4 p.<br />
as monthly suppl. to the daily news «Cataguases», mostly with vis.<br />
poetry, #10-13 special Mail Art issues. 1977-80, m.)<br />
^#13<br />
Totem N° Jan. 1980 = «arte correio» issue<br />
°Expoarte 80. (with Ribeiro, P. J.) Doc. with a list of 81 parts. 25x32.5 cm., fold,<br />
offset. / Catagueses, 1980<br />
AR-TE (Exp. art mag. for the Latinamerican underground. A/4, phc., 1983-, #1-3?)<br />
^Laser para lazer (Poemas experimentais). Ediçoes otem, Rio de Janeiro – 1984<br />
23x15.5 cm., offset, 64 p.<br />
~<br />
Literature:<br />
<br />
<br />
<br />
<br />
<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 185 p.<br />
Brand, Jan Bokhorstweg 4 Spankeren / Dieren Netherlands 1975<br />
Transit (with → Beveren, Peter van & others) (Anths. like A/4 mag. 1975-77, #1-5)<br />
Brummense Uitgeverij can Luxe Werkjes. Alweereen /Beuningen,<br />
°Transit. Taal Beeld Taal (Language Image Language) Editors: Maarten <br />
Beks, Urias Nooteboom, (34 authors) {195}, Brummense Ug.,<br />
Beuningen NL, 1975<br />
^Transit. Book of Stamp. (Orig. stamps, bound, 92 leaves. {59 + 39}) ® <br />
1975<br />
Transit. Mirror. (Conceptual works), 1976<br />
<br />
Transit. Translation Transformation, offset + phc. {150}. Beuningen, <br />
1976<br />
^Transit. Tijdschrift aan de muur, offset, spiral bound, 's-Hertogen- <br />
bosch, 1977<br />
^Stichting Festival Arnhem: Beethoven, Music for the Millions. (also a Mail Art pro- <br />
ject, org. with A. Gerritsen, J. de Groot, M. Hendricks). Cat.: 3.5x17<br />
cm., offset, 28 p. 1977<br />
°Brand, Jan: Visuele Poezie. Anthology. Cut A/5, phc., 104 p. {200}. KAA, <br />
Arnhem NL, 1980<br />
Brandao, Antonio Cesar, C. P. 129, Santos Dumont M.G., BR-36240, Brasil 1992<br />
Brasil visual poets, Rio de Janeiro<br />
(Al ca So, Dayse Lacerda, Dico, Joao Carlo Sampiaio, Samaral, Sandra Moderno, Yara)<br />
.............................................................................................................................................................<br />
Olho Vivo / Dia (Assemblings for lettrism and concrete poetry. D. Lacerda, Dico, <br />
Samaral & others. 16x16 cm., mimeogr., phc, 1974? )<br />
Poemas (Assembling in cover of 22.5x16 cm., 1974-, y. ?#)<br />
<br />
°Zanini, Walter / Plaza, Julio: Poeticas Visuais. Cat.: Texts in Portuguuese and <br />
English. 31.5x23 cm., offset, 56 p. Museu de Arte Contemporanea.<br />
Sao Paulo, 1977<br />
^Saciedada dos poetas vivos. Vol. 5. (Editors: Faustino, Urchacy / Miccolis, Leile) <br />
(Anth. 110 p.) Ed. Blocos, Rio de Janeiro, 1993. Authors:<br />
J. Branco, A. de Sá, E. Paulo, G. Magela, G. Mendonça Teles, H. Mund<br />
Junior. H. Pontes, J. J. Galahade, J. Cardias, M. B. Bezerra, M. Sobral,<br />
O. Pereira, Ph. Menezes, R-A. & A. Alves, R. Keppler, R. du Wascimento,<br />
S. Nunes, S. Monteiro de Almeida<br />
Braumüller, Hans Osterstr. 98 Hamburg, D-20259 Germany 1997<br />
↑ c/o Schor, Reeperbahn 156 Hamburg, D-20359 1997<br />
↑ Los Almendros 3898 Ñuñoa – Santiago Chile, Chile 1995<br />
.............................................................................................................................................................<br />
500 años de genocidio y colonialismo. (Assembling book, 11.5x23 cm., horz.) 1992
^Help me to Paint! / Gal. Posada del Corregidor, Esmeralda 749, Santiago Chile<br />
Cat.: 20.5x20.5 cm., offset, 32 p. April 1995. Texts (Spain & English):<br />
Hans Braumüller: Los Almendros<br />
Felipe Vilches: The Planetary Pulsation<br />
Clemente → Padín: Network and artistit's role before and after Lyotard<br />
^A Tribute to G. Deisler. Inv., 1996<br />
^Mail-ElbArt 1997 / Kunstausstellung im Alten Elbtunnel, Hamburg (with → Merlin)<br />
Cat.: 19x20 cm., offset, 36 p. (German)<br />
+ elbart, CD-ROM, Windows/Mac. CulteV-beim Grünen, Jäger 25,<br />
Hamburg, D-20359, http://www.cult.de<br />
+ Art under Surface, Reeperbahn 97, (participant list) A/4, 2 leaves,<br />
phc., with or. rubber stamps, + div. suppls. Hamburg, 1997<br />
^Cruces del Mundo – Crosses from the World. Inv., 1999<br />
~<br />
Literature:<br />
«Since 1987 I had been involved in alternative local networking directed against the<br />
dictatorship of Pinnochet in Santiago de Chile. Most of my local networking was<br />
performed through our artist group „La Preciosa Nativa“. The idea was rescue the<br />
origins of the indigenous cultures by generating an art movement connected with<br />
these cultures. (...) With the upcomming of festivities in 1992 meant to celebrate<br />
what used to be called the Discovery of America, I took the decision to do my part<br />
in a campaign directed against the hollow ring of these gooverment sponsored<br />
festivities. This widely supported campaign went under the name „500 Years of<br />
Resistance“. So inm 1991 I started the Origen Project... Within thisproject I edited<br />
two volumes of an assembling book under the subject of 500 Years of genocide and<br />
Colonialism with about 677 participants per volume. Volume one was shown in St.<br />
Kilda West, Australia and was also showns as part of an installation by our group in<br />
the Museum of Contemporary Art in Santiago de Chile and in another place in<br />
Hamburg, Germany, 1992»<br />
(Hans Braumüller: 500 años de genecidio y colonialismo. Statement / 1996.<br />
In: Stephen → Perkins: Assembling Magazines. Internationale Networking Collaborations.<br />
Cat. Subspace, Iowa City. 1996 / Print: 1997. 40-41 p.)<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 189 p.<br />
Bremer, Hanna / Marlow, Jack ? Bremen Germany 1979<br />
°Kryptogame (Mag. for the post-fluxus scene: O. L. Nations, D. Higgins, V. Baroni & <br />
others. A/4. offset with orig. works by the eds. 1979-80 , ~2xy. #1-3?)<br />
Bressi, Betty P. O. Box 163, Rosebank Station Staten Island, NY-10305 USA 1975<br />
Glassworks (Magazine for literature & experimental poetry. Digest. 1975-, qu.) <br />
Brett, George Athens GA USA 1977<br />
OR Post. (Rubber stamp project) ~1976 -<br />
® <br />
°A. Proxi. (Silhouette of the artist, cut off, mentioned as an «approximately» Fluxus<br />
representation of the re-unioned DaDa and the manifestation of Mail<br />
Art, with a documentation brochure of 17 p.) Athens GA, 1977<br />
°OR Post (Rubber portraits of artists, {20} 20 p.) Orgroup. Greenville, NC, 1978 ® <br />
°Secca at Secca. Inv. / Center of Contemporary Art, Winston-Salem, NC, 1979 <br />
^OR Post (8 cards with rub. stamps) ORgrup + Stempelplaats, A'dam, 1979 ® <br />
°The Decashadenia Postcard Show. Inv. Pitt Comm. College, Greenville NC, 1980 <br />
°Ghosting Along. (Bookwork). Digest, phc., 24 p. {20}. Cordial Quartos. Greenwille <br />
NC, 1981<br />
~<br />
Literature: (Statement): «The parameters of mail art /correspondence art are defined by the<br />
system which incorporates and processes mail art: the United States Postal Service.<br />
The postal service dictates the size limitations, partial content [or forbidden
content], and the costs, among other things. But the service also provides mail<br />
artists a model for imitation. The creation of specific postal systems is an obvious<br />
imitation of the larger system; OR Post is an example...» In: Rubber ( → Stempelplaats),<br />
1979/7, July<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 76 p.<br />
«The OR Post is a special part of my life. It is still going on. I cut my last stamp<br />
sometime in 1994, but have plans for cutting some more someday soon. The stamps<br />
are carved from vinyl technical erasers. My favORite has been Mars Stadtler Grand<br />
erasers, but lately they have been embossing some kind of logo onto the plastic...»<br />
(From an Internet-publication, 1998)<br />
Breuer, Theo Neustraße 2, Sistig / Eifel, D-53925 Germany 1996<br />
YE! (Assembling with thematic issues, A/4 {~100}. 1993-, ~ 2xy.)<br />
<br />
Faltblatt (Contact mag. 1994-, )<br />
<br />
^School: Faces, Views, Insights. Inv., 1996<br />
<br />
Brewton, Johnny / Shargel, Delia. Pneumatic Press. P.O. Box 170011, San Francisco, CA-94117, USA 1994<br />
^X-Ray (Assembling like network zine for graphic and literature {200+26}. Half- <br />
legal size with ca. 40 leaves. Also found objects. 1994-, qu.)<br />
^#5<br />
Brian, Gentry USA 1988<br />
Smile «History is the index» (Smile mutant, 1988)<br />
<br />
Briers, David 15 Park Mansions, Prince of Wales Drive, London, SW11 United Kingd. 1970<br />
^Pages (Mag. with fluxus, concept art, performance, exp. music, etc, contributions <br />
and info matter also from Eastern Europe and Latinamerica. A/4, offset,<br />
~36 p. 1970-72, y., #1-3)<br />
^#1, 2, 3<br />
^Typewritten contact and address list (!) as addendum to Pages #3, 1972.<br />
<br />
Chapter Art (Review on printed matters, A/4. 1981-, m.) Cardiff.<br />
<br />
~<br />
Literature: «Chapter Art... This peroiodical is a seed from the seminally important Pages, an<br />
early '70s art periodical with perfect pitch. Both edited by David Briers. However,<br />
Chapter Art acts primarily as house organ for an art center of the same name. It<br />
offers clear, lucid criticism on the Wales art community as well as a smattering of<br />
reviews and tidbits from the U.S. and European arenas. If it's goal is to „fill a gap“<br />
in presenting alternatives outside of traditional media coverage, then Chapter Art is<br />
succeeding.» (Lightworks [→ Burch], Art Alternatives in Print. N° 14-15, Winter<br />
1981-82. 60 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 60 p.<br />
Brög, Hans / Grünfeld, Thomas / Sturm, Hermann. Bensbergerstr. 232. Bergisch-Gladbach, Germany 1978<br />
^Positiv-Negativ. (Commonpress #8) 43x30.5 cm., folded to 43x15,2 cm., phc., <br />
11 loose sheets RV, 24 participants. Black Box Werkstattgalerie,<br />
Bergisch-Gladbach, D-5060. November 1978<br />
Broi, Gianni (Free Dog) C. P. 684. Firenze, I-50123 Italy 1991<br />
^La Posta in Gioco. Cat.: + Anth., 23.5x21 cm., offset (also colour), 138 p. (A <br />
phantastic rich and interesting publication but all texts Italian only!)<br />
/ Uffizi, Sala ex-Reali Poste, Firenze. November 15-28, 1990<br />
Statements by P. Sevcik, C. Belloli, D. Daligand, A. Leagne, L. Bellini,
M. Diotallevi, G. Ferri, G. Gini, B. Kittel, R. Maggi, E. Minarelli,<br />
R. Nikonova, A. Ohlman, F. P. Focardi, S. Segal, A. Tisma, M. Tortora,<br />
V. Baroni, G. Bleus, R. Summers, C. Welch, L. Pignotti, M. Chieppi,<br />
J. Held, B. Pollacci, P. Petasz, E. A. Vigo, C. Kainz, E. Sturani<br />
^Mail Ark '91. «Creative communication at a distance between old and new media»<br />
(Seminar / Fac. of Architecture, Univ. of Florence.) Doc. + Slides.<br />
1991<br />
^La Posta in Gioco II. Cat.: A/5, offset, 64 p. / Galleria Comunale d'Arte, Cagliari<br />
December 20, 1991 - January 15 1992<br />
^Free Dog Club Statuto (with Annamaria Caracciolo) 8 xeroxed p. Firenze-Calgari,<br />
1993<br />
^Networker Congress Florentine Area. 7-8 May 1994. (Info matter, 4 leaves)<br />
^Free Dog and Human Values. Inv. to exhibition. 1994<br />
^Pele di Mondo. Inv. Exh. with Italian mail artists only. 1994<br />
^Alternative, Creative and Free Conference, Bagno a Ripoli. 8th May 1995. (Book,<br />
A/5, offset, 300 p.) Theoretical texts by networkers: G. Broi, V. Baroni,<br />
R. Ascott, D. Cole, D. Daligand, R. <strong>Janssen</strong>, J. N. Laszlo, R. Maggi,<br />
H. Mittendorf, C. Padín, P. Petasz, R. Summers, A. Tisma, C. Welch,<br />
& others<br />
^La Posta in Gioco III. – Mail Stones for Meana Sardo / Thinking the difference.<br />
<br />
Curators: Giovanni Broi, Annamaria Caracciolo, Bartolomeo Muggianu.<br />
Texts: B. Muggianni: A new great experience<br />
D. Caracciolo: Statement / Dichiarazione<br />
G. Broi: Thinking the Difference / Pensare. La difference<br />
G. Bleus: Art ministration<br />
Cat.: 17x24 cm., col. offset, 128 p., 190 parts. Exhibition in Meana<br />
Sardo at the Sala del Consiglio Communale, Nov 22 - Dec 7, 1998<br />
^Raymond Roussel. Network performances in Paris and Firenze by G. Broi and others. <br />
Texts and documentation photos published in the form of a A/3 RV<br />
poster in envelope of 16x23 cm. 1998-99<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Brookmann, Dieter Albeckerstr. 2 / 611. Rostock. GDR-2520 Germany 1981<br />
^Human Habitat / 1. Mail Art Festival Weimar (forbidden) Cat.: A/5, phc., 6 p. <br />
Planned for the Studentenklub in Rostock, 1981<br />
Mail Art aus der DDR. Doc. / Studentenklub, Weimar / Studentenklub, Rostock. <br />
Planned for 1981, realized in 1982<br />
Mail Art / Postkunst Exh.: in the DEWAG. Rostock, 1983<br />
<br />
!Brotgehirn, Zbigniew! → Tristan Renauld<br />
Brower, A. / Meier, H. c/o Showburg Arnhem Netherlands 1983<br />
°Marx Now. (Anniversary of Karl Marx) Inv. 43x31 cm, offset poster (The large<br />
Mail Art exh. was realized without a cat.) Showburg. Arnhem, 1983 <br />
Brown, Carolyn / Salzberg, Brian. N.F.S. Arts Found., Block Island. Box 131, Block/Rhode Island, RI-02807, USA<br />
^The Works / The Independent Voice of the Arts (Tabloid mag. in size of 34x27.5 cm. <br />
Offset, 24 p. 1987-, 10xy.) Vol. III, N° 5-8. Statements and opinions of<br />
American mail artists<br />
^# Vol.III. / V., VI., VIII.<br />
Brown, Jean (The same house but a new address:) Lee, MA-01238 USA 1988<br />
↑ Archives, Shaker Seed House Tyringham, MA-01264 - “ - 1980<br />
.............................................................................................................................................................<br />
«My husband and I started collecting the archive in 1954. The inspiration was Robert Motherwell's<br />
Dada Painters and Poets. The latter part of the archive , Fluxus, Mail Art, etc. seemed to<br />
inevitably and logically fall into the trajectory.» (Jean Brown, in a letter to Cuck Welch, May 5.<br />
1992) «Jean Brown (*1911) was one of mail art's best friends, a great patron and spirit... (Her)
collection of over 6.000 artists' books, manifestos, Dadaist, Surrealist, Fluxus and Mail Art<br />
materials was purchesed by the J. Paul Getty Center for the History of Art and the Humanities in<br />
Santa Monica» (Chuck → Welch in: Eternal Network. University of Calgary Press, 1995.XXII p.)<br />
The Jean Brown archive passed for the «Central Archive» for the whole international Mail Art<br />
movement. Therefore, many artists send their works and publications in a special copy to this<br />
collection in the legendary Shaker Seed House. There is a regrettable ciricumstance that his large<br />
and very important material didn't have been ordered, catalogued and brought within reach for the<br />
researches by the Getty Center so far.<br />
May 1, 1994 1994<br />
~<br />
Literature:<br />
«...So I took off for the Shaker Seed House known as the Jean Brown Archive, to<br />
savor the richness ot the collection and the hospitality of this great lady... And there<br />
I was firmly esconced in the Shaker House which the Browns bought after it had<br />
been moved to that location. George Maciunas had designed the cabinetry in the<br />
archive, and there was so much to see, from artist' books to one-of-a-kinds, from<br />
visual and concrete poetry to manuscripts and correspondence. The Shaker House<br />
is a place of peace and contemplation, a resting place for all those ephemeral materials<br />
that artists seem to create by a whim and very few people get to see. Here, we<br />
have a permanent study collection, and I urge all my readers to call or write for an<br />
appointment whenever you are in the vicinity of Tyringham. Jean Brown is a<br />
gracious hostess, and you will not forgot the experience...»<br />
(Judith A. Hoffberg: A Bookman's Holyday / Tyringham... In: Umbrella<br />
[→ Hoffberg] Vol. 4, #5, 113-115 p. 1981)<br />
Lon Spiegelman: Archives (about the purchasing the Judith A. Hoffberg Collection<br />
/ the Jean Brown Archive by the UCLA Art Library / Getty Center for the History<br />
of Art and the Humanities and similar problems) In: Spiegelman's mailart rag (→<br />
Spiegelman). Vol. 1, #4. December 1986. 15-16 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 20-22 p.<br />
John → Held Jr.: In Memoriam: Jean Brown, 1911-1994. In: Umbrella, Vol. 17,<br />
No 3/4., 1994. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, the Anthology.<br />
Santa Monica, 1999. 154-155 p.<br />
Brown, Hoefer, D. c/o Asuc Studio Berkeley, CA USA 1981<br />
°Capitalism is sad. Doc. with a list of 28 parts. A/4, phc. 2 sheets. / Asuc S., 1981 <br />
Bruns, Carol / Jacks, Robert, 134 Greene Street New York, NY-10012 USA 1978<br />
°Fifty Four Pages (Assembling for exp. poetry, drawings, texts. R. Avery, P. Bruscky, <br />
L. F. Duch, B. Gaglione, M. Rutt, A. Banana, & others. Bound letter size,<br />
1978) New York<br />
Brus, Günther Hatscheckstr. 7/3. Vöcklabruck, A-4840 Austria 1984<br />
^Korpus Kristi / Koitus Kristi (Porno Mail Art mag for the contributors only – <br />
12-15 copies. A/5, phc., ~12 leaves. 1984-, ir.)<br />
^# 2 issues: Apr 2, & July 6, 1984.<br />
Bruscky, Paulo CP 850 Recife-PE Brasil 1993<br />
^Punho (Assembling, collected into folio size envelopes {100-200}, A/4 matter, 6-28 <br />
leaves. 1973-96, #0-5. The #0 was a mimeographed magazine)<br />
^#0, 1, 2, 4<br />
°Outra pedra de rosetta. (with D. Santiago) 21x14 cm., cut magazine pages, 280 p. <br />
{161} S. P. Recife. 1974<br />
°Int. Exh. of Mail Art. (with Daniel Santiago, D.) 135 participants invited. One <br />
sheet of 33x21.5 cm., phc. The exhibition suspended? Recife, 1976
^Multipostais I-II. (with Xilo Ypiranga and D. Santiago,) (Postcard size assembling, <br />
~ 20 pieces in envelopes of 20x16 / 22x16 cm. 1977-97? #1-9?)<br />
^#2, 6<br />
^Informatibo / Centros da arte marginal brasileira de informação... (with D. Santiago) <br />
(One sheet info mag. folio, mimeogr. 1977-78, 2#)<br />
^#1, 2<br />
^10 Seismographical Sheets. Self edition – xerographical works. 32x21.5 cm., phc., <br />
10 leaves. n.d.<br />
^Exercicios de Caligrafia. (6 leaves, offset + finger-print, in spec. envelope {110}) <br />
1978<br />
°Exposiçao Int. de Sonhos. (with Santiago, D.) Doc. 31.5x22 cm., phc. One sheet <br />
with the list of 23 parts. Recife, 1978<br />
°3x4 Show. (Postcards) Inv. on postcard / Livraria Livro. Recife 7. 1978 <br />
°Arte Correio. Doc. with the list of 48 parts. One sheet of 31.5x17 cm., offset / <br />
UNICAP. Recife, 1978<br />
Classified Magazine. (Mag. Legal, phc. 1978, #1 only?) A xerographical imitation <br />
of newsletter's advertisment pages.<br />
Telegramarte (with D. Santiago) (Telegramm-assembling by 16 artists in envelope <br />
of 17.5x23 cm. 1978)<br />
1st Int. Visual Poetry Out-Door Exh. (with D. Santiago) Recife (Umbrella 1/#3) '78 <br />
°II. Festival de Inverno. Int. Exh. of Mail Art. Doc. One sheet of 34x25 cm. offset <br />
print + collage, with the list of 245 parts. / UNICAP, Recife.<br />
July 15 - Aug. 4. 1979.<br />
^1 a Exposião Int. de Art-Door. (with D. Santiago) Cat.: Horz. 21.5x23 cm., offset <br />
(colour), 94 p. Prefetura da Cidade, Recife , 1981<br />
°Genotexto (with Daniel Santiago) Carboard piece of 14.5x12.5 cm. {50}. 1982 <br />
°1a Exposiçao National de Libro de Artista. (with Daniel Santiago) Cat.: 16x21.5 cm., <br />
phc., 18 p.. UNICAP. Pernambuco BR, 1983<br />
IIIrd International Out-Door Exhibition. (With D. Santiago) Inv. Recife, 1983 <br />
FAX Arte (Album {27} of the workshop «Da Xerox a Lito, Via Fax», Olinda-Pe) '91 <br />
Xerografia (Album {27} of the workshop «Da Xerox a Lito, Via Fax», Olinda-Pe) '91 <br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 201 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 66-67 p.<br />
Bruxelles / copy artists ? Bruxelles Belgium 1979<br />
Digital Dance Magazine / Digital Pages (Xerogr. assembling, A/4. 1979?- , #1-2?) <br />
Bryan Bieler, Steven, 7307, 6th Ave. NW. Seattle, WA-98117 USA 1989<br />
^The Stamp Act (Rubber stamp mag., earlier as The Rubberfanzine by Rudi → Rub- ® <br />
beroid. Letter size, phc., 20 p. 1989-91, #1-8)<br />
^#1, 2, 3, 4, 5, 6, 7, 8<br />
Bryin, Abraham. Kurfürstenstr. 21-22. Berlin-30, D-1000 Germany 1986<br />
^Augen (Multimedia zine with graphics, performances and announcements. <br />
#1-3 edited in Los Angeles, from #5 offset print. A/4, phc & offset,<br />
~24 p. 1986-, bm.)<br />
^#5<br />
Bucher, Max / Maidan, Noemi. Box 858 / Case 858. Lausanne, CH-1001 Switzerland 1975<br />
Soft Art Press (Multimedia magazine. A/4, offset with orig. rub. stamps and collages. ®<br />
1975-79, qu., #1-18?)<br />
Soft Art Press, N° 15, 1978 = International survey of Multi-Media Art Archives <br />
Soft Art Press, N° 17, 1979 = Rubber Stamps issue.<br />
®
~<br />
Literature:<br />
«This colorful and wonderfully ephemeral publication deals with what the editors<br />
call „non static“ art... This does not imply a movement against electro-static (Xerox)<br />
art work. Rather „non-static“ art refers to certain alive alternatives which include<br />
video, mail art and performance art, among others... An excellent indicator of<br />
European fringe-flavored work in the visual arts...» (Lightworks [→ Burch], Art<br />
Alternatives in Print, N° 13, Fall 1980, 53 p.)<br />
Buchholz, Willy ? ? Germany 1980<br />
Ladies: Black and White (Commonpress #28, not edited yet)<br />
<br />
Büchler, Pavel 94 A. Richmond Road. Cambridge United Kingd. 1988<br />
!Bug Post! / !Bugmaster! → Dominique<br />
Bulatov, Dmitry Lenin Avenue 77 - „“ - 3 Kaliningrad, 236040 Russia 1996<br />
H. & A. Museum, Klinicheskaja 21 Kaliningrad, 236016 - “ - 1996<br />
.............................................................................................................................................................<br />
^Word Theatre. (with → Sherstyanoi, D. V. Pokladova. J. Kuznetsov) Doc. Lepo- <br />
rello (4+ 2 sheets), 20x14 cm., offset. texts: English, Russian / City Art<br />
Museum, Kaliningrad. October 1995<br />
Experimental Poetry. Selected Works. / Königsberg-Malbork, (Anth., 250 p. Russian) <br />
Essays by Valerij Scherstjanoi, Tatjana Gorjaceva, Karl-Friedrich<br />
Klaus, Alexander Lavrentjev, Ekatherina Bobrinskaja, Svetlana<br />
Birjukova, Serge Sigej, Ronald Arnhem, Guido Bilcharinko, Franz<br />
Mohn, Clemente Padín, K-P. Dencker, Henri Chopin, Gerald Janecek,<br />
Serge Birjukov, Paul Datton, Boris Chifrin, Ry Nikonova, Dmitry<br />
Ponomarev, Dmitry Bulatov. ~1996?<br />
^A Point of View. Visual Poetry: The 90s. An Anthology. (One of the most important <br />
source book/anthology for visuale poetry in the network and the whoole<br />
1990s. Texts Russian, some short titles also English. Encyclopedic<br />
structure) Also as catalogue in the form of 24x17 cm., offset, 592 p.<br />
Essays (Russian) by 19 authors, works / biographies of 116 artists, 546<br />
illustrations, + biblio- / disko- / WEB-lio- /graphy. Exhibition tour:<br />
Kaliningrad, St. Petersburg, Moscow, Niznij Novgorod, Vilnus (Lietura),<br />
Krakow, Wroclaw, Budapest, 1998-99. Ed. Simplicii. Kaliningrad, 1998.<br />
The author about yourself: 205 p.<br />
^Mail & FAX project: a year of incongreous meetings. Inv., 1998<br />
<br />
Bulkowski Zietenstr. 61 Düsseldorf, D-4000 Germany 1970<br />
^Pro / Blätter für neue Literatur (Magazine for experimental literature and graphic. <br />
#1-12: A/4, offset print thematic issues on brown paper, from #13<br />
mimeographic pages with a number of diverse text and graphic inserts.<br />
1966-77, #1-27)<br />
^#23<br />
Bullard, Robin 322 Virginia Ave. San Francisco, CA-94110 USA 1988<br />
↑ 255 Mt. Shasta Dr. San Rafael CA-94903 - “ - 1982<br />
.............................................................................................................................................................<br />
^Highchair (Mag. Performance docs. with photos. Digest, offset, 24-28 p. 1983-84) <br />
Yearly: #1-2 only? / N° 1. Pocice–tactice, N°2. Taxi scenes...<br />
^#1, 2<br />
Bunus, Ioan 19 rue David d'Angers Paris, F-75019 France 1986<br />
Kriegstrasse 76 Karlsruhe, D-7500 Germany 1984<br />
.............................................................................................................................................................<br />
Mail Art / graphic activity by often changed domiciles in Paris and Karlsruhe – since 1984
Bunt, Ivan c/o Axel Dietrich, Werkstatt Edition, Hauptstr. 17. Laufenburg, D-79725. Germany 1982<br />
^Crazy Envelopes. (Anthology of para-mail art envelopes) Horz., 13x21 cm., offset, <br />
92 p. (ISBN 3-923080-05-0) Werkstatt Edition, Laufenburg. 1982<br />
Burch, Charlton c/o Lightworks, P. O. Box 1202 Birmingham, MI-48012 USA 1986<br />
lightworks_mag@hotmail.com<br />
↑ - “ - P. O. Box 77271 Ann Arbor, MI-48107 - “ - 1977<br />
.............................................................................................................................................................<br />
^Lightworks (with D. Schwarz, S. Penland-Mace, E. Keller & oth. )(One of the most <br />
important publ. of the post-fluxus scene: analytical texts, visual matters,<br />
photos, graphics, performances, stamp and Mail Art... First as tabloid<br />
size mag. of 38x29 cm., from the #6 cut letter size offset publ., ~60 p.<br />
Also thematic issues. 1977-90 = #1-21, but also a newer publ. in the 90s:<br />
#22, The Ray Johnson Issue, with an audio CD, dated as 1995-2000)<br />
Ann Arbor / Birmingham MI.<br />
^#2, 3, 4, 5, 6, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20-21<br />
°Lightworks Envelope Show. Inv. on postcard / Public Library, Ann Arbor, 1978 <br />
°Shoes – Go Anywhere You Please. (Commonpress #14) Digest, offset, 46 p., 51 <br />
participants. Ann Arbor, 1979<br />
~<br />
Literataure: «Lightworks, through many years... documented and illuminated the shadowy<br />
underground. Without taking sides, it has reported on most of the creative<br />
movements – sound, visual, performance – of the 1980s. Reading back issues of<br />
Lightworks is like reading a history of the altlernative before it is co-opted by<br />
institutions, academic or economic.. Lightworks is timely, superbly printed, diverse,<br />
energetic, creatively designed, open-minded and -hearted, vital, and inexpensive...<br />
(By Karen Holman. In: Print Reviews. PhotoStatic. N° 36, June 1989, 1340 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 38 p.<br />
Burg, Sonja van der Postbox 917, CX Den Haag, NL- 2501 Netherlande 1985<br />
↑ Swietenstraat 42. Den Haag, NL-2518 - “ - 1984<br />
.............................................................................................................................................................<br />
^Afzet / Afzet's Palmbank (partly with → Oosten, Margot van) (Assembling in <br />
envelope, edition: 60 signed and numbered copies. Special themes for<br />
each publ., A/5 matter, ca. 30 sheets in an issue. Numbering by volumes<br />
and alphabetical order. 1981-85, ~bimonthly, altogether ca. 30 issues.)<br />
^# 1984: 4/f , 1985: 5/a, d, e, f<br />
^Fritten-Show (with Flip Krabbendam). Cat.: A/3, offset, 6 p. {285} 1984 <br />
^Natural Touch. Zogenaamd So called, 1985. Handmade publication in 10 copies:<br />
A/5 size, mixed technic, 6 p.<br />
^ 3 Dimensional Exhibition of Afzet. Inv., 1985<br />
<br />
^Journey. (8 p. xeroxed exh. & action journal) / Galerie Arti-Shack, Rijswijk, 1985 <br />
^So Called (Postcard size unbound assembling in paper-cover with additional Mail <br />
Art info bochure, 1986-, 2-3xy.)<br />
^#1, 2, 3<br />
^Noveau Nihilisme. Exhibition of installations & objects by Let Bijkersma and <br />
Martin Helm at the So-Called rooms, June 1-25, 1986 in Haag.<br />
150 numbered copies of aspiral bound catalogue: A/5, phc., 36 p.<br />
^Travelin' Around the Midnight Myth. (Writings & drawings, ~A/5, offset, 28 p.){20}<br />
S. P. The Hague. 1988 <br />
~<br />
Literature:<br />
«Afzet is fine and cool. The bewst collation edition of artist-supplied art anywhere.<br />
The editors really demonstrate concern and a sense of the community they serve.<br />
Issues take on specific themes... Issue 5A deals with the phrase „looking for wordless<br />
lines“. This issue, as most, divides into 4 parts: it begins Margot's and Sonja's
eautiful xerography, drawings and folding paper art. Thereafter comes the „Portrait<br />
Gallery“ wherein artist / contributors do selfportraits for inclusion. The third section<br />
called the „Palmbank“ is where contributors deal with the issue theme. A fourth<br />
section includes a listing future mail art shows around the world. Oftentimes this list<br />
is ready for wall mounting with a sewed cloth hanger. This is a glorious compilation.<br />
It takes a substantial exception from the slap-dash, thrown together anthologies.»<br />
(Lightworks [→ Burch], These Things Too [Print review] N° 17, 1985, 25 p.)<br />
Buschmiller, Edgar Allen, Art Dept. Old Dominion. Univ. Norfolk, VA-23508 USA 1988<br />
↑ 7714 Restmere Road Norfolk, VA-23505 - “ - 1986<br />
.............................................................................................................................................................<br />
Thermos (Assembling in letter size, stitched, ~70 contributors in each issue {125}, <br />
also thematic publs., e.g. Vol. III/3 Absolutely no Sex, III/4 Glamour.<br />
1982-85, #1-18) Norfolk<br />
^Edgarzine / Letters to Edgarzine (Mag. for Mail Art communication. Digest, phc., <br />
~<br />
Literature:<br />
12-16 p., 1986?- )<br />
^# 3, 4, 5<br />
«Thermos Magazine was an artist's participatory & collaborative effort, international<br />
in scope, non-judgement in content, never consistent, always interesting, never<br />
elitist, never for sale, & never interested in being critiqued...» (E. A. Bushmiller:<br />
Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art – Bookworks.<br />
Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 174. item)<br />
«The obviousness of the paste up points to the synthesis of the issue: that is, Edgar<br />
Allen Bushmiller, ed., answers his mail in public in this form and pulls it all<br />
together with other tidbits into an extremly enjoyable volume of humor, insight, and<br />
fun stuff.» (L. → Dunn: Mail Review. In: PhotoStatic. N° 22, Febr. 1987, 706 p.)<br />
Butler, Russell L. (!Buz Blurr!) (Caustic Jelly Post) 908 Main Street. Gurdon, AS-71743. USA 1986<br />
Mail Art and performance art activity since 1972.<br />
<br />
Artistamps after boxcar documentation reduced to stamp size by photocopy ~1975. <br />
°Meanwhile (Commonpress #33) Digest, offset, 36 p., 29 participants. 1980 <br />
Artistamps: Caustic Jelly Post. (Sheets of stamps with vry hard black and white<br />
portraits made by curious procedure with stencil print after the<br />
negatives of Polaroid images.) From the second half of the 1970s.<br />
~<br />
Literatur:<br />
^Buz Blurr: Stamp artist Profiles. Some Buz Blurr autosoricizzazione. In: Artistamp<br />
News (→ Banana). Vol.1, #2. Dec. 1991<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 96-97 p.<br />
!BuzBlurr!<br />
→ Butler, Russel<br />
BWA & ZPAP c/o Galeria Wigry. Suwalki Poland 1980<br />
Habitat's Range (Commonpress #34) A/5, 117 p. 47 participants. 1980<br />
<br />
Byrd, Greg Slice O' Toast Prods. 10017 Renton Ave. Seattle, WA-98134 USA 1993<br />
A large activity on artists' postage stamps by b/w and colour phc. since the beginning <br />
of the 1990s Perforation or cut perforation. Stamp types:<br />
B/W: Glue Tongue; Mars; Eat Hair; Seattle Baby Jesus Tour;<br />
Colour: Air Mail Toast Post; Possum Flip; Dead Elvis; The Arky of<br />
Toast; Great Desert Cat; Lycanthropy Post; fly by Toast Postes, etc.<br />
^MARS Networking / Int. Artistamp Show. Cat.: 10.5x13.5 cm, horz., offset, + ori- <br />
ginal artistamps {200}. Slice O'Toast Prod. Seattle. September 1993<br />
^Ist in the cards – the ’94 MARS Expo / How would you plane the game? Seattle
Artistamps:<br />
~<br />
Literature:<br />
Inv., 1994<br />
(“Toast Postes”)<br />
^Mars Networking (Sheet of 30 id. stamps, b/w offset?) 1993<br />
^First Annual Catmask Ball (Sheet of stamps by semyidentical images,<br />
the coloring is animated only, colour phc.) n.d.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 96-97 p.<br />
<br />
Byrum, John 3505 Virginia Ave. Cleveland, OH-44109 USA 2000<br />
↑ Generator Press. 8139 Midland Road Mentor, OH-44060 - “ - 1987<br />
.............................................................................................................................................................<br />
^Generator (Mag. for exp. lit. Letter & half-legal, phc., 60-100 p. 1987-, y., #1-6?) <br />
^#2, 6<br />
^Core. A symposium on Contemporary Visual Poetry, 1993 (further → Hill / Core)<br />
~<br />
Source:<br />
^Generator: 1993 Catalogue (1 leave flyer with the list of the publs. of the<br />
«Generator Press Chapbook Series», begun in 1990, with «cont. visual and<br />
langauge poetry». Among of the authors: John Byrum, Tom Beckett, Peter<br />
Ganick, John Perlam, S. P. Martin, Crag Hill, Miekal And, R. Kostelanetz,<br />
Dick Higgins, Hank Lazer, S. Smith Nash, Bruce Andrews & Ron Silliman.<br />
^Generator 2000. Catalogue leaflet. Letter size sheet RV, phc.<br />
<br />
Literature:<br />
«John Byrum has successed in channeling most, and possibly all, of the various<br />
visual/verbal streams of today into apowerful river of modern sensibility... Some<br />
of the gold nuggets along the way: James Lang's „Credo“ („I bilieve in Death*<br />
Diffusion Almighty*** Homogenizer of Heaven & Earth...“), Clark Coolidge's<br />
„Cogitate“ (a meditative, heart-felt piece with the triumphant conclusion „Bird at<br />
cliff, flew as good as me from you“), glittering language abstractions from R. →<br />
Kostelanetz and Peter Ganick, a penetrating, atomic essay by Bob Grumman, and<br />
too many more jewels to enumerate...»<br />
(DeMichele: Reviews. In: Score, #9. [→ Hill] ~1989.)<br />
Byszewski, Janusz Switojerska 5 / 7, Warszawa, PL 00-236 Poland 1986<br />
c/o Biuro Wystaw Artystycznyck w Lódzi. Lódz, PL 91-075 - “ - 1985<br />
.............................................................................................................................................................<br />
^pARTner. Poznan. Biennale Sztuki dja Dziecka 1984-85. (Documents of actions <br />
+ Mail Art in texts and images.) Artists: Jacek Bukowski, Blanka<br />
Gul-Olszewska, Eugeniusz Józefowski and Wieslaw Karolak.<br />
A/4, offset, 48 p.<br />
^Art Actions for / with Children – Sztuka Akciji dla / z Dziecmi. Cat.: A/4, offset <br />
90 p. Text by Byszewski (Polish & English). 1985<br />
Bzdok, Henryk Ul. Slowackiego 12 / 4. Katowice, PL 40-093 Poland 1984<br />
^BZZZ-carts. (Hand fabricated rubber stamps on post cards) 1970s<br />
® <br />
Put here your address and send it to another artist. (Project) 1977<br />
<br />
Artistamps: °(Bzzzcard) (Sheet of 35 diff. stamps, by red, green, bleu rub. st.) 1977 ® <br />
^ Dear Anna (Postcard with 9 stamp images, b/w offset) 17. 01. 1984 ® <br />
~<br />
Literature: Vittore → Baroni: Henryk Bzdok. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 56-57 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 68-69 p.
Cabanas, Xaime c/o La Galga: Alcalde Abella 21 La Coruña Spain 1981<br />
°O' Patacon. Cat.: 23.5x18 cm., offset, 8 p. 124 parts. / La Galga. Coruña, 1981 <br />
La Galga (Mag. with exper. lit. and graphism. 24x17.5 cm., offset, 24 p. 1981?- ir.) <br />
«Caffè Carmagnola» Via del Gelso, 37 Udine, I-33100 Italy 1995<br />
Hapy New Year for Luther Blissett. Poster. 1995<br />
<br />
Cairns, Phyllis Pembroke Press, 34 Main St. Newtown, CT-04670 USA 1986<br />
↑ 99 Cross Highway Westport, CT-06880 - “ - 1985<br />
.............................................................................................................................................................<br />
^You Tell Me Your Dream. (Dedicated to the memory of Betty Ruth Curtiss.) <br />
Xerographical collages. 21.5x18 cm. 1985<br />
^Things to do today. Artists' book by xerography. 14x11 cm., phc., 16 p. red cover. <br />
Additive 2 „SCREAM“ buttoms („SMILE“ variant?), Ø =6 cm. 1985<br />
^The Other Times – published spradically...(Tabloid mag. A collage of Mail Art <br />
announces, books reviews from the magazine underground, nice leyout.<br />
43x28 cm., phc., 1986-, ir.)<br />
^# Vol. I/2<br />
°Interior Decoration (Bookwork) 13.5x18.3 cm., phc. 8 p in form of accordion. {100} <br />
Pembrook Press. Newtown CT, 1987<br />
~<br />
Literature:<br />
«Due to a suffocation of dexterity I am currently using found images in the form of<br />
photographs, objects, ephemera and rubber stamps to compose my works. Words in<br />
one form or another are usually incorporated. Large words which are narrative in<br />
nature interchange with book form. The use of the copier as a print-making tool<br />
both in the production and the creation of collage material is indispensable... And<br />
though I know that I will never escape being an artist; I hope that in addition I will<br />
never cease to surprise myself, and be surprised.» (P. Cairns: Statement. In: Sarah<br />
→ Jackson: Books Build Bridges / Copier Art – Bookworks. Cat.: TU ° NS. / National<br />
Postal Museum Halifax, 1986. 175. item)<br />
Source:<br />
^Pembroke Press. Current titles, Winter 1985-86. Horz. digest size, 2 passes phc.,<br />
(green & black) 8p + order form. 1985. Works by Phillis Cairns:<br />
Synthetic Fabric, half legal, 40 p. {~200}, drawings, rubber stamps;<br />
You Tell Me Your Dream, see above;<br />
Depression, digest, 20 p. {~200};<br />
Things to Do Today, see above;<br />
Floatting Heads, letter size, 176 p. (A contemporary visual narrative);<br />
Male Gift (one size fits all), poster size {104}.<br />
Caldera, Lesley M. (!Creative Thing!) 12331 Muir Court, Whittier CA-90601 USA 1982<br />
^RANT (Div. prints like a one-sheet mag. Mostly letter size, phc. and offset. <br />
Also artists' postage stamp sheet. 1982?-, very ir., ~ 25#)<br />
^#4-5, 6, 8, 10, 11b, 12, 12, 14, 17, 18, 24-a/b,<br />
^Private World Mail Art N° 1. Doc. Letter, phc., 6 p., address list.1983<br />
<br />
^Music Mail Art Exh. Doc. in: RANT #4-5. Legal, 2 sheets, phc. Jan.-Febr. 1983 <br />
^Handbook. (Mini book of 14x10.5 cm., phc., 24 p. {99}) Palm Press, Whittier, 1983 <br />
^Fin de Año (Digest, phc. + rub. stamps & collage, 18 p. {50}) Palm Press, ®<br />
Dec. 1984<br />
Smile (As a Rant issue, A/6, phc., 1985, #1)<br />
<br />
Artistamps: ^Spring 1985 (Sheet of 12 diff. stamps. Collective work of 10 artists. <br />
Phc. on cream colored paper.) Published as Rant #14, 1985<br />
^Los Angeles Marathon (Sheet of 10 diff. stamps, red and black offset <br />
on white paper) Published as Rant #18. March 9, 1986<br />
^Kurt Schwitters 100 years of MERZ. (Digest, phc., + rub. stamps, collage, 56 p. ®<br />
{200}) Palm Press, Whittier, 1987<br />
^Vision of Paradise. (Offset, images in form of postage stamps, Digest, 22 p. {200})
Palm Press,Whittier, 1987<br />
^101. Int. Mail Art Show. (La Mirada / Biola Univ.) Doc.: Poster of 43x28 cm. <br />
1990<br />
Artistamps: ^Schwitters 1887-1991 (Sheet of 6 diff. stamps, red phc. on yellow <br />
paper) Palm Press, Whitier. June 20, 1991<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 129 p.<br />
Caldwell, Robert P. O. Box 409 Iowa City, IA-52244 USA 197?<br />
Typewriter (...written visual poetry. Mag. 197?- )<br />
<br />
Calgary artists / W.O.R.K.S. 1758 Main P. O. Box. Calgary Canada 1973<br />
^A Conceptographic Reading of our World Thermometer. (by W.O.R.K.S. + Antenna <br />
T. V.) Cat.: Letter, offset, 76 p. (International concept artists) 1973<br />
«Calgary, OFF Centre Centre» ? Calgary Canada 1985<br />
^When I was a Cowboy. Cat.: Digest, offset, 16 p. (→ Modern Realism, Dallas; <br />
AKA Gall. Saskatoon) 1985<br />
Callahan, Brian P. O. Box 50164 Indianapolis, IN-46256 USA 1983<br />
Level (Mag., also with assembling issues in bag or box {100}. Letter, 1982-? squ., #?) <br />
~<br />
Literature:<br />
«This Level (#4) is tubular, that is, packaged in a paper tube. In it you'll find a<br />
magick button on strings (probaly from a wornout but magical oveorcoat), a<br />
fucked-up freen green plastic army man with a tag which indicates an honorable<br />
discharge, plus a passel of drawings, weird poems and rantings of all sorts. The<br />
loosely-adhered-to theme of this issue is alternative publications and a listing a<br />
various addresses is included. Free-wheelling, open-ended and tangled up. Anybody<br />
can join by submitting 105 copies od something. So why not? Level 5 is to be<br />
boxed...» (Lightworks [→ Burch]. These Things Too [Print review]. N° 16, Winter<br />
1983-84. 57p.)<br />
Calleja, J. M. Apartat 133. Mataró (Barcelona) Spain 1988<br />
↑ Cta. de Mata, 75, 7é, 2a Mataró - “ - 1982<br />
.............................................................................................................................................................<br />
^Diezysiete (17). (with José A. Sarmiento) (Small size anth., 8x12, offset, 128 p. <br />
{1000}) Ed. La Cloaca, c Aragón 285, Barcelona, 1980. (Anguera,<br />
Calleja, Canals, Sabater, Carné, Corbeiro, Fernándéz, Gil, Pey, Pezuela,<br />
Pinya, Porta, Sapere, Sarmiento, Bernardó, Grupo Texto Poetico, Vega)<br />
Introduction by J. → Blaine. With bio- & bibliography.<br />
^Poesía Experimental (with G. → Vega) (Small postcard assembling in folio of <br />
19x13 cm. from the circle of the Gruppo Texto Poetico,→ Ferrando.<br />
1981, #1-2?)<br />
^#1, 2<br />
^ Teoria '81. Poesía Experimental. (with G. → Vega) 14 postcards in cover of 13x19 <br />
cm. Mataró, 1981<br />
Capsa (Mag. for actionism and vis, poetry in very var. size, also octagonal form of <br />
21x21 cm. Phcotocopy and offset. 1982-83, #1-4?)<br />
°O. K. (Vis. poetry in a booklet of 25x17.5 cm., 8 leaves) {48} El Crotalon, #13. <br />
Madrid, 1984<br />
°Lopez Lopez (15.5x10 cm., offset, 16 p.) {177}. El Crotalon, Madrid, 1985 <br />
^Poesía Visual. (Coordination: Calleja & Mirall de Glaç) Cat.: 21.5x11 cm, offset, <br />
28 p. Poesía XXX, Terrassa, Barcelona. September 1992<br />
^Poesía Experimental - 93. (Anth. with 42 artists, 64 p.) 19.5x13 cm., offset, 64 p. <br />
Sabater Ed., Ap. 9554 . Barcelona, E-08080 / Introducción de Ramon<br />
Salvo (Spain / Engl.) 1993
^Mixtures. (24x15 cm., offset, 112 p.) Pagès editors, Bibloteca de la Suda N° 5,<br />
Carrer Bobalà 4. Lleida, E-25004. / Pròlog de Jordi Coca. 1993<br />
^l'avioneta #14, (Monographical issues on the works of Calleja. Visual & concrete<br />
poetry. One sheet of 100x70 cm. folded to an accorodion:<br />
(2x8x) 35x12.5 cm., offset (16 p.). 1996<br />
^Poemas Visuales. Exhibition at the Taller de Intentos Culturales (Gabriel Aresti 6,<br />
Barakaldo, E), March-April, 2001. Cat.: A/5, offset (black and red print),<br />
12 p. Text: Gustavo Vega (Spain). Barakaldo, 2001.<br />
~<br />
Literature:<br />
^Dmitry Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 281 p.<br />
Calvert, Peggy 802 E. Buffalo Ave. Santa Ana, CA-92706 USA 1992<br />
<br />
<br />
<br />
«CAMBIU»<br />
(Centros da arte marginal brasileira de informaçao e união) c/o → Silva, Falves,<br />
Rua Eng. José Rocha 16 (48), Candela I. A., Natal, BR-59000 Brasil 1977<br />
Gaveta (Mag. for «arte marginal brasileira». 22.5x16 cm., offset. 1977?-, #1-5?) <br />
Camel, Joe c/o Gallery 210. Bloomington, IL USA 1978<br />
°Kitsch and Mail Art Show. Doc. Letter, mimeogr. 4 p. 68 parts. Bloomington, <br />
1978<br />
Campitelli, Maria Via Messina 2, Milano Italy 1985<br />
^Taccuino Apogrofo / Also as → TRAX 1285 (Assembling for xerography in port- <br />
folio, A/4, phc., 1985-, 1-15#, the most issues not as TRAX product!)<br />
1985<br />
^#13<br />
Campos, Augusto de ? São Paulo Brasil 1975<br />
Codigo (Vis. poetry mag. with a beautiful, and rigorous, high quality typographical <br />
finish. C. Veloso, D. Pignatari, H. de Campos, R. Bonvicino, D. Machado<br />
& others. 25x22 cm., offset, 1975-80, very ir., #1-4?)<br />
Canavan, Pat ? Catonsville, Maryland USA 1979<br />
°U. M. P. A. F. Mail Art Show / Copy Art. Inv. on A/4 mimogr. / Int. Arch. Univ. <br />
Catonsville, Maryland. 1979<br />
!Canadada!<br />
→ Varney, Ed<br />
Canepa, Anna / Deák, Edit / Robinson, Walter 149 Wooster St. New York, NY-10012. USA 1972<br />
^Art-Rite (One of the most known multimedia & alternative art mags. Also thematic <br />
issues. Cut letter, offset, 1973-78, ir., #1-21)<br />
^#7, 8, 12, 13, 14, 15, 17, 18, 19<br />
^Art-Rite Artists's Books (in: Art-Rite #14, Winter 1976-77) Eds.: W. Robinson <br />
& Edit de Ak. Statements on artists' books by 50 artists and art<br />
professionals / 78 p. Texts:<br />
John Howell: Writen art by women<br />
David Salle: Artists' books, a new fad<br />
Al Moore: About L. Katz & C. de Jong<br />
Rosalee Goldberg: Performance artists<br />
Lauwrence Alloway: Book review<br />
Peggy Gale: Italian publications<br />
A. A. Bronson: Via the book of Mr. Peanut<br />
Naomi Spektor: 17 titles of artists' books<br />
Eva Sonneman: Streek-talk on artists' books<br />
Irena von Zahn: Art book dealer in Soho
Peter Frank: Documenta's book policy<br />
^Art-Rite's «Image Bank» issue, #17, 1978<br />
<br />
«Cannadian Correspondence Art Gallery, Calgary» → Stake<br />
Cannon, Terry<br />
→ Meade, Richard<br />
Capatti, Bruno Via I. Luminasi, 22. Medicina (BO), I-40059 Italy 2000<br />
www.dadacasa.com/ah! (an internet-zine), bnet@libero.it<br />
↑ Via Bordocchia 69. Dogato (FE), I-44020 - “ - 1988<br />
.............................................................................................................................................................<br />
Artzine Laboratory View. (Xeroxed mag. {200} 1987-)<br />
<br />
^Artzine Bulletin (One sheet info rag, A/3 folded to quarter, phc. 1988-, qu.) <br />
^#1, 2, 3<br />
^Artzine Portfolio (Photocopied A/4 matter, 52 laeves, 1988-89)<br />
<br />
Small- and fan-zine activity from 1987?: Diapoteka Bulletin; EW Bulletin, Mail Art <br />
archive; SSSSS!; Transumanze (Pittura. Copy Art), mostly A/5 & A/6<br />
^Choose a body area and send to... Inv., ~1990<br />
<br />
^E-Mail Art – the first recognition. Inv., ~1994<br />
<br />
^BXA (Bruno Xero Alteration) project – “alter & pass”. Inv., ~1995<br />
<br />
^Send me Hands (for a fake mail art project).Ongoing project with div. docs., also <br />
as internet homepage. Brochure/Cat.: N°1., Spring 2000, A/5, phc., 8 p.<br />
Capdeville, Claudia 12 rue de l'ecole de Médicine Paris, F-75006 France 1974<br />
Plurielle (Mag. Concrete poetry and exp. graphic in a very stylish layout. Also hand <br />
made interventios. 27x27 cm. and A/4, offset. 1974-76? #1-7?)<br />
Capistrano, Franklin / Silva, Falves / Fernandez, A. (→ COOJORNAT, Natal, Brasil)<br />
541 Cidade Alta Natal Brasil 1987<br />
↑ Rua Anaro Barretto 1243. Alecrim - “ - 1986<br />
.............................................................................................................................................................<br />
A Margem (Mag. for visual matter and informations. Folio size, offset. 1986-, m.) <br />
!Captain Cavern! (Underground artist from Paris with an activity in the French graphism scene) 1988<br />
^Western Squelette. (Silkscreen accordion book, 18x13 cm., 7 p. {200}) Edition <br />
APAAR, 54 rue de Glacière, Paris / Atelier 6 rue de l'Abbé, Paris, 1988<br />
→ Thiellement / I never leave you / Ed. Vitrine<br />
→ Renault, F. / Basic publs.<br />
Capuano, Guido ? Ispica Italy 1981<br />
°Messages '81. Doc. on 43.5x62 cm. offset / to fold, + poster, 170 parts. 1981 <br />
Caraballo, Jorge Juan Carlos Gomez 1490 Montevideo Uruguay 1986<br />
°Signals (Comic). (with C. →Padín) (Mimeographed, 16.5x10.5 cm, 20 p.) ? d. <br />
°Señales. (with C. Padín) (Bookwork) 16.2x10.7 cm. phc., 24 p. Cisoria (→ Ogaz). <br />
Caracas, 1977<br />
(Des)informacion. Digest size offset booklet, 12 p. Consists photographic diptychs, <br />
sort of before and after shots of graffiti on the sides of building...<br />
«Este proyecto fue interrumpido en 1976», n.d.<br />
A Brief History of Art in Latin America. Brochure, 8 p. 1986 «A clever and funny<br />
booklet that juxtaposes photos and text to create a sardonic political<br />
statement.» (Box of Water, #3 → Perkins,)<br />
^Breve Historia del Arte en Latinoamerica. Self edition, Montevideo, 1986.<br />
(Conceptual work by photos with a network character) 22.5x17.5 cm.,<br />
offset, 8 p.<br />
^En Uruguay La Palabra „Justicia“ Significa. Associacion Uruguaya de Artistas
Correo. Montevideo, 1987. 17.5x10.5 cm., offset, 8 p.<br />
→ Padín, Clemente / Solidaridad Uruguay<br />
Caravello, Steve ? ? CA USA 1974<br />
The Mendo Do De Do. (Mag. in mini size, phc. on yellow stock, 1974-, 14 p. #1) <br />
Introducting Mendo Area Dada. (Mag. Letter, phc., 1976-, 12 p. #1)<br />
<br />
Newsletter. (With B. → Cleveland. A Spinoff of Mendo Dada) Digest, phc., 10 p. <br />
Artists and Writers Guild, Ukiah / San Francisco, April 1977<br />
~<br />
Literature: (Introduction Mendo Area Dada): «A collaboration with Buster → Cleveland, the<br />
Princess Kropotkin, and Polly Ester → Nations, „Mendodada was formed as a<br />
protest against the whole bullshit art trip that is happening. We are totally a<br />
performance happening and theatre trip withvisuals thrownin, We have no hope or<br />
care to make money through our art. All art is a political act. Dada is everywhere.<br />
There is no division between art and life“. Reproduces several newspapers accounts<br />
pertaining to the „the Bay Area Dadaists (B.A.D.)“ defacing Christo's Running<br />
Fence with the message, „Dada s God. Dada us Love. Dada Dadas Dada“.»<br />
(John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated Bibliography of<br />
Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione].<br />
San Francisco, 1997)<br />
Caravita, Lamberto-Lambi, C. P. Boc 24 Massa Lombarda, I-48024, Italy 1986<br />
^Mail Art – Massa Lombarda / Seconda Edizione. Cat.: A/5, phc., 20 p. {100, <br />
numbered copies}. Exh.: Commune di M-L. Sept 1-7, 1985<br />
^Bela Lugosi's Magazine (Mag. for Mail Art. A/4, phc., ~16 p. 1986-?, #1-6) <br />
^#3, #No. Special 1, #Erotic 1 & 2 (1986), #Videogrammi 2 (1987)<br />
^Polaroid Show. Inv. To Bela Lugosi's Magazine, Massa Lombarda. 1986 <br />
Invitations also to Videogrammi (Video Art / Video Music) and<br />
Audio Art – use hearing protection (tapes & records) in the same year.<br />
^Videogrammi 2. Catalogue in the form of a poster with participant list: 64x39.5 cm.,<br />
2 colours offset. Exh. at the Chiesa del Camine, Seopt 20-21, 1986<br />
^Copy Book (Assembling for A/5 Mail Art matter, in cover {100}. 1987-88, #1-4?) <br />
^#3, 4<br />
Cardella, Joe / Schmeltzer, Barbara / Beede, Gayle / Fish, Pat:<br />
P. O. Box 23020, Ventura, CA-93002, USA. 1988<br />
↑ 1130 Luneta Plaza Santa Barbara, CA-93109 - “ - 1982<br />
↑ 39 Walter Lane Hamden, CN-06514 - “ - 1981<br />
.............................................................................................................................................................<br />
^ART/LIFE Communication for the Creative Mind. The original Limited edition<br />
Monthly. (Spring folder assembling in letter size for all kind of original/<br />
handmade image matter {200}, ca. 40 artists in each publ. Started 1981,<br />
yearly 11 issues. Altogether over 200 issues!)<br />
^# Vol. 6/3; Vol. 7/6; Vol. 8/5;<br />
~<br />
Literature:<br />
<br />
«... One of the longest continously produced artistic journal, called ART/LIFE, is<br />
published in Ventura by the man who conceived it in 1981, Joe Cardella... He began<br />
it as a four-page newsletter to friends and fellow artists in Santa Barbara in a need to<br />
communicate with other creative people. (...)<br />
The real spiritual parent of ART/LIFE is the 1960s movement, Fluxus.<br />
There is something of a fad now for Fluxus, major museum exhibitions and publications<br />
having generated increased interest during the past years or so. It is somewhat<br />
ironic that the group was nearly ignored in America in the 60s and 70s but the<br />
ideas, publications, and performances they originated have had endless reverberations<br />
since the time of the inception of the group by George Maciunas. From the<br />
beginning, one of the stated intentions of Fluxus was to create publications that<br />
were limited editions of the art made by the group associates. The Fluxkits and
Fluxboxes were multimedia presentations that were filled with a number of<br />
variously formated two-and-three-dimensional works. (...)<br />
Cardella was involved, tangentially, with a couple of members of Fluxus. In<br />
the early 1970s, as a young and experimental artis living and working in New York<br />
City, he became associated with a newly opened pereformance space called „The<br />
Kitchen“, and there he met and worked with Alison Knowles and Yohimasa Wada,<br />
two very active members of Fluxus. For Cardella it was a vibrant and seminal<br />
experience.<br />
Coming from a major art center to a relatively small town, Cardella moved to<br />
Santa Barbara in 1978. Feeling completely isolated and out of touch with experimental<br />
art, or any that matter, he wrote a statement that became the first issue of<br />
ART/LIFE, mailed it to friends and acquaintances, and received sufficient responses<br />
to encourage him to continue.<br />
The format of the magazine is 8½ by 11 inches, which has been invariable<br />
from the beginning. There is a three-color requirement, meaning that a submission<br />
cannot be merely a straight or unaltered photocopy.The artist must hand-color or<br />
attach something to the page to qualify it as being hand-made. Now the number of<br />
the editions is two-hundred, which means that the artist must produce his or her<br />
page as consistently as possible two-hundred-times. The editor encourages creativity,<br />
and because the subheading of the title is „Communication for the Creative<br />
Mind,“ Cardella likes to see artists responding to things they have seen in previous<br />
issues or to events in the secular world. Cardella attemps to exploit this dialogue<br />
establishing relationship between pages that are similar in content, composition<br />
and / or color. There is never an announced theme. For example, in the fall of 1991<br />
several artists did pages relating to Christo's Umbrellas project, and in the spring of<br />
1992 a number of artists did personal responses to the Los Angeles riots...»<br />
(Thomas L. Larson (1994): A Perspective of the ART/LIFE Continuum. In: Stephen<br />
→ Perkins: Assembling Magazines. Internationale Networking Collaborations.<br />
Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 / Print: 1997. 9-12 p.)<br />
Cardinas, Th. / Müller, R. / Schweizer, A. Genève Switzerland 1982<br />
Gratz (Spiral bound graphzine {50}, A/4. 1982? #1)<br />
<br />
Carioca ? San Francisco, CA USA 1198<br />
°Ideas on Wheels. (Commonpress #6) Digest, 24 p., phc., 20 participants.<br />
<br />
San Francisco, August 1978<br />
Carl, Eugene / Reese, Marshall, 8703 Colbath Av. Panorama City, CA-91402, USA 1976<br />
& 11805 Stonewood Lane Rockville, Maryland 20852 - “ - 1976<br />
.............................................................................................................................................................<br />
E magazine (Mag. for exp. & sound poetry, «scores», and visuals from int. authors. <br />
Letter and cut digest sizes, offset, 1976-, ir.)<br />
Carrión, Ulises (Apartment / Archive) Ten Katestr. 53. Amsterdam Netherlands 1976<br />
Other Books and So Archive. Bloemgracht 121. Amsterdam, KK, NL-1016, - “ - 1980<br />
↑ Other Books and So (Bookshop) Herengracht 259. Amsterdam - “ - 1974<br />
.............................................................................................................................................................<br />
Launching the In-Out Gallery and In-Out Productions (publications). 197? <br />
Some titles:<br />
→ Marroquin: First help in communication. 16.5x21 cm., mimeogr.<br />
28 p. {100}. 1973<br />
→ Marroquin R. / Tchong, Young: Mental drawings of Equipo Movimiento.<br />
10x10.5 cm., mimeogr. 20 p. {100}. 1973<br />
→ Rook, G. de.: Life. 10.5x7.5 cm., phc. 12 p. 1973<br />
→ Gibbs: Extinction. 15x10.5. cm., phc., 28 p. {25}. 1974<br />
°Sonnet(s). (Xeroxed book, 90 p.) In-Out Prod. Amsterdam, 1972<br />
<br />
°Amor, la palabra. (Mimeogr. + rubber stamps, 26 p.) In-Out Prod. A'dam, 1973 ®
Launching the special bookshop Other Book and So, 1974<br />
<br />
^Stamp Art Show. (Further: G. J. de → Rook). Cat.: 94 p. / Other Books and so... <br />
1976<br />
°Definition of Art. (On an idea of H. W. → Kalkmann) Inv. and responses. List of <br />
344 parts. Other Books and so. Amsterdam, 1977<br />
°Erratic Mail Int. System (E. A. M. I. S. ) Concept of an alternative system to the <br />
officiall post offices. Working of the service on a mimeographed A/4<br />
sheet. 74 small parcels and envelopes remain undelivered in Ulises'<br />
«office». Comment of the project on 7 pages. Other Books and so,<br />
1977<br />
^Mail art and the big monster. German translation in: Materialien an der Fachhoch- <br />
schule Würzburg, 1981-82, edited by Hubert Kretschmer. Other texts<br />
in this publ. (all German): P. Below: Mail Art, L. Spiegelman: Statement,<br />
G. Lloyd: Judit Hoffberg and the Umbrella, H. Zabala: Art is Prison.<br />
A/5, phc., 22 leaves. Würzburg, 1977.<br />
^Ephemera (with Aart van → Barneveld & Salvador Flores) Mag., the classic of the <br />
Mail Art ephemera publs. Folio like size, offset with handmade applications<br />
as collages, rubber stamps or small suppls. Special issues for<br />
Carrión, Gaglione/Banana, Hungary, Brazil. 8 p. 1977-78, #1-12.)<br />
^#1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12<br />
°Four Language Performances. (Program by the Other Book and so... archive at the <br />
Holland Festival, 1977, Amsterdam with works by G. Monach, U.<br />
Carrion, G. J. de Rook, M. Gibbs. Mimeogr. + rubber stamps, 8 p.)<br />
°Box, Boxing. Boxers (Commonpress #5) A/5, phc., 40 p. 34 participants {300}. <br />
Amsterdam, 1978<br />
^Mirror Box. (11 felt leaves + rubber stamps) 18.5x18.5 cm., S. P., Amsterdam, ®<br />
n.d. (~1978)<br />
^From Bookworks to Mailworks – Van kunstenaarsboeken to postkunst.<br />
<br />
Cat.: 32x23 cm., offset (red-black print) 12 p. Exh.: Stedelijk Museum<br />
Alkmaar. Curator: Ulises Carrión, Other Books and so. October, 1978<br />
°In Alphabetical Order. (Book, A/5, offset, 48 p. {250}) CRES. Amsterdam, 1978 <br />
^ Books /...the first exhibition of rubber stamp books ever held...<br />
® <br />
(with → Lomholt). Cat.: A/4, offset (colour) 8 p. / Egmont Highschool<br />
Odder DK. 1979<br />
Proposing the Erratic Art Mail International System – an alternative to the official <br />
Post Offdices. («The E.A.M.I.S. will carry messages in any format –<br />
cards, letters, parcels, etc., and realized in any medium – Book, cassette,<br />
tape, film, etc. The messages must reach the E.A.M.I.S. office<br />
by any way other than the official Post Office...») Amsterdam, 1978<br />
Artistamps: °Here & Now (Sheet of 35 id. images, green offset on white) 1978 <br />
^Rubber, Books & Post. Doc. A/4, mimeogr. 11 leaves (A collection of rubber stamp ® <br />
books and publs. + the Mail Art project Postage Stamps and Cancelations<br />
Stamps by U. Carrión)/ → FMK, Budapest, Hungary, 1979<br />
^Names & Addresses. Cat.: A/4, mimeogr., 12 leaves (Introduction text + a collec- <br />
tion of div. address list and like docs.) / → FMK, Budapest, 1979<br />
°Cancellation Stamps. Cat.: (50 envelopes, 50 part.) → Stempelplaats, 1979 ® <br />
^Second Thoughts. (Theoratical essays, 21x16 cm., offset, 70 p.) Void Distrb. Ed., <br />
Amsterdam, 1980. Contents:<br />
The New Art of Making Books<br />
From Bookworks to Mailworks<br />
Rubber Stamps Theory and Praxis<br />
Rubber Stamp Art<br />
Mail Art and the Big Monster<br />
Table of Mail Art Works<br />
Personal Worlds or Cultural Strategies?<br />
Bookworks revisited<br />
°Artists' Books: 12 approaches. (with J. J. Agius). Cat.: Text: Alex de Vries
Exh.: Amsterdam, Waterland Museum (Ockerse, Kocman, etc.) 1980<br />
^Bóka syning – Bookshow. Doc. A/4m phx., 8 p. / The Living Art Museum,<br />
<br />
Reykjavik, Iceland. November 21 - December 14, 1980<br />
^Stampa Newspaper (a one shot newspaper made by rubber-stamps only, not realized?) ®<br />
Inv. in form of a A/3 size print. 1980<br />
°Feedback Pieces. (The invitation torn in pieces and sent – except one missing <br />
piece! – to the people. The receiver must put together in his own way<br />
and return) Doc. A/4, offset sheet, black and red print, list of 242<br />
parts. / Gallery Pieter Brattinga. Amsterdam, 1981<br />
^Yellow Mail Art. Inv. to the Yellow Art Center, Arnhem NL. 1981<br />
<br />
^Kunstenaarsboeken / Artists' Books. Cat.: A/5, offset, 12 p. (60 exponats)<br />
<br />
Exh.: Other Books and so... / Stedelijk Museum, Schiedam, NL, 1981<br />
Kunstenaarsboeken: twalf benaderingen. (with Juan J.→ Agius) Poster + bilingual <br />
catalogue written by Alex A. M. de Vries. Exh.: Museum Waterland,<br />
Weerwal 5, Purmerend NL, 1982<br />
^Art Photocopies. Doc. A/3 xeroxed sheet. / Centrum 't Hoogt & Univ. Utrecht. <br />
February-March 1982<br />
°Robert and Marta. Inv. + complette project with 93 responses. No catalogue. <br />
1983<br />
^For Fans and Scholars Alike. (Book, 19.7x14.4 cm., offset, 94 p. {200}) Visual <br />
Studies Workshop Project, Rochester. 1987<br />
^Manual de Instrucciones. Cat.: 25x17 cm., offset, 72 p. (Carrión's project, Copias <br />
originales, in this volume, 58-64 p.) Tolosa, E-20400. October 1988<br />
^Het Boek en de Kunstenaar. Two Cats.: A/4, offset, 20 p.; and / A/5, offset, 8 p. <br />
Stadsgalerij Heerlen, NL. 1988<br />
(Carrión, Goyowczyk, D. v. Kleef, Kocman, Kölgen, Lakner,<br />
Schmidt-Heins, G + B., T. Ulrichs, de Vries, F.E. Walther, v.Westen)<br />
October 6, 1989 1989<br />
~<br />
^Sylogism. (Booklet {300}, 13x20 cm. offset, 16 p.) Events N°4. Coord.: Manuel <br />
Cuevas & Juan J. → Agius, Estampa Editiones, Madrid, 1991<br />
^Exclusive Groups. (Booklet {300}, 20x13 cm., offset, 24 p.) Events N°5. Coord.: <br />
Manuel Cuevas & Juan J. → Agius, Estampa Editiones, Madrid, 1991<br />
^«Ulises Carrión» (org.: → Schraenen, Guy, ASPC, Antwerpen) Poster of 60x42 cm., <br />
offset. / Museum Fodor, Keizergracht 609, Amsterdam. Jan.-Febr. '92<br />
~<br />
Seurce:<br />
^Juan J. → Agius: Catalogues of Books & Multiples. #1-13. (Concrete & Visual<br />
Poetry, Conceptual Art, Fluxus, Mail Art & Related Media, Artists' Books, Magazines,<br />
Documentations – the cats. included also the whole archive material of the<br />
Other Books and So archive by Ulises Carrión after his death.) 24x 10.5 and<br />
24x15.5 cm., phc/offset, ~16-20 p. Genève, 1992-1996<br />
~<br />
Literature:<br />
^Juan J. Agius: The Alternative Communication: Correspondence and Mail Art.<br />
(Special items from the Mail Art part of the Other Books and So archive, a selection<br />
of 338 docs. between 1973 and 1983) A/4, 30 leaves, phc. Genève, 1996<br />
^Judith → Hoffberg: Profile: Other Books and So / Ephemera. In: Umbrella.<br />
Vol.1, #1. Glendale, 1978. 1 / 12 p. Reprinted in: J. A. Hoffberg: Umbrella<br />
1978-1998, the Anthology. 23x18 cm., offset. Santa Monica, 1999. 21-22 p.<br />
«For the information of our readers, Other Books & So has changed its address<br />
(Ten Katestraat 53) and now serves as an archive for artists' books, organizing<br />
exhibitions in various countries of Europe...<br />
The shop called Other Book & So is now being managed by Karen Kvernenes,<br />
an American, and has changed its name to Art Something, 259 Herengracht...<br />
Karen writes that she will try to arouse new interest in artists' books and materials<br />
by planning more of a multimedia environment...» (The Other Book & So opened
anew in the Bloomgracht 1980. The Art Something should close 1982. – Ed. note)<br />
(Artists' Books. In: Umbrella (→ Hoffberg). Vol.2, #2. 44 p.Glendale, 1979)<br />
«Ulises Carrión first came to Amsterdam as a student on holiday from Paris.<br />
Born in a very small town in southern Mexion in 1941, he had studied literature in<br />
Mexico City, and then went to Paris on a grant for three years:<br />
„...I came here (to Amsterdam) just to visit the city... and I just fell in love<br />
with it... Then, at a certain moment I really decided I'm going to live in Amsterdam.<br />
That is the place where I wanted to be... That was in 1970. I was here four<br />
years illegally and it was not a trouble for me. After four years Aart (van →<br />
Barneveld) and I had the vague idea... there must be a place for books.... there must<br />
be a place for exchanging artists' books. It was a totally absurd dream because I was<br />
illegal here and we had no money at all... But we were going on the bicycle, through<br />
the streets, looking for a space. Every time we saw an empty space we went to ask<br />
the cost... And then things speeded up. I got a permit. We found a place... When we<br />
started Other Books we had zero... We needed 300 gulden a month, so let's be sure<br />
for six months. That's 1,800 gulden. Let's get this money from friends... But it<br />
turned out to be so good. Other Books could pay for itself from the first day. We<br />
work by post, that's the thing. (...)<br />
...I was a writer before, inthe sense that I was writing, I was using language<br />
consciously. I wanted to say things through language. But years before Other Books<br />
I stopped doing this. I kept using language but not trying to say something, not<br />
using it in a way a writer uses language. I was using language as graphics, or as<br />
volume, or as colour. In the sense that a plastic artist would use language. I never<br />
write anymore... I don't call myself a writer because I use language, as I say, from a<br />
non-linguistic point of view. I consider myself a writer in the sense that I think that<br />
my work is important for language... the fact is that my own work has taken such<br />
strange forms. One of these strange forms is not working with your person as an<br />
individual but through an institution... it could be a shop, a gallery, you can call it<br />
an archive, institute, company, group, whatever. But that means you have a sort of<br />
screen, you see. Not to cover you. Not to protect you. But to take a distance from<br />
the artist as a person. You are someone who is not acting with your own name but<br />
with, for distance, Other Book & So... it became... through talking with people and<br />
other friends who are involved in the same problems, it became evident to me that<br />
it was very important to make your work of art through a social entity... that could<br />
be a shop or gallery or whatever. (...) you are as a gallery.. a bookshop... Publishing<br />
a magazine can be a work of art... You see, there is a sort of distance, and you are<br />
there, behind.<br />
What I'm going to do now... I will start something called Other Books & So<br />
Archive... a very important part of my own work will be part of the archive... I will<br />
keep it at home... The archive already exists in the sense that I have collected in the<br />
last years, through other Books and So, quite a large amount of publications. So<br />
that's already a beginning. And then with the closing of Other Books there is a lot of<br />
material that will become part of the archive. And then, of course, the normal exchange<br />
of materials and works with friends. (...)“<br />
Other Books & So closed on December 1st (1978), and with it the longterm<br />
project of Ulises Carrión takes a new dimension... Other Books & So is not a business.<br />
It's a process.»<br />
(Jan van Raay: End of an era? (Interview with U. Carrión) In: Artzien<br />
[→ Gibbs], Amsterdam. N°3, January. 1979. n.p. Reprinted with the title: Profile:<br />
Ulises Carrion: an end and a beginning. In: Umbrella [→Hoffberg], Vol. 2, #5.<br />
120-121 p. 1979. Also in: J. A. Hoffberg: Umbrella 1978-1998, the Anthology.<br />
Santa Monica, 1999. 22-23 p.)<br />
«I enjoyed seeing your exhibition „Anonymous Quotations“ (Anjelierstr. 153, Amsterdam.<br />
31 March)... There was a lot of to read in the show, not only the excerpts<br />
you selected, but also the complete letters, though some were difficult, being
photographic reductions of the originals, or in Spanish, or French. Who were the<br />
writers? You carefully hid or crossed out the signatures, but there were some writers<br />
I recognised. Certain details, a name, a place, pointed to people we both knew.<br />
But that knowledge has to remain a secret. You expose enough in any case!...»<br />
(M. Gibbs' letter to U. Carrión. In: Artzien [→ Gibbs], #6, April 1979. n.p.)<br />
«...Archiven zijn voor de specialisten, moelijk toegankelijk voor grote publiek. En<br />
dit staat in scherp kontrast met een boekwinkel of galerie, plaatsen die voor iedereen<br />
toegankelijk zijn... Is dit juist? Ik weet het niet... Ik kan de keren op de vingers van<br />
één hand tellen: St:Petri in Lund (Jean → Sellem), Jean → Brown Archive in<br />
Tyring ham en Hans → Sohm's Archif in Markgröningen. (...) ...antwoord op de<br />
vraag waarom ik het archief heb opgericht en geopend: ik beschouw het als een<br />
kunstwerk.»<br />
(U. Carrión: Other Books and So Archief. In: Artzien [→ Gibbs], Vol. 2,<br />
N°8, June 1980. n.p.)<br />
(Second Thoughts): «...All but one of the texts originally appeared in various magazines<br />
and catalogues during the last five years. In the meantime Ulises has revised<br />
or expanded some his theories, and has added marginal notes. The most descriptive<br />
essay is „From Bookworks to Mailworks“ which succinctly introduces these two<br />
forms, and discusses individual works. All the other essays in the book tend to be<br />
analytical and critical in tone. (...)<br />
...What does the term „Mail Art“ refer to? – the activity, the medium, or the<br />
product? Ulises concludes that it is the first, since the Postal system itself is simply<br />
a distribution system, like galleries, or bookshops, or television and the product is<br />
usually just an excuse to be part of the activity. Mail artists don't usually take a great<br />
amount of care in producing their works for sending out, and they aren't particularly<br />
attracted by exhibition or publication possibilities since these are so easily available.<br />
It is, then, as Ulises notes, a privat cultural strategy, played out in one's own home,<br />
one's own personal gallery and studio, and vith a non-selective distribution netwok<br />
that anyone can be a part of. Altough there are a few (mostly self-proclaimed) Mail<br />
Art „stars“, mail artists tend to emphasise the communality of their activity... I feel<br />
that Ulises does not give enough credit to the importance of the spirit of cooperation<br />
in Mail Art (...)<br />
Second Thoughts comes at the right time: Book/Mail/Stamp Art has generated<br />
a great deal of enthousiasm and euphoria among its adherents but very little<br />
serious analysis or ciriticism. It is difficult to judge an art movement that rejects<br />
all criteria, including that of value judgement itself... but in the wider perspective of<br />
contemporary culture there are important issues at stake... Second Thoughts takes<br />
the trouble to raise these issues, and to relats marginal art activities to a mainstream<br />
of discourse.»<br />
(Michael Gibbs: Thoughts on Second Thoughts. In: Artzien [→ Gibbs], Vol.<br />
2, N°8, June 1980. n.p.)<br />
«Please copy by hand Proust's „A la recherche du tempe perdu“ and send it to me<br />
before the end of the 20th century. You may use the original French text or a translation<br />
into your own language. Wichever language you use, spelling mistakes are<br />
not accepted. A catalogue containning an integral reproduction of all entries will be<br />
published (tentative date: 28 January 2041) and sent to all participants or eventuelly<br />
to their legal heirs.»<br />
(U. Carrión: The Hand-Written Mail Art Show. In: Arte Postale! [→Baroni],<br />
#47, March 1984)<br />
Ulisses Carrión: Erratic Art Mail International System. (Leaflet. Reprinted in: M.<br />
Crane / M. Stofflet [eds.] Correspondence Art. Contemporary Art Press [→ Loeffler].<br />
San Francisco, 1984. 129 p.)
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 19-20, 73-74 p.<br />
Vittore → Baroni: Sistemi. Di piccioni e vampiri viaggiatori. (About the „Erratic<br />
Art Mail International System“ project) And Ulises Carrión. In: Arte Postale.<br />
Guida al network della corrispondenza creativa. (Text: Italian) AAA Editori.<br />
Bertiolo, 1997. 196-197 and 200-201 p.<br />
Carrutzers, Tony ? Vermont, MA USA 1978<br />
°Traces (Bookwork) Letter, b/w & colour xerox, 74 p. wih plastic cover. {25}. S.P. <br />
Vermont MA, 1978<br />
°Enigma (Bookwork) 21.8x35.5 cm., b/w & colour xerox, 44 p. {35}. S.P. 1979 <br />
Caruso, Luciano Edition Continuum. ? Italy 1973<br />
°L'Enorme tragedia del sogno. (Xeroxed publ. of 22x15.5 cm., 8 p. {100}) S. P. <br />
Continuum. 1969<br />
°W la poesia. (Xeroxed publ. of 15.3x15 cm., 24 p. {100}) S. P. Continuum 1970 <br />
Continuazione A-Z (with S. M. Martini) (Assembling by visual matter of 48x20 and<br />
34x48 cm. (both folded) in portfolio {150}, 1973. 1# only?)<br />
Cases, Livia C. Marconi 11. Torino, I-10125 Italy 1991<br />
^Walking Exhibition. Cat.: A/5, phc., 8 p., + slide. January-February 1991 <br />
^Heaven project. (Partial Catalogue N°3.) Cat.: A/5, phc., 12 p. 1991<br />
<br />
«Cassette Net» c/o James, Robin, P.O. Box 2391, Olympia, WA-98507 USA 1988<br />
Robin James: Cassette Conspiracy. Offset, 1988.<br />
<br />
~<br />
Some contacts and publications from James' book:<br />
<br />
→ Aiello, Alessandro: Il Sorriso Verticale (Tape network with an eye to mail art).<br />
Cervignano 15, I-95129 Catania<br />
Cinca M., Javier: Particular Motors (Audio Art Magazine) S. T. I., Apartado 956, E-50080<br />
Zaragoza, Spain<br />
Das / Big City Orchestra. 1803 Mission St. #554, Santa Cruz, CA-95060<br />
Die Ind: Tape Report (Compilation). Postfach 239, A-4041 Linz, Austria<br />
→ Dunn, Lloyd: PhonoStatic («A subtle buoyancy of pulse») 911 N. Didge St. Iowa City,<br />
IA 52245<br />
Georgiew, Andrzej (Contacts and org. of music festivals in Poland) Ploocka 14m8, PL-01 231<br />
Warsaw<br />
→ Groh, Klaus: Sculpture in my garden / Talking objects. Audio Ed. Ammerland, P. O. Box<br />
1206, D-2905 Edewecht, Germany<br />
Guazzotti, Mario: Technological Feeling (Tape activity). Via Lorenzo 30/2, I-17100 Savona<br />
Hoffman, Zan (Tapes in release). 132 Council, Louisville, KY-40207<br />
Jaffe, Debbie / McGee, Hal: Cause and Effect (Lists and sells of tapes) P. O. Box 30383,<br />
Indianapolis, IN-46230<br />
→ Meyer, Peter R.: Nattövning (Radio series from hometapers) Artillerigatan 56, S-114-45<br />
Stockholm<br />
→ Plunkett, D.: N D (Magazine also for cassette networking) P. O. Box 4144, Austin, TX-78765<br />
Prescott, David: Generation Unlimited. (Germany's electronic musicians) 199 Strathmore #5,<br />
Brighton, MA-02135-5210<br />
Rachot (Cassettes by groups in Czechoslovakia). Postboks Nr 516. Jagtvej 70, DK-2200<br />
Copenhagen N.<br />
SEI / Brook Hilton. 475. 21st Street, San Francisco, CA-94121<br />
Sound Choice (An Audio Evolution Network Publication). P.O. Box 12151, Ojai, CA-93023<br />
→ Summers, Rod: VEC (Audio anthologies, 1978-,) VEC/RS, Postbus 1051, 6201 BB Maastricht<br />
V2 Organisation (Cassette distribution & magazines). Muntelstraat 23, NL-5211 PT<br />
's-Herzogenbosch
Yoshiaki Kinno, 1-10-30 Nakano, Morioka Iwate, 020 Japan<br />
Zinken, Peter: Bloedulag Products. Groenland 87. 1506 VC Zaandam, Holland<br />
~<br />
Other events and publications (chronological):<br />
^Berliner Cassetten. Gesamtgatalog. Edited by Graf Haufen. A/5 brochure, phc., 24 p. <br />
Berliner Vertriebsbund, Havelmatensteig 6. March 1983. Listed services:<br />
Graf Haufen Tapes. Havelmatensteig 6<br />
Cassetten Combinat / Thomas Schmidt. Bülowstr. 67<br />
Kompakt Produkte / C. Beyer. Monumenbtenstr. 5<br />
007-Tapes / R. Rexin. Leusitzerstr. 31<br />
J. A. Reinboldt. Beerenstr. 24<br />
Scheißladen. Großbeerenstr. 50<br />
Ich - Kratzer / P. Lieske. Hektorstr. 20<br />
Thomas Girke. Nollendorferstr. 28<br />
Schuldige Scheitel Tapes / M. Krüger. Pillnitzer Weg 24<br />
Level Ag. / H. Hain. Kadeler Weg 6<br />
Idees Ag. / Brunnenstr. 113<br />
Cassetten Copy Service. Kluckstr. 35<br />
Stechapfel. Görlitzerstr. 74<br />
Audio tape advertisment flyers collected at the Berliner Cassetten Net (~1985):<br />
Kamera Obscura. TV-program on Channel 7, Cablevision, Thursday 4:00,<br />
Freyday 9:30<br />
LØL. 64 Cambridge Ave., New malden, Surrey. UK<br />
Man’s Hate Prods. Andi, 154 Alexandre Rd. Peterborough, PE1 3DL. UK<br />
Mystery Hearsay. Radio program every Suterday evening from 22:00<br />
WLYX – FM 89.3 at Rohed College – 2000 N. parkway, Memphis,<br />
TN-38112<br />
Rancid Armpitz – Diabolical Arselix. Fanzines, records, tapes. C/o Tony,<br />
33 Arthur Street, Port Talbot, West Glamorgan, South Wales,<br />
SA12 6EH, UK<br />
Stoge’s Funny Farm. 154 Skagen Court, Bolton, BL1 2JH. UK<br />
Unlikely Records. 25 Constable Road. Felixstonwe, Suffolk. IP11 7HN. UK<br />
~<br />
^Mail Music. International edition of sound L.P. 33 compiled and edited by Nicola<br />
→ Frangione (Monza, I-20052), Armadio Officina editions. Repeated invitations<br />
for submission of tapes. Participant received LPs. At least 5 actions 1983-1985.<br />
^The Subway Organisation. By Martin XX. 4 Rylestone Grove. Bristol, BS9 3UT, UK <br />
Newsheet - Catalogues of cassettes stocked by Subway. A/5 brochures by phc.,<br />
~4 pages, issued as quarterly: ca. 1983-1986?<br />
^Bris-Collage, Mail Muzik / Radio Banquise Broadcasting, 100,4 MHZ. Every Tuesdy.<br />
Additional: 2-monthly “programmations”, with Play-List, Catalogues, Contacts,<br />
Distribution- and Radio-Data, further Magazine (also Mail Art zine) addresses.<br />
The “Bris-Collage Programmations” were A/4 flyers on coloured paper by phc.<br />
with at least 18 issues till summer of 1985. Oranized by Lucien → Suel, 102, rue<br />
de Guarbeque Berguette, Isergues, F-62330<br />
^The Hater‘s Events (4 audio performances by the Haters) → Jupitter-Larsen, 1985<br />
^Soundportraits I-II. Airied tapes at the CRFO / Jupitter-Larsen, 1985<br />
What is GRRS? – Cassette Mail Art project, Hildesheim: Hope/Plambeck, 1986<br />
^Das Synthetische Mischgewebe (Group): Gemischtes. No.1/87. Berlin. A/5 bulletin,<br />
phc., 12 p. (Concerts and visual events accompagned with a large offering of<br />
cassettes) Other publs.:<br />
Deformation documentation (A/4 bulletin, 40 p.) Berlin, 1985-86<br />
Das cerises nommées desir, A/4, 40 pages, Berlin, 1987.<br />
^Nurnichtnur. Audio-cassettes-serles. Dieter Schlensog, Schloss Gnadental, Kleve,<br />
A4 phc. shehts folded to 2 and staplered to bulletin of 297x105 mm., 12 pages<br />
(«...engages in everything that seems to be worth. You will find musics, writings,
paintings, pictures, noises, arts & actions... this is a pool! Join and jump...»)<br />
The Nichtnurnich was published 1985-86, at least 8 issues, Kleve, D-4190.<br />
^Tape Rebel (Magazine for the audio network, A/5, phc., ~20 p. 1987-, ir.) Winfried<br />
Pickart & Mathias Lang, D-5160 Düren / D-6795 Kindsbach.<br />
^#1, 2<br />
^Vital (...a thin information pamphlet, interviews, reviews of records and tapes, news... <br />
A/5, phc., 8 p. 1987?-, qu.) Frans de →Waard, NL-6534 Nijmegen<br />
^#1, 2, 3<br />
<br />
Literature: «There may be no better canvasing of the field than that of Cassette Conspiracy,<br />
1988. This broadside compendium of Robin James is filled with contacs and transcripted<br />
excerpts of tapes. (Lightworks [→ Burch], Glimmerings [Print review],<br />
N° 19, Winter 1988-89, 49-50 p.)<br />
Miekal → And & Robin James: Cassette/Working. (A mail interview, March 86)<br />
In: Unsound (→ Davenport) Vol. 3, N°4. 1986. 56-57 p.<br />
Vittore → Baroni: Audio. Il tape network e altri suoni. In: Arte Postale. Guida al<br />
network della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997.<br />
122-125 p.<br />
Cassidy, Thomas M. (Music Master / Musicmaster) 5136 Lyndale Av. S. Minneapolis, MN-55419, USA 1991<br />
↑ 4950 Bryant Ave. S. N°5., Minneapolis, MN-55409, - “ - 1976<br />
.............................................................................................................................................................<br />
^Impossibilists / IMPS (with → Sargent, Mark) (Magazine publs. «angst, satire, <br />
poetry», text and graphics with absurd comic, mostly by the editors.<br />
Letter and digest size, phc., 16-24 p. 1976-86, #1-22)<br />
^#11, 17, 18, 20, 21, 22,<br />
Musical Comedy Editions (Digest or smaller size booklets, offset or photocopied, <br />
with exp. texts and graphics) 1976<br />
^Yikes! Stuff Everywhere. A surrealistic coloring book for paranormal tots and <br />
precocious adults. (Half-legal, offset, 24 p.) Musical Comedy Ed. 1985<br />
^Grimmicks 1987. (Trapezoidal colour xerox box with 34 pieces) → Xexoxial End.<br />
~<br />
Literature:<br />
Thomas Cassidy: Mail Art. In: M. → Crane / M. Stofflet (eds.) Correspondence Art.<br />
Contemporary Art Press (→ Loeffler). San Francisco, 1984. 65-66 p.<br />
(Syllogism: Impossibilists' Manifesto, #21 - 2/86): «Contains drawings, short<br />
narrative, and columns, all of which are unusual & entertaining c even lots of fun.<br />
„Coffee“ is an interesting piece about an extraterrestrial rape, or was it meant to<br />
imply that substituting coffee for sleep makes you see things? The sci-fi novella<br />
„Planning Ahead“ is an American Expres ad gone awry. In any event, there's much<br />
here to be enjoyed, and I highly recommend it. Musicmaster will trade art for it...<br />
Be a brick, send him a couple stamps for postage.» (PhotoStatic. N° 19½, Aug.<br />
1986. Lloyd → Dunn: Mail Review)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 66 p.<br />
Thomas Cassidy: Postage on my Brow. In: Chuck → Welch (ed.): Eternal Network.<br />
A Mail Art Anthology. University of Calgary Press, 1995. 33-39 p.<br />
Castro, Lourdes (with Christo, J. Voss, R. Bertholo & others), 71 rue des St. Pères, Paris 6e. France 1960<br />
KWY (Very early handmade magazine, a model – by its handmade technic and „soft“ <br />
material – for the later artists' books and Mail Art publs. Started with<br />
an edition of 60, later 100 and 500, from #7-12 in 300 copies, among<br />
the late publs. also assembling issues. ~A/4, mimeographic, silk screen,
etc. 1958-63, #1-12 )<br />
°Par Suite (14x11 cm., offset, 24 p.) Le Daily-Bul (Les Poquettes volantes. 5). <br />
La Louvière B, 1966<br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Soft Geometry. Köln, 1993. (About KWY:) 30 p.<br />
Caterino, Phil ? Sacramento, CA USA 1976<br />
°The Last Correspondence Show. Inv. on A/4, offset / State Univ. Sacramento, <br />
1976<br />
Catriel, Luis ? Zarate Argentina 1979<br />
°The Standard Electric. Inv. on a 20.5x215.5 cm. xerox and collage sheet. 1979 <br />
Cavallo, Franco Via Vecchia Licola Arco Felice (NA) I-80072, Italy 1979<br />
Colibri – Altri termini. (Mag. for concrete and vis. poetry + texts, theories. R. Tuttle, <br />
M. Leiris, J. Furnival & others. 23..5x16 cm., offset. 1979-, bim.)<br />
Cavellini, Gugliemo Achille. (1914–2014) 16, via Bonomelli Brescia, I-25100 Italy 1982<br />
↑ 11, via Einaudi-Sala A. Brescia, I-25100 - “ - 1980<br />
.............................................................................................................................................................<br />
^Gal 1973. (Exhibition catalogue – postal stamps, paintings, manifestos, letters, <br />
writings, etc.) 20.5x20.8 cm., BW offset, 60 p. Commune di Ferrara,<br />
Centro attivita visive. Exh.: at the palazzo dei diamanti, June 30 -<br />
Sep 19, 1973.<br />
(The following offset books by Cavellini have the size of A/4:)<br />
^25 Lettre. (Book, offset, 60 p.) Nuovi Strumenti, Brescia, 1974<br />
<br />
^Continuo la series delle mie mostre adomicilo... (Book, 44 p.) Nuovi Strumenti, '75 <br />
^The Diares of... (Book, offset, 60 p.) Johannes Gutenberg Editor, 1975<br />
<br />
^Cimeli. (Self-biography, book, offset, 44 p.) Ed. Nuovi Strumenti, Brescia, 1975 <br />
^25 quadri della Collezione Cavellini. (Book, offset, 80 p.) Nuovi Srumenti, <br />
Brescia, 1976<br />
°1946-1976 incontri/scontri nella giungla dell'arte / in the jungle of art (Essays) <br />
20x13.5 cm., offset, 176 p. Shakespeare & Co., Brescia, 1976<br />
^Nemo Propheta in Patria. (Exh.-docs. of a «self-historification», book, 76 p.) <br />
N. S. 1978<br />
°Postcard at the Palast. Inv. on postcard. Santa Rosa CA, 1980<br />
<br />
^Sull'uso del Mezzo Postale in Arte. 100 opere del Museo Cavelliniano. Cat.: / Anth. <br />
24x17 cm., offset (colour), 20 p. / Centro di Documentacione Arti<br />
Visive, Pescara, 1980<br />
°Cavellini in California and in Budapest. (Doc. A/4, 78 p., offset) Brescia, 1980 <br />
^Autoritratti / Selfsportraits. Mostra a Domicilo (Book, colour offset, 80 p.) 1981 <br />
^Autoportraitti impertinenti. (Offset, 20 p.) Ed. Nuovi Strumenti, Brescia, 1985 <br />
^Il sistema mi ha messo in Croce. (Cat. of 21 prints by Cavellini) A/4 reproductions <br />
in a portfolio of 31x22 cm. Living room exh. in Brescia, 1986<br />
Artistamps: ^Cavellini 1914-2014 (2 blocks of 9 stamps printed on 1 large sheet,<br />
each block with id. images, colour offset) n.d.:<br />
„International Postage 030“, stamp size: 7x4 cm.,<br />
„International Postage 333“, stamp size: 6.5x4.5 cm. n.d.<br />
°International Postage (Block of 9 diff. stamps, colour offset, selfadhesive<br />
paper) n.d.<br />
^International Postage 333 (Block of 9 id. stamps, colour offset, selfadhesive<br />
paper) n.d.<br />
^International Postage 333 (Sheet of 9 id. stamps: Cavellini with letterbox,<br />
colour offset, selfadhesive paper) n.d.<br />
^International Postage 333 (Block of 9 id. stamps: Cézanne & Cavellini,<br />
b/w offset, selfadhesive paper) n.d.
^International Postage 333 / Cavellini 1914-2014 / De Chirico 1888-<br />
1988 (Block of 9 id. stamps, colour offset, selfadhesive paper) n.d.<br />
^International Postage 333 / Cavellini 1914-2014 / Van Gogh 1853-<br />
1953 (block of 9 id. stamps, colour offset, selfadhesive paper) n.d.<br />
^President of USE (2 sheets identical sheets of div. autoportraits stamps,<br />
colour offset, printed over with diff. texts by black, the 2 sheets are<br />
numbered by rubber stamps) «1984 by Klaus Peter → Fürstenau»<br />
G. A. Cavellini (1914–2014) died October 23, 1990 1990<br />
~<br />
Literature: Ten Ways to Make Yourself Famous<br />
I Kill Cavellini or have Cavellini kill you<br />
II Be included in the Cavellini Museum<br />
III Publically praise Cavellini's preocess of self-historification<br />
IV Wear the suit or the overcoat on which Cavellini has written<br />
his biography<br />
V Have Cavellini write on your body<br />
VI Organize a Center for the Study of Cavellini<br />
VII Have yourself appointed chairman of the Cavellini<br />
Centennial Celebration<br />
VIII Write a book or an essay on Cavellini<br />
IX<br />
X<br />
Receive a Cavellini „Round-trip“ in the mail<br />
Own a work by Cavellini<br />
(Reprinted in: Umbrella [→ Hoffberg]. Vol. 2, #1. 23 p. 1979)<br />
J. A. Hoffberg: Cavellini Comes to California. (to → «Inter-Dada '80», report with<br />
a number of photos) In: Umbrella (→ Hoffberg), Vol. 3, #3, 49-54 p. 1980<br />
V. Baroni: Letter to Umbrella (About the signification of Cavellini and the problems<br />
the Mail Art movement. In: Umbrella (→ Hoffberg), Vol. 3, # 5, 99-100 p.<br />
1980<br />
Cavellini. (Featuring with an interview and photos) In: Frankfurter Ideen (→Haus),<br />
September 1981<br />
Diane Sipprelle & Buster Cleveland: The Wonderfully Foolish Mysterioso Cavellini<br />
Festival – New York City, 1982. In: Umbrella (→ Hoffberg), Vol. 5, #5, 125 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 67-68 p.<br />
Vittore → Baroni: Gugliemo Achille Cavellini. In: Arte Postale. Guida al network<br />
della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 194-195 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 70-71 p.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 96-97 p.<br />
Cazazza, Monte ? Berkeley, CA USA 1979<br />
→ Bay Area Dadaists<br />
mr. prolong. Letter size, photocopied collage-booklet, 10 p. Berkelely, n.d. <br />
Nitrous Oxide. (Mag. Letter, phc. 2–22 p. 1973 / 1977, #1-2. «The only magazine <br />
held together by a paper clip») San Francisco,<br />
Industrial News (Mag. Digest – A/5, phc. 16 / 26 / 34 p. 1979-80, #1-3)<br />
<br />
Ed. Industrial Records, Berkeley USA (#1) / London (#2-3)<br />
~<br />
Literature: (mr. prolong): «Subject in this paste-up collage work include movie stars, tele-
vision, child development, rape, financial solvency, and death. The work is notable<br />
for numerous photographic appearences of Cazzaza interspersed within the collage<br />
material...<br />
(Nitrous Oxide): ... contains photocopy, collage, typewritten srticlesm reprints from<br />
newspaper articles, a romance column, oruiginal spray paint art, printed rubber<br />
stamp impressions, performance documentation, and more. Contirbutions from<br />
L. Redlich, J. Bell, K. Friedman, Jukebox, R. begonia, Prof Dada, and others.<br />
A melding of Bay Area Dada with punk style not yet in public currency. Cazazza<br />
went on to collaborate with Genesis P-Orridge in England, coining the phrase,<br />
„Industrial Music“...<br />
Newsletter of Industrial records incorporating hard news of the record label with<br />
collage material reflecting the overall sensibility of their musical style...»<br />
(John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated Bibliography of<br />
Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione].<br />
San Francisco, 1997)<br />
«C.C.A.G.»<br />
The Canadian Correspondence Art Gallery (Amy Gogarty)<br />
Third Floor 118, 8th Ave. SE. Calgary, Alberta, T2G 0K6 , Canada 1986<br />
^The Act of Stamping Doc., Digest sheet, offset. CCAG. May 1986<br />
<br />
^Transformation Cat.:, Digest, phc. + collage, 8 p. CCAG. June 1986<br />
<br />
^Total. (Exh. with the Yugoslavian magazine Total → Bogdanovic) Doc. <br />
One A/4 sheet, phc. CCAG. February 1987<br />
→ Stake, Chuck<br />
Ceccotto, Alessandro. Via Scarpari 1 / L Adria (RO), I-45011 Italy 1989<br />
New Bulletin / Mail Art Archive (Mag. A/5,, phc., 16 p. 1989-, #?)<br />
<br />
Cee, Steve P. O. Box 943 New York, NY-10009 USA 1981<br />
^Avenue E. (Mag. Alternative literature with images. 35x22 cm., offset, 1981-, y.) <br />
^#?<br />
Celant, Germano<br />
→ Art Metropol<br />
°Offmedia. (Essays about new art technics: video, disco, book. Texts Italian &<br />
English) 25x20 cm., offset, 187 p., Dedalo Libri, Bari I, 1977<br />
<br />
!Celebral Shorts! 5 / 143 Glenhuntly Road Elwood, AUS-3184 Australia 1990<br />
^The Hand Mail Art project. Inv., 1990<br />
<br />
Cellini, James 1321 Dwight Way H. Berkeley, CA-94702 USA 1984<br />
^Rasism. Inv.,1984<br />
<br />
Art & Soul (Mail Art mag. with black artists and black issues. Mini, phc., 1984-) <br />
^Idea X-Change (Collective Mail Art magazine by →Mela, E. / →Peters, Ursula / <br />
→ Patrick, Tom, 1985-, irr.)<br />
^#1<br />
«Century City Educational Arts Project» → Lond, Harley<br />
Cepl, Gernot Merkenicher Str. 170 Köln-1, D-50735 Germany 1988<br />
Chabert, Jacques-Elie / Philibert, Camille, 12 rue Faicherbe, Paris, F-75011 France 1982<br />
^Toi et moi pour toujours (One of the most beautiful publ. of the French graphzine <br />
scene. Handmade A/4, offset & silk screen techn., computer graphics<br />
and texts on ~100 p. Each issue with a central theme: L'Amour Souvage,<br />
L'Amour Inutile, etc., also a calender issue. Sometimes in protfolio and<br />
also with object collage. 1982-87, #1-10?)<br />
^#1, 2, 3, 6, 7, 10<br />
^Calendre 1987. (with Marc Caro & Toffe) 32x21 cm., silkscreen, 24 p. {483?}
~<br />
Literature:<br />
Co. 2 TMPTJ. 56 rue de la Rogette, Paris 11°, 1986<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 145 p.<br />
Champendal, Michel 2 bis, rue des Champs-Maillets Rouen F-76000 France 1985<br />
^Cat Show. Doc. A/4, phc., 4 p., + offset poster (with participant list) of 60x42 cm. <br />
Exhibition at the bookstore of Champendal. Rouen –New York (?), 1985<br />
Charpentier, Bruno / Caux, RV (Hervé) / Bocahut, Bruno.<br />
c/o Caux, 4 Allée Peyronnet, apt. 91, Chatillon-sur-Bagneux, F-92320, France 1984<br />
c/o Charpantier, 51 rue E. Raspail ez. A., Arcueil, F-94110, France 1983<br />
(also: 122 rue R. Losser,<br />
Paris, F-75015)<br />
.............................................................................................................................................................<br />
^Pauv'Art. (Small anthology of graphic works by Charpentier, Bruno Bocahut, <br />
K-Petcharatz and Hervé Caux) 12x12 cm., phc., 19 leaves.<br />
^Block 11 (Mag. A/4 and A/5, also 15x15 cm. size {100-120?}. Issues not numbered <br />
and not dated. Hand made outfit. 1983-84, #1-4)<br />
^# 1984 (?) issue in 15x15 cm.,<br />
Block 11, «Hors-Series», (Mag. as earlier, 1984-85, #1-3) Edition: c/o Caux <br />
Les ami du block 11. (Mag. A/5 matter, phc. 1986, #1 only), anonym edition <br />
Dusex (A4 + A3 size offset graphzine by Charpentier. 1987-, #1-5?) c/o Charpentier <br />
Chelkovski, Igor<br />
→ Shelkovsky<br />
Cheek, Cris 24 Stonehall Road London, N21 1LP United Kingd. 1977<br />
RAWZ (Mag. for vis. and exp. poetry. Cut A/4, offset. 1977-, ir.)<br />
<br />
Chew, Carl T. Triangle Post. 7023 14th Ave. N.E. Seattle, WA-98115 USA 1996<br />
↑ 1807 90th North Seattle, WA-98103 - “ - 1984<br />
.............................................................................................................................................................<br />
Artists' stamp activity with an interest for animals and absurd in the Triangle-Studio <br />
in downtown Seattle from about 1975. Color xerox artistamps from<br />
1976. (Probosidea Issue, Fun Post, etc.) Chew developed a subsription<br />
scheme in which participants would, for 25$ / year, receive 1 sheet of<br />
stamps per month. In following years his prices went from $3 to $25 /<br />
sheet and to $225 in 1985, the final year, in which he was burned out<br />
on stamp making. From 1977 a series of collaboration works with E. F.<br />
→ Higgins III.<br />
°Stamp World. Tabloid size publ. black/red offset, 8 p. Triangle Post. Seattle, 1984 <br />
~<br />
Literature:<br />
Anna Banana: Stamp Artist Profiles. Carl Chew / Triangle Post. In: Artistamp News.<br />
Vol. 1, N° 2, December 1991<br />
Chiarlone, Bruno Edition «workarea» Rocchetta dei Murales, 17010 Italy 1994<br />
↑ Via Bertalotti 58 / 4. Cairo Montenotte, I-17014, Italy 1990<br />
↑ Via M. Liberta 42. Dego (SV) I-17010 1984<br />
↑ Cas. Post. 5. Arzago d'Adda (BG), I-24040, Italy 1981<br />
.............................................................................................................................................................<br />
Minus. Xerobook de Imagine Poetica (Mag. {100} A/5, phc. 1978-82? #1-14?) <br />
Corto Circuito N Zero (Mag. A/4, phc., 1981?- m?)<br />
<br />
°Artista professione uomo. Cat.: A/4, phc., 60 p. 52 parts./Work Area.<br />
<br />
Parma, 1981<br />
^Work Area. (Xeroxed brochure, A/5, 24 p.) Cairo Montenotte, 1986<br />
<br />
^Roman Bridge over the Bormida. Inv.,1989<br />
<br />
^Lithuana Independence. Inv., ~1992<br />
<br />
^Remote Action Poetry – Poetica a distanza. Inv., 1998
^Make a New Geography of Art. Inv., 1998<br />
<br />
^Pooesia Zen a Villa Faraggiana. (Curators: B. Chiarlone & Giuliana Marchesa) <br />
Mail Art and visual poetry presented Sep 9, 2001 in the Villa Faraggiana,<br />
Albissola Marina (SV), Italy. Doc.: Two A/4 sheets by computer<br />
colour print (informations, participant list).<br />
Chicago / artists P. O. Box 6362 Chicago, IL-60680 USA 1984<br />
Plaid (Mag. Xerograohy, drawings, poems, prose, edited by a group performance-type<br />
artists. 22x19 cm., offset + colour xerox. 1984-, ir.)<br />
<br />
Chicago Artist’s Book Works, 1422 W. irvin Park Road Cicago, IL-60613 USA 1992<br />
^Book Exhibition – via Mail Art. Inv., 1992<br />
<br />
^Winter in Chicago – send artist’s books. Inv., 1993<br />
<br />
Chickadel, Charles Trinity Press, Box 1320. San Francisco, CA-94101, USA 1973<br />
The West Bay Dadaists / Flash Art / QUOZ? (Series of neo-dada mags. edited by <br />
Charles Chikadel. All publs. appeared between May 1973 and<br />
winter 1975-76 in an edition of mini size, instant print, 8–48 p.,<br />
Trinity Press, San Francisco. John Held notated in his Bay Area<br />
Dada Annotated Bibliography the following issues:<br />
The West Bay Dadaists:<br />
Vol. 1. N° 1, 8 p. May 1973 Vol. 1, N° 2, 24 p., June 1973<br />
Vol. 1, N° 3, 24 p., Aug. 1973 Vol. 1, N° 4, 40 p., Oct. 1973<br />
Vol. 2, N° 4, 48 p., March 1974 Vol. 2, N° 6, 40 p., June 1974<br />
Life (Quoz?):<br />
Vol. 2, N° 7, 40 p., Sept. 1974<br />
Flush Art (Quoz?):<br />
Vol. 2, N°8, 40p., Dec. 1974<br />
Quoz?:<br />
Vol. 3, N° 9, 40 p., March 1975 Vol. 3, N° 10, 48 p., Summer 1975<br />
Vol. 3, N° 11, 40 p., Autumn 1975 Vol. 3, N° 12, 44 p.,Winter 1975-76.<br />
Publish it Yourself – The Complete Guide to Self-Publishing Your Own Book.<br />
(Offset, 208 p. Review in: Umbrella, 1/#5, Sept. 1978) Trinity Press<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 51 p.<br />
John → Held, Jr: Bay Area Dada, 1970-1984: An Annotated Bibliography of<br />
Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione].<br />
San Francisco, 1997<br />
Chikhladze, David 11 Ninoshvili St. Tbilisi, 380002 Georgia CIS 1995<br />
^Aditi Theatre – Muliculturalism. Cat.: A/5, offset, 8 p. Text Georgian and English. <br />
Margo Arena 2. Tbilisi. December 1995<br />
Child, T. S. 2510 Bancroft Way, N° 207 Berkeley, CA-94704 USA 1983<br />
^The Monthly Bulletin (Mag. Stories, cartoons, visuals, misinformations.<br />
<br />
18x14 cm. offset, ~8 p. 1983-, sm., ~ 70#?)<br />
^#60<br />
^Information Sickness. Inv., 1992<br />
<br />
~<br />
Literature: «2x22C stamps per issue. In issue #41, T. S. Child the editor is himself the story in<br />
a short newspaper article entitled „Editor Arrested in Bus Assault“... „they got in a<br />
terrific argument,“ said Alfred Porter, a witness. „Finally the guy with the little<br />
magazines called the other one 'anilliterate humorless media lemming' and tried to<br />
stuff one of them down the other guys' throat“.» (Stephen → Perkins: Magazines.<br />
In: Box of Water, N° 3, 1987)
Chile Mail Art. Museum of Cont. Art. (Oca, Carlos Montenes) San Diego 1476, Calle 3, 1489 Santiago-Chile<br />
^Urgent Mail Art Show – at the Museum of Contemporary Art. Inv.-card, 1992 <br />
^Hommage to René Magritte – at the Museum of Contemporary Art. Inv.-card, 1993 <br />
^Life on Earth. Inv.-card, 1995<br />
<br />
China, Mail Art c/o Michael Pollard, 221 Gulf St. Milford, CT-06460 USA 1992<br />
^Boys and Guns. Exh.: in Xian, People's Rep. of China, Jan 3. 1992.<br />
<br />
Doc.: One sheet, letter size, phc.<br />
Chlebowski, Philippe (Tus Mop) 2 Cité Zola Haveluy, F-59255 France 1986<br />
^Anthracite (Assembling on Mail Art in cover, partly printed and bound {50, 30}, <br />
A/5, ~ 20 leaves, 1986-, ir.)<br />
^#1, 2, 3<br />
Chopin, Henri The Gate House. Station Lane. Ingatestone. Essex, CM4 OB1. United Kingdom 1979<br />
↑ 9 rue des Mésangues Sceaux (Sein) France 1959<br />
.............................................................................................................................................................<br />
^OU / Revue OU (The classic among the concrete and vis. poetry publs., a bridge <br />
between the old dada and the new experimental trends. Very generous<br />
presentation: 18x19.5 cm brochures or ~27x25.5 (or 27x27) cm. portfolios<br />
/ boxes with unbound print matter like assembling. Often also a<br />
disk supplement containing sound poems and recorded exp. literature.<br />
Print matter mostly offset, also colour prints.<br />
Two series: Cinquième Saison as „OU“: 1958-63, #1-19<br />
Nouveaux Saison as „revue OU „/ «object books»: 1964-74,<br />
#20-44<br />
The issues:<br />
Cinquième Saison:<br />
N° 1. Printemps 1958. 19,5x14 cm. 48 p.<br />
N° 2. Aout 1958. 19,5x14 cm., 48 p.<br />
N° 3. Dec. 1958. „Poésie Jazzante“, 19,5x14 cm., 52 p.<br />
N° 4. Mars 1959. „La Tour de Feu“, 19,5x14 cm. 48 p.<br />
N° 5. Eté 1959. 19,5x14 cm. 48 p.<br />
N° 6. Automne 1959. 19,5x14 cm. 48 p.<br />
N° 7. Hiver 1959-1960. „Spatialisme-concretisme“, 19,5x14 cm. 48 p.<br />
N° 8. Printemps 1960. „Poésie ouverte“, 19,5x14 cm. 48 p.<br />
N° 9. Eté 1960. „Au plus prés“, 19,5x14 cm. 62 p.<br />
N° 10. Automne 1960. Double issue, 19,5x14 cm. 96 p.<br />
N° 11. Printemps 1961. „Poésieobjective“, 19,5x14 cm. 96 p.<br />
N° 12. Eté 1961. „Determination“, 19,5x14 cm. 96 p.<br />
N° 13. Automne-Hiver 1961. „Sol air“, 19,5x14 cm. 96 p.<br />
N° 14/15. Printemps-Eté 1962. „Poésie sonore“, 19x19 cm. 64 p.<br />
N° 16. Numero franco-japonais, 19x19 cm. 64 p.<br />
N° 17. Hiver 1962-1963. 19x19 cm. 64 p.<br />
N° 18. 1963. „Poésie objective“, 19x19 cm. 64 p.<br />
N° 19. Eté-Automne, 1963.<br />
revue OU:<br />
N° 20.<br />
N° 21/22. 1963. „Pochette“ format of 27x27 cm. with a 25 cm. disk.<br />
N° 22. 1964. 27x27 cm. Cover by → Gette.<br />
N° 23/24. Avril 1965. 27x27 cm. with a 25 cm. disk. Cover: de<br />
Kosice.<br />
N° 25. 1965. Special Biennale de Paris.<br />
N° 26/27. 1966. With a 17 cm. disk (R. Hausmann)<br />
N° 28/29. 1966. With a 25 cm. disk. Cover by Chopin.<br />
N° 30/31. 1967. With a 25 cm. disk (Chopin). Cover: Ben Vautier.<br />
N° 32. 1967. „Musée d'Art Moderne de la Ville de Paris“ issue.<br />
N° 33. 1967-1968. 19,5x19 cm. With a 217 cm. disk.
OU:<br />
N° 34/35. 1969. Revue en Angleterre, with 1 25 disk.<br />
N° 36/37. 1970. With a 25 cm. disk.<br />
N° 38/39. 1971. With a 25 cm. disk.<br />
N° 40/41. 1972. (des amis Tchèques), with a disk.<br />
N° 42/43/44. „Dernier numéro“. With a disk of 25 cm.<br />
^#11, 12, 17, 18, 19, 20<br />
^Portrait des 9. (dactylopoèms...) 30x21 cm., offset, 8 p. Ed. → Schraenen, 1975<br />
^Typewrites poema (A/5, offset, 16 p. {500}) ed. Hundertmark, Köln, 1982<br />
^Illumination. (31x22 cm., offset, 34 p.) Ed. Morra, Napoli, 1983-84.<br />
~<br />
Literature:<br />
Christensen, Jörgen → Schmidt-Olsen, Carsten<br />
^Henri Chopin: A propos de OU – Cinquième Saison. 1958-1974, un quart de<br />
siècle d'avant-garde. Horz. 19x24,5 cm. offset, 86 p. EE. Veys, Tielt, 1974.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 30 p.<br />
«Church of the SubGenius, The» P. O. Box 140306 Dallas, TX-75214 USA 198?<br />
SubGenius pamphlets (Para-religious publications by the church in the subculture,<br />
editor: Ivan Stang. From the pamphlet #1:)<br />
If you are what they call 'different',<br />
If you think we're entering a new Dark Ages,<br />
If you see the universe as one vast morbid sense of humor,<br />
If you are looking for an inherently bogus religion that will<br />
condone superior degeneracy and tell you that you are 'above'<br />
everyone else,<br />
If you can help us with a donation,<br />
then<br />
The Church of the SubGenius<br />
could save your life!<br />
The Last Secrets of SubGenius Brand Audience Elimination/Assinilation Techniques<br />
(by Church Elders Janer Hypercleats & Rev. Ivan Stang)<br />
San Francisco Devival Program. 1985<br />
~<br />
Literature:<br />
«...The Church of the SubGenius (CSG) parodies and uses the other religions like<br />
the use of guilt as a weapon, as a parody tool to counteract the actual destructive<br />
tendencies of all these other religions that actively practice all these kinds of mind<br />
control, and power and economic control. If they've got God sitting there waiting to<br />
throw you into a stinking abyss, our religion needs one too, so we have God come in<br />
a flying saucer, and our Hell“s bigger than theirs. Its a way to comment on it in<br />
order to combat it – one of the most effective ways with humor is to 'become your<br />
enemy'. If the patriarchy is particularrly offensive you don't ridicule it by opposing<br />
it, like the Discordian's failed because they worship Aires, where as the CSG<br />
succeed because they worship J. R. 'Bob' Dobbs, which is more patriarchal than you<br />
could ever hope for. Its the all-white all American Dad figure gone bad, or maybe<br />
he always was bad and you were just waiting for the psychotic breakdown...»<br />
(Church of the SubGenius. Interview with «Lis, Puzzling Evidence, Gary<br />
G'Broafram and Dr. Hal, represent only a fraction of the creative productivity<br />
in which the Church inspires.» In: Unsound (→ Davenport) Vol. 3, N°4. 1986.<br />
39-47 p.)<br />
Vittore → Baroni: The Church of the SubGenius. In: Arte Postale. Guida al<br />
network della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997.<br />
208-211 p.
Chwalczyk, Jan & others, Laka Mazurka 13/5. Wroclaw, PL 51-164 Poland 1978<br />
Counterpoint (Anthology of texts) Cat.: 1972<br />
<br />
^Gang (Mag. like anth. with conceptual & alternative art from the Eastern European <br />
underground. A/4, offset, 16 p. 1978, #1 only)<br />
Biuro Wystaw Artystycznych, Wroclaw<br />
Ciani, Piermario Via Latisana N° 6. Bertiolo (UD), I-33032 Italy 1981<br />
Selfportrait. Postcard size Mail Art project for a TRAX-Box, see: AP! #26, 1982 <br />
^Défilé Elettrostatic / TRAX 0785 (Book about copy art, 1985) TRAX Publication <br />
^Xerografie Originali. Cat.: 10.5x21 cm., offset, 12 p. / Centro Cult. A. Moro, <br />
Commune di Cordenons (PN). November-December 1988<br />
^Vanity Fair – a Portraits Collection. Inv., 1990<br />
<br />
^Unexpected communications (Corresp. distribution like one page mag. A/4 & A/5, <br />
offset. Issues numbered after the date: 301190. 1990-, ir.)<br />
^#301190, 060591, 140591, 060891<br />
^Sticker News / Fansin & Die. («The first and smallest adhesive bulletin,<br />
<br />
A/6 Sticker-leaves, 1991)<br />
International Stickerman Fan Club. 1991. (...for stickers), 1991<br />
<br />
^Fanzinerie / Editexpo 1992. (with V. → Baroni) Editoria Periodica Amatoriale <br />
Arci-nova. Exh.: Pordenone, Via Fabio Filzi 8. Fontana Fredda (PN)<br />
I-33074.<br />
Cat.: 24x17 cm., offset, 32 p. Texts: P. Ciani: Fanzinerie / V. Baroni:<br />
Fanzirama 2000 / V. Baroni: Intervista - M. Baraghini / C. Branzaglia:<br />
Appassionate... / V. Baroni: Bibliografia minima. (all texts Italian)<br />
^About Art. 4 postcards as doc. / Exhs.: De → Media, Eeklo, B Jan. 1992 / Cjanive do <br />
Usmis, Udine I, Febr. 1992 / Mu. Vittorio Veneto I, Febr.-March 1992<br />
/ Galerij, Zierikzee NL, March-April 1992<br />
^Fanzinerie 2. – Editexpo ’93. Inv. to the 2 nd funzine expo in Portedone, 1993 <br />
^Stick up the art. First int. exh. of creative stickers. Poster of 63x30 cm, offset, <br />
with text by V. Baroni / Stickerman Museum. / E.O.N. Building,<br />
Via Battisti 339, Viareggio<br />
^Graphic designs by P-M. Ciani. Exh. at the Modern Realism ( →Held, John Jr.), <br />
San Francisco. Inv., 1998<br />
Artistamps: ^Channel 1... (Block of 6 diff. stamps, blue offset on white p.) n.d. <br />
^100% Luther Blisset (Block of diff. stamps: on each one a computer <br />
animated portrait of L. B., colour computer print?) n.d. (1995?)<br />
^The Great Blisset (Block of 12 stamps resulting one Blisset portrait <br />
altogether, colour computer print?) Blisset Ink. 1995<br />
^4 of my Dead Masters / R. Johnson, L. Blisset, G. A. Cavellini, G. <br />
Dubord (Block of 8 stamps, 4 images, computer print?) 1995<br />
Launching the publishing house AAA / Artisti & Allibratori Associati (with V. Baroni). <br />
Among the 12 first publs. authors as Stewart → Home or Luther →<br />
Blisset, further 3 artists books (in cut A/5 size) by Baroni & Ciani<br />
using pseudonyms:<br />
^Mino Canelli: La Cultura del Caos (The Culture of Chaos) with 100<br />
different pages of typographical mistakes<br />
^Erica Moira Pini: La morte del libro (The Death of the Book) with 100<br />
white pages with three pistol shots<br />
^Evita B. Torroni: Tre allegri ragazzi morti. 100 yellow pages, a pun on<br />
the Italian «yellow» mystery books<br />
^Il mezzo e il messagio. (Large artists’ postcard publication in the form of a book to <br />
cut off) Authors: Domenico Castaldi, Piermario Ciani, Matteo Guarnaccia.<br />
21x14 cm., colour offset, 48 p. + cover. AAA. Ed., 1997<br />
→ TRAX<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 91-92 p.
Vittore → Baroni: Adesivi. Attacca l'arte! and Piermario Ciani. In: Arte Postale.<br />
Guida al network della corrispondenza creativa. (Text: Italian) AAA Edizioni.<br />
Bertiolo, 1997. 72-75 and 204-207 p.<br />
^Dal Great Completto a Luther Blisset. (Monographical anthology with ca. 30<br />
essays about Piermario Ciani’s art, Mail Art and editor activity by a number of<br />
authors. Themes: graphic, digitalisation, Mail Art, stickers, Stickerman publs.,<br />
TRAX movemenet, author productions, etc. With a selected bibliography and<br />
chronology. Coordinator: Vittore Baroni.) 21x14 cm., colour offset, 256 p. + cover.<br />
AAA Edizioni & Juliet Art Magazine. 2000.<br />
John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 40-41 p.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 96-97 p.<br />
!Cicatelli, Carlo Giovanni! (also !Cravan, Arthur!) → Chickadel, Charles<br />
«Cincinnati Artists' Group Effort» P. O. Box 1362 Cincinnati, OH-45201 USA 1981<br />
^Artists' Pulp (Mag. in diverse size: newsprint tabloid of 38.5x28.5 cm., 8 p., further <br />
also a letter size assembling issue in 1982 {100}. 1981-, ir.)<br />
^#(1982)<br />
«Circle Art»<br />
«Cirque Diverse»<br />
East → Jankowski, M. / Perpetual Motion<br />
West → Public Arts in Print / Public Property<br />
→ Antaki<br />
Citron, Paik c/o Basic Graphic. 116 rue du Chateau Paris, F-75014 France 198?<br />
^Underground Computer (Booklet of A/4, horz., 9 leaves, printed on blue paper, {50}. <br />
Realized on Amiga) Paris, n.d. (~1988?)<br />
Ciullini, Daniele Via della Bellariva 29 Firenze, I-50136 Italy 1980<br />
^Oxidized Look (Mail Art mag. with images, infos and texts. A/4. phc., offset, ~18 p. <br />
1980-81, sm. #1-12?)<br />
^#3, 8-9<br />
°Silk Arcades Avenue. (Mag. like publ. for xerography, known the issue 0 only. A/5, <br />
10 + 2 p. 1981) Firenze<br />
Centre of New Sound Ways and New Visual Ways. «Send your works, magazines, <br />
audio cassettes... The Centre intends to publish magazine (June 1982)<br />
and audio cassette (October 1982), and organize a seires of events<br />
(radio programs, exhibitions, etc.)...» (See: Umbrella, Vol. 4, #5, 127 p.<br />
1981)<br />
Horror & Music. Mail & Copy Art project for a TRAX-Box, pubications in the Arte <br />
Postale! #26, 1982<br />
Clavel, Olivia<br />
→ Bazooka, Group<br />
Clavin, Hans Plein 1945 N° 16 Ijmuiden Netherlands 1977<br />
↑ Dennekoplaan 11. Ijmuiden - “ - 1970<br />
.............................................................................................................................................................<br />
Subvers (Mag. with works by future mail artists, issues for «voor (onder meer) kon- <br />
krete poezie», #2=«pornographic poetry» or #5=«phonographies»=disks<br />
and silkscreens. #12: «Poezie voor de ,odale liefhebber». Texts German,
French, English 24x16.5 cm., offset / colour. 1970-76, squ. #1-12)<br />
°L'Angerie: Visuele Poëzie. (Book with collages, 134 p.) De Bezige Bij, Amsterdam<br />
<br />
Clem, Debra ? Fort Wayne IN USA 1981<br />
°Alien Transmissions. Cat.: / Artlink. 1981<br />
<br />
Clerico, Hannes Hafnerstr. 3. Rosenheim, D-8200 Germany 1984<br />
^Mein Partner (with Hildegard → Weiß) Cat.: A/4, phc., 104 p. 1984<br />
<br />
Cleveland, Buster Interdada. P. O. Box 211. Talmadge, CA-95481 USA 1984<br />
°OK Post / OK Post Art Dada (div. artistamp and rub. stamp pieces in envelope) 1980 ®<br />
Artistamps: ^Buster Post, Budapest (Sheet of 28 diff. stamp images, red phc. on <br />
brown paper, not perforated) With → Galántai, Budapest, 1982<br />
^Buster Post, Budapest, White (The same stamp images but by white <br />
colour on clear plastic sheet) 1982<br />
Buster Cleveland died 199? 199?<br />
→ Inter-Dada '80<br />
~<br />
Literature:<br />
Lon → Spiegelman: 1981 Interview with Buster „Dada“ Cleveland. In: Spiegelman's<br />
mailart rag. Vol. 1, #2. November, 1984. 6-7 p.<br />
Cline, Cheril 2230 Huron Ave. Concord, CA-94520 USA 1983<br />
↑ 1621 Detroit Ave. #23 - “ - 1981<br />
.............................................................................................................................................................<br />
My Secret Life in the Mail (Mag. Info matter with rag review and «correspondence». ®<br />
Letter size, mimeogr. + rubber stamps, ~10 p. 1981-83?, #1-7?)<br />
~<br />
Literature:<br />
«This gentle mimeograph newsletter appears in rubberstamped pink pages. It's a<br />
collection of letters to the editor, publication reviews and notification of mail art<br />
shows. There's a rich sharing quality in My Secret Life and it's one of the better<br />
examples of what correspondence art can be.» (Lightworks [→ Burch]. These<br />
Things Too [Print review]. N° 16, Winter 1983-84. 57p.)<br />
Close, Patrick Neutral Ground, 1838 Scarch St. Regina, Sask. S4P 2Q3 Canada 1989<br />
1651 Eleventh Ave. Regina SK. S4P 0H5 - “ - 1986<br />
.............................................................................................................................................................<br />
^The Last Dance Mail Art Show. Inv.. 1986<br />
<br />
^Intellectual Bagggage. Inv., 1988<br />
<br />
^...and they lived happily ever after.... Doc. One sheet of 46x30.5 cm., offset, folded. <br />
May 1989<br />
«Club Moral» (Youth Centre) Kattenberg 122 (POB 60) Borgerhaut / Antwerpen, B-2200 1981<br />
^Force Mental Magazine (Beside music, performance and lit. also alternative arts. <br />
Found in more Mail Art archives. Editors: Danny Devos and Annemie<br />
van → Kerckhoven. A/4, offset, ~20 p. 1982-, bim.)<br />
^#2, 13, 14, 15<br />
^In Vitro. Alternative Workshop at the Club Moral, also for Mail Art. Inv., 1985 <br />
~<br />
Literature: (Force Mental. Editorial #8): «...We are a contact base for people who want instead<br />
of the short-air cultural mediocracy a fresh breath of extreme offers...»<br />
«A bi-lingual publication (English and Flemish) that is geared toward the extremities<br />
of artt and music. The layout is great, with a unique fragmented style that is all<br />
their own. #10 contains articles on Gerechtigkeits Liga, Attrition, Birth (+) Fact (X)<br />
Death (-) Calendar, Regata (which is computer generated text), also reviews and<br />
contacts. Other than Force Mental the editors AMVK (Annemie van → Kerckhoven)<br />
and DDV (Danny Devos) do something called Club Moral, which is an organisation
that is involved in all types of media. In Vitro is an exhibition organized by Club<br />
Moral that presents all types of independently produced cassettes, magazines,<br />
records, books, art-works, films, videos, and live performances. Some of the contributors<br />
were Pacific 231, MB, Constrictor Magazine (→ Aiello), Peal-Off Label,<br />
CLEMN, 235, Angst, Camera Obscura (→Barbery), etc...» (Publication Listing.<br />
In: Unsound. (→Davenport) Vol. 2, N° 2, 1985. 42 p.)<br />
«Club Moral was formed in 1981, as a performance group and as an all purpose art<br />
space. The group is a combination of various elements of media, extending DDV's<br />
(Danny Devos) and AMVK's (→ Kerckhoven) interest in sound and image. As a<br />
space, Club Moral was desoigned for a wide veriety of events, from exhibitions to<br />
plays, performances and concnerts. Until more recently the space has become an<br />
archival/documentational center, rather than a place to present live shows. Force<br />
Mental Magazine is another project that DDV and AMVK have established, publishing<br />
11 issues to date.» (AMVK & DDV: Club Moral. [with featuring of performances<br />
and lives concerts – list of events in Club Moral from 1981-85]. In: Unsound.<br />
(→Davenport) Vol. 2, N° 3/4, 1985. 35-39 p.)<br />
Cobbing, Bob 89 / A Petherton Rd. London, N5 2QT United Kingd. 1988<br />
↑ 262 Randolph Av. London, W9. - “ - 1954<br />
.............................................................................................................................................................<br />
^And (with John Rowan) (A classic among the vis. poetry publs. 1954-69, #1-5, ir. <br />
#1 ?<br />
^#2 22.5x18 cm., offset, 28 p.<br />
^#3 20x16.5 cm., offset,28 p.<br />
^#4 24.5x19 cm., 30 p.<br />
^#5 assembling in portfolio {500}, 25.5x20.3 cm, ~50 p. mostly offset<br />
°Sound Poems – Sprachgedichte. (with Ernst Jandl / Introduction and chronology by <br />
Dom S. Houédard) (21.5x17.5 cm., mimeogr. 46 p.) Writers Forum / In<br />
accompanied by „Record One“ (Poets Fifteen). London, 1965<br />
Edition «WF Folder» (Series of very various experimental literature publs. in form of <br />
loose leaves in envelope or bound brochures) Writers Forum, London,<br />
60s and early 1970s years<br />
Kurrirrurriri (Mag. 1967- y.), Writers Forum, London<br />
<br />
°Whississippi: A Whisper Piece. 20.5x16.5 cm., offset, 8 p. Writers Forum.<br />
<br />
London, 1969<br />
°Whisper Piece. (25.5x20.5 cm., offset, 18 p.Writers Forum (WF Folder, 6), 1971<br />
~<br />
Literature:<br />
«WE CONSIDER that the positions enmóumerated here have been the main<br />
characteristics of the development of concrete poetry and other language arts:<br />
1. That the linguaistic signs is „arbitrary“ or „unmotivated“.<br />
(Plato, „Conventionalists“, Lessing, Butler, De Sassure and most linguisticians<br />
after him.)<br />
2. That letterforms are memmaningful, „non-arbitrary“, „motivated“.<br />
(Socrates in Plato's Cratylus, „Naturalists“, Victor Hugo, Claudel, Lafciado<br />
Hearn, Kallir, etc.)<br />
3. That phonetic sounds are meaningful, „non-arbitrary“, „motivated“.<br />
(Plato: Cratylus, „Natiralists, Hegel, Rimbaud, Mallarm, Khlebnikov, Paget,<br />
Johannesson, Marr, Sapir, Roger Brown, Kallir, etc.)<br />
Positions 2 & 3 are pro-mimetic and contradict 1.<br />
4. That art/poetry is abstract. (...)<br />
5. That art/poetry is concrete. (...)<br />
This largely contradicits position 4. However both 4 & 5 are countermimetic.
6. That works of art/poetry strive for autonomy. (...)<br />
7. That art/poetry strives for origoinality/“modernity“. (...)<br />
8. That art/poetry strives towards the „primeval“. (...)<br />
This contrtadicts 7, though both are modernist positions.<br />
9. That poetry is verbal alchemy. (...)<br />
10. That poetry is verbaé chemistry, or biology, etc. (...)<br />
All these positions have in turn liberated language arts from certain constraints, and<br />
have led to the exploration of other areas. (...) Non-mimesis is perhaps a necessary<br />
but non-sufficient pre-condition of autonomy. Autonomy oftenleadsto a new mimesis.<br />
This is why the cycle of figurative to non-figurative and back is so often repeated<br />
in the history of art... (From the „foreword“ to a forthcoming collection of facts<br />
about, statements on, and examples of, concrete visual and sound poetry, assembled<br />
by Bob Cobbing & Peter → Mayer)»<br />
(Bob Cobbing / Peter Mayer. In: Kontexts, #5 [→ Gibbs]. Devon, 1972. n. p.)<br />
Cohen, Ryosuke 3-76-1-A-613. Yagumokitacho Moriguchi City, Osaka, 570 Japan 1988<br />
↑ 1-6 Hiyochico Moriguhi-City, Osaka, 570 - “ - 1984<br />
.............................................................................................................................................................<br />
^Osaka Int. Mail Art Exh. (Mail Art Campaign in Japan), Doc.: Poster of <br />
60x40 cm., offset. Osaka New Art Center, September 10-15, 1984<br />
Mail Art Network for the Children of the World. Doc.: Poster of 53x41 cm., <br />
offset, r/v. Exh.: Kyoto City Art Museum, July 9-14, 1985<br />
^Brain Cell (Stamp-sticker-graphic assembling, one A/3 page {150}. Silk screen<br />
techn. + collages. The single sheets put into an envelope and sent out<br />
by the editor to the contributors form the numbered issues. Each 20<br />
issues (e.i. #220-240) constructs a cycle, which can be laid together<br />
and presented as an album like assembling {50 from the 150}. The<br />
issues are completed by separeted contributor lists. 1985-, 25-30xy.,<br />
~ 550#)<br />
^# Beside a number of div. singel issues also the cicles: #1-20, 21-40,<br />
81-100, 261-280, 361-380<br />
~<br />
Literature:<br />
(Editor's Statement, 1985): «...It isn't everything that exchange a work from one to<br />
another in mail art network. It is the most important to join much more people of<br />
other countries. Sending to B from A, to C from B, to D or E from C, E sends back<br />
to A or D sends back to B or C.This is the way to spread the network. Once, people<br />
belived that art is the product of the privileged classes called artists, so they put up<br />
the framed pictures or priced them unreasonably as sales contracts. In their reasons<br />
they think art is material. I think art is information. The personality and creative<br />
power of all the persons who follow it spread as information. There is no need for<br />
us to stress our own individuality. It is a change of 180 degrees from the past. Mail<br />
Art network is the most wonderful movement that can solve the various problems<br />
of present art and artists: authority, exchange of information, too national art,<br />
mistaken holiness and so on. (...) Well, I'll title my work Brain Cell, because the<br />
structure of a brain through a microscope looks like the diagram of mail art network.<br />
Thousands of neurons clung and piled up together are just like mail art network,<br />
I think.» (Qoted in: Stephen → Perkins: Assembling Magazines. Internationale<br />
Networking Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996<br />
/ Print: 1997. 15 p.)<br />
«By the time a person is six year old, her or his brain size is 90% of what it ever<br />
will be. (Sort of scary, isn't it?) Ryosuke Cohen's network of stamp/mail artists is<br />
known as „Brain Cell“. This group of neurons results in a rainbowed lithographic<br />
package intertwinning each thought and stamp image that Cohen receives. Send a<br />
rubber stamp image to Ryosuke Cohen...» (Lightworks [→ Burch], Glimmerings<br />
[Print Review], N° 18, Winter 1986-87, 48 p.)
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 137 p.<br />
Vittore → Baroni: Ryosuke Cohen. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 172-173 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 337 p.<br />
Colby, Sas P. O. Box 3319 Berkeley, CA-94703 USA 1985<br />
°An Unusual Valentine. (Colour xerox bookwork) 9x11 cm., 8 p. S. P. Berkeley, 1979 <br />
°Textile Innovation. (Colour xerox bookwork with plastic cover) 21.7x35.5 cm., 22 p. <br />
S. P. Berkeley, 1979<br />
°Verbal Skills. (Xeroxed bookwork) 10.2x16.4 cm.,16 p. {45}. S. P. Berkeley, 1980 <br />
Cole, David (Paumonock Post) 421 Laurel Av. St Paul, MN-55102 USA 1994<br />
↑ 333West End Ave. New York, NY-10023 - “ - 1988<br />
↑ 19 Grace Court Brooklyn, NY-11201 - “ - 1981<br />
.............................................................................................................................................................<br />
Visual poet and correspondence artists who co-curted the first New York City visual <br />
and concrete poetry show in 1975.<br />
^m c (with Paul Zelevansky) (High quality Mail Art compilation mag. with thema- <br />
tical issues. Tabloid form of 43x28 cm, newsprint, or letter size, offset.<br />
8-12 p. 1981-84, ir., #1-7)<br />
1 The responsibility of artist...;<br />
2 Art, money and power;<br />
3 News and propaganda;<br />
4 The big picture;<br />
5 Camera ready;<br />
6 Timeless Light;<br />
7 Atlas.<br />
^#2, 3, 4, 6, 7<br />
^Janco-Dada Museum / The Scroll Unrolls. (Mail Art Project in Israel.) Cat.: <br />
in form of 88 postcards (16x11 cm.), offset print on different sorts of<br />
papers. Texts by Ulises Carrión and Annabelle Henkin Melzer.<br />
Exh.: Janco-Dada Museum, Ein-Hod, Israel. July-October, 1985<br />
^Sliding in Locus. A dramatic investigation within the memaning of the word. <br />
(Letter size, 22 xeroxed leaves) S. P. Brooklin, 1991<br />
Artistamps: ^Paumonock Post (Sheet of 24 diff. stamp images, b/w computer print. <br />
n.d. (~1985)<br />
^Janco-Dada Mail Art Show (Over size sheet of 16 stamps, 2 images,<br />
colour offset, not perforoated) dada post age. n.d. (1985)<br />
^Andianapolis Street Stamp Act (2 sheets, each of 20 diff. stamps with<br />
texts only, phc. on yellow paper, not perforated) 1991<br />
^Dark Matter Postage Stamps (Sheet of 18 diff. stamp images, b/w<br />
computer print, not perforated) 1993<br />
^Breathing Thin Air Winterness (Sheet of 20 diff. stamp images, b/w<br />
computer print, not peprforated) 1994<br />
David Cole died April 19, 2000<br />
~<br />
Literature:<br />
(M C): «...uses index cards as building blocks, gathering „created or found material<br />
from visual artists and poets on matters political, sociall and economic“ Thematic<br />
issues.» (Review in Score, #7. [→ Hill] Letter size, offset, ~1988.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 127 p.
David Cole: The Open Letter Aesthetic. Network Values / Politics and Mail Art /<br />
A Diary Enlarged / I Speak a Network Language / Correspondence Dialogue /<br />
Collaboration AestheticsMystic Correspondence / Correspondence Aesthetics /<br />
Art as Spiritual Path. In: Chuck → Welch (ed.): Eternal Network. A Mail Art<br />
Anthology. University of Calgary Press, 1995. 65-76 p.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 96-97 p.<br />
«Colectivo 3. / Post Arte» (Group, c/o C. Espinoza) Apdo P 45-615. Mexico D. F. Mex-06020, Mexico 1982<br />
^Colectivo-3 / Post Arte (Editor: → Espinoza. Mag. in form of loose leaves in enve- <br />
lope. 1982-, ir. )<br />
^#1-A, 2-B, 6, 13<br />
^Poema Colectivo: Revolution. Doc.One sheet of 35x21.5 cm, phc., + rubber ®<br />
stamp / La Pinacoteca Universitavia Puebla. April 1982<br />
^Vision Global. Inv. for an int. Mail Art Show in Mexico City. Inauguration at <br />
Nov. 12, 1982 (Postman's day in Mexico). Org.: „Col. Narvarte“ and<br />
A. Flores, B. Noval (C.R.A.A.G.), C. Espinosa (Colectivo 3.). M. Marin,<br />
M. Guerrero (Grupo Março), J. R. Galdaméz, C. Medina, P. Bruscky.<br />
^1984 despues de 1984. Maraton de Arte-Correo Doc.: one sheet of 43x16 cm., <br />
offset / Galeria de la Casa del Lago, Mexico. February 1985<br />
~<br />
Literature: «Orientated principally toward the communication and less to the existencial<br />
protocols of the artistic „opus“, the Mail Art is:<br />
– A long distance dialogue without intermediaries in the message, that beaks with<br />
parochialism and the short vision stimulating the comprehension and solidarity<br />
among the peoples.<br />
– A testimonial act directly leagued to the near, present situations of his authors<br />
and addresses, overcomming the limits of frontiers, censure and artistic „new<br />
Waves“.<br />
– An artistic descentralization process in the geographical and formal aspects,<br />
opposed to the dominant artistic centers and facilitating the multiplicity of authors<br />
since every province or city and the movement of his artworks.<br />
– A rejection regarding the artistic market when every author distributes his<br />
artworks without to except retribution neither the return of they which enter to<br />
multiple archives and are shown in the mere adverse conditions.<br />
– The information and the process are in the centre of the creative act, but not the<br />
„opus“ for sale or speculative prestiges.»<br />
(Statement of the Colectivo 3. Febr. 1985. In: Clinch, #7, → Ruch)<br />
Collins, Patricia 128 Kingstom Road Teddington, Middlesex United Kingd. 1996<br />
^Artist’s Book exchange. Inv., n.d.<br />
<br />
It's in the Box. (Assembling project without fixed deadline, 1995?-)<br />
<br />
Cologne / artists (Heinz Breloh, Eberhard Prangenberg & others) c/o Depot, Moltkestr. 27. Köln-1 1971<br />
^Nummer (Mag. Concept art and underground art actions. A/4, offset, 36-72 p. <br />
1971-72, #1-4)<br />
^#1, 2, 3, 4<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 37, 40 p.<br />
Colonna, Gaetano Via A. Sertsale, 9 Sorrento, I-80067 Italy 1986<br />
^CONTR/azione. Inv. in form of an accordion to “Mostra di Poesia Visiva” events , <br />
curator: G. Colonna. Sorrento, 1984<br />
^Italian Graffity. Inv., Exh. at the C. A. V., Agliana, I-51031, 1985
^Mixed Art. (Peintings, poetry visual, Mail Art, poesia sonora, publications...)<br />
Doc.: A/4 sheet, transparent paper, phc. Also A/3 sheet, phc.<br />
Exh. at the Centro Culturale „P. Whistler“, Vico Equense (NA), January<br />
18-25, 1986<br />
<br />
Colp, Normann B.: ? ? USA? 1983<br />
^Hand & Mind Books. (Series of small booklets with concrete poetry by texts and <br />
images. 14x11.5 cm., offset, 10 p. in accordion form, 1983:<br />
An Old Saw / Freud's recipe / Every nicht when I go to sleep.<br />
^A Primer on Art Criticism. Horz. 11.5x14 cm., offset, 60 p. 1983.<br />
<br />
Colpaert, Eric St. Pietersnievustraat 114. Gent, B-9000 Belgium 1981<br />
^Styff (Mag. Poetry, visual art, Mail Art. A/4, offset, ~24-54 p. #0=1979, 1980-, qu?) <br />
^#0, 1, 2<br />
Combalio, V. / Suárez, A. / Vidal, M. Edition de Termas Actuales, Genova – Barcelona / Italy–Spain 1977<br />
Artilugi (Mag. with connections to the classics of the old avantgarde and also to the <br />
recent experimental & underground art. Tabl., 34x24 cm, offset. 1977-)<br />
Commercio, Salvatore Via S. M. Mazzarello 46. Catania, I-95128 Italy 1975<br />
Verticalismo (Mag. for experimental art and vis. poetry + lit. Tabloid, 34x25 cm., P<br />
offset, ~30 p. 1975-, qu.)<br />
^Mail Vertical Art / Arte Verticale Postale. Cat. in: Verticalismo, Vol. VIII #21-22. <br />
May 1982. Texts by S. Commercio, Guglielmo Pepe, Eugenia di Grazia,<br />
Antonio Corsaro.<br />
Commonpress<br />
→ Petasz, Pavel<br />
«Composer / Performer Edition» 2101 22nd Street Sacramento, CA-95818 USA ?<br />
^Source (A very well produced mag. in general for the avantgarde & exp. music. <br />
N° 11. / 1974: special issue for Fluxus, conceptual trends and Mail Art,<br />
guest editor Ken → Friedman. Int. material, also from the Eastern<br />
European contries. Horizontal size of 27.5x35 cm., offset, ~120 p.)<br />
^# 11<br />
«Concrete Poetry» → Arnold / Text + Kritik, #25 & 30<br />
«Congress» → Mail Art Congress, 1986 / Mail Art Congress, Dezentralized World-Wide, 1992<br />
Conquest, Norman P. O. Box 1049 Bridgehampton, NY-11932, USA 198?<br />
Letter Bomb (Mag., absurdities in image and text, dada, Mail Art, etc. Addendum: <br />
Baby Boom, a compilation booklet. Letter, phc., 198?- )<br />
Conti, Marcello Via Michelini 1. Udine, I-33100 Italy 1980<br />
Zeta / Rivista int. di poesia. (Mag. with Mail Art, advertisements from art publishers <br />
and exhibition invitations. 22x16.5 cm. + A/5, offset, 1980- )<br />
Cook, Geoffrey BOX 4233 Berkeley, CA-94704 USA 1996<br />
↑ P. O. Box 18724 San Francisco, CA-94118 - “ - 1982<br />
«COOJORNAT» 541 Cidade Alta, Natal, Brasil 1977<br />
Contexto (Suppl. to the daly news A Republica, Natal. Texts, vis. poetry, photos and <br />
alternative & exp. art. Tabloid, newsprint, 1977?-, weekly?)<br />
«Copy Art»<br />
→ Appendix
Corbet, Michael B. BOX 155 Perston Park, PA-18455 USA 1996<br />
Tensetendoned (Assembling, 1992-, sm. ~ 30#) 1992<br />
<br />
~<br />
Literature: ^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 106-107 p.<br />
Corpá, Urb Los Cantos 38. Bafigas (Toledo) Spain 1995<br />
Piedra Lunar („Moon Rock“) (Assembling for experimental literature, photos and <br />
images by way of Mail Art. Loose contribution sheets. {50} ~34x23 cm.<br />
1984-95, sy. #0-7)<br />
~<br />
Literature:<br />
Corpá: The Last Issue of Piedra Lunar (1995). In: Stephen → Perkins: Assembling<br />
Magazines. Internationale Networking Collaborations. Cat.: Half-legal, phc.,<br />
64 p. Subspace, Iowa City. 1996 / Print: 1997. 30 p.<br />
Corroto, Mark (!Fa Ga Ga Ga!) Box 1382. Youngstown, OH 44501-1382, USA 1992<br />
Mr. X. Doc. 1987<br />
<br />
Jazz: Past / Future. Doc. 1990<br />
<br />
Detective / Mail Art Against Terrorism. (with Melinda Otto / Youngstown & Oleg <br />
Yudin / Leningrad) Inv. / Cat.? This project has been co-organized<br />
and exhibited also in Leningrad 1991<br />
^The face of the Congress /A portrait zine of the 1992 Decentralized World-Wide <br />
Networker Congress (Mag. Digest, phc., ~20 p. 1992- #1-7?)<br />
The face of the Congress, N° 7 = Face Femail.<br />
^#3, 4, 7<br />
^Love & Hate. Inv. Exh. at the Banana Rodeo Gallery, Youngstown. 1993 <br />
^Ray Johnson. (with Bill → Gaglione) Cat.: Mini, phc., 24 p. Beat Coffee House. <br />
215 Lincoln Av. Youngstown. June 15 - July 15, 1994<br />
Artistamps: The Heart of a Networker / Mail Artist (Sheet of 12 stamps, 2 images, <br />
b/w phc.) n.d. (1992?)<br />
→ Mail Art Congress / Literataure: The Face of the Congress<br />
Corsaro, Ignazio Via Chiara 149 / A Napoli, I-80121 Italy 1986<br />
^Lo Straniero / The Stranger (Tabloid of 72x51 cm., newsprint, 8 p., with all kind of <br />
art news & incredible long address-lists from the alternative/underground<br />
scene from all over the world, an unsurpassed occurence among<br />
the Mail Art publs. More „Stranger“ exhibitions. 1986-93? 2xy. ~ 20#)<br />
^(1989:) #8 , (1990:) #9, 10, 11, 12<br />
^The Stranger /Paintings / Mail Art / Maffia Art (V. Mostra). Cat.: in: Lo Straniero, <br />
Anno V. N° 9. 1° 1990. (70x50 cm., newsprint, 4 p.)<br />
Exh.: Citta di Campagna. May 5-20, 1990<br />
^Man's Inner Revolt / Extrangement. Doc (~ 800 artists' addresses!) Cat.: in: <br />
Lo Straniero, Anno V. N° 10. 2° 1990. (70x50 cm., newspaper, 4 p.)<br />
!Cosey Fanni Tutti! ? London United Kingdom 1972<br />
Member of the neo-dadaistic London groups Ecole de l'art infantile (→ Nations) &<br />
the COUM (→ P.Orridge). Also rubber stamp activity. Very known as<br />
sex performance artist in the first half of the 1970s.<br />
Music recording and compilations with Chris Carter, also on video, since 1976, first <br />
as member of Throbbing Gristle, and following the 1981 breakup of<br />
TG, as Chris and Cosey (c/o CTI/Chris & Cosey. BM CTI. London,<br />
WC1 3XX, England)<br />
~<br />
Literature:<br />
® <br />
Cosey Fanni Tutti (Interview about music activity) In: Unsound. Multimedia<br />
magazine with booklets & tape supplements, →Davenport. Vol 2, N° 3/4, 1985.<br />
31-34 p.)
Coste, Elis. & Michael ? Pontivy, F-56300 France 1994<br />
Mail Art. Doc. / Biblioth. Municipal, 106 rue Nationale. Pontivy, 1994<br />
<br />
!Cracker Jack Kid! → Welch, Chuck<br />
Crane, Michael Running Dog Press. Sacramento CA USA 1979<br />
°Stamps in use. (29 cards with orig. rub. stamps) 1977<br />
® <br />
^Contents: Objects, Piles and Boxes. Cat.: Letter size, offset, 24 p. 92 parts. <br />
Very original Mail Art project: the exponat-objects were placed in 11<br />
transportable „micro galleries“ (small gallery-models like doll's houses)<br />
sponsored by Micro Gallery Ltd. Open Ring Gallery, Main Art Gallery<br />
of California State University Sacramento. Travelling exhibitions in<br />
more cities of the USA in 1979.<br />
^Correspondence Art. Source Book for the Network of International Postal Art Acti- <br />
vity. (With Mary Stofflet. The first large monographical work and<br />
essay anthology about Mail Art. Among the authors: T. Albright,<br />
A. Banana, U. Carrión, T. Cassidy, R. Craven, J. M. Felter, P. Frank,<br />
K. Friedman, B. Gaglione, D. Higgins, J. Hoffberg, C. E. Loeffler, R.<br />
Rehfeldt, E. A. Vigo, etc. Bibliography, index, list of exhs., list of Mail<br />
Art a.k.a.s, etc.) Offset, half letter, 522 p. Contemporary Arts Press<br />
(→ Loeffler), San Francisco, 1984<br />
~<br />
Literature: Ronny Cohen: A Conversation with Mike Crane. In: Flue (→ Franklin Furnace),<br />
Vol. 4 #3-4 (Winter 1984) «Mail Art Then and Now» issue, 40 p.<br />
(Correspondence Art): «More than long awaited, this book has been in the works<br />
for eons. It's good to see its fet spine on the bookshelf. (Critical thinking on mail art<br />
tends to be a thin thing and surely widely scattered.) This collection, however, reads<br />
like memory lane. The focus is mid-to-late '70s. As a result many substantial artists<br />
working in the last five years have been neglected. Nevertheless, Correspondence<br />
Art is loaded with articles from able spokespersons like Judit → Hoffberg, Klaus<br />
→ Groh, Ulises → Carrión, Anna → Banana and Edgardo-Antonio → Vigo.<br />
There's general, poetical, critical and at times somewhat overlapping coverage of<br />
the art form with subset features on artists' stamps, rubber-stamps and mail art publications.<br />
Steering a tad academic, the editors haul out meticulously sociological<br />
apendices with tables and cross-references galore. Mail art changes fast in terms of<br />
participants and their doings. Maybe no book can ever deliver „definitive“. This<br />
one takes its best shot reflelcting some substantial and informative vistas.»<br />
(Lightworks [→ Burch], These Things Too [Print review], N° 17, 1985, 26 p.)<br />
Ernest J Stroh-Symtra: „Correspondence Art“ by Mike Crane (Book Review) / Lon<br />
→ Spiegelman: About this Issue (Also personal opinions about Crane's book). Both<br />
publications in: Spiegelman's mailart rag. Vol. 1, #2. November 1984. 1 p.<br />
«...The book is divided into four parts with articles by Crane serving to try to tie<br />
things together. Actually these articles are quite informative, and probably could<br />
have been expanded in order to reduce the repetive bulk, much of which seem only<br />
opinionated laundry lists of poeople involved at various times.There are exceptions...<br />
Having so many voices really tends to make the book, as a whole, confusing,<br />
and far from the scholarly tone, which Crane seems to have wanted. (...)<br />
All of above does not mean that this is a thoroughly execrable and worthless<br />
book, these points are only brought out because at the time of publications, the book<br />
is already outdated, and although there is some valid and worthwhile information on<br />
the subject of Mailart contained here, this is not the definitive book it was purported<br />
to be...»<br />
(John → Evans: „Correspondence Art“ by Michael Crane (Book Review).<br />
In: Spiegelman's mailart rag [→ Spiegelman]. Vol. 1, #3. Sept. 1985. 1-2, 9 p.)
!Cravan, Arthur! (also !Carlo Giovanni Cicatelli!) → Chickadel, Charles<br />
Craven, Richard ? ? USA 1976<br />
°Correspondence (The letters of Ray Johnson). Cat.: 29x24 cm., offset poster – Also <br />
a facsimile: selection of 81 from 250 letters / North Carolina Museum<br />
of Art, Raleigh NC, 1976<br />
!Creative Thing!<br />
→ Caldera, Lesley<br />
Cristobal, Ricardo Coslada 26 Madrid-28 Spain 1974<br />
Orgon (Mag. for post-fluxus trends, graphics, concepts, collage + stamps, partly <br />
bound assembling. A/4, offset, mimeogr, phc., etc. 1974-77, #1-3)<br />
Crobar, K. 2900 C. Glascock St. Pakland, CA-94601 USA 1988<br />
King Cobra (Graphzine, ? size, phc. 1986?- y.) «A body blow to the solar plexus, <br />
a xerox molotov cocktail in yer face. No known antidote.»<br />
(Box of Water, #4, → Perkins)<br />
Crozier, Robin The Mews, Field Foot Under Loughrigg Rydal. Ambleside Cumbria. LA22 9LN. UK 1998<br />
↑ 5 a Tunstall Vale Sunderland SR2 7HP United Kingd. 1981<br />
.............................................................................................................................................................<br />
°Robin Crozier (~A/5 portfolio with xeroxed and original cards of div. sizes) {100} <br />
Second Aeon Publ. Cardiff UK, 1973<br />
^Portraits I. Portraits of R. Crozier. (Offset book, 19x19 cm., 70 p.) S. P.<br />
<br />
Sunderland, 1975<br />
^Portraits II. Portrait of ...... by R. Crozier (Xeroxed book, A/4, phc., + original <br />
additions, 108 p.) S. P. Sunderland. 1976<br />
^Art A to Z. I-II. (Assembling, A/4, 53 leaves, {50}. 1977-78) Sunderland. Jan. 1978 <br />
°Iceland Blue Show. Inv. A/4 phc. + manusscript by blue ink / Galleri Sudurgata, <br />
Reykjavik, Iceland<br />
^Views (Anth. like mag. 1977-80, #1-4) Sunderland Polytechnic<br />
<br />
^#?, #?<br />
^Intermedia (The begin of publs. with xeroxed compilation matter, made by Crozier <br />
+ the students of the Sunderland Polytechnic School. Later issues:<br />
Contemporary Studies, and Ghost Writers. Published as A/4 bound<br />
brochures like mags. {20-40}. 24-32 p. 1978-80, #1-3)<br />
^White Lies (Commonpress #12) A/5, phc., 42 p., 34 participants. January 1979 <br />
1970s-80s <br />
°Meat Click. (with John M. → Bennet) Xeroxed bookwork, A/5, 28 p. {400} <br />
Sunderland UK / Columbus OH, 1980<br />
^Table-project (23.5x15 cm., offset, 16 p.) Stempelplaats, Amsterdam, 1981 <br />
One Table One table. (Orig. rubber stamps, 8 p.) S. P. n.d. ®<br />
^Rubberstamping an apple. (A/5 booklet {40, all copies are partly original} with ® <br />
rubber stamps & hand drawings, 8 p. on coloured paper) 1982<br />
Memo(random) / Memo(ry). (Endless corresp. project by exchange and collection <br />
of „add to“ A/4 form sheets) The start of the project: February 1983<br />
^SLIDE-Collection. / Doc.: A/4, phc., 4 p. Sunderland Polytechnic. 1985<br />
<br />
Contemporary Studies (Compilation, A/4, phc., 1985-86, #1-2) Sunderland Pt. 1985 <br />
^Ghost Writers (Bern Porter issues), A/4, phc. 1986-89, #1-4) Sunderland Pt. 1986 <br />
^#3, 4<br />
^To use or not to use. (6 A/5 leaves in envelope, hand drawing) S. P. 1989<br />
<br />
^Measuring. (on the basic of ruler pieces) Cat.17 A/4 sheets, phc., in plastic bag. <br />
1994<br />
^Wandalust. (Booklet by César → Figueirede, graphic by R. Crozier, rubber stamps ®<br />
by M. B. → Corbett, „who thinks Robin Crozier is all about Wanda“)<br />
10x7.3 cm., phc., 12 p. n.d. (1996?)<br />
^ValnA. (with J. M. → Bennett.) 14x11 cm., phc. 8 p., on yellow paper, also copies
with hand interventions. Luna Bisonte Ed. Columbus. (1999?)<br />
Robin Crozier died ........................ 2001 2001<br />
~<br />
Literature:<br />
(Portraits of Robin Crozier) News and Reviews. In: Kontexts, #8 (→ Gibbs).<br />
Amsterdam, 1976. 15 p.<br />
The Way we were. Robin Crozier's Gathering and Exchange of Memories.<br />
In: Lightworks [→ Burch], N° 19, Winter 1988-89, 33-35 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 61, 107 p.<br />
«(...) I had also been interested in concrete and visual poetry and towards the end of<br />
the sixties I began to make some publications of my own. But where to send them?<br />
However, in 1970 a magazine called Pages (→ Briers) was published in England...<br />
It was dedicated to promoting the avant-garde and included works etc. by some of<br />
those I had met through Something Else (Dick → Higgins) but also by numerous<br />
other creators from Europe and elsewhere that were sometimes new to me. But<br />
what was most interesting was the information section listing publications, magazines,<br />
artists, events etc. with contact addresses. So I was able to begin sending<br />
my publications out to establish contacts providing me with more contacts and so<br />
on. Soon after this a more commercial magazine Art and Artists published an<br />
article about Robert → Filliou. In it he said he was going to have an exhibition at<br />
the Stedelijke Museum in Amsterdam and was asking people to send him material<br />
that he will include in the show. (...) G. J. de → Rook visited the show and he and<br />
Robert Filliou made up pages from some of my sendings which de Rook then<br />
included in a publication he was putting together called „Bloknoot“. So, from early<br />
1972, slowly but surely, I became involved in the „Eternal Network“ (Filliou)<br />
which had been christened „Mail Art“ in 1971 by Jean-Marc → Poinsot who had<br />
organized the envoi action at the Paris Biennale. And then the snowball began<br />
to roll. (...)<br />
At one time there was a rapid growth in mail art emanating from oppressive<br />
regimes – South America, Eastern Europe, etc. These „cold wars“ are now largely<br />
relaxed and so I've noticed a rapid decrease in mail art from these areas. (...) For<br />
myself and my own activity, when I first began in the seventies then I was into all<br />
kinds of things, organizing shows, projects, publications, almost like the joys of<br />
spring and a fascination with new toys. (...) „Somebody out there loves me“ was a<br />
wonderful feeling. (...)<br />
I suppose that mail-art is as much a finding as a searching process. I also like<br />
the idea of working „with“ things, objects, structures, people. Cooperate activities.<br />
Recycling. Setting up structures that lead into unknown or unforseen territories.<br />
Chance. Serendipity. External events molding directions. I like travelling rather<br />
than arriving. Flux. But this is talking about art. In my daily life I'm a creature of<br />
habits, of ritual.<br />
Most mail-artists probably know you because of your emory/memorandumproject,<br />
where you ask a memory of a specific day from a mail-artists and in<br />
return send him/her someone else's memory. What was the reason for starting<br />
this project?<br />
...When somebody contacts me for the first time or perhaps when I see someone<br />
who I think might be interesting or whose work catches my attention I will<br />
send them a memo/random form as part of my initial contact with them. The form<br />
request „what do you rememeber about... (a particular date)“. On the back of the<br />
form it says „please reply on this paper to receive another memory from someone<br />
else.“ When I receive the completed form (which can be completed any way the<br />
contributor wishes) I copy (if it is writing) or transpose (if it is visual) the contribution<br />
into series of memo books. I'm working into the book number seventy right
now and there are getting on for six thousand individual memories. When each<br />
book is filled up I mailto the Getty Archive in the USA. (...) The reason why the<br />
memo books go to the Getty archive is that when I began the project I sent the<br />
books to Jean → Brown for her to put in her archive... However, towards the end<br />
of the eighties her archive moved to California to the part of the Getty archive...<br />
In the front of each memo books is written „Each memorandom contains random<br />
memories recording times passing through Robin Crozier who here records the<br />
memories for Jean Brown and future times past.“ (...)<br />
When I receive a mail from you, I always recognize your handwriting. It<br />
seems you never use a typewriter or even a computer. Is there a special reason?<br />
Well, first of all, I suppose I actually enjoy the act of writing. My hand<br />
holding the pen to make lines and marks which become words, sentencesand paragraphs<br />
which follow my thoughts line by line. I enjoy the idea that handwriting is<br />
unique, as personal as a finger print. On the other hand I have never been very<br />
interested in mechanical things... Again I think that handwriting gives me time to<br />
think...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Robin Crozier. TAM Publs.:<br />
TAM-950091. A/5, 10 p. Tilburg, 1995)<br />
Vittore → Baroni: Robin Crozier. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 130-131 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 241 p.<br />
Csernik, Attila<br />
Cuba Mail Art<br />
→ Szombathy, Bálint / Mixed Up Underground<br />
^Desparecidos Politicos de Nueustra America / Ia Bienal de la Habana. Curator:<br />
Clemente Padín with the Asociación Uruguaya de Artistas Correo,<br />
with Eduardo Kuben, Cuba, and the Solidarte Arte Correo, Mexico.<br />
Cat.: 22.5x18 cm., phjc., 12 p. June, 1985.<br />
^Paraguay. Exp. Latinoamericana de Arte Correo. Cat.: / III. Bienal de la Habana.<br />
(Org.: → Gutierrez, P. J., Apdo Postal 6239. Habana, 10600 Cuba)<br />
^Cuba no al bloqueo. Exposicion Int. de Arte-Correo. Cat.: 22.5x17 cm., phc.,<br />
20 p. (Org.:→ F. Ferrando, Coordinadore de Apoyo a la Revolucion<br />
Cubana) Montevideo, Caracas. 1992<br />
Inicuba (Mag. 1992- ) Centro latinoamericano de Poesía Inista. / → Inism<br />
c/o Apartado Postal 6239. Ciudad Habana. 10600. Cuba<br />
Banco de Ideas Z. (From 1994) A Cuban variant of the Image Bank (→ Western<br />
Front) to collect artists' work on alternative basic. Curator: Abelando<br />
→ Mena at the Foreign Art dept. in the Nat. Museum of Beaux Arts,<br />
Habana (19 # 1362 Apto 15 % 24 y 26. Vedado C. Habana. CP 10400)<br />
^A cargo de Alberto Biote. Cat.: 20.5x14.5 cm., phc., 20 p. (Ed. → Merz Mail,<br />
Barcelona, E) / Galeria 23 Y 12, Calle 23 N° 518 e.12-Habana, Cuba<br />
December 19, 1995 - January 9, 1996. Texts:<br />
P. J. Gutiérrez: La democracia absoluta<br />
A. A. Biote: Así ocurrió<br />
C. Padín: El network en Latino-america<br />
E-A. Vigo: Mi manera de «armar» a Damaso Ogaz<br />
^Havanna '95 Int. Mail Art Show in Mem. of R. Johnson. Cat.: 21x16 cm., offset,<br />
60 p. (on brown paper) (Org.:→ Mena, A. & → Held, J.) Museo Nac.,<br />
Pal. de Bellas Artes, Habana Vieja. Cuba. 1995<br />
<br />
<br />
<br />
<br />
<br />
<br />
Cunning, Sheril 1610 Jeffrey Ave. Escondido, CA-92027 USA 1986<br />
Activity in artists' books, participating in Mail Art projects since th late 1978's, her <br />
first project was organized at Palomar College in San Diego 1978.
~<br />
Literature:<br />
Sheril Cunning: Handmade Paper.<br />
Sheril Cunning: Webdance. In: Chuck Welch (ed.): Eternal Network. A Mail Art<br />
Anthology. University of Calgary Press, 1995. 224-228 p.<br />
Curnoe, Greg ? ? Canada 1989<br />
^Blue Book (Rubber stamp book, 36.5x15.5cm., 180 sheets, numbered copies) Art ® <br />
Metropole, Toronto. 1989<br />
Curry, J. W. (!Curved H&Z!), 729/a. Queen St. E. Toronto, M4M 1H1 Canada 1986<br />
^Industrial Sabotage (Magazine with the rank «Each page is art» Digest, phc. <br />
~16 p., 1986?- , sm.)<br />
^#38, 42<br />
~<br />
Literature:<br />
(Industrial Sabotage, #30): «One of the many publications from jwcurry's prolific<br />
mixed media poetry press CURVD H&Z. Submissions range from laconic poetry<br />
with graphic import to a xerox collage which appears on the back cover. Nicely<br />
produced and an interesting collection of work from variety of contributors. Write<br />
for a catalog of publications and prices...» (Lloyd → Dunn: Mail Review. In: Photo-<br />
Static. N° 20, Oct. 1986, 636 p.)<br />
J. W. Curry: Line 1 thru 4 ( and other works) In: Score, #6. (→ Hill) Letter, offset,<br />
1983-92<br />
Cushman, Barbara Fine Hand Prods. P. O. Box 26082. San Francisco, CA-94126 USA 1981<br />
2661 California St. #8. San Francisco, CA-94115 - “ - 1981<br />
.............................................................................................................................................................<br />
Owner of A Fine Hand, a retail store and gallery fearering Electrostatic Art in San <br />
Francisco in the 1970s.<br />
Spiral bound Color Xerox Calendars 1980-84:<br />
The 1980 Cooperative Color Xerox Calendar. {250} Legal, colour phc., 15 p. (with <br />
works of the → Bay Area Dadaists) A Fine Hand Prod., S. F., 1980<br />
The 1981 Cooperative Color Xerox Calendar. {250} Legal, colour phc., 16 p. (with <br />
works of the → Bay Area Dadaists + G. → Lloyd, W. Smith, E. Lake,<br />
B. Cleveland, Patrick T, I. Dogmatic, P. Beilman, L. Spiegelman,<br />
K. Brown, S. Colby, C. T. Chew) A Fine Hand Prod., S. F., 1981<br />
Color Xerox Annual. Calendar {280}. Legal, colour phc., 16 p. (with works like <br />
in the years 19981-82 + contributions by Le Clair, S. Lust, M. Mollett,<br />
A. Torridzone Igloo) A Fine Hand Prod., San Francisco, 1982<br />
1983 Color Xerox Annual. Calendar {385}. Legal, colour phc., 15 p. (with work <br />
like in the years 19981-83, + new participants as Cavellini, E. F.<br />
Higgins III., T. James, L. Neaderland) A Fine Hand Prod. S. F., 1983<br />
New Art 84. Calender {?}. Legal, colour phc., 15 p. (New participants: B. Griffith, <br />
B. Black, K. Brown, Dogfish) A Fine Hand Prod., S. F. 1984<br />
~<br />
Literature: Copy Art. In: Umbrella (→ Hoffberg). Vol. 4 / #5. 141 p. 1981<br />
Cuttlefish, Mr. ? Hollywood, CA USA 1978<br />
°Letters. Inv. 1978<br />
Cutrell Rutkovsky, Fran → Rutkovsky<br />
<br />
«C. W. Poste»<br />
→ Summers, Craig<br />
Dako, Peter 698/a Qeen St. W. Toronto, M6J 1E7 Canada 198?<br />
^Casual Casual (Graphzine with Canadian and French contributors.
Digest, phc., 8-16 p. 198?-)<br />
^#1, 2, 3, 4, 5, 6, 7, 8, 9, 10<br />
Daffunchio, Jorge Cas. De Corr. 8, Paso del Rey. Buenos Aires, AR-1742 Argentina 1992<br />
^My Postman – send stamps with image of your postman. Inv. with an orig. artists’ <br />
postal stamp (graphic: postman). 199?<br />
Daligand, Daniel 33 rue Louise Michel Levallois, F-92300 France 1991<br />
^Les Fils de Mr. Hyde (Mag. with social criticism colour, texts and visual matter <br />
from the underground. A/4m phc., ~10 p. 1975-87, #1-33)<br />
^#12, 15, 30, 32<br />
L'art postal dedans/dehors. (with Guinochet, François). Cat. 1981<br />
<br />
^Le Timbré (Mail Art mag., with partly assembling like sheets.)<br />
<br />
A/4 size, phc.,1983-85 As a new series: 1986-, #1-17?<br />
^# ?, 3, 4, 5, Rimboud (1985),<br />
Artistamps: Topolinologie (Sheet of 24 id. stamps, b/w computer print, not perfo- <br />
rated) 1989<br />
^Daligand’s exhibition at the Milan Art Center, Inv. Milano, 1989 ?<br />
^Drôles d'envois: Mail Art et Art Postal. Cat.: 23x17 cm., offset, 46 p. / Centre <br />
d'Animation Culturelle de Compiègne et du Valois. Pl. Briet-Daubigny,<br />
Compiègne, F-60200. March-April 1992<br />
Project: How do you imagine the city of Compiègne? by D. Daligand<br />
Texts by E. Leroug, M-C. le Foc'h, L. Vincy, H. Fischer, R. Devichi,<br />
D. Daligand, J-N. Laszlo, C. François<br />
~<br />
Literature:<br />
(Le Timbré, 4 issues 1984-85): «A xerox magazine put out by long time mail arter<br />
Daniel Daligand. Interesting documentation from a „Rimbaud“ show, writing about<br />
mail art, and mail art from Eastern Europe etc... it all seems to boil down to the<br />
quality of the contact not the quantity.» (Stephen → Perkins: Magazine Reviews.<br />
In: Box of Water, N° 2, 1986)<br />
!Dallas Swan III. ! 1030 Adams St. #1C Salisbury, MD-21801 USA 1988<br />
^In Your Mail (Infomag. Letter, phc., 12 p. 1988-, squ.) 1988<br />
<br />
~<br />
Literature: «First issue of an infozine about „alternative publication“. The editor hopes to<br />
collect information about anything that's out there: the emphasis is on networking<br />
contacts. Send him any info you've got (including just general musings about the<br />
scene)... Swan is also interested in anecdotal material, such as: what's the strangest<br />
trade anyone's ever offered for your 'zine...» (Lloyd → Dunn: Mail Review. In:<br />
PhotoStatic. N° 32, Sept. 1988, 1149 p.)<br />
Dallos, László<br />
→ Leopold Bloom<br />
Daniel, Mario Via S. Reparata 30 R. Firenze, I-50129 Italy 1975<br />
Album Operazio (Anth. like mag. with high quality paperworks, rubber stamps, etc. ®<br />
32x24.5 cm. mixed techn. 1975-, m.)<br />
~<br />
Litearture:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 32-33 p.<br />
Danon, Betty Via Corvilugna 37 Milano, I-20166 Italy 1986<br />
Dárias, Javier c/o Sancho el Fuerte 19. Pamplona Spain 1980<br />
^Alogías. «Musica visual» (A/5, offset, 2x8 p.) Nueva escritura N°4. 1980. Ed. Bidea <br />
!Dark Hopes! 151 Ballyboley Road Larne, CO. Antrim, Northen Irelanden 1983<br />
^FOMT (Bulletin) (Mail Art texts and contact bulleltin in A/5 size, phc., 8 p.
1983-84, qu. #1-8.)<br />
^# 8<br />
Darnell, Wally World College East Asia. Center 28 Gokooda-Cho, Nishijujo, Minami-ku, Kyoto, Japan 1986<br />
↑ 839 West 4th Ave. Eugene, OR-97402 USA 1984<br />
.............................................................................................................................................................<br />
^Mail Art Ambassadors Stamp Album (with Chuck → Welch and Darlene → Altschul) <br />
(One of the most beautyful Mail Art publication: accordion book (8x)<br />
like a book in a size of 33x23 cm. by handmade „sky-paper“ and with<br />
18 artists' postage stamps by Welch, made as commemorative stamps<br />
to the Latinamerica trip of W. Darnell. Also an attendant brochure, text<br />
by Chuck Welch, letter size, 10 p. 1984-85<br />
Davenport, William / Tamara F. (Freedman). 82. Harriet St. San Francisco, CA-94103-4006, USA 1988<br />
↑ P. O. Box 883202, San Francisco, CA-94188-3203 - “ - 198?<br />
↑ 801. 22nd Street San Francisco, CA-94107 - “ - 1983<br />
.............................................................................................................................................................<br />
^Unsound (Multimedia mag. with booklets & tape supplements, features, profiles,<br />
audio reviews and (also visual) publication listings. Var. sizes (~letter),<br />
phc. +offset. ~60-120 p. 1983-88, ~ 12#)<br />
^#Vol.1/ 1, 2, 5; Vol.2/ 2, 3-4, Vol.3/ 1, 2,<br />
~<br />
Literature:<br />
<br />
«Here's a heavy-duty networking magazine all about outer edges, but particularly<br />
audio.There is a slew of interviews with people like Joseph Nechvatel, founder of<br />
the cassette magazine, Tellus, mail artist and TRAX cassette producer, Vittore →<br />
Baroni, and Sue Ann Harkey of „Cityzens for Non-Linear Futures“. And more.<br />
Personality profiles from „The Churh of the SubGenius“ publication and cassette<br />
/ record reviews. Loads of addresses and leads from strange cases the world over.<br />
Clean-looking and clearly an assidiously produced item.» (Lightworks [→ Burch],<br />
Glimmerings [Print review], N° 18, Winter 1986-87, 52 p.)<br />
(Vol. 3, #2): «This is the final Unsound, composed of 4 parts 1) 56 pg. tabloid size<br />
mag., includes articles/interviews... 2) 32 pg. booklet of extensive reviews, printed<br />
matter, cassette/record labels/makers, distributors, networking, contacts, mail artists,<br />
tape/record/video reviews... 3) 28 pg. boklet of adverts. 4) a high quality tape compilation<br />
of 24 bands. This is a worthy final issue package for a magazine/concept<br />
that has over the years networked alot of otherwise disparate individuals, groups,<br />
tandencies. „This is the last, not due financial constraints or to lack of information to<br />
delve into, to reveal... but for reasons of change... evolution of thought & reason.<br />
We don't wish to preserve the past“.» (Stephen → Perkins: Magazines. In: Box of<br />
Water, N° 4, 1988)<br />
!Dazar! / !Omahaha! (Monica Dunlap) 5305 S. 122nd Street. Omaha, NE-68137. USA 1987<br />
Full Moon (Spiral bound assembling, letter size, 1987, #1)<br />
<br />
Artistamps: ^Harmonic Convergence Aug 16-17 1987 (Sheet of 24 id. stamps, phc. <br />
on yellow paper) 1987<br />
^Weird Dream Post (Sheet of 12 id. stamps, phc. on green paper) n.d. <br />
^Co-op Post by (Sheet of 12 diff. stamps, colour phc.) n.d.<br />
<br />
^Surpasses Reality (Sheet of 4 diff. stamps, colour phc.) n.d.<br />
<br />
Debris, Kristof S. Meersstraat 41. Gijzegem, B-9308 Belgium 1988<br />
^Wall (Assembling in envelope, A/5 & A/6 matter. 1988-94, #1-9)<br />
<br />
^#9<br />
^Mail Art versus E-Mail – send reactions! Inv., 1996<br />
<br />
~<br />
Literature: «The assembling editor has a larger control over quality than most of them realize.<br />
It should be quite obvious that the package of an assembling does a lot to the overall
impression of quality. Assembling can come in all shapes and sizes and in an editor<br />
put work in that, it shows. (...) I stopped Wall for a number of reasons. First of all, I<br />
came to realize the above while working the magazine, learning from my experiences.<br />
It wasn't like I started with a clear idea of what wanted to do, what my goal<br />
was in doing an assembling. (...) When I started doing mail art I'd read about those<br />
grand sounding assemblings that come with tapes and magazines packed in videoboxes.<br />
Old time mail artists showed or grave me copies of what they used to do, Dr.<br />
Piotr → Akoun, for example...» (Editor's Statement / 1996. In: Stephen → Perkins:<br />
Assembling Magazines. Internationale Networking Collaborations. Cat.: Halflegal,<br />
phc., 64 p. Subspace, Iowa City. 1996 / Print: 1997. 36 p.)<br />
Decker, Geert de (Sztuka Fabrica) Kerkstraat 290, Tielrode, B-9140 Belgium 1990<br />
^3-Dimension Artwork. Inv., 1990<br />
<br />
^Mail Box Blues. Inv., 1990 <br />
^All about Russian History, Culture, etc. Inv., 1991<br />
<br />
^Abnormal mail becomes Art. Inv.. 1992<br />
<br />
^Mysteries of the World (as a project of the Sztuka Fabrica). Inv., 2000<br />
<br />
^Mortuarum. Inv., 2000<br />
<br />
^Independent Music & (Mail) Art Festival – 12 th Festival in Sint Niklas. Inv..2000<br />
^Mysteries of the World. Cat.: A/5, phc., 16 leaves + paper work supplement. 2000 <br />
<br />
Deisler, Guillermo Kirchnerstr. 11 Halle a. d. Saale D-06112 Germany 1993<br />
↑ Riebeckplatz 12. Halle / S., 0-4020 Germany 1990<br />
↑ Thälmannplatz 12. Halle / S.GDR-4020 GDR 1986<br />
↑ Ul. Kitschewo 48. Aprt. 17. Plovdiv, BG-4004 Bulgaria 1975<br />
↑ ? Santiago de Chile Chile<br />
.............................................................................................................................................................<br />
Mimbre (Deisler was co-editor of this magazine for poetry & graphic, 1967-73, <br />
over #50) Santiago de Chile<br />
GRRR. (Graphic-publ. offset? {50}) Chile, 1969<br />
<br />
°Le monde comme il va. (Offset? booklet, 17x11 cm, 12 p.) Ed. Ovum (→ Padín), <br />
Montevideo, 1976 , C.<br />
Pocking Poetry. (Publ. in Bulgaria, edition and size unknown) 1977<br />
<br />
^Fe de Erratas. (S)edicion. Self edition from Plovdiv, Bulgaria. 10.8x10.8 cm., offset, <br />
12 p. Segunda Epoca - 1985<br />
^Deisler. Theaterentwürfe, Grafik, Mail-Art. Cat.: 19.5x21 cm., offset, 24 p. / Galerie <br />
Junger Künstler, Berlin. September 1986<br />
^Giullermo Deisler: Grafik. Doc. (Leaflet like accordion, 3x): 21x10.5 cm., offset, <br />
6 p. Text: Karla → Sachse (German). Galerie am Markt, → Annaberg-<br />
Buchholz. Sept. 12 - 30, 1986<br />
^Visual Poem / Poetry. Self edition, Halle, n.d. (~1986). 7 silkscreen leaves of <br />
25x27.5 cm. in BW print in hand made cover, each sheet signed.<br />
70 signed and numbered copies.<br />
^Peacedream-Project (Portfolio visual poetry / experimenta: send 100 copies...) This <br />
A/5 Mail Art invitation was the start for the UNI/vers assembling. 1988<br />
^UNI/vers (Assembling in portfolio, a «peace-dream project». An A/5 size int. <br />
forum for vis. poetry with ~ 40 signed contributions pro issues {100},<br />
launched 1987 by G. Deisler, G. Berchenko, J. → Kowalski &<br />
Ulrich → Tarlatt. 1988-95 squ., #1-35)<br />
^#1, 2, 3, 4, 5, 6, 8, 9, 12, 14, 15<br />
Feathers /Federn der ganzen Welt für meinen Flug. Doc. / Exhs. in Französicher <br />
Dom, Berlin, East, and Galerie am Markt, → Annaberg-Buchholz. '89<br />
Heimatlos. (with → Tarlatt) Cat.: with orig. graphics, {100}, Halle, 1989<br />
^Words Images Stamps. (Stamp Book) Rubber stamps & collages, 29.7x15 cm., 40 p.<br />
<br />
® <br />
{25} S. P., 30 Nov. 1989<br />
^Feathers / Federn der ganzen Welt für meinen Flug. Cat.: A/5, offset, 8 p. / Galerie <br />
am Hauptmarkt, Gotha. 64. Exhibition: March 27- April 28, 1990
^Visuelle Poesie. (with → Sachsa, K.) Cat.: + poster. Offset, A/5, 36 p. / Museen der <br />
Stadt Gotha, Schloss Friedenstein. Gotha. 1990<br />
^Figurengedichte. Offset print from zinc-plates. 18.5x12 cm., 27 leaves, bound {50}. <br />
(Print: Axel Möbest, Bound: Thomas Lüttich) {50} S. P., 1990<br />
^Unlesbar & Sprachlos. Visuelle Poesie. 25x21 cm., silkscreen, 34 leaves {50}. <br />
Autoren Ed., Halle<br />
^Calligraphic. 7 silkscreens, A/4, in envelope {80} S. P., Halle, 1 Mai. 1990. <br />
^wortBILD - Visuelle Poesie in der DDR. (Anth. with ed. → Kowalski, J., with the<br />
curriculum of the authors) 20x15 cm. offset, 164 p. Mitteldeutscher <br />
Verlag, Leipzig, 1990.<br />
Further → GDR Visual & Experimental Poetry<br />
^Multiple (Bookobjext {4}). 15x10.5x0.5 cm, offset, collage. Novemebr 3, 1990 <br />
^Collages (with G. Berchenko) A/5, 24 leaves, spiral-bound {50}, S. P., Paris-Berlin <br />
^5 Years UNI/vers (1987-1992). Artists' project for vis. & exp. poetry.<br />
<br />
Cat.: A/5, offset, 28 p. {100}. Halle. 1992<br />
5 Jahre UNI/vers (;). Zum 500. Jahrestag der Eroberung Amerikas. Text: B. → Milde <br />
(German) With a list of (all?) participants of the UNI/vers issues. A/5,<br />
offset, 12 p. + 1 original art print. October 10 - November 9, 1992<br />
UNI/vers Visuelle und experimentelle Poesie international (Offset magazine, also <br />
with colour print cover. A/5, ~30 p. {1000}, 1994, #1-2)<br />
Guillermo Deisler died October 21, 1995 in Halle 1995<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 107 p.<br />
Para Guillermo - nuestro amigo (→ Augenweide, Ed. N° 21) Orig. works by 58<br />
artists, A/4, mixed techn., ~ 65 leaves, bound like assembling {60} Introduction<br />
text: Jörg → Kowalski, 1995<br />
«...I knew Willy postally from 1967 when we interchanged our publications Ediciones<br />
Mimbre and Los Huevos del Plata and our incipient mail art. Personally, I met<br />
him in 1971 during the International Expo of Propositions to Realize, in the CAYC,<br />
Art and Communication Centre, conducted by Jorge → Glusberg. The event was<br />
curated by Edgardo Antonio → Vigo. From that moment we were friends for ever.<br />
Guillermo was professor at the Visual Arts Department of the Chilean University in<br />
Antofagasta, a northerly city. During the state-stroke by Pinochet and the Chilean<br />
Army, in 1973, Willy and his family had to escape quickly from their mother<br />
country. After a stay in Paris, with Julien → Blaine, they established at Plovdiv, a<br />
Bulgarian city and, later they mover to Halle, Germany, where he died in fall,<br />
October 1995.<br />
In my first public opportunity, at the beginning of the V Biennal International<br />
of Visual/Experimental Poetry, curated by César → Espinosa in Mexico<br />
City, from 10th to 20th of January, 1996, I performed an homage to Guillermo,<br />
with a lecture of his poems and tales about our friendship (I recorded when<br />
Guillermo sent me Bulgarian official stamps that I bought in Montevideo for<br />
financing the OVUM's mail)...»<br />
(In: <strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Clemente Padín. A/5, phc.,<br />
12 p. TAM-Publ.: TAM-960114, Tilburg, 1996)<br />
Karla Sachse: Gillermo Deisler. In: Mail Art. Eastern Europpe in International<br />
Network. (Catalogue and Anthology) Staatliches Museum Schwerin / Kunsthalle<br />
Budapest. Bilingual edition: German and English. Schwerin, 1996. 119-124 p.<br />
Guillermo Deisler. Grafik, Visuelle Poesie, Buchobjekte. (Eds.: Bärbel Zausch<br />
& Jörg → Kowalski) Cat.: 25x17 cm. offset, 56 p. / Staatliche Galeria Moritzburg,<br />
Halle. Text by G. Deisler: Einige Ereignisse... / Some events... («...It's very<br />
important for me to say that I consider my occupation as an artist as very small
and insignificant but at the same time as one of great dignity. I mean the refusal to<br />
accept compromisses with power, no matter of what kind it is, and the rejection of<br />
the use of art and the artistic work as its instrument...»). Also essays by Peter →<br />
Huckauf, Pierre Garnier, Karla → Sachse, Hans-Georg Sehrt, Clemente → Padín,<br />
Jörg → Kowalski, Hartmut → Andryczuk. 11 Januar - 23 Februar, 1997<br />
Vittore → Baroni: Guillermo Deisler. In: Arte Postale. Guida al network della<br />
corrispondenza creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 174-175 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 261 p.<br />
Delanghe, Griet / Callens, Mario. (Demethshuis Foundaton) Rijksweg 314. Wielsbeke, B-8710. Belgium 1993<br />
^Dedicated to... International Artist’s Book Exh. by materials collected via Mail Art. <br />
Invitations in the form of letters, 1993. Exhibition at the Demethshuis<br />
Foundation, Wielsbeke, 1994. Also cat.:<br />
^That’s Me. (2 nd int. Artist’s Book Exh. at the Demethshuis Found., Wielsbeke). <br />
Inv., 1996. Cat.: ?<br />
Delgado, Fernando García. Bacacay 3103 Buenos Aires, (1406) Cap. Fed., Argentina 1996<br />
^Vortice / Projecto Vórtice (Magazine for visual literature and experimental graphic <br />
with Mail Art connnections. 16.5x11 cm., phc., 16 p. Jan. 1996 -, qu.)<br />
^#1, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 17<br />
^VORTEX3, Poesía Visual & Gráfica Experimental (With Juan C. Romero, c/o Mexico <br />
1626 5° J. [1100] Bs. As. – Tabloid size one sheet mag, 58x41 cm.,<br />
folded to 8, newsprint on rotation-paper. 1998-, qu.)<br />
^#1, 2, 3, 4, 5, 6<br />
^Mail Puzzle Art. Inv., 1998<br />
<br />
^Artistamps, International Exhibition. Inv., 1998<br />
<br />
^Publications, Int. Exhibition (about/with Mail Art). Inv., 1998<br />
<br />
^Hommage a Marcel Duchamp. Inv., 1998<br />
<br />
Barraca Vorticista. Room of projects, actions, performances & mailartists' exhi- <br />
bitions from April 1998 at Bacacay 3103, Buenos Aires. Among the<br />
first artists have been exhibited: G. Pernenczky, E. Morandi, Hugo<br />
Pontes, E. A. Vigo, Cavellini, artistamp show, etc. Actions by Hilda Paz,<br />
J. C. Romero & others. Proclamation for these events in the brochure:<br />
^Clamor Brzeska. ~A/5, phc. 8 p. Buenos Aires, April 1998.<br />
<br />
^A + C Books. (assembling like high quality annual publication. 18x18 cm. spiral <br />
bound booklets with ca. 30 leaves edited in 60~70 copies. 1998?- )<br />
^#1 (1998), #2 (1999), #3 (2000)<br />
^Mail Art Day / Dia del Arte Correo, ‘99. Organized by the Vortice and the Postage <br />
Stamp & Philately's Managership of the Argentine Mail Office.<br />
Exhibited artists' postage stamps and coupons by 227 artists from 28<br />
countries. C 1000 ZAA - Buenos Aires. The “Day”: December 5, 1999<br />
^La Plata, Vigo’s Hometown. Inv. + Cat.: 22x17 cm., phc., 8 p. with participant list. <br />
Additionally: ~folio size folder (colour offset recto-verso print) with texts<br />
and photos about the show at the “Pasaje Dardo Rocha” in La Plata,<br />
December 2000.<br />
^Mail Art Day / Dia del Arte Correo, 2000. Organized by the Vortice and the Postage <br />
Stamp & Philately's Managership of the Argentine Mail Office.<br />
Publication: 33.5x44.5 cm. artists’ postage stamp sheet by colour offset<br />
print, 4x9 stamp images, perforated – works by 36 Argentine artists only.<br />
Edition: Argentine Central Post Office, Buenos Aires. December 5, 2000.<br />
Dellafloria, David (Art Gallery) Little Malop Street. Geelong, VIC, AUS-3220 Australia 1998<br />
Field Studies. (Yearly publications by submissed materials like an assembling, <br />
probably also by “normal” art. Published in 100 copies, 1990s ?)
^Post it! Momento to Momenta ’99. Inv., 1999<br />
<br />
^From the Seven Seas – International Rubber Stamp Trail. Inv., 1999 ®<br />
«De Media» (Club & Gallery) Molenstraat 165. Eeklo Belgium 1986<br />
→ Boever, Jan de<br />
Dencker, Klaus Peter Sieker Landstr. 77 Berlin, D-10247 Germany 1996<br />
Text-Bilder. Visuelle Poesie international. (Anth. ) Köln, 1972<br />
<br />
^Wort-Köpfe. Visuelle Poesie 1969-1991. Einleitung. Chr. Weiss, (A/5, offset, 216 p.) <br />
experimentelle texte N° 26-28. Siegen, 1991<br />
~<br />
Literature:<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 265 p.<br />
Denti, Giuseppe / Baraldi, C. / → Maggi, R. Via Messina 2. Milano, I-20154 Italy 1982<br />
^Taccuino Apogrofo / Also as → TRAX 1285 (Assembling for xerography in port- <br />
folio, A/4, phc., 1985-, 1-15#, the most issues not as TRAX product!)<br />
^#13<br />
Deprez, Bruno (CBV Gorodok), 21 B. rue des Ecoles Kain, B-7540 Belgium 1986<br />
18 rue des Soeurs Noires Tournay, B-7500 - “ - 1985<br />
.............................................................................................................................................................<br />
^Pazuzu's paper (Bound assembling, A/4, in a larger, hand painted envelope {50}, <br />
1986, 1# only?)<br />
Suicide / ^The Little Big Pages.. (Supplement booklets to Pazuzu's Paper, planed) <br />
as the #2 of Pazuzu’s Paper) 1986<br />
^La Gazette de Monsieur Mose-Mose (Mail Art mag. in A/3 size, very vital outfit, <br />
phc., 4 p. 1986-87, #1-3 only?)<br />
^#1, 2, 3<br />
Dermisache, Mirtha / Schraenen, Guy, Kaasrui 11. Antwerpen B-2000 Belgium 1975<br />
^Diario (Magazine size graphic, tabloid, newsprint, 1975, #1)<br />
<br />
Despotov, Vojislav Vidakoviceva 2. Zrenjanin, YU-23000 Yugoslavia 1971<br />
Neuroart (with D. → Bijelc) (Object-accumulation mag., A/4, in a lessing edition: <br />
33→0 copies at 1-33#, the whole series hasn't been realized. 1971)<br />
^Underground Elevator (with → Szombathy, Bálint) (Folio magazine like assembl- <br />
ing with typewritten matter, handmade drawings and mimepgr. A/4<br />
leaves in a cover of 52x32.5 cm. {40 & 15}, 1971-72, #1-2)<br />
^Pesmos (Folio magazine with matter like Undorground Elevator, A/4, 1972, #1) <br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 35 p.<br />
B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the<br />
1970s. In: Stephen → Perkins: Assembling Magazines. Internationale Networking<br />
Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996<br />
/Print: 1997. 52-54 p.<br />
Desvois, Francis 92 rue E. Ténot Bordeaux, F-33800 France 1984<br />
^Zero + zero = Têtê à Toto. (A nice French graphzine of the fourth generation. <br />
A/5 booklets + supplements in envelope of 23x16 cm. 1984-85, #1-8?)<br />
^#2, 3, 4, 6, 7<br />
Devos, Danny ? Gent Belgium 1979<br />
°Performance by Mail (to U. Carrión) 1979
Diagonale / Espace Critique. (c/o Fréderic Boucher) Cimade, 176 r. de Grenelle. Paris, F-75007. France 1985<br />
Club with exhibition room in which also Mail Art projects have been organized in the 1980s<br />
years by help of Jaque → Massa:<br />
^A mail art surprise / (Planned as an exhibition Offensive! Artists, a vos postes! <br />
Or: Mail Art Power / Offensive Art Postal for the Diagonal / Espace<br />
Critique, Paris, and the „Alternativa 4“, Cascaix, Portugal. Inv., 1985.<br />
^Cat.: A/5, offset, 40 p. 1986. More about theese events: → Massa.<br />
^Your Obsession / Erotism / Sociaty / Creation. Inv., 1985<br />
^Foreigners in Your Country – what is your response? Inv., 1986<br />
Dias-Pino, Wlademir R. Marquês de Abrantes 18-608. Rio de Janeiro, BR-20000 Brasil 1977<br />
°Processo: Linguagem e Comunicaçao. (Anth. 2nd edition. 21x13.7 cm., offset, 340 p. <br />
316 p.) Ed. Vozes, Petropolis, BR, 1973<br />
Virgula (A/5 assembling in envelope of 24x17 cm. Vis. poetry, graphics. 1977)<br />
~<br />
Literature:<br />
<br />
Wladimir Dias-Pino. (Monography) 22.5x16 cm., offset, 220 p. Ediçoes do Meio.<br />
Cuiba BR, 1982<br />
Diettmar, Rolf (Artists' magazines collection) c/o Kasseler Kunstverein. Kassel Germany 1999-2000<br />
^Art Jurnaux. Die Kunst der Zeitschrift. (A number of artist' publications from the <br />
rich archive of Rolf Diettmar was exhibited at the documenta 6, 1977,<br />
in Kassel, when R. Diettmar and Peter Frank led the artists' books<br />
department of this show. An other selection from the Diettmar-archive<br />
focused to the artists' magazines has been shown at the Kasseler Kunstverein<br />
from January-March, 2000. Rolf Diettmar, who took part in the<br />
preparation, died unexpectedly before the vernisage of the exhibition in<br />
October 1999. Jürgen O. → Olbrich finished the arrangement). Catalogue<br />
in the form of tabloid size news-object: 47x35 cm., offset print with<br />
colour illustrations, 42 p. Over 350 exponats. Essay by Elke Grützmacher,<br />
bibliographical annotations by Rolf Diettmar and Jürgen O. Olbrich.<br />
Kasseler Kunstverein, 2000.<br />
~<br />
Source:<br />
Hauswedell & Nolte (Auktionhouse catalogue): Sammlung Rolf Dittmar,<br />
Wiesbaden. Katalog-Kunst-Kataloge / Kunst-Zeitschriften-Kunst.<br />
Auktion Nr. 352, Nov 14, 2000. Pöseldorfer Weg 1, D-20148 Hamburg.<br />
27.5x20 cm., offset, 96 p. (info@hausweddel-nolte.de)<br />
Dijk, Pier van ? Hengelo-Duiven Netherlands 1981<br />
Meeting (Commonpress #31) (with Joseph, Robert) A/4, 78 p., 80 participants, {200}. <br />
Hengelo / Duiven, May 1981<br />
°A White Sheet of Paper. Doc. 62.5x29.5 cm. poster with the list of 201 parts. <br />
Hengelo NL, 1982<br />
Dijk, Willam van Gaisbergstr. 18 Heidelberg, D-6900 Germany 1989<br />
↑ Bahnhofstr. 7. - “ - - “ - 1987<br />
.............................................................................................................................................................<br />
^Kopie-Kunst (Bound assembling like copy art mag. Not original pages!<br />
<br />
A/4. phc., 60-100 p. 1987-, qu.)<br />
^# 2, 5<br />
Subbild Graphzine. (A/5, phc. 1991?- #1-5?) «I am absolutely sure, that in the next <br />
ark of Noah only the little mags and zines will get a seat.»<br />
DiMichele, Bill & Julie → Hill / Score<br />
Dinulescu, Aurelian Bihorului N° 14. Sc. A etj. 3 ap.7. Sibiu, R-2400. Romania 1991<br />
^The City Fortress / Orasul Cetate. (with Alexandru Jakobházy) Poster of <br />
70x50 cm., offset / Galeria Arta, Sibiu. April 1991
^Hommage à Ingres. Doc. A/5, phc., 4 p. Exh.: Galeria Arta, Sibiu. Jan-Febr. '93<br />
^Picasso. Inv., 1994<br />
<br />
<br />
Diotallevi, Marcello Via Veneto 59 Fano, I-61032 Italy 1979<br />
^Letters to Senders /Lettere al Mittente. Cat.: 21.5x21 cm. offset, 80 p. Texts by <br />
Mirella Bentivoglio, Stelio Rescio, Franco Solmi. Ed. del Brandale.<br />
Savona I-17100, 1981<br />
Artistamps: °For the peace (Bloc of 6 id. stamps, colour offset) Roma, 1984 <br />
^Self-Written Letters /Lettere autographiche. Cat.: 21.5x21 cm., offset, 70 p. <br />
(Text: P.→ Restany & others). Ed. del Brandale, Savona. 1988<br />
^Letters to Senders and Self-Written Letters. Cat.: 21.5x20.5 cm., offset, 16 p. / <br />
Galeria Civica d'Arte Moderna, Ferrara. May 28 - June 26, 1988<br />
Artistamps: ^I Metanetworker in Spirit (Sheet of 100 id. stampsm b/w offset) n.d. <br />
^Columbus 500 Years (Sheet of 30 id. stamps, colour offset) n.d. ('88?) <br />
^Senza titolo / Partiture (Visual & concrete poetry. Text: Biagio d'Egidio / Italian) <br />
24x13.5 cm., offset, 40 p. Edizioni Tracce. Pescara, 1989<br />
^Progetti di volo / Flying Designs (Poetical kite-designs between Mail Art ephemera <br />
and graphic works. Texts by Diotallevi, Venturoli and Maria Pia Salini,<br />
Italian / English) 16x11 cm., offset print with colour illustrations, 90 p.<br />
AIA Editori (Italian Kite-Makers Ass.). Roma, 1989<br />
^Lettere al Mittente / Letters to Senders 1980-1990. Exhibition at the Milan Art <br />
Center, March 30 - April 21, 1990. Participant list on a RV sheet of<br />
43x23 cm., offset.<br />
^ZOOM. Dentro la Srittura / Inside Writing (A visual poetry progress published in <br />
mini-book size) 9,7x9,7 cm.,, offset, 30 leaves {150}. Ed. il Martello<br />
di Thor. Torino, 1990<br />
Artistamps: ^Mail Heart (Sheet of 16 id. stamps, colour offset) 1990 <br />
^Ponza Island (Sheet of 32 id. stamps, colour offset) Italy 1991<br />
^The Lie of Sin (Block of 9 id. stamps, black & red offset on white p.)<br />
Italy 1991<br />
^Tale to the Wind (Block of 4 id. stamps in circle form, colour offset)<br />
Italy 1994<br />
^In Memory of Ray Johnson 1995 (Sheet of 4 id. stamps, colour phc.?)<br />
^Taboo (Block of 6 id. stamps, colour offset) 1995 Italia<br />
^From Cinema Archeology to Mail Art. Cat.: (Direction: Fiorangelo Pucci. Curator<br />
of the Mail Art section: M. Diotallevi. His essay in the Cat.: The Art<br />
~<br />
Literature:<br />
is in the Mail. Mail Art: a trend without borders. Italian / English)<br />
A/5, offset, 72 p. Palazzo Martinozzi, Fano. October 17-20, 1996<br />
^Gérard Xuriguera: Marcello Diotallevi. In: Cimaise N° 161, (1982) and in:<br />
Cimaise N° 216 (Jan.-Febr.-March, 1992). J. R. Arnaud Edition. Paris<br />
<br />
«Marcello Diotallevi plays mail art bank shots – shyly subversive, highly creative<br />
ricochets. He's exploring the huge, anonymous motions of the worldwide postal<br />
system by involving government handlers of the mail as unwitting collaborators.<br />
Their markings, routing and reactions to his mailed items transform and become the<br />
art. A system man all the way, Diotallevi's approaches have been these:<br />
Lettere al mittente, a 1981 project (and documentation in book form)<br />
involved addresseing a series of envelopes in wonderfully varied and typographically<br />
stylized ways – each impossibly illegible. The presumed sender (actually<br />
someone designated by Diotallevi) is clearly stated on the backside of the envelope.<br />
So, after puzzling over the front and marking it is all sorts of odd and interesting<br />
ways, postal officials „return“ the piece to the receiver. The project teatses and<br />
taunts the system and challenges the individual postal worker to deal with the extraordinary.<br />
The 1988 project (also published as a book) is Lettere autografiche. Here<br />
Diotallevi loads his envelopes with a blank white sheet of paper and folded, multi-
colored carbon paper. This time addresses are legible but fake. The trip from Argentina<br />
or Madagascar and back to Diotallevi in Italy is recorded in foreign postmarks,<br />
handwritten scribbles, and various random imprints from postal processing<br />
machines. Akin to the accumulation of barnacles on a ship's hull or the making of<br />
wax rubbings, the work deals with direct, physical transfer.<br />
Both projects examine the process of mail and its becoming art. They are<br />
gauges of elaborate incredibly intricate distribution institutions. While for most the<br />
mail is a matter of licking a stamp, dropping it in the slot and waiting for the post<br />
person, for Diotallevi it is about the marvel of movement and journay. He's sizing it<br />
all up with conceptual and graphic flair.»<br />
(Lightworks [→ Burch], Postscript, N° 19, Winter 1988-89, 56 p.)<br />
Artist Profiles: Marcello Diorallevi. In: Artistamp News (→ Banana). Vol. 4, # 2.<br />
October 1994.<br />
^Marcello Venturoli: Marcello Diotallevi – Opere dal 1978 al 1996. Catalogue.<br />
(About „letters“, artists' postage stamps, xerographical activities, visual and<br />
concrete poems, etc. Italian / English) 20x20 cm., offset / colour, 20 p. Galleria<br />
d'Arte la Borgognona, October 2-19, 1996. Roma<br />
Vittore → Baroni: Marcello Diotallevi. In: Arte Postale. Guida al network della<br />
corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 70-71 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 269 p.<br />
^Marcello Diotallevi. C’arte d’artista, grafica e libro d’artista. 21x16 cm. colour<br />
offset, 20 p. + cover. Publ. by the Giada Galleria d’Arte, Fano to Diotallevi’s<br />
exhibition in May, 2000.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 96-97 p.<br />
About Diotallevi's Mail Art /Copy Art:<br />
^Letters from Kythera, too. Cat.: Text: Suzel Berneron. 21,5x15,5 cm., offset, 16 p.<br />
Stamp Art Gallery. February 1-29, 1996. San Francisco<br />
^Marcello Diotallevi – Mail Art. Cat.: Text by Carlo Melloni, Italian / English.<br />
11x22 cm., horz. offset, 16 p. L'Idioma, Centro d'Arte. April 19 - May 13,<br />
1997. Ascoli Piceno I-63100<br />
About Kite-designs:<br />
^Fiabe al vento / Fairy-Tales to Wind. Cat.: Text by Giorgio di Genova, Italian /<br />
English. 22,5x10 cm., offset / colour, 44 p. Studio d'Ars, April 20 - May 8,<br />
1995. Milano<br />
^Fiabe al vento / Fairy-Tales to Wind. Cat.: Text by Suzel Berneron, Italian /<br />
English. 15,5x11,5 cm., offset / colour, 24 p. «Il Gabbiano», Circolo Culturale,<br />
September 30 - October 19, 1995. La Spezia I-19100<br />
^Fiabe al vento & Lettere da Kythera. Text by Rita Olivieri, Italian / English.<br />
21x10 cm., offset, 8 p. Art Now Galleria, October 11-30, 1997. Capua CE<br />
DiPalma, Ray 226 West 21st Street #4-R. New York, NY-10011 USA 1978<br />
°Tux. (Orig. rub. stamps, 16 p.) 1977<br />
® <br />
^10 Cards. (Hand stamped cards in cover) S. P. 1977<br />
® <br />
^10 Pyramides (10 hand made paper sheets of 18x12 cm. hand stamped and bound ® <br />
with cover of 19x14 cm.) S. P. 1977<br />
^Quatrageous Modesty. (10 sheets of digest size + covers, handwriting, handstamped) ® <br />
New York, n.d. (1970s)
^Original Confidential (6 pieces: sheets, covers, photo, handstamped pages,<br />
and collages, in a green + in a yellow cover) S. P. n.d. ~ 1978<br />
^Black Stamp Book (15x10 cm., rubber stamps, 248 p.) S. P. New York, 1978<br />
°Foreign Palm Works (Orig. rub. stamps, 24 p.) 1979<br />
°Dreiundzwanzig Arbeiten ( Orig. stamps, 54 p.) {100} Ed. Vogelsang, Berlin, 1982<br />
~<br />
Literature: Rubber #9, Sept. 1978 (Statement, works) → Stempelplaats<br />
® <br />
® <br />
® <br />
® <br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 75 p.<br />
!Dirty Dog! P. O. Box 210208 San Francisco, CA-94121 USA 1986<br />
^Beware (One man graphzine, images and scattered texts. Letter, phc. 1986-88, <br />
#1-20?)<br />
^#16, 17, 18, 19, 20<br />
Dixon 613 Bernard Denton, TX-76201 USA 1986<br />
↑ Box 7818 NT. Denton, TX-76203 - “ - 1984<br />
.............................................................................................................................................................<br />
Idle Time (Xeroxed Mail Art mag. bands, contacts. Half-legal. 1984-, ir.)<br />
<br />
Idle Time Hand Book. Letter, phc. +hand made manipulations, 36 p. 1986<br />
~<br />
Literature:<br />
«...I especially like the idea of xeroxing a sold black over an image from grayer<br />
machine to acheive a strikking two-tone fix. Just goes to show, good xerox art uses<br />
the idiosyncracies of the unit at hand. My work is in here, buut doesn't tand out, and<br />
some of the other work doesn't either; but there's some really fun stuff by Dixon,<br />
who was apparently more inspired by the idea of xeroxingg hands than onyone. I<br />
have the feeling the edition is very limited, but write anyway to Idle Time...»<br />
(PhotoStatic. N° 18, May 1986. Lloyd → Dunn: Mail Review)<br />
!Dogfish! (Robert C. Rudine) 3235 ½. Fairview Av. Seattle, WA-98102 USA 1997<br />
Tui Tui, an utopian archipelago, «won its independence 1985», is the poetical basic of<br />
the very large artists' postage stamp activity by Dogfish. He created an<br />
complete imaginary system of philatelical institutions (also a museum<br />
and a special artists' stamp department at a culture ministry) and wrote<br />
definition forms for his stamp publications. His work is the excellent<br />
embodiment of an underground coloured paraphilately which was realizable<br />
in the alternative art mouvement only.<br />
Artistamps: ^Peace (Block of id. stamps, black and red print) Vitreous Humor. <br />
Postage Dogfish. n.d.<br />
^Fetus Verboten 46 P (Block of id. stamps in red print) Pre-Natal. n.d.<br />
^Pre-Natal 12 (Oversize sheet of 81? id. stamps, black and red print)<br />
n.d.<br />
^All Natals (Sheet of id. stamps, black and brown print on white) n.d.<br />
^Terra Incognita (Sheet of 10 diff. stamps, phc.) n.d.<br />
^Mail-Art-Land Atlantis (Sheet of diff. stamps, colour phc.) n.d.<br />
^Visit of Larry Geibel... (Oversize block of 34.5x18 cm. with 15 diff.<br />
stamps, colour phc. {82}) Dogfish. n.d.<br />
^1000 peace equais one new peace (Sheet of 8 large- and 8 square-formed<br />
stamps, colour phc. {30}) © Rudine 80<br />
^Pre-Natal New Peace (Block of 8 horz. and 4 diagonal stamps, colour<br />
phc., {125}) R. C. Rudine 80<br />
^Post-Natal 8/3 (Block of 4 diff. stamps, colour phc.) 1983<br />
^Post-Natal / Dupty Music (Sheets of id. stamps, brown print on yellow,<br />
orange, red and green paper) 1984<br />
^Post-Natal 85 3N (Sheet of 20 id. stamps / Dippy Music, blue and red<br />
print on white paper) Harley-Dogfish / Canadada Visit. 1985
~<br />
Literature:<br />
^Earth to Venus (Sheet of 24 id. stamps, col. xerox on cream-coloured<br />
paper) Dogfish, Post-Natal. Post Office 91986. 1986<br />
^Post-Nuptial League (With → Harley. Oversize block of 35.5x21.5 cm.<br />
with 4 diff. stamps placed in 3 groups, which has been perforated<br />
individual. Colour phc., on special paper.) 1986<br />
^Mt. St. Helens May 18, 1980 (Block of 4 stamps, 2 images, colour<br />
offset) © Lynn Votaw 1981, by Dogfish.<br />
^Bicentenaire de la Revolution (Block of 4 diff. stamps, colour offset)<br />
© Dogfish, August 1989, prod. Anna Banana<br />
^Post Mortum / In Continuum: T. Michael Bidner (Block of 4 id. stamps,<br />
memory of → Bidner, colour offset with golden print over {250})<br />
Dogfish. April 5, 1989<br />
^5th Anniversary / Independence / Archipelago of Tui Tui (Block with<br />
one stamp, silkscreen print (?) on golden paper which has an<br />
relief print in a corner. Very special manufacturing.) 1990<br />
^Janet & Dogfish 5th Anniversary 1990 (Triangular form stamps by<br />
colour offset) International Artt Post '90<br />
^Taurum per cornua prehende (Sheet of 15 stamps, 2 images, black phc.<br />
on zinabar red paper) Post-Natal XL. Dogfish. 1991<br />
^Tui-Tui Stamp Museum (Block of 6 diff. stamps / 2 by Harley, colour<br />
offset) Int. Art Post, Sheet 5/7, Vol. 4 No. 1 Banana Prods. 1991<br />
International Art Post 90 (Sheets (?) of stamps in four colour offset.)<br />
Values: 1900p, 2300p, 3000p, 5300p, 7600p, 9900p.<br />
Banana Prods. / Luna Meridiana Prods. /Tui Tui, Dogfish, 1991<br />
I. C. I. S. Telecom / Tui Tui (Block of 3 stamps in diff. colours)<br />
Year 1995 PTTT<br />
^Pacific 97 Souvenir Sheetlet (Block of 9 diff. stamps, colour offset,<br />
Values: 400p, 3200p, 3400p, 4000p, 6400p, 9600p, 10 Nupees,<br />
12 Nupees, 12 Nupees = 61 N. Banana Prods. / Day Moon Press<br />
«The Ministry of Culture of the Archipellago of TUI TUI of The Joyous Lake<br />
announces the 1992 opening of the MUSEUM OF THE ARTISTAMP. The<br />
Museum will be dedicated at The Palace of Ministries in Zenith City, T'ing<br />
Province; TUI TUI as soon as construction be completed. The Curator – Mr.<br />
Hoipoloi Soy Ifgod – urges all those who are or have been active in this art form<br />
to keep the Museum informed of your activities and expresses his ongoing and<br />
open ended willingness to trade Artistamps from the Collelction of the Museum<br />
for your work. Additional copies of your work can be donated to the Museum<br />
for inflated deductions from your Tui Tui taxes. – S. („Sticky“) Tlatetlqali –<br />
Sub-Minister for Mail Art, Ministry of Culture»<br />
(Leaflet of the TUI TUI Foreign Ministry. Cultural Attache, 21 padcajab, 1991)<br />
«Artistamps mimic and mine the world of the “real” stamp. Of course, artistamps<br />
are no less “real” in the physical world than the postage stamps issued by<br />
government postal monopolies. Stamps adhere to a corpus of atoms about to be<br />
cast into the mailstream; they prove by their embedded semiotics that the rate of<br />
payment for the attempt at delivery has been prepaid. George Orwell once essayed<br />
words to the effect that not even a train schedule was devoid of aesthetic intent.<br />
So it is with stamps of every sort. That is how we arrive at miniature masterpieces<br />
on paper from mere decorated receipts.<br />
The first postage stamp debuted in May of 1840. Besides giving Queen Victoria’s<br />
Britannic subjects the edifying experience of lathering her backside with lickspittle,<br />
the Penny Black represented a revolution in communications at a distances… In the<br />
case of artistamps the parody of the State sometimes rises beyond robbing the<br />
imagebank once belonging to the State to an act of the creation of alternative<br />
nations – stamps being only the outward and visible sign. (…)<br />
Special rates apply to mail sent to other copuntires such as ours that are members
of the General Postal Treaty Organisation (GPTO). While admiring our flag, the<br />
visitor might contemplate Tui Tui’s twofold theory of sovereignty. First, we live<br />
upon floating islands. If our independence were threatened, we can raft our islets<br />
together and move the country! Second, our buoyant little archipelago is currently<br />
situated in the territory of the Duwamish Tribe of Indians. (…) we hold the space in<br />
protectorate. And we issue stamps. Our stamps can also be considered artistamps.<br />
Why? Because, I, an artist, say so!<br />
Shortly after Tui Tui joined the International Council of Independent States (ICIS)<br />
in 1987, I proposed a theory of categorize our nations. At that time it ran thus: The<br />
First World is the developed World; the Second, the developed socialist/communist<br />
bloc; the Third, the developing world; the Fourth, that of the submerged nationalities<br />
and indigenous peoples such as the Duwamish. ICIS members live mainly<br />
in the next two wolrds: th Fifth World consists of states like Tui Tui that control<br />
or pretend to control the sovereignty of places with a terrestrial geographical basis;<br />
the Sixth World is the realm of states that are personal (idiocratic), imaginary in<br />
place, extraterrestrial, extratemporal or purely cyberspatial. This political “Theory<br />
of Six Worlds” would meman nothinmg to the art history of mail art and artistamps<br />
were it not for the overlap of the practitioners of the Fifth and Sixth Worlds with<br />
those working in ther memdia of mail art and espepcially artistamps…»<br />
^ (Dogfish: Cindarella in Tui Tui. In: James W. → Felter: Artistamps / Francobolli<br />
d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo, 2000.<br />
120-127 p.)<br />
!Dogmatic, Irene! (Nancy Mosen) 39 Sycamore St. San Francisco, CA-94110 USA 1978<br />
Dogarithms. (Each page illustrates a different song with the word „dog“ in the title. <br />
Titles lettered by using rubber stamps. Mini, ip, 16 p., S. F., 1973<br />
Rover's Romance. (Dogs in love, contributions by 17 artists) Mini, multilith, 20 p. <br />
Star Spanieled Boners. (More dog love from A. Ackerman, R. Johnson, M. Belt, <br />
E. Metcalfe, P. Smith, D. D. Hompson. J. Bohn. O. L. Nations, C. Franke,<br />
F. Nutzle and others) Mini, multilith, 24 p. San Francisco, 1975<br />
The Canus Book of Dog Records. (Contributions by Ackerman, D. D. Hompson, <br />
C. Bailey, M. Scott, A. Smidt, A. Banana, R. Crozier, P. Smith, P. Fish,<br />
Dr. Brute, O. L. Nations) Mini size, ip. with 3 colour xerox variant covers.<br />
1977<br />
Insult. (Artists at their most insulting in word and image) Mini, multilith, 28 p. 1979 <br />
~<br />
Source: John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated Bibliography of<br />
Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery (→ Gaglione).<br />
San Francisco, 1997<br />
Literature:<br />
Irene Dogmatic: The Dinner Party: Feminist Fast Food or a Funeral Feast?<br />
In: Umbrella (→ Hoffberg). Vol. 2, #4. 80 p. Glendale, 1979<br />
Dohring, Scott Collective Foist, 287 Averill Ave. Rochester, NY-14620 USA 1988<br />
↑ P. O. Box 44. Penfield, NY-14526 USA 1986<br />
.............................................................................................................................................................<br />
^Foist (Mag. with «poetry, xerox matter, collage, texts, comics, reviews, announces<br />
in a rotatory confused progressions» Half-legal, phc., ~80 p. 1986?-, ir.)<br />
^#6, 7<br />
~<br />
Literature:<br />
<br />
«Only mag I've gotten that is not folded in the middle, this alone gives the mag a<br />
2-for-1 feel and helps offset the standardness of the damned xerox machine. Work<br />
by all those people you've already heard of; Michael Voo Doo, Crag → Hill, Ruggero<br />
→ Maggi, Patrick → McKinnon, Steve → Perkins, Blaster (→ Ackerman) and<br />
Tuli Kupferberg (of the Fugs). Scott is also involved quite actively with the experimental<br />
arts scene up that way, so you might want to get a hold of him. Also member<br />
of Zois (see cassette review).»
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 11 p.)<br />
(Foist, #5) «Eclectic journal combines photos, collageworks, texts in a jumble the<br />
viewer needs to sort through. I keep coming back to it for the reading. Luke<br />
McGuff's „The King is Dead“ is about the day Elvis died and is short & sweet &<br />
enough. Patrick McKinnon's „He lives in the airport...“, numerated like the bible,<br />
tells the story of a boy whose only world is that public concourse, with its ever<br />
shifting turning overcrowds of people. All this & more: little collages & pictures<br />
with lines of text, much of it politicalcritical. A varied and good collection.»<br />
( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 22, Febr. 1987, 707 p.)<br />
!Dom Tom!<br />
→ Garcia, Dominique<br />
Domonica Repubica, Mail Art: Bosch, A. / Jaen, R. Calle 24, #36. San Pedro de Macoris, DM. Dominica.<br />
^Espiritu sin fronteras. Inv. in the form of a flyer with orig. artistamp), 1999 <br />
!Dominique! (!Bug Post! / !Bugmaster!) (Dominique Johns)<br />
406 Letitia Eve. S. Seattle, WA-98118-1137. USA. 1990<br />
The Standard Artist Stamp Catalogue. (An expanded catalogue piblished yearly <br />
in five edtitions since 1991 untill 1996. The only listing of stamps<br />
issued by artists with extensive information and a reproductoion of<br />
nearly every major stamp design in five editions 1991-1996)<br />
Donohue, Bonnie<br />
→ Mail, etc., Art<br />
Dorian The / Plantenga, Bart, Barbador Publications, 194 Bleecker St. N° 30. New York, NY-10012, USA 1981<br />
The Nice Review of the popular arts. (Mag. All possible aspects to the theme «nice», <br />
contributed by mail artists. Digest, phc. 1981, #1?)<br />
Doury, Pascal 149 rue Chateau des Rentiers Paris, F-75013 France 1980<br />
^Elles sont 2 sortie (Co-editor. Further→ Richard, Bruno) (Mag. partly in form of <br />
books, 1977-)<br />
^#4, 5, 7, 8, 9, 10, 11, 12, 13, 14, 15, 19<br />
^Théo tête de mort. (Elles sont 2 sortie, N° 12) 32x24 cm., offset, 54 p.<br />
<br />
Les Humanoides Ass. 1983<br />
^Otto aime Toto (Elles sont 2 sortie, N° 16?) 29x31.5 xm., offset, 22 p.<br />
<br />
Crapule Prods. Paris, 1984<br />
^Elles sont Sortie / Ces livres realisés. Cat.: I-II Vol., A/6, offset 40 p. / Futuropolis <br />
in ARC / Musée d'Art Moderne de la Ville de Paris, 11 Av. du President<br />
Wilson. (A free selection of graphics only, no phylological data!)<br />
May 7 - June 16, 1985<br />
^Group Neuf-Neuf: Neuf members de Neuf-Neuf. Small collective publication of <br />
Frainch graphism. There are more names than nine (neuf): Casanave,<br />
Charlet, Doury, Faro, Galataud, Petit Fred, Miton, Nourry, Parmentier,<br />
François Peu, Ponti Art, Prokowsky, Veilhain, Willem.<br />
A/6, BW ful tone offset on glassy paper, 32 p. n.d. (~1985)<br />
^Dora Diamant et ses amants (14.5x14 cm., offset accordion book, 28 p. in folio <br />
{120}) Alain Beaulet Edition, Paris. 1986<br />
^L'age d'or de Dora Diamant (20.5x13.5 cm., offset, 92 p. {250})<br />
<br />
APAAR + W. Théryen Edition, Reims. 1987<br />
^Maladie d'amour (with Jean-Paul Rocher) 21x13 cm., offset, 40 p. Ed. Syros <br />
/ Alternatives (Souris Rose), Paris. 1990<br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 142-144 p.
Dragan, Sreco S. K. C. Marsala Tita 48. Beograd, Yogoslavia 1972<br />
c/o Faculty of Liberal Arts / Informative Center, Ljubljana, - “ - 1970<br />
.............................................................................................................................................................<br />
Project of Selective / Successive / Possibile Communication... in: Groh, 1972 <br />
Dreva, Jerry ? Los Angeles, CA USA 1980<br />
°Images and Delusions of L. A. (with Joan Borgman) Inv. / Traction Gallery. 1980 <br />
Artistamps: °Selfportraits (Sheet of 64 div. stamps, phc.) n.d. <br />
°Bicentennial Self-Portrait (Sheet of 16 div. stamps, phc.) 1976 <br />
Dressler, Uwe Jordanstrasse 15 Dresden, D-01099 Germany 1998<br />
↑ Thaelmannplatz 48 Cottbus, (GDR-7500 →) D-03046 1985<br />
.............................................................................................................................................................<br />
Mail Art Fete (with home exhibition) 1983<br />
<br />
^Contrast. Inv. / Jugendklub Madlowin, Cottbus, 1985<br />
<br />
Frieden - Umwelt (Exh. from the archives of Dressler, Winnes, Wohlrab, <br />
Buhrow, Jesch) / Church «Schloßkirche», Cottbus. 1986<br />
^All Bananas. Inv. to the address: Heidelbergstr. 1, Fankfurt/M., 1990<br />
<br />
Drózdz, Stanislaw Ul. Warynskiego 11 Dabrowa Gornicza-Slawków, PL 41-316 1986<br />
↑ Bialóskornicza 26 / 27, m. 6. Wroclaw Poland 1972<br />
.............................................................................................................................................................<br />
^dlaczego-why-pourquoi-warum. (Stanislaw Drózdz) Cat.: 21x21 cm., offset, <br />
12 sheets in folio. Galeria Foksal. Ul. foksal 1/4. Warszawa 1, 1975<br />
^Poezja Konkretna 1967-77. Cat.: 21x23 cm., offset, 96 p. / Akademicki Osrodek <br />
Teatralny Kalambur. Wroclaw. 1978<br />
°Wroclawska Poezja Konkretna. (12 cards) Politechnica, Wroclaw, 1978<br />
<br />
°Polska Poezja Konkretna. Cat.: 24 p. / Politechnika, Wroclav, 1979<br />
<br />
Dubolso, Edicoes Rua Kaquende 141 Sabara MG. BR-34500 Brasil 1985<br />
Papéis Higiênicos. Estudos sobre guerilla cultural e poètica de provoçao. (One page <br />
mag. with altern. publs. and graphics. ~A/4 folded to 6 pages. 1985, #?)<br />
Duch, Leonard Frank Köpenicker Str. 143 A Berlin, D-123355 Germany 1990<br />
↑ C. P. 922 Recife, Brasil 1978<br />
.............................................................................................................................................................<br />
°Buracoarte 2nd Ed. Cat.: 136 p., 1979<br />
<br />
Post-Office (with P. → Bruscky) (Commonpress #10, no edited) 1979<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 80 p.<br />
Dudek-Dürer, Andrzej Ul. Kolbuszewska 15 / 1 Wroczlaw, PL 53-404 Poland 1982<br />
Art & Mail Art activity as the reincarnation of Albrecht Dürer, from the early 1970s <br />
Information – Disinformation (Metaphysical-telepatic activity) 1976<br />
<br />
Open only in red light. Doc. 1980<br />
<br />
^Metaphysical telepatyic projects for the (yearly) anniversaries of Albrecht Dürer,<br />
1981-88, diverse documentations, also in form of posters. <br />
^Metaphisical-telepatic Activity. Self edition, Wroclaw. n.d. (1984?) 20.3x14.5 cm.,<br />
phc., 80 leaves.<br />
^Hoch Art. Self edition, Wroclaw, n.d. (1984?) A/5, phc., 42 leaves<br />
<br />
^Metaphysical Telepatic Project. Cat.: A/5, phc., 76 p. {30} May 21, 1984 <br />
^Metaphisical Concert – at the Studio Pohl, Bad Zwischenahn D. Inv., 1984 <br />
^Andrzej Dudek Dürer 1471-1985. 16 offset print postcards with collaged motives by <br />
Dürer and Dudek-Dürer. Wroclaw, 1985<br />
^Meta... Trips... Arts... (Anthology by texts and images) S.E. Wroclaw, 1985. <br />
20.2x14.5 cm., phc., 120 leaves.
^(Wothout title) With an essay of Andrzej → Kostolowski: A Change in the Manure <br />
of Art. Wroclaw, n.d. (1986?) A/5, phc., 28 leaves.<br />
What do you think of reincarnation? Poster. 1987<br />
<br />
~<br />
Literature: Adam Sobota: Dudek-Dürer. In: N D, N° 16, Austin, 1992 (→ Plunkett), 44, 49 p.<br />
Duncan, Brucen. Telegraph Ave. Berkeley, CA USA 1978<br />
^Tele Times /Telegraph Avenue's Tight, Tuff Little Mag. (Xeroxed half-legal mag. <br />
with graphic matter by mail artists. 1978-, over 30#? )<br />
^#30<br />
Dunlap, Monica<br />
→ Dazar<br />
Dunn, Lloyd The Drawing Legion P. O. Box 227 Iowa City, IA-52244 USA 1993<br />
↑ 911 N. Dodge Street Iowa City, IA-52245 - “ - 1989<br />
↑ 330 S. Linn St. N°7. Iowa City, IA-52240 - “ - 1988<br />
↑ 4424 E. Jefferson N°4 Iowa City, IA-52240 - “ - 1983<br />
.............................................................................................................................................................<br />
^PhotoStatic (One of the most important magazine publs. of the American alternative <br />
scene. Mail art, graphism, visual and audio reviews, essay and theories<br />
about the underground. Last issues in 1988-89 with an influence of the<br />
Neoism by its Karen Eliot variant; plagiarism & views about the Art<br />
Strike. Half-legal, phc. 1983-90, #1-40. New Series: 1993-, #41-42)<br />
^# 11- 42, except 26<br />
PhonoStatic (Mag. in the form of audio cassettes1984-90, #?)<br />
<br />
Retrofuturism (Hypermedia review issues beside the PhotoStatic, done by the <br />
«Tape-Beatles», sporadically appearing, from #23 of the PhotoStatic<br />
in its bottom third, after 1990 anew as an autonom publ.)<br />
^The irregular. A recombinant xero-essay (Half-legal, phc., 28 p.) → Xexoxial <br />
Endarchy. 1985<br />
The Tape-beatles (Audio-cassette mag. 1986?- )<br />
<br />
^Plagiarism® Issue of PhotoStatic, N° 31, July 1988, with the essays:<br />
<br />
Ll. Dunn: Is Plagiarism® Necessary?<br />
Anatoly Zyyxx: Plagiarism is Only Natural. An Uncommon Viewpoint<br />
Harry → Polkinhorn: Plagiarism<br />
Ge(of) Huth: Praecisio.<br />
Thad Metz: Communiqué N° 3.<br />
Meet Plagiarism®: A Brave New Text<br />
Christopher Erin: Intellectualism vs. Emotionalism<br />
Mark Rose: Work is Your God<br />
Ralph Johnson: Plagiarism®<br />
The Tape-Beatles: Plagiarism. A Plan for your Future<br />
^Meet Retrofuturism (Thesis for the Master of Fine Arts, Graduate College of The <br />
Univ. of Iowa) In: PhotoStatic, N° 31, July 1988, 1095-1104 p.<br />
^Report from the Festival of Plagiarism. (Glasgow, August 4-11, 1989) In: Photo- <br />
Static, N° 38, Oct. 1989, 1420-1424<br />
^YAWN. / Sporadic Critic of Culture (Leaflet mag. Letter, phc. 2-4 p. 1989-92, #1-38) <br />
Agressive School of Cultural Workers. Box 162. Oaklade, IA-52319<br />
^# 1- 38<br />
^Retrofuturism (New series, without PhotoStatic, 1990-, ~1-20#)<br />
<br />
^#12, 13, 17<br />
^PhotoStatic, new series (1993-, #41, #2)<br />
<br />
^CVS Bulletin (Infozine, 1993- ) «A Drawing Legion Publ.»<br />
<br />
Lloyd Dunn stoped his publishing activity and moved to France 1994.<br />
~<br />
Source:<br />
^PhotoStatic (Checklist brochure from 1988, 12 p., with detailed description of<br />
all magazines and audio publs. of Lloyd Dunn as well as his book/let editions
(selected):<br />
DiMichele & C. → Hill: Raw War (Semirandom word studies)<br />
Bob Gregory: The Procedure (Psychosocial realities by photography and<br />
texts)<br />
L. Dunn: The Persistence of Vision (Video images and forund text work)<br />
Steve Harp: The Talking Cure (Psychoanalistyc structures / paradigm of<br />
crimes)<br />
L. Dunn: The Catode Ray (Xerages takes on the mass media)<br />
A. G. → Fallico: My Existentialist Dreams (Collage patterns)<br />
Bob Gregory: 10.000 Dreams (Found texts and found pictures)<br />
Chris → Winkler: Cave Painting (The human figure in unfamiliar shapes)<br />
~<br />
Literature: Lloyd Dunn (An interview about past and present projects) In: N D #14, 1991,<br />
20-21 p.<br />
Lloyd Dunn: The Work of Art in the Age of Mechanical Reproductioon and the<br />
Ontology of the Xerographic Image. (A hint at Walter Benjamin's 1935 article<br />
«extended to deal with machine-based arts generally, such as xerography, photocopy,<br />
video, and computer-related imaging systems») In: PhotoStatic, N° 19, July<br />
1986 (A five pages long text divided in between a number of images)<br />
«PhotoStatic is one of the most prolific xeox mags, around and my advice is to<br />
unreservedly take out a subscription. What you'll get is an ecllecticwhirligig of<br />
images, texts, reviews, sub-texts, subliminal messages, contacts, shows, machine art<br />
and from issue #23 you get two mags. in one, for the Tape Beatles magazine<br />
RETROFUTURISM is now the bottom third of PhotoStatic. #31 is an excellent<br />
„Plagiarism“ issue. Not much else to say except that you miss this one at your own<br />
peril.» (Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988)<br />
(PhotoStatic / RetroFuturism, edited by The Tape-Beatles): «...cranked out bimonthly<br />
or so, this xerographic magazine has become a touch-stone within the mail<br />
at community. Each anthological issue takes on themes in internationally loose,<br />
rambling ways – „Dis Ease/Disease“ (N° 22) and „Plagiarism“ (N° 31). Knockaout<br />
imagery powered by clever sensibilities. RetroFuturism rides on the bottom or outer<br />
edges within issues of PhotoStatic designed to be separate entities. It's hard for us to<br />
separate the two in any substantive way. No problem. This publication(s) a winner.»<br />
(Lightworks [→ Burch], Glimmerings [Print review], N° 19, Winter 1988-89, 44 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 95, 150 p.<br />
Duquette, Michael Canadada Post. 3462 A. Danforth Ave. Scarborough, M1L 1E1 Canada 1990<br />
↑ Suite 114, 975 Kennedy Road Scarborough, M1P 2K5 - “ - 1981<br />
.............................................................................................................................................................<br />
°Photographs / Making Photographs. Cat.: Half-legal, phc., 20 p. 192 participants. <br />
Toronto, 1981<br />
^Canadian Union of Postal Workers – Mail Art project. Inv., 1989<br />
<br />
^Postal Regulations – I Support the Postal Workers / The locals show. (Commonpress <br />
#42/a) Cat.: 44x29 cm., offset? 12 p. 1990<br />
^Picket Sign Project. Inv., 1992<br />
<br />
^Amnesty International (Artists’) Stamp Show. Inv., 1993<br />
Artistamps:<br />
<br />
Postal Regulations Mail Art Show (Sheet of 50 diff. stamps, colour phc.) <br />
A collective work, maybe instead of a Mail Art catalogue? 1981<br />
Durisin, Igor Suerser Weg 36 Wennigsen-2, D-3015 Germany 1988<br />
↑ Tomasikova 17 Kosice, CS-0400 Czechoslovakia 1982<br />
.............................................................................................................................................................
Cikly (Collaged graphic series, published in Neo Vol. 2, N°4 [#9] → Kántor) 1980<br />
International Stamp Book (Mag. with rubber stamps & prints. A/5. {20}1982, #1)<br />
(Further the circumstances of this publication → Giboda)<br />
<br />
® <br />
Durland, Steve 47 Canal Street #47. New York, NY-10002 USA 1981<br />
↑ 240 S. Broadway, 5th Floor Los Angeles, CA-90012 - “ - 1979<br />
.............................................................................................................................................................<br />
Tacit (Postcard size mag. with texts and images: New York art events. One sheet, <br />
offset. 1979-, m., edited for two or three years?)<br />
You Can Know More Than We Can Tell (Commonpress #22) Mini of 14x11 cm., <br />
42 p., 40 participants. October 1979<br />
°Consumption (Xeroxed bookwork) 9x11 cm., 14 p. Amherst MA, n.d.<br />
<br />
Duval, Jean-François → Placid et Muzo<br />
Duvivier, Françoise 18, Allée des Orgues de Flandre Paris, F-75019 France 1985<br />
^L'Ecran Caderneux. (Offset with text & drawings / photos, horz. size, 116 p.) 1985 <br />
^Métro riquet / International Audio & Visual Magazine. (Mag. {early issues: ~20, <br />
later 500 copies}. Texts English / also French by (mostly) separeted<br />
brochures, entitled «Traduction francaise». The interview column and<br />
publications reviews of the Métro Riquet are the best English speaking<br />
sources for the alternative art, Mail Art and fanzine scene in France<br />
in the second half of the 1980s. High quality graphism. Horz. A/5 and<br />
25x21 cm. sizes, phc. + offset, ~60 p. 1988-90? squ., ~ #1-8)<br />
^#1, 6, 7, 8<br />
^Collages (Xeroxed brochure, A/4, 16 p.) S. P: n.d. (~ 1990)<br />
~<br />
Literature:<br />
<br />
Daniel → Plunkett: Metro Riquet. (Interview: Françoise Duvivier talks about her<br />
magazine. «Metro Riquet wants and wishes to present a kind of art, often rare,<br />
often unknown, weird and bizarre, not ordinary, which expresses life as abundance<br />
which is what I have always liked...») In: N D #13, 1990, 13-15 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 144-145 p.<br />
Dziamski, Grzegorz (Maximal Art Gallery) Libelta 26 / 38, Poznan, PL 61-707 Poland 1978<br />
°Concrete 78. Cat.: A/4, phc., 32 p. Maximal Art Bulletin. Poznan, PL, 1978 <br />
°From Poetry to Poesy (Commonpress #4) A/5, 50 p., 39 participants. Maximal <br />
Art Edition, April 1978<br />
^Biulletin Maximal Art (Mag. A/4 & 33x23 cm., phc., 32x38 p. 1978-80, #1-3) <br />
«New tendencies, critic notes, information, few pieces of mail art»<br />
^#1, 2<br />
^Art as Revolt of Culture / Sztuka jako revolta kulturowa. Cat. in the form of <br />
a poster: Horz. 48x68 cm., BW half-tone offset, images and parts. list<br />
(44 parts.) Exh.: at the Klub SZSP Nurt, Dozynskowa 9/G. Poznan.<br />
Apr 20-30, 1979.<br />
New Art in Searching of Values. No catalogue, but an exh. poster. 1981<br />
<br />
∃, Group (Ana Rakovic, Cedomir Drca, Vladimir Kopicl) Novi Sad, YU-21000, Yugoslavia 1971<br />
Communication restored across radio waves... in: → Groh, 1972<br />
<br />
Ebel, Gerhild / Ahnert, C. Finoowstr. 8 Berlin, D-10247 Germany 1996<br />
↑ Landrain 143. Halle / Saale, GDR-4050 1991<br />
.............................................................................................................................................................<br />
^Miniature Obscure (Mini assembling {88}, with ~ 30 contributions in a box <br />
[cubus: 12x12x12 cm.] 1991-, ir.)<br />
^#1
Ebrecht-Umgestalter, Werner c/o Galerie Schollbrockhaus ? Germany 1985<br />
^Abgestempelt. Mail Art & Stempelgrafik. Cat.: in form of 137 postcards with ®<br />
continous text and images, offset, 55 copies. Text: Wolfgang Ernst.<br />
«Ecart, Gallery & Publications» → Armleder<br />
Echevery, Carlos Apartado Aéreo 11001 Medellín Columbia 1981<br />
^Sobre Arte (with Beatriz Jaramillo) (Assembling in envelope, A/4 xeroxed matter: <br />
texts, vis. poetry, Mail Art, photos. 1981-82. qu?, #1-7?)<br />
#3: Group Março, N. Richard, A. Velez, etc.<br />
#4: Texto visible, texto legible.<br />
#5: Lugar comun by E. Dittborn<br />
#6: Manuel → Marin's rubber stamp action<br />
#7: La fotografie en America. R. Kay, E. Dittborn, C. Flores etc.<br />
^# 1982 / N°7<br />
°Esta la huella todavia fresca. (with Beatriz Jaramillo) 21.8x21.8 cm. phc. + rubber ®<br />
stamps, 8 leaves. {25}. Medellín, 1981<br />
^Registro. Muestra Int. de Cultura Alternative, Arte Correo y Nuevos Medios. <br />
(Supplement to Sobre Arte, 1982 /#7) One sheet of 35x48.5 cm., offset.<br />
Inst. de Integr. Cult. Medellín. 1982<br />
°America en Papel. (Assembling, A/4 matter in envelope, 23 parts. {50}. 1982) <br />
!Edgar! →Bushmiller, E. A.<br />
Eeklo, De Media (Club) Molenstr. 165 Eeklo, B-9900 Belgium 1985<br />
^Frontiéres. Cat.: A/4, offset, 68 p. / Echs.: DRAC, 1 rue de Lombard, Lille, <br />
March 1985 / De Media, Eeklo, April-May 1985<br />
Egger, Walter / Hesse, Lydia, Arrowspire Press, 392 Halifax Road, Todmorden, OL14 5ST UK. 198?<br />
Arrowspire Press, 164 Keighly Road. Colne, Lancashire 888 OPJ UK. 1985<br />
.............................................................................................................................................................<br />
Knuckleduster Funnies (Mag. with anarchistic colour, A/4, offset. 198?- ) <br />
!Egon! (Sören Neumann) Förstereistrasse 2 Dresden GDR 1983<br />
Underground home-gallery for (unofficial) Mail Art projects in Dresden:<br />
Wartekritzeleien / Waiting Scrawl by → Gottschalk, J. 1983<br />
<br />
Urdeutsche Gemütlichkeit by → Stange, J. 1983<br />
<br />
Hommage à Wilheim Reich by → Jesch, B. 1983<br />
<br />
~<br />
Literature: → Jesch, Birger: Wilchelm Reich Projekt, edited 1993.<br />
Ehrenberg, Felipe & Martha → Mayor / Beau Geste Press<br />
°Testimonios de Latinoamerica (Part one & two). In: La Semana de las Artes #43.<br />
Tabloid size publ. offset, 16 p. Instituto Nacional de Bellas Artes,<br />
Mexico DF. 1978<br />
<br />
«Eins von Hundert» c/o Krabbe, Peter, Wörtherstr. 22 Berlin, D-10405 Germany 1997<br />
↑ c/o Krabbe, P., Rolandstr. 88 Köln-1. D-5000 - “ - 1990<br />
.............................................................................................................................................................<br />
c/o Resch, Rainer, Brabanterstr. 33 Köln-1. D-5000 - “ - 1989<br />
↑ c/o Resch, Karolinger Ring 36 Köln-1. D-5000 - “ - 1988<br />
.............................................................................................................................................................<br />
& c/o Fabry, Axel, Rue de l'éscaut 111 Bruxelles, B-1080 Belgium 1997<br />
c/o Fabry, Axel, Kalschauer Weg 21 Köln, D-50969 Germany 1988<br />
.............................................................................................................................................................<br />
Eins von Hundert (Unbound A/4 assembling in spring folder with 20-25 contributors <br />
in each issue {100}, original graphics and paintings. Also common
projects with the American assemblings Art/Life [→ Cardella, USA]<br />
and Art Works [→ Artworks Comittee, Tokyo]. 1988-, qu.)<br />
«Eksperimenteel-Kulturele Uitgeverij» Agrippinastraat 55. Voorburg, VE. NL-2275 Netherlands 1977<br />
Zonnebol (Magazine for Mail Art, rubber stamp, visual poetry, and theory. ®<br />
Cut A/5, phc., 1977?- )<br />
!Eleganza, Al! 393 Broadway New York, NY-10013 USA 1981<br />
Ash. (A quickly put-together xerox journal, Mail Art, vis. poetry. Digest, 1981?- qu.) <br />
Eleinko, Gary ? Detroit MI USA 1981<br />
°48226. A Mail Art Show. Cat.: A/5, offset, 24 p. 292 parts. / Focus Gallery. <br />
Detroit, 1981<br />
Elling, Tom ? ? Sweden 1979<br />
°Mr. Klein. (with the → Lomholt Formular Press) Cat.: A/4, offset, 116 p. <br />
24 parts. Gallery St → Petri. Lund, 1979<br />
Ely, Roger 15 b. Dorset Gardens Brighton United Kingd. 1979<br />
P. S. / Primary Sources on the International Performing Arts (Magazine in tabloid <br />
size of 43x30.5 cm., offset. 1979- bim.)<br />
Embo, Suzy 14 Av.. Charle-Albert Watermael Boitsfort Belgium 1975<br />
Sionna. Notations marginales (Mag. with art, theories, photos, graphics, travestied <br />
and images. Tabloid of 40x28 cm., offset on perforated computer-paper.<br />
1975-, qu.)<br />
Erdély, Miklós Virágárok u 6/B Budapest, H-1026 Hungary 1986<br />
The Meal / The Lunch of Batu khan. (With Gábor Altorjay and Tamás Szentjóby – the <br />
first happening in Hungary) Budapest, June 1966<br />
Last years snow and other conceptual/actionist works with nihilistic-deconstrutive <br />
colour in th 70s, which made Erdély a leader figure of the Hungarian<br />
samizdat literature and underground art.<br />
Moral Algebra. («...If everyone kills an average of two poeople, mankind can be <br />
exterminated in 32 steps...») Exh. & action in the Galeria → Foksal.<br />
Warsaw. 1972<br />
Möbius. (A series of works and actions, also an exh. in the → FMK, Budapest) 1976<br />
Dream Copies. (32 mm. B/W film, imagination and action) 1977<br />
<br />
Launching the workshop and group INDIGO («Interdisciplinary thought»). 1978<br />
^The abstracts of the thesis, Marly. (Hungarian text. / German translation in: <br />
Künstler aus Ungarn, Cat.: Kunsthalle Wilhelmshaven, 1980. 56 p.)<br />
The Avant Garde is Dead (Exh. & actions in the Club Bercsényi, Budapest) 1983<br />
Democratic Painting. (Parody about the «direct democracy» /Painting-action )1984 <br />
The invisible man (postage stamps in offset, and cancellaring stamps) 1982<br />
<br />
M. Erdély died 1986<br />
~<br />
Source:<br />
<br />
^Künstler aus Ungarn. Cat.: A/4, offset,100 p. Kunsthalle Wilhelmshaven. August-<br />
September 1980. Org.: Dora → Maurer & Joachim Diederichs. Introdution texts by<br />
István Hajdu & Jürgen Weichardt. Artists: A Mengyán; T. → Gáyor; D. → Maurer;<br />
P. Türk; Zs. Károlyi; J. Megyik; Gy. Jovanovics; K. Halász; A. Baranyay; T. Szentjóby;<br />
M. Erdély; The Studio of New Music, Budapest. Also the chronology of the<br />
progressive art movements in Hungary, 1966-1980.<br />
^Erdély Miklós 1928-1986. Cat.: Cut A/4, offset, 44 p. Text: Géza <strong>Perneczky</strong>:<br />
M. Erdély and his work: Deconstructive Tautology. István Király Múzeum, Székesfehérvár,<br />
Hungary / Bulletin du Musée Roi Saint Etienne, D series, N° 207, 1991
~<br />
Literature:<br />
^Erdély Miklós: Mûvészeti Írások (Writings about art, Hungarian text) Offset,<br />
224 p. Képzõmûvészeti Kiadó, Budapest, 1991<br />
«...The system of extinguished values was ultimately worded in Erdély's Marly<br />
Theses. He declared that a work of art was invalidated meaning. A work of art is<br />
perceived when two empty entities, the work and the person, perceiving it – overlap,<br />
it is when the perceiver says „It is beautyful“, which is an empty statement. But by<br />
making it, the viewer can feel that some new „place“ has been free within, and this,<br />
at the same time, is the feeling of freedom. The elucidation of these theses is<br />
accompanied by zeros in Erdély's text: every step forvard in the logical process adds<br />
another zero to the beginning of the line. They are evident visual symbols of the<br />
notion that the description of how art is perceived is the description of nothingness.<br />
The consistent thought joins its own beginning – the statement about the emptiness<br />
of art. The last two sentences, however, differ from the first theses:<br />
0 A work of art speaks about the affairs of the world in a way that makes the affairs<br />
of the world disappear.<br />
0 A work of art speaks about the affairs of the world in a way that makes this<br />
speech about the affairs of the world disappear...» (Géza <strong>Perneczky</strong>: Miklós Erdély<br />
and his work... In: Erdély. 1928-1986. Cat.: István Király Múzeum, Székesfehérvár,<br />
1991)<br />
«E. R. G.» Ecole de recherche graphic. Bruxelles Belgium 1987<br />
^Exhibition Mail Art. Cat.: A/4, offset, 20 p. + 1 sheet with address list. 1987 <br />
Eriksson, Leif<br />
Swedish Archive of Artists' Books<br />
Box 123. Leifswäg 11, Bjärred, S-23700 Sweden 1986<br />
My collected stamps (300 handstamped copies) Wedgepress & Cheese, Bjärred S, '78 <br />
°New Moves Dada. A Dadaism Handbook. A/5, offset + collages, 100 p. Ed. Sellem. <br />
Lund S, 1978<br />
°The Waste Paper Act. A/5, offset, 96 p. S. P. Bjärred, 1978<br />
<br />
°Tio nya grafiska metoder. Special publ. for xerography. A/4, 15 leaves, {300}. <br />
«Examples of electronic impressions». Bibliography. Wedgepress &<br />
Cheese. Bjärred S, 1980<br />
^Swedish Archive of Artists' Books. Cat.: A/4, offset, 24 p. (~220 exponats, archive <br />
list, bibliogrphy) (Konst-och bildforskuing, N° 5-6.) Malmö. 1983<br />
°Artists' Books / Booked Art. Cat.: (Texts Swedish & English) A/4, offset, 20 p. <br />
Wedgepress & Cheese. Bjärred S, 1983<br />
The Yellow Error Mail Art Show. Cat. At Händer in Stockholm and Malmö, 1984 <br />
^New Artists' Books. Cat I. 21x15 cm., phc., 20 p. (catalouge); Cat.: II. 15x10.5 cm., <br />
offset, 64 p. (images). / Galleri TV, Lund Universitet. Sweden, 1986<br />
~<br />
Literature: «Leif Eriksson is one of the leading mailartists in Sweden. He was been working<br />
with artists' books, mailert, rubberstamp art, stampart, electrographics etc. since<br />
1965... In 1978 he started Wedgepress & Cheese which are the only Swedish press<br />
specialized publishing artists' books and other experimental printed matter. Up to<br />
now the press have published about 50 titles by artists from Sweden, Europe, and<br />
USA. The press also publish the art magazine Konst- och bildforskning since 1981.<br />
Parallel with the press he has The Swedish Archive of Artists' Books (SAAB), which<br />
include a large collection of international and Swedish artist' books, Swedish art<br />
magazines, mailart, rubberstamp art, and other similar artists' matters. SAAB are a<br />
non-profit organisation supporting research, artists, musueums, and art schools with<br />
information and exhibition...»<br />
^(Peter R. → Meyer: Mailed Art. Text to the invitation from 1984.)<br />
Erickson, Roger 4996 Warren St. Brooklyn, NY-11217 USA 1978<br />
Folding Cigar (Letter size assembling, unbound matter in cover, ca. 20 sheets by 12 <br />
artists. 1978, known the issue N°1 only)
Erlhof-Brandes, Uta / Erlhof, Michael. Warmbüchenstr. 26 Hannover-1 Germany 1976<br />
^Zweitschrift (An alternative mag. with thematic issues: 1. Bilder & Fotos; 2. Neue<br />
Musik; 3. Architektur; 4.-5. Fremad ist der fremde; D. Buren, P. Corner,<br />
U. Carrión, V. Export, G. Rühm, P. Oliveros, T. Ulrich, On Kawara,<br />
L. Weiner... 6. How to write in Bielefeld?; 7. International Künstler; M.<br />
Abramovic, B. Dimitrijevic, J. Gerz, R. Filliou, J. Beuys. 8. M.U.(Z.I.K.);<br />
D. Roth, R. Crozier, B. Heidsieck, P. Weibel, S. Hanson, C. Morrow...<br />
9 Copie. Post-Fluxus poetry: concrete, visual & sonore. {200}<br />
Cut A/4, offset. 1976-, squ. #1-8)<br />
^#7, 10<br />
<br />
Erlij, Tania ? New York, NY USA 1981<br />
°Let Me Know You. Doc. 220x90 cm. (!) to fold, helyogravure? 24 parts.<br />
<br />
New York, 1981<br />
°What are y(our) rites? (with Holly Anderson) Assembling like publ. with 20 orig. <br />
xerographies of 22.5x23 cm., b/w & colour, {50}. 1981<br />
Artists' Body of Statements / or Secrets (Commonpress #44) Poster of 90x40 cm., <br />
blue print, Cambridge MA, 1982<br />
Espinoza, César Apdo Postal 45-615 Mexico DF. MEX-06020 Mexico 1982<br />
^Colectivo-3 / Post Arte (Mag. in form of loose leaves in envelope. 1982-, ir. ) <br />
^#1-A, 2-B, 6, 13<br />
°Revolucion. Doc. One sheet of 34x21 cm., phc., + rubber stamps, 121 parts. ®<br />
Mexico DF. → Colectivo-3. , 1982<br />
^Sell°graphias (One leave mag. for internationale vis. poetry. Horz. 21.5x34 cm. <br />
folded to accordion. Phc. + rubber stamps. 1982-, ir.) Ed. Colectivo-3.<br />
^#1<br />
^Poesía - Poetry / Visual - Experimental (One leave mag. with special issues for the <br />
vis. poetry in var. countries. Horz. 21,5x34 cm folded to 4 p. like leporello.<br />
Phc. 1982-, 2-3xy. ~ 12#)<br />
^#1, 2, 8, 9, 10, 11, 12, 14<br />
Founding the Núcleo Post-Arte group (César Espinoza, Araceli Zúñiga, Leticia <br />
Ocharán, Cosme Ornelas, María Eugenia Guerra, Jorge Rosano) to<br />
prepare the «First international biennial of visual and alternative<br />
poetry»<br />
^poegráfica / poetexto (One sheet visual poetry flyers, letter size, phc., 1 p. folded <br />
to 4. about 1984-85)<br />
^# i, ii, iii, iv, #?, #?<br />
^Postextual (Vis. poetry mag. focused on var. countries, contributions also from <br />
Eastern Europe. A/4, phc., 12 p. 1986- qu.) Nucleo Post-Arte, Mexico<br />
^ 1986/#2<br />
^Primera Bienal Int. de Poesía Visual y Experimental en Mexico 1985-86.<br />
<br />
Cat.: 21.5x17 cm., phc., 28 p. Texts by the Nucleo Post-Arte.<br />
Exh.: Pinacoteco de la Universidad Autónoma de Puebla.<br />
Apr 18 - May 9, 1986<br />
^Primera bienal int. de poesía visual y experimental en Mexico 1986-1987.<br />
<br />
Cat.: 21.5x17 cm., offset, 8 p. /Exhs.: , National Cinetheque, National<br />
Polytechnical Institute, Gandhi bookstore, Mexico, + travelings shows:<br />
Centro Cultural «José Martí», Central Alemada.<br />
Dec 30. 1986 – Jan. 17. 1987<br />
^II. bienal int. de poesía visual y alternativa en Mexico. Cat.: Letter, offset, 24 p. <br />
(Volume I.) /Exhs.: Pinacoteca of the University of Puebla, Mexico<br />
1987-88<br />
^II. bienal int. de poesía visual y altern. en Mexico. Cat.: 27x22 cm., offset, 32 p. <br />
(Volume II.) Universidad Veracruzana, Galeria Ramon Alva de la Canal.<br />
1987<br />
^II. bienal int. de poesía visual y altern. en Mexico. Doc.: Offset poster of 57x40 cm.
(Volume III.) Casa de la Cultura, Galeria del Aeropuerto, Mexico,<br />
Conservatorio de Musica, Polanco, 1987-88<br />
^II. bienal int. de poesía visual y altern. en Mexico. Cat.: 28x20 cm., offset, 24 p.<br />
(Volume IV.) Capilla Alfonsia Biblioteca Universidaria, Leon.<br />
December 3-15, 1987<br />
^II. bienal int. de poesía visual y altern. en Mexico. Memoria Documental. (Theory<br />
volume: articles + «inventario documental») 27.5x21 cm., offset, 56 p.<br />
Org.: Nucleo Post-Arte & others. 1987<br />
^III. Int. Bienal of Visual, Exper. and Altern. Poetry. Doc.: Info sheet + Poster.<br />
/ Ciudad Mexico. 1990<br />
^IV. Int. Biennal of Vis. & Exper. Poetry. Inv., 1992<br />
^ V. Int. Biennal of Vis. & Exper. Poetry. Inv., 1995<br />
^Bienal Int. de Poesía Visual / Exper. en el Palacio Legislativo. (Curated by Poesía<br />
Vixual-Mexico: C. Espinoza, M. A. Corona, A. Zúñiga, A. Espinoza)<br />
Doc.: poster of 56x43 cm., + «declaration» letter. Mexico. April 1996<br />
~<br />
Source:<br />
<br />
<br />
César Espinoza: The Biennials of Visual and Experimental Poetry in Mexico.<br />
(Essay with detailed data about the history of the Mexican visual poetry/visual<br />
poetry in the Mexican Mail Art and the (I-VI) biennials of visual and experimental<br />
poetry in Mexico. An English translation of the origin Spainish text in Internet<br />
publication of the Light and Dust Poets to the VI Biennial (entitled: Index for the<br />
U.S. and Canada – a cooperative presentation of the 6th Biennial, Kaldron<br />
On-Line, → Kempton, and Light and Dust Mobile Anthology of Poetry). 1998<br />
<br />
<br />
<br />
<br />
Literature:<br />
(Postextual) «Very compact visual-verbal and concrete newsletter with an international<br />
focus. While the pieces are usually over-reduced to facilitate getting a<br />
lot in 12 pages, the choise of works is impeccable emphasizing the most exciting<br />
and innovative of language art and avoiding the cliches. Many short essay texts on<br />
subjects such as zaum and the stridentists (everything is in spanish). Anyone who is<br />
serious about the visual-verbal movement should spend some time with this...»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.)<br />
(Primera Bienal...): A sizeable and comprehensive collection of b/w v/v work. The<br />
quality and variety here is stupendous, and I recognized many familiar names from<br />
all over the network, as well as many new ones. It's interesting to note that there is<br />
also a lot of work from Eastern Europe represented too, as well as form all over the<br />
world. Obviously the focus is on concrete poetry, which seems to have evolved<br />
over the years into a sort of hybrid medium with xerage (Miekal And points this out<br />
in issues of Xerolage [→ Xexoxial]). From my experience, the networks of poetry<br />
and xerox work are inextricably entwined & therefore so are their futures. This<br />
crossflux of disciplines (or undisciplineds) gives the hybrid medium an unmatched<br />
vitality today. There is evidence for all this in this volume, and I'd encourage you all<br />
to get one.» ( L. → Dunn: Mail Review. In: PhotoStatic. N° 23, April 1987, 742 p.)<br />
Evans, John 199 E. 3rd Street #2B New York, NY-10009 USA 1992<br />
↑ Ave. B. School of Art. Box 1004, Stuy. Sta. New York, NY-10009 - “ - 1983<br />
.............................................................................................................................................................<br />
~<br />
Literature: John Evans: Correspondencing by Tattoo. In: Flue (→ Franklin Furnace), Vol. 4<br />
#3-4 (Winter 1984) «Mail Art Then and Now» issue, 8-10 p.<br />
Fabry, Axel Kalscheurer Weg 21 Köln, D-50969 Germany 1996<br />
& Rue de l'éscaut 111 Bruxelles, B-1080 Belgium 1996<br />
.............................................................................................................................................................<br />
Co-editor of → Eins von Hundert (1996-)<br />
!Fa Ga Ga Ga!<br />
Mark → Corroto
Fakkeldij, Henk ? Utrecht Netherlands 1981<br />
°The Meeting. Doc. A/4, phc., 3 leaves, ~50 parts. Utrecht, 1981<br />
<br />
Fallico, Arturo G. 22700 Mt. Eden Road Saratoga, CA-95070 USA 1985<br />
↑ Via Boccaccio 123 Firenze, I-50133 Italy 1981<br />
.............................................................................................................................................................<br />
Headache of Fine Arts by Mail. (A few sheets assembling {200}, 1981?- #1-20) <br />
Artistamps:<br />
^Male Art (Sheets of stamps of 8.5x6.5 cm. with photos, phc. on yellow <br />
or ocher paper) ?<br />
Fluxus West / Ray Johnson (Sheet of 9 id. stamps, phc. on blue) 1990 <br />
~<br />
Literature: ^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 108-109 p.<br />
!Fan Mail! Box 66 Echternach, L-6401 Luxemburg 1999<br />
^Ireland Today. Cat.: A/5, offset, 24 p., with silkscreen cover, 304 parts.<br />
<br />
Exh.: At the County Mayo Ireland, August - October, 1999<br />
Fawcett, John S. ? Stors CT USA 1979<br />
°Stamp Out Art. Inv. on A/4, phc. / Univ. of Connecticut. 1979<br />
<br />
«FAX Art» Selected list of the early FAX projects organized by Mail Art / Copy Art authors (1982 - 1990):<br />
The World in 24 Hours. (The first fax art project.) Org. by Robert Adrian. Sept. 27 - 28 as the part<br />
of the Ars Electronica. Vienna, Austria, 1982<br />
pARTiciFAX. Org. by Lisa Sellyeh, Peeter Sepp, Mary Misner, Michael → Bidner & others with<br />
parts. from Africa, America, Asia, Australia & Europe. Collective Art X. Toronto,<br />
June 1984<br />
TELEFAX ART. Org. by Maria Grazia Mattei, June 21 - July 1, Artz & New Technology Exh.<br />
Pavia, Italy, 1984<br />
pARTiciFAX. Electronic Mail Project. Grismby Public Art Gallery. 25 Adelaide Street, Grimsby,<br />
Ontario, L3M 1X2, Canada. (416-945 0045) Show and project: 1-30 June, 1984<br />
Machina / Memory Landscapes. Paradise. Org. by Maria grazia Mattei. Turin, Italy, 1985<br />
Amico di Telefax. Org. by Maria Grazia Mattei, May 25 - June 2. Turin, Italy, 1985<br />
Planetary Network & Laboratory Ubiqua. Org., by Roy Ascott, Don Foresta, Tom Sherman,<br />
Tomasso Trini & Grazia Mattei. Venice Biennale, Italy, 1986<br />
Lines of the Horizon. Org. by Mit Mitropoulos. Novemeber 27-Thessaloniki Greece, 1986<br />
40.000. Org. by Andreras Raab. October 1 - 20. Palazzo Venezia, Rome, Italy & Hotel Ivoire<br />
Int., Abidjan, Ivory Coast. 1987<br />
Telefax-Rome-Nairobi. June 21 - 25. Galeria Alzaia, Rome, Italy & Gallery Watatu. Naoirobi,<br />
Kenya, 1988<br />
Telefoto di Gruppo. September 23. Camarino, Italy, 1988<br />
Fax for Pax. Org. by Giovanna Colavevich. October 24 - 25. Palazzo della Provincia. Catanzaro,<br />
Italy, 1988<br />
Cavallo Telematico (Telematic Horse). Org. by Gianni Loperfido. Nov. 14. Palazzo dei Diamanti.<br />
Ferrara, Italy & Italian Institute of Culture. Dakar, Senegal, 1988<br />
Artefax 1 – Electrosensibilidad. Org. by Mauricio Guerrero. February. School of Painting Sculpture<br />
& Graphics, Universidad Automa Metropolitana. Mexico City, 1989<br />
Alla Ricerca dell'ARCa (In Search of the ARC). Org. by Giovanna Colacevich. April 17.<br />
Between the studios of Agostino Milanese, Rome & Constantino Morosin, Calcata<br />
Italy, 1989<br />
Artefax II. Org. by Mauricio Guerrero. July 24. Galeria Metropolitana, Mexico City, 1989<br />
Lines. Org. by Stephan Barron & Sylvia Hansmann (France). September. Greenwich Meridian<br />
from the UK to the Mediterranean. 1989<br />
Mondo Faxo: Wall Lords of the 20th Century. Org. by Tony Coleing & Adrian Hall, October.<br />
Projects UK, Newcastle, UK & Artspapce Sydney, Australia. 1989<br />
L'Europa dei Creatori – Utopia 89 (Europe of the Gods). Org. by Philippe Helery & Giovanna
Colacevich. Nov. 23 - Dec. 10. Grand Palais, Paris, France, 1989<br />
Zona d'Embarco. Org. by Giovanna Colacevich & Augostino Milanese. Febr. 3. Metateatro,<br />
Gli Angeli, Rome, 1990<br />
City Portraits. Org. by Karen O'Rourke & the Art Reseaux Group. April 29. Galerie Donguy,<br />
Paris, 1990<br />
Celebration Earthday – Global Telematic Network & Impromtu. Org. by DAX, Pittsburg PA,<br />
USA. April 22 between Austria, Brasil, Canada, Japan, Portugal, Russia & USA.<br />
1990<br />
1st International Fax Art Biennal. Org. by Tangente. June 16. Eschen, Lichtenstein, 1990<br />
Manufaxtura. Org. by J. C. Anglade, P. Dupuis & S. Hänsgen. October. People to People,<br />
Prague CZ, 1990<br />
The Globe Show. Org. by Paul Sermon, Rajinder Chand, Clair Dearnaley, Chris George, Jim<br />
Lockwood, Prakash Parmar & Richard Biddle. Oldham City Art Gallery, England<br />
& artists in Austria, Italy, Japan, Spain & USA. 1990<br />
FAX 605.688.4973. Org. by UPC Arts & Exhibbits. Nov. 5 - 30. South Dakota State Univerity,<br />
Brookings, 1990<br />
The Exquisite FAX. Org. by Craig Ede, St. Paul MN, USA, 1990<br />
~<br />
Fax projects in this book:<br />
→ Árnyékkötök / → Bericat / → Bleu / → Bohár / → Bruscky / → Galántai / → Padín / →Pellini<br />
/ → PTT Museum, Bern / → Ruch (Poesie Sonore) / → Tisma<br />
~<br />
Literature:<br />
A Chronology of Some Interactive FAX Projects. (1982 - 1996) In: → Árnyékkötök.<br />
#19. 24-29 p. Budapest, 1997<br />
Guy → Bleus: Telecopying in the Electronic Netland. (Essay-Statement with the<br />
chapters: The World is a Fax-Village; The myths of facsimile; Facsimile; Copy;<br />
Fax art; The first int. fax art projects; The transmitted or received telecopy is<br />
always an original; Since fax art is electronic mail art; Faxing can transform the<br />
notion of time; Opponents of telefax; From an ideoloogical or ethical point of<br />
view; To fax or not to fax is not the question.) In: → Árnyékkötök. #16, 10-13 p.<br />
Budapest, 1996<br />
(FAX-Statements:) Marie Paule Cassagne: Ephemerides – oeuvres fantomes<br />
(France); Lilian A. Bell: Fax Statement (English); Paulo→ Bruscky: The Fax:<br />
From the Scientific Discovery to Artistic Make. In: → Árnyékkötök. #16, 35<br />
& 46-50 p. Budapest, 1996; Susan Gold: Response (English); Georg →<br />
Mühleck: Fax Art, Postman and Lonesome Conwboys; Karen O'Rourke: Notes<br />
on Fax-Art (English); Marisa Gonzalez: Fax-Art: Notes for a Dialogue<br />
(English). In: → Árnyékkötök. #19. 1997<br />
Fedi, Fernanda Laboratorio 66. A. Naviglio Grande, 54. Milano, I-20144 Italy 1998<br />
Activity on experimental literature and artists' books since the 1980s.<br />
<br />
~<br />
Literature: John → Held Jr.: New Directions: Into the Nineties (The Chapters: Computer and<br />
Fax: Opening Geopolitical Boundarie). In: Chuck → Welch (ed.): Eternal Network.<br />
A Mail Art Anthology. University of Calgary Press, 1995. 103-111 p.<br />
^Gio Ferri (ed.): Fernanda Fedi. Criptogrammi e scritture etrusche 1989-1996.<br />
(Anthology of texts, critics and images) ~A/5, offset, 88 p. Ed. Prometheus /<br />
Testuale Scrittura e Visualità. Milano, 1996<br />
^Emilio Isgrò: Dalla parte dei vivi (Fernanda Fedi: Libri). In: L'immaginazione,<br />
N°136. I-73100 Lecce, February 1997.<br />
«Feh! Press»<br />
(Morgana Malatesta & Simeon Stylites), 200 E. Tenth st. #603, New York, NY-10003. USA<br />
^Feh! (Mag. Digest and letter sizes, phc., 20-40 p. 1987-, squ., ~ 20#)
Tomy W. Arnold: «an anti-poetry 'zine»<br />
^#3, 4, 5, 15, 16, 17<br />
^Meshuggah /...odd opinion, insufferable folly, vacuous nonsense and lies<br />
(Literature mag. with image illustrations, letter, phc., 1991- squ. ~15#)<br />
^#1-14<br />
^Stylites, Simeon: Groan (Morose Poetry) (Xeroxed publ. with an introduction by<br />
Blaster Al Ackerman, digest, phc., 32 p.) Feh! Press, New York, 1994<br />
^The Blaster Al Ackerman Omnibus (Collected texts, digest, offset, 228 p.)<br />
~<br />
Source:<br />
Feh! Press, New York. 1995<br />
Books etc. from Feh! Press (Leaflet with listing & featuring of publs.<br />
Favorated book authors: Al Ackerman, Bob Black, Francesca Bongiorno,<br />
Jerm Boor, M. Malatesta, William Nesbit, Andre Savage, S. Stylites)<br />
New York, 1995<br />
Felipe, Francisco Apartado156.016 Madrid, E-28080 Spain 1988<br />
Artists' Books and Mail Art activity from the early 1980s<br />
<br />
<br />
<br />
Felter, James Warren 2707 Rosebery Ave. West .. Vancouver BC. V7V 3A3, Canada 1992<br />
↑ Simon Fraser Univ. / British Columbia, Burnaby, V5A 1S6 - “ - 1976<br />
.............................................................................................................................................................<br />
^Artists' Stamps and Stamps Images. Cat.: Letter, offset, 36 p. / Simon Fraser Uni- <br />
versity Burnaby, British Columbia, Canada V5A 1S6, 1974. The exhibition<br />
was completed and shown in cities of Canada and the western<br />
United States, and also at the Cabinet des Estampes, Museum of Art<br />
History, Geneva, Switzerland, further at the Project Studios One (P.S.1.)<br />
in New York City from Dec 1, 1979 until Jan 27, 1980 and at the<br />
Museum of Contemporary Art in Utrecht. This exhibition series was<br />
the first surview on artists' postage stamps and relatives. The artists:<br />
Canada: ............ I. Abolints, P. Bell, D. Mi Besant, The Couch House<br />
Press ( and its friends), C. Daouset, M. Dot, J. W. Felter, M.<br />
Hayden, S. Hilman, La Group des Beaux Arts. J. Long, N. E.<br />
Thing Co., Nelvana Limited, A. Neumann, C. Pratt, Art Rat,<br />
H. Savage, Unknown, Graphic Design Students / Vancouver<br />
School of Art.<br />
France: ............. G. Ashley<br />
Germany: .......... K. Berkhardt, C. Camu, B. Löbach, D. Roth<br />
Great Britain: ... A. Jones<br />
Hungary: ........... E. Tót<br />
Netherlands: ..... D. Evans<br />
USA: ................ D. Atchley, D. Cook, W. Farley, Fluxus, R. Fried,<br />
K. Friedman, M. L. Heivly, E. F. Higgins III., J. Smith,<br />
P. Tavenner, R. Thomas, M. Wilson, R. Watts<br />
Press Release Completion in 1979-80 for the show at the Project Studios One in<br />
New York City (doc. in 1+4 letter size sheets):<br />
(not included in the catalogue):<br />
Canada:............. J. Smith, E. Varney (1st and 2nd Int. Stamp Ed.)<br />
France: .............. D. Evans<br />
Germany:........... P. Below,<br />
Italy: ................ G. A. Cavellini<br />
Netherlands ....... D. Evans (with further stamps)<br />
Switzerland ........ J. Armleder, C. Gavera, J. W. Felter (with special<br />
Helvadada stamps), G. Minkoff,<br />
USA: ................ C. Burch, L. T. Chew, Harley, Higgins III. (with a<br />
number of newer stamps), S. Larance, J. Smith, Al Sousa
°Stamp Art. Catalogue of the artists' stamp collection at the Simon Fraser Gallery, <br />
Burnaby, Canada. 21x20 cm., offset, 34 p. Hedendaagse Kunst. Utrecht,<br />
1980<br />
Felter is curator of the 2nd and 3rd Biennials of the International Artistamp Exhibit <br />
at the Davidson Galleries in 1991 and 1993<br />
^International Directory of Artistamp Creators. (1 st Ed.: Computer print, letter, 82p.) <br />
Five/Cinq Unlimited Publ., Vancouver, 1993. Updated 2 nd edition: 1994.<br />
International Directory of Artistamp Creators. (New Edition) The sourcebook for all <br />
information about artistamps. Computer-aided publ., bound by hand.<br />
Introduction, definitions, list of producers, exhibitions / collectionsoverview,<br />
indexes, etc.<br />
FIVE/CINQ Unlimited, ISBN 0-9697355-0-3. Vancouver, 1996<br />
^Artistamps / Francobolli d’artista. Monography in Italian and English, 21x14 cm.,<br />
B/W offset, 216 p. AAA Edizioni. Bertiolo, 2000.<br />
With chronology of first editions, selected expositions and a bibliography.<br />
Introductions:<br />
→ Baroni, V.: The postage stamps’ revolt<br />
Felter, J. W.: Great art must be licked!<br />
. Featuring of the following artists:<br />
→ Banana, Anna / Artistamp News<br />
→ Barbot, Fernand E. J.<br />
→ Baroni, Vittore<br />
→ Bleus, Guy (Essay: The thrill of collecting artistamps)<br />
Bryson, Kenneth J. (Decatur, USA)<br />
“Buz Blurr” (L. → Russell)<br />
→ Byrd, Gregory T. (“Toast Postes”)<br />
→ Cavellini, Guglielmo<br />
→ Ciani, Piermario<br />
→ Cole, David<br />
De Luna, Michael Hernandez (Chicago, USA)<br />
→ Diotallevi, Marcello<br />
“Dogfish” (Robert C. → Rudine) (Essay: Cindarella in Tui Tui)<br />
→ “Dominique” (Dominique Johns)<br />
Dworski, Susan (Venice, USA)<br />
Eker, Andries D. (Balkbrug, Netherland)<br />
→ Felter, J. W.<br />
→ Fricker, Hans Rudi<br />
Grenville, Bruce (Auckland, NZ. Essay: Voyages to imaginary countries)<br />
→ Harley (“Terra Candella”)<br />
→ Higgins III., Ed F. (Essay: Small is big)<br />
Highberger, Dennis J. (Lawrence, USA)<br />
Hosszú, Michael (Paris, F)<br />
Jackson, Sandy (San Diego, USA)<br />
→ Jensen, K. Frank<br />
→ “Joki” (Jo Klaffki)<br />
→ Kent, Eleanor (“Fractal Post”)<br />
→ Kholopov, Alexander<br />
→ Lamanova, Natalie<br />
Montes, Rene (Mexico City)<br />
→ Padín, Clemente<br />
Focardi, Franco Piri (Rignano sull’ Arno, Italy)<br />
→ Smith, Joel<br />
Smith, Steve (Dulfport, USA)<br />
Sør-Reime, Geir (Stavanger, Norge)<br />
“State of Being” (Reid → Wood)<br />
→ Summers, Rod (Essay: Artistamps from the computer)<br />
Thompson, Michael (Chicago, USA)
→ Varney, Ed (Essay: The artistamp anthology sheet)<br />
→ Welch, Chuck (“Crackerjack Kid”)<br />
Artistamps: Canadada 1974. (Shet of b/w stamps) <br />
^MRAUR 5 (Sheet of 36 id. stamps/calligraphy, b/w phc.) n.d. (~1975)<br />
MRAUR 5“ (Sheet of 40 id. stamps in triangular form, colour offset) n.d.<br />
^ Postes MRAUR (Sheet of 24 id. stamps, b/w phc.) n.d.<br />
^MRAUR Postes 5 (Sheet of 30 id. stamps/Hindu , b/w phc., {300}) n.d.<br />
Karl Schwesig Commemorative Stamps (Sheet of non-official stamps<br />
from the Camp at Gurs in Vichy France, 1941-42.) n.d. (1989?)<br />
^Ray Johnson 1927-1995 (Sheet of 20 id. stamps b/w phc., {100}) additional<br />
rubber stamp: Inconsequential is... Fluxpost. 1995<br />
~<br />
Literature:<br />
«The word „stamp“ as used in this exhibit refers to what might be termed the<br />
pseudo-postage stamp; that is, analternative stamp opposed to the normal<br />
government publications designed for use in the official or government postal<br />
services of the world. Indeed, several „artists' stamps“ (as opposed to postage<br />
stamps) were issued during government postal strikes. Examples are the Blue Stamp<br />
by Yves Klein of France and the stamps of Allen Jones of England. Others appear<br />
so much like postage stamps that they have traveled through the official services,<br />
mostly undetected. (...)<br />
Many artists, like Carl Daouset in Canada and Dieter Roth in Germany, have<br />
produced Stamp Art as a part of a collection or folio of different works... Donald<br />
Evans makes his stamps for a personal fantasy world. He began in 1957... There are<br />
probably as many reasons why „artists' stamps“ have been created as there are artists<br />
who have created them. But the Curator, and the public, is often more concerned<br />
with the objects than the reasons, and though the reasons differ, the objects do<br />
represent a growing international medium of artistic expression.<br />
The „history“ of Stamp Art is contemporary. FLUXUS, an international<br />
artists' group devoted to research art, explored in the 60s not only the medium of<br />
Mail Art using the government postal systems, but through FLUXPOST Projects<br />
created a para-postal system which from time to time – often with hilarious results –<br />
functioned along with regular geovernment postal services in several nations. (...)»<br />
(J. W. Feltern: Introduction to Artists' Stamps and Stamps Images.<br />
Catalogue, 1976)<br />
«James W. Felter was the first art curator to twig to the phenomena of artists using<br />
the postage stamp format as an art medium. His early research (1969-74) resulted in<br />
the first exhibition of works in this medium at Simon Fraser University's Gallery in<br />
1974. (...) (The search) was assisted by two early mail artists who visited SFU in the<br />
early 70s, Dana → Atchley,.. and Ken → Friedman, who was involved with the<br />
FLUXUS movement. Both spread the world by telling artists to contact Felter at<br />
SFU. The resulting exhibition presented works by 35 artists and 7 artist groups from<br />
Canada, France, Germany, England, Hungary, Japan, mexico, the Netherlands and<br />
the USA. (...)<br />
(Profiles. James W. Felter. Mraur Post [with many biographical details]. In:<br />
Artistamp News [→ Banana], Vol. 6, #1, Feb. 1996. 6-7 p.)<br />
Fenyvesi Tóth, Árpád. Vörösmarti u. 11. Balatonfenyves, H-8646 Hungary 1978<br />
Launching the Contart Edition / postal arte creativa in 1977-78 (Contart: → Rehfeldt) <br />
to create selfmade postcards and distribut it by the means of special art<br />
(of) correspondence. This effort was the most important venture to establish<br />
the Mail Art in Hungary after the very individual initiatives of Endre<br />
→ Tót and Gábor → Tóth about 1971-76.<br />
^New Signalistic Strip (manifest & exhibition). Doc. / → FMK, Budapest, 1978 <br />
Graphic oeuvre by the mixture of estranged comics strips and elements<br />
of the visual poetry (using instant print and rubber stamp compositions).
Send me unnecessary photos. International Mail Art Project by means of invitation<br />
postcards (please paste on the photos and return... ) entitled “Contrainformation”<br />
in the years 1979-80. Doc. in 1987 only?<br />
Hand & Idea (what to be found out). Doc. 1980<br />
^Képregények – Image stories. Invitation in the form of an accordion publ. by offset<br />
print (5x postcard). Pincegaléria Óbuda (Budapest), Sep. 1987<br />
^The figure eyaculatió. (Mini graphzine, phc., cut A/3 folded to 8 pages.<br />
1994-95, sm., about 15 issues, not dated and not numbered)<br />
^# 13 div. issues<br />
<br />
<br />
<br />
<br />
Ferdinande, Guy 67 rue de Eglise, Lonpré, F-59840 France 1996<br />
^My Fairest Love Story. Inv., 1996<br />
<br />
^We are all citizens of the world. Inv., 1997<br />
<br />
^The Instant... Inv., 1997<br />
<br />
^The World. Inv., 1999<br />
<br />
Ferrando, Bartolomé C /. Faura 11. La Eliana, E-4618 (València) Spain 1989<br />
↑ C /. Zapadores 14-8a. València-6, E-46006 - “ - 1977<br />
.............................................................................................................................................................<br />
^Texto Poetico (The very important assembling like mag. for experimental & visuale <br />
poetry in Spain, strong avantgarde style. „La pintura es una poesía muda<br />
y la poesía es una pintura parlante. Plutarco.“ Unbound A/5 offset matter<br />
in portfolio, 1977-89, ~y., #1-9)<br />
^#6, 7, 8, 9<br />
Festival Poesía Experimental. (Org. with David Pérez) Cat.: 22.5x16.5 cm, offset, <br />
94 p. Diputació de València, Sala Parpalló. 1982<br />
Artists: J. Hidalgo, A. Spatola, B. Heidsick, A. L. Totino, J. Gerz.<br />
^Idazkerak / Escritura. Cat.: A/5, offset, 16 p. (with curriculum and lists of exhs. & <br />
publs. /Exhs. in València and Bilbao, Aula de Cultura. 1985<br />
^Jocs de Lletra / Propostes Poètiques, Llibres-Objecte... Cat.: 20 sheets of 17x17 cm., <br />
offset, in portfolio, + poster of 70x50 cm. /Exh.: Galeria Postpós,<br />
March - April 1987 / Centre Cultural d'Alcoi, December 1990<br />
^Performances Poéticas. 9 cards + text-accordion in portfolio (text by Ferrando: La <br />
performance como lenguaje). Offset, S.P. València, 1988<br />
^1er Festival Int. de Performances i Poesía d'Acció. Orgs.: F. Gonzàlez, B. Ferrando, <br />
J. La Roda. Cat.:, tabloid, newsprint, 24 p. / Castell de Peníscola,<br />
València. 1989<br />
Artists: F. Aguiar, E. Andersen, M. Anfruns, J. Blaine, J. M. Calleja,<br />
B. Ferrando, G. Fontana, C. Jerez, R. Martel, Texto Poetico (Group)<br />
^II Festival Int. de Performance i Poesía d'Acció (Org. with Francesc Gonzàlez). Cat.: <br />
30.5x22.5 cm., offset, 32 p. / IVAM, Centre del Carme, València, 1991<br />
Artists: A. Alarcón, P. Albani, P. A. Arcand, A. Ben Dhiab, E. Ferrer,<br />
Flatus Vocis Trio, E. Miccini, E. Mileu, R. Santibáñez, J. Swidzinski,<br />
J. Tarragó, V. Torrens, I. Valcarcel<br />
^IIIer Festival Int. de Performance i Poesía d'Acció. (Org. with Francesc Gonzàlez) <br />
Cat.: 21x22 cm., offset, 30 p. / IVAM, Centre del Carme, València, 1992<br />
Artists: H. Chopin, L. Contreras, M. Eichenberger, B. Ferrando,<br />
M. Hoffman, J. Juhász R., B. Knoeller, R. Martel, M. Mori, L. Peiró,<br />
S. Pey, S. Shimoda, N. Vilar<br />
^Poesía Objecte. 2 brochures and 24 cards in plastic box of 20x12x3 cm. C. A. M. <br />
València, n.d. (1996)<br />
^Performances Poètiques. VHS Video-cassette in plastic box. (Ex-ercisis; In memo- <br />
riam Fluxus; Sintaxi; Xifres; Sobre la informació) C. A. M. València<br />
(1996)<br />
^Instalaciones Poéticas. Cat.: 26.5x21 cm., offset (colour), 24 p. / Sala de Exposici- <br />
ones de Ibercaja, València, 1997<br />
~
Source:<br />
~<br />
Literature:<br />
^DADES. (Dates about B. Ferrando) Cut A/5 offset brochure, 24 p. Caja del<br />
Ahorros del Mediterráneo (València), n.d. (1996?)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 105 p.<br />
^Texturas, N° 6 (Monographical issue about B. Ferrando with contributions by<br />
A. Serna, J. M. → Calleja, R. de la Calle, V. Torrens, V. Infantes, L. Barber and<br />
others) A. Serna. Apt. de cor. 2201. E-01080 Vitoria-Gasteiz, 1996<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 505 p.<br />
Ferrando, Federico c/o Coordinadore de Apoyo a la Revolucion Cubana ? 1992<br />
Cuba no al bloqueo. Exposicion Int. de Arte-Correo. Cat.: / Montevideo, 1992 <br />
Ferrer, Albert / Hac Mor, Carles. Apt. de Correus 30.133 Barcelona E-08034 Spain 1996<br />
l'avioneta (Magazine for Spanish vis. & concrete literature. Monographical issues? <br />
One sheet of 100x70 cm. folded to accorodion: (2x8x) 35x12.5 cm., offset<br />
(16 p.). 1995?-, m? ~18#)<br />
Ferro, Antonio ? Napoli Italy 1977<br />
°Post Cards. (Assembling of 10 signed postcards mounted original into a brochure of <br />
22x24 cm., 24 p. {200}. The artists: H. Tress, E-A. Vigo, R. Rehfeldt, A.<br />
Ferro, R. Peli, L. Yurkovich, G. G. Marx, H. Zabala, U. Attardi, P. Pappa.)<br />
Experimenta 1977, Napoli<br />
°Mail Art Message. (Manifesto in Italian, English and Spanish, signed by A. Ferro, <br />
U. Attardi, M. Aliverti, P. Beato, & H. Zabala. A/4, mimeogr. 8 p.)<br />
Centro experimenta, Napoli, 1977<br />
°La Post-Avangardia. Arte marginale. Cat.: A/5, offset, 64 p. / Centro Experimenta. <br />
Museo del Sannio. Benevento I, 1978<br />
Fierens, Luc Grote Nieuwedijkstraat 411 Mechelen, B-2800 Belgium 1996<br />
↑ Boterstraat 43. Hombeek, B-2930 - “ - 1984<br />
.............................................................................................................................................................<br />
^Paralell International Creative Mag. (Mag. with texts and drawings & magazine <br />
reviews. Flemish. A/4, phc. 1984-, bim., #1-5?)<br />
^# III/1, 2, 3, IV-V.<br />
^Hommage à... Cat.: A/4, phc., 44 p. 1986-87<br />
<br />
^Postfluxpostbooklet (Mag. A/6, phc. 1987-91? #1-22? )<br />
<br />
^#1, 2, 3, 9, 10, 11, 20, 22<br />
^Recycled FLUX Poems (Xeroxed brochure, A/5, 28 p.) Post Neo Publications. <br />
Melbourne. 1987<br />
^Homage to FLUXUS. Invitation card to an A/4 project. 1988<br />
<br />
^Children’s Mail Art. Inv., 1988<br />
<br />
^Youth and Mail Art. Inv., 1992<br />
<br />
^Visual Poetry. Inv. Nov. 1998 / Exh. at the Galerij C. de Vos, Aalst, Belgium:<br />
17 Feb – 24 March, 2002. (307 parts. From 40 countries)<br />
Cat: 21x21 cm., phc., 40 p. Text by Klaus Peter Dencker (English).<br />
~<br />
Literature:<br />
<br />
«...my poetry has the same viewpoint as my Art, I live in a „world“ and I feel the<br />
chaos and the fragments of life and death and the feelings of joy and passion...<br />
(L. Fierens: Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art –<br />
Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 7. item)<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 521 p.
Figueiredo, Cesar (Art & Tal) Apartado 4134 Porto Codex, P-4002 Portugal 1992<br />
^Writing as a potencial mean of visual expression... (Postcard size communication <br />
project – visual poetry) Invitation cards with poetry works, 1988<br />
^69 ANALgerie Books (Edition of mini-artists'-books by recycled graphic matter <br />
from div. authors) ~1995<br />
^#5 (R. Martin), #14 ( N. Klassen), #22 (G. <strong>Perneczky</strong>)<br />
^69 Livros ANALgésicos. (Em Homenagem a A-J. Santos, M. de Graça Varella, <br />
G. Deisler) Cat.: A/6, offset, 20 p. 1995<br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 513 p.<br />
Filliou, Robert Pouillac, Peyzac de Morestier Les Eyzies, F-24620 France 1982<br />
Ample Food for Stupid Thought. (About Mail Art?) Something Else Press, 1965 <br />
Researche on the Eternal Network. In: File, Vol. 2, N°3, September, 1973. 7 p. <br />
To all the Members of the Eternal Network. In: Sources, Vol.1, N°11, Jan. 1974. 52 p. <br />
°The set of ideas. (Booklet, 21.5x13 cm.,, offset, 16 p.) Sintax Ed. Calgary, 1981<br />
^Ours is a Dream without Dreamer (Manifesto. A/5 accordion, 4 p. text Germ. / Engl.) <br />
Hamburg/Berlin. 1985<br />
Finch, Peter ? Cardiff United Kingdom 1972<br />
°Second Aeon (Mag. for concrete poetry, criticism and information. «Small presses.» <br />
Cut A/5, offset, ~150-250 p. ~1970- about 20 publs.)<br />
°Typewritten Poems. (Anth. by 22 authors, 52 p.) Second Aeon. Cardiff / Something <br />
Else Press. New York, 1972<br />
Finlay, Jan Hamilton, Stonypath Dunsyre Lanarkshire, Scotland, UK. 1988<br />
Passport. A Morning Star Publication (16 Upper Grove Place, Edinburgh, UK EH3 ® <br />
8AU): An interesting solution to publish diff. rubber stamps: ca. 60 orig.<br />
artists' stamps on the pages of a passport. No mail artists: Lavrence<br />
Weiner, J. H. Finlay, Titus Nolte, Herman de Vries, & others. On the<br />
ococasion of a visual poetry exhibition by the Finlay circle, 750 copies.<br />
1999<br />
~<br />
Literature:<br />
→ Burch, Charlton: This Means War, Laddie!!! The Cantankerous Battlecards of<br />
Ian Hamilton Finlay. In: Lightworks [→ Burch]. N° 20-21, 1990. 58-59 p.<br />
Finnish Mail Art in the 90s:<br />
“Art Cafe” Aska, SF-99550 Finnland 1992<br />
^The North. Inv., 1992<br />
<br />
Malén, T. / Jakola, T. Kangaskatu 20, Lahti, SF-15850 Finnland 1995<br />
^The World Today. Inv., 1995<br />
<br />
→ Helsinki Mail Artists<br />
Fischer, Roberto / HaHa! Casserinetta 10, Lugano, CH-6900 Schwitzerland 1984<br />
^La passeggiata quotidiana alla posta. (Topographic effort, Sunmer 1983, 83 copies) <br />
Map of Lugano, phc., 42x29.5 cm., folded to 6, in an offset cover of<br />
21x10 cm. With certificat label on the back side. 1983<br />
^Nobody is perfect. Series: Minimal Rock. n.d. (1984?) Mail Art and graphism with <br />
punk colour. 10.5x7 cm., phc., 16 p. on blue paper.<br />
^Les Dents Jaunes. Collection „Sinn + wahn“. Material 4. n.d. (1984?) 10x14 cm., <br />
phc., 10 leaves<br />
^Watson. Collection „Material 16“. Lugano, 15 Mai 1984. 10x10 cm., phc., 8 leaves <br />
on diff. colour paper, spiral bound, 70 copies.
Fish, Pat P. O: Box 777 Santa Barbara, CA-93102 USA 1985<br />
^Lemurian Rumors. Artist's book: Horz. 10.5x14 cm., phc., 16 p. blue cover. 1984 <br />
The Big Golden Book of Flash / Tattoo (Commonpress #77) Letter size, 1986 <br />
^The 99 Day of Narcissism. Exh. at the Kunoldstr. 34, Kassel. Inv., 1986 <br />
→ Cardella, Joe = Art/Life<br />
Fishbein, Sue c/o Analog Prods. 146Freelon, N° 4 San Francisco, CA-94107 USA 1979<br />
°How International Mag. like publ., also for photocopied matter. Known a accordion <br />
issue in size of 128x12 cm. (fold 17x). Edited from the last 60s?<br />
(Vol. 13, #1. in 1979) Analog Productions. San Francisco.<br />
^The Monty Cantsin Songbook (with Barbara Fogel, Deborah Kransberg, Maris <br />
→ Kundzins & David → Zack) Xeroxed brochure with texts and<br />
more graphics, no songs! Letter, fold vertical! (28x11 cm.) 32 p.<br />
Analog Production. San Francisco n. d. (~ 1978)<br />
°Dotted lines and the use of force. An apparatus. 28x11 cm., phc., 40 p., in plastic <br />
cover. Analog Prods. San Francisco, 1979<br />
°That's my windbreacker in the vestibule (An Infection). Letter, b/w & colour xerox, <br />
46 p., in plastic cover. Analog prods. San Francisco, 1981<br />
The Invention of a Use and Post No Bills two further artists' books at the Analog <br />
prods. San Francisco, 1981 (announced in Umbrella 4/#4, 95 p.)<br />
Fischer, Allen 18 Hayes Court, New Park Road London, SW2 3DN United Kingd. 1975<br />
Spanner (Underground lit. mag., also music. A/4, mimeographic. 1975-, over 20 #)<br />
Spanner, special visual issue: Jan. 1981<br />
<br />
<br />
Fischer, Hervé 143, Blvd. de Charonne Paris, F-75011 France 1980<br />
Launching the group Collectif d'Art Sociologique with the members: Hervé Fischer <br />
(sociology), Fred Forest (video art), Jean-Paul Thénot (psychoterapy)<br />
Paris, 1972<br />
(German translation of the 1st Manifesto and further texts as Fischer:<br />
Hygiene der Malerlei, as well as Thénot: Künstlerische Praxis und<br />
soziologisches Eingreifen, and Forest: Die Soziologische Praxis, etc.<br />
with a matter of photo-illustration in: Magazin Kunst, #4, 1975)<br />
^Art et Communication Marginale. Tampons d' Artistes / Art and Marginal Commu- ® <br />
nication. Rubber Art – Stamp Activity / Kunst und Randkommunikation.<br />
Künstlers Stempelmarken. (Text in French, English and German. This is<br />
the first book publication about the rubber stamp art and one of the<br />
earliest monography about the mail art like alternative activity at all.<br />
A very important source work and anthology). Offset, 246 p. Edition<br />
Balland (Paris). France, 1974<br />
~<br />
Artists:<br />
K. Adamus (CZ), Albrecht/d (D), Alexander (F), Alvess (P), B.<br />
Amiard (F), C. Amirkhanian (USA), E. Andersen (DK), Anonyme (F),<br />
Arman (F), J. M. Armleder (CH), G. Attalai (H),<br />
I. Bak (H), E. Barbieri (I), Bauhaus Panchounette (F), L. Bec (F), Ben<br />
(CH), T. Berg (USA), M. Bertrand (F), P. Bettencourt (F), J. Beuys (D),<br />
Biga (F), J. F. Bory (F), J. Boursault (F), C. Boutillon (F), K. P. Brehmer<br />
(D), M. Buthe (D),<br />
G. Camesi (CH), L. Cane (F), J. Charlier (B), D. Chartny (CZ), G.<br />
Colombo (I), Fletcher Coop (USA), R. Crozier (GB), R. Cyprich (CZ),<br />
Dadaland (Bill Gaglione, USA) / Anna Banana (CDN), Ph. Dadson (NZ),<br />
J. Daumeter (D), Devichi (F), I. Dogametic (USA), O. Dressler (D)
Galerie ECART (CH), Ecole de l'art infantile (GB): R. Klassnik (GB),<br />
O. L. Nations (USA), Man O' Man (USA), Cosey Fanni Tutti (GB)<br />
P-Orridge (GB), Felipe Ehrenberg (MEX)<br />
J. C. Farhi (F), W. Farley (USA), R. Filliou (F), H. Fischer (F),<br />
A. Fisher (GB), R. Francken (F), C. Frazier (USA), K. Friedman (USA),<br />
J. v. Geluwe (B), General Idea (CDN), J. Gerz (D), Gilbert & George (GB),<br />
Giner (F), L. Gosewitz (D), T. J. Gramse (D), K. Groh (D), H. Preiss (D)<br />
G. Hendricks (USA), D. D. Hompson (USA), H. R. Huber (USA)<br />
Image Bank (CDN), Jalabert (F), R. Johnson (USA), Journiac (F)<br />
H. W. Kalkmann (CH), On Kawara (USA), J. Kearny (GB), Y. Klein (F),<br />
J. H. Kocman (CZ), P. Kowalski (F),<br />
N. L. Ukeles (USA), L. Beke (H), B. B. Lavier (F), C. Law (USA),<br />
L. Levine (USA), P. Lucchini (CH), B. McCallion (USA),<br />
H. Maccheroni (F), D. Mailler (F), J. O. Mallander (SF), T. Mancusi<br />
(USA), Manzoni (I), D. Mayor (GB) D. Meyer (D), G. Minkoff (CH),<br />
Yoshio Nakajima (J), M. Nannucci (I), S. III. Oldenburg (F), M. Olesen<br />
(CH), Oxo M. F. G. C. O. (USA),<br />
R. Palmer (USA), J. Palumbo (CDN), J. L. Parant (F), P. C. I. F. Co (NZ),<br />
G. <strong>Perneczky</strong> (H / D), P. Peter (?), Postes (?), Peiter Post (?)<br />
R. Rehfeldt (GDR), J. C. Romero (AG), G.J. de Rook (NL), D. Rot (D)<br />
Rubber Stamp Catalogue (USA), C. Rychner (CH)<br />
Sarkis (TR), Schwind (B), Secret Exchange (NZ), T. Sladden (CDN),<br />
P. Smith (GB), W. L. Sorensen (DK), Sooosno (F), D. Spoerri (R / D),<br />
S. Steinberg (USA), J. Steklik (CZ), H. Szeemann (CH)<br />
Tampon-manie (?), P. Tavenner (USA), J. P. Thenot (F), A. Thomkins<br />
(CH), Tip Top Magazine (USA), Tobas (F), E. Tót (H), A. Tullio (F)<br />
T. Ulrichs (D), J. Urbán (H), F. Vaccari (I), J. Valoch (CZ), P. Vandrepote<br />
(F), C. Viallat (F), E-A. Vigo (AG), W. Vostell (D), J. Wojnar (CZ), C.<br />
Wüllner (D), H. Zabala (AG)<br />
Cahier de l'Ecole Sociologue Interrogative (Quarterly, 1980-, )<br />
°Experiences de Presse. (Essays, texts, French and English + bibliography + magazine <br />
review) A/4, offset, 193 p. Office Franco-Allemand: Rapports et Documents<br />
#1. Paris, 1981<br />
°Histoire de l'art est terminée. (Essay) 22x14 cm., offset, 218 p. Balland. Paris. 1981 <br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 72 p.<br />
Flores, Aaron (Victor?) Archive Int. de Arte Correo. Mexico D. F. Mexico 1979<br />
°Operacion Garage. Cat.: 22x17 cm., offset, 28 p. 61 parts. (1st Mail Art exh. in <br />
Mexico) Mexico DF, 1979<br />
°Vision Global (with → Marin, Manuel and others) Inv. A/4, phc. 1 sheet. 1982
°Visual. Bulletin #1.: 21.,5x17 cm., 1 sheet, recto/verso photocopied after photomontages.<br />
n.d.<br />
»FMK» Fiatal Müvészek Klubja / Club of Young Artists, Népköztársaság útja 112. Budapest H-1062. Hungary 1989<br />
Selected (underground or Mail Art) exhibitions and events:<br />
Exh. from the Mail Art Archive of David → Zack. 1976<br />
The visit and Action Evening of Anna → Banana and Bill → Gaglione . 1978<br />
New Signalistic Strip / → Fenyvesi Tóth, Árpád. 1978<br />
A Visit to Budapest / → Crosier, Robin. 1979<br />
^Names & Addresses. Verbal, Visual and Aural Works / Lecture of → Carrión. 1979<br />
^Rubber Books & Post / From the «Other Books and so...» archive by → Carrión. '79<br />
Sent Art (Mail Art Presentation) → Galántai – Artpool. 1980<br />
→ Cavellini in Budapest. Show & Festival / → Galántai – Artpool. 1980<br />
^Everybody with Anybody (Hung. rubberstamps, with Galántai) Cat.: 68 p. 1982<br />
^Hungary can be yours (Commonpress N° 51 by → Galántai, exh. forbidden) 1984<br />
^Experiment Art: Print, Drawings, Photo, Collage (with int. Mail Art) Cat.: A/5,<br />
offset, 112 p. Sept. 1984<br />
^International. Experimental Art. Cat.: A/4, offset, 196 p. Oct. 21 - Nov. 21 1985<br />
Guy → Schraenen (Antwerpen) presents his A. S. P. C. Archive. 1987<br />
Hungary can be yours (Reconstruction of the forbidden exh. from 1984) 1989<br />
<br />
<br />
<br />
<br />
<br />
® <br />
<br />
<br />
® <br />
<br />
<br />
<br />
<br />
<br />
«Foksal, Galeria» (W. Borowski & A. Turowsky) Ul. Foksal 1/4. Warsaw, PL 00-366 Poland 1982<br />
Established in 1966. Statement: «The underlying cause was the resistance to the<br />
„uniformism“ of art in Poland in the fifties as well as the conformism<br />
of the presudo avant-garde... we questioned the vality of the art exhibition,<br />
in that we demanded that it „ought to lose its secondary and<br />
neutral character in relation to the art work and ought to become an<br />
artistically active form.“» (In: Three-trois, 1973)<br />
<br />
Tadeusz Kantor's exhibitions, happenings, theories and actions in the Foksal, 1966-70 <br />
^Elimination of art from art (Manifest, 1966. Author: Wieslaw Borowski). <br />
(In: Program Galerii Foksal PSP, 1967)<br />
^The Living Archive (Manifesto). 1971. An important document for the dematerialisation<br />
of changed art values and art presentation in the Polish avantgarde.<br />
(In: Three-Trois, 1973)<br />
^Hungarian Artists, Group Exhibition. (T. St. Jauby, M. → Erdély, Gy. Jovanovics,<br />
E. → Tót, L. Lakner, Gy. Pauer) Cat.: A/4, offset, 6 leaves. 1972<br />
^Gallery Against Gallery (Manifest, author: Andrej Turowski) . 1973<br />
~<br />
Source: ^Program Galerii Foksal PSP. 42.5x25 & 40x25 cm., offset, 20 p. 1967.<br />
<br />
<br />
<br />
^Three-Trois. Facts (1966-1972). (Collected manifests and documents) A/4, offset,<br />
36 p. Galeria Foksal PSP. February 1973<br />
^Galeria Foksal P.S.P. (Exhibition presented by the Richard Demarco Gallery,<br />
Edinburgh, August-September 1979. Cat.: 27x21 cm. offset, 28 p. Contents:<br />
Introduction / Gallery – Institution? / The Development of Art – Transformation of<br />
the Gallery / The History and Status of the Gallery / The Basic Talk of the Gallery /<br />
The Inevitability and Failure of the Archives / Diary / A Survey of Major Exhibitions<br />
/ Illustrations.<br />
Literature:<br />
(The Living Archives, Manifesto) «Artistic activities, when they are under way,<br />
remain invulnerable to their showing off; they also set in doubt the reasons to be<br />
percepted. An active thought wishes to exist beyond the manipulations of: artists<br />
themselves / display managers / the greedy audience. (...)<br />
By establishing the LIVING ARCHIVES we deny: the Laboratory of ART /<br />
the workshop for artistic ideas / as well as WE DENY ANY AND ALL FORMS
OF PRESENTATION OF WORK.<br />
WE ALSO DENY ALL THE ARCHIVES, since any archives present<br />
history. WE DO NOT PRESENT HISTORY BUT WE KEEP THE THOUGHTS<br />
ISOLATED. The LIVING ARCHIVES offer the frames which are not institutional<br />
or cultural for any artistic activity. We do not collect materialls in a scientific or<br />
methodic way... The LIVING ARCHIVES set worth a model for a working, work<br />
mainaining its neutrality... The LIVING ARCHIVES are a current reaction to the<br />
artistic / nonartistic / antiartistic phenomena...» (In: Three-Trois, 1973, 24 p.)<br />
«The new aim, or the new structure of the Gallery could only be defined in terms<br />
of the free flow of all creative endeavours. But the principe of non-interference in<br />
artistic activities seemed to be incompatible with their institutional context. The<br />
shift required not only a realization of the new state of affairs, but above all a redefinition<br />
of some organizational principles. The desicion of was taken to arrange<br />
„Living Archives“, able to respond to the changes in art. That is why it was within<br />
„Living Archives“ that arose the already sore problem of artistic documentation as<br />
a new market success and an object of active speculation... The latter emphasis of<br />
„Living Archives“ and „Documentation“ was purposefully blown up in order to<br />
contest unambiguously, not the Foksal Gallery's own activity, but that of the<br />
emergence pseudo-avantgarde institutions seizing the experiences of new art and<br />
reducing them to a current concept implied in each new label, while retaining the<br />
obsolete general manifestos which alloved for the subsequent development of the<br />
Foksal Gallery outside the „established compromise“. (Gallery / Institution?<br />
In: Galeria Foksal P.S.P. Exhibition in the Richard Demarco Gallery, Edinburgh,<br />
1979. 7 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 54-55 p.<br />
Fonseca, Lucia<br />
→ Prado, Gilberto / Wellcomet Boletin<br />
Fontana, Giovani Via Colleprata 374 Alatri, I-03011 Italy 1987<br />
^dismisura / (with Alfonso Cardamone) (A classic among the European experi- <br />
mental lit. magazines, good known also in th Mail Art scene in the<br />
1970s. 23.5x 17 cm. offset, 120-160 p. 1972-84, #1-73)<br />
^# 67-73<br />
dismisuratesti. Additive booklets to «dismisura». 17x12 cm. offset ~40 p. 197? <br />
^Le lamie del labirinto (Dismisuratesti #3, to «dismisura» 54-56) Concrete poetry. <br />
17x12 cm., offset, 42 p. Ed. Dismisura, Frosinone, 1981<br />
^Audio Art (with → Frangione, N.) Cat.: A/5, offset, 16 p. + poster / Teatro della <br />
Villa Reale, Monza . 1984<br />
°Scrittura lineari. 22.5x14.5 cm., offset, 220 p. Ed. Hetea. Alatri, 1986<br />
<br />
^La Taverna di Auerbach (Mag, 1987-, y.) Alatri<br />
<br />
^#1<br />
^Tarocco meccanico. Romanzo sonoro. (23x14.5 cm., offset, 134 p.) Supplement to <br />
the news Altri Termini, N° 14ª. 23x14..5 cm., offset, 134 p. Napoli, 1990<br />
~<br />
Literature: (Dismisura, #67/73): «I wich I could read Italian 'cause this handsome magazine<br />
looks like it has some really interesting stuff, poetry, prose, visuals, national and<br />
international contacts, reviews and a whole lot more. An elegant production.»<br />
(Stephen → Perkins: Magazine Reviews. In: Box of Water, N° 2, 1986)<br />
Literature:<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 525 p.
Fortini, Attilio Via Dossone 2 Gandasso, I-24060 Italy 1994<br />
Mail Art Pr. and Performance Tour. Doc. / Istituto Veronica Gambara, Brescia <br />
/ Mail Art Incontriamoci. Bologna, 1994<br />
«Fotokopie, Museum für» / Mülheim an der Ruhr → Urbons, Klaus<br />
«Found Street Press» Tomoyasu, Larry, 2260 S. Ferdinand Ave. Monterey Park, CA-91754 USA 1992<br />
↑ 14492 Ontario Cir. Westminster, CA-92683 - “ - 1989<br />
.............................................................................................................................................................<br />
Selected publs: (All publs. have a small size ~ A6, print technic = photocopy)<br />
^Tomoyasu, Larry: Photos/Story (Experimental literature in 16 p.) 1994<br />
<br />
^Dweller, Cliff: New World Songbook (Headline Poem) 24 p. with exper. lit. 1994 <br />
^Kostelanetz, R.: Selected Shoerter Stories (Broch. 4 p.) 1994<br />
<br />
^Bennett, John Also: Typewriting in a Swimming Pool (Br. 24 p.) / Luna Bisonte. '95 <br />
^Roddan, Nrooks: Grocery Texts (Poems of Adhesion) Xerox, 22 p. 1995<br />
<br />
^Shores, Michael(→ Mark, A. / American Living): Maya. (Xerox, 16 p.) 1995 <br />
Fox, Harry (!Blood Bliss!) 1511 East Fowler Av. Suite R-142. Tampa, FL-33612 USA 1992<br />
↑ 8802 Ilona, #5 Houston, TX-77025 - “ - 1985<br />
.............................................................................................................................................................<br />
Collage works, elaborated envelopes, artists' stamp and rubber stamp accumulation, <br />
also in form of artists' book, and other very visual Mail Art paper works<br />
in the 1980s and 90s years.<br />
^KUNST Post (Compilation of mail matter, very visual, 20 copies only! 22x14 cm., <br />
phc., 16 p. 1984?-, monthly?)<br />
^# Nov, 1984.<br />
Fox, Michael<br />
→ Hildesheim, Goethe Gymnasium<br />
«Fraction Studio» 13 rue Maurice Creuset. Cesson, F-77240 France 1984<br />
^Minimart production. International Series Mail Art Books. (Mail Art publs. by<br />
Morandi, Mittendorf, Tillier, Stuckens, Frangione, <strong>Janssen</strong> & others.<br />
Thematic issues. A/5, phc., 16 p. n.d. 1985?-,)<br />
#1 (L'animal)<br />
Francke, Kees Dillenburgstraat 4, Rotterdam HB, NL-3071 Netherlands 1986<br />
The Workers' Paradise. Exh. Artists' College B.E.R.M. . Berlin, GDR. Sept. 1986 <br />
The Workers' Paradise. Exh. in the Studio of → Sonntag, J. in Dresden, Nov. '86 <br />
^The Workers' Paradise. Inv. in the form of a colourful card / Cat.: A/5, offset, <br />
20 p. Exh.: Centrale Bibliothek, Rotterdam. February, 1987<br />
The Workers' Paradise. Exhibition at the Museum Schwerin – a reconstruction in the <br />
course of the large show “Eastern Europe in the International Network”<br />
July-September, 1996<br />
Kees Francke died June, 2002<br />
<br />
^A Mail Art Tribute Kees Francke Exh. with a cat. in colour phc. (org. by Darlene <br />
→ Altschul) at the “Raadskelder”, Sluis, NL-4524 CD. Feb, 2003<br />
François, Charles, R. A. T. Quai Churchill, 35. Liege, B-4020 Belgium 1992<br />
Sociologist working as trainig manager for Apple Macintosh, active in Mail Art since ®<br />
1982 (there is well known his „Rat“ logo – the drawing of a running rat –<br />
in form of rubber stamp or as computer drawing). R.A.T. is an acronym<br />
for Research in Art and Telecommunication, also reffered to as R.A.T.O.S.,<br />
Research in Art and Telecommunication On-line Service.<br />
RATOS (Host System: RATOS, Sysop: Ch. FRANCOIS, by appointment, also known <br />
as one of mail art's first host operated computer Bulletin Board Services<br />
from 1989)<br />
RATOS (Additional xeroxed info mag. to the RATOShost-system, A/4. 1990?- )
Artistamps:<br />
~<br />
Literature:<br />
Sacred Run Net Run (Sheet of 12 id. stamps, phc. on white) R.A.T. 1990 <br />
«The industrial world is presently on the verge of a widespread development of<br />
the telematique. It is quite unlikely that ever completely eliminate the paper support;<br />
the paper support will simply find itself in a constant and instananeous dialogue<br />
with the electronic medium, which will otherwise dispose of its own support (tapes).<br />
rather, it is the combination of paper support and electronics systems which will<br />
prevail in the world of tomorrow, and, as a consequence, its specific sensitivy.»<br />
(Ch. François: Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art –<br />
Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 8. item)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 94-95 p.<br />
Charles François: Networking, Technology, Identity. In: Chuck → Welch (ed.):<br />
Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995.<br />
117-123 p.<br />
Frangione, Nicola Via Ortigara 17 B Monza I-20052 Italy 1987<br />
↑ Giulianova (TE) / Padua - “ - 1981<br />
.............................................................................................................................................................<br />
°Osservationi critiche sula funcione del nervo ottico nella semiotica dell'arte. <br />
(A/5, phc., offset, 110 p.) {1200}Armadio e Officina. Monza,1977<br />
°The Relativity of Language as the Enigma of Art. (A/5, offset, rubbers, perforations <br />
90 p.) Armadio Officina. Monza, 1979<br />
°Arte marginale e socialita. Cat.: on a poster of 80x59 cm., with doc. & a list of <br />
~170 parts. / Armadio Officina, Monza, 1980<br />
°Snapshot. (Magazine on Mail Art basis, ~60 parts. 17.3x12.5 cm., phc. {100} <br />
1980?-, #1-2?) Armadio Officina. Monza I, 1980<br />
°Zen and Art (Commonpress #26) A/5, offset, 88 p., 83 participants. {100} Editions <br />
Armadio Officina. Monza, February 1980<br />
^House of Artist. Doc. One sheet of 60x84 cm., offset. 1981 Inv., <br />
^Mail Music. Repeated invitations for cassette submissions, leatest 5 actions, ~1980-83 <br />
Participants get a L.P.33 at the end of every action as “catalouge”<br />
Mail Music (Compilation on a L. P. record, 1000 numbered copies, 1982-83) <br />
^Poesie Visive... etc. (A/4, phc., 11 p. in offset cover {300})<br />
<br />
Armadio Officina N° 5. (S. P.) 1982<br />
^Audio Art (with → Fontana) Cat.: A/5, offset, 16 p. + poster / Teatro della Villa <br />
Reale, Monza. 1984<br />
^Children and Art. Inv., 1994<br />
~<br />
Source:<br />
«The Mail Music project is of sound materials received and then compiled in a<br />
L.P. record. The pieces received are metarial such as: cassettes, sound bobbins,<br />
sound films, etc. They space in different fields, from the sound and phonic poetry to<br />
electronic music, concrete music. The compilation has character of episode unique<br />
since the pieces follow one another superimposing for a few seconds. (...) This is<br />
one of the most important projects of the sound „Mail Art“ and the first realization<br />
as a record...» (Editor's Statement / 1982-83. In: Stephen → Perkins: Assembling<br />
Magazines. Internationale Networking Collaborations. Cat.: Half-legal, phc., 64 p.<br />
Subspace, Iowa City. 1996 / Print: 1997. 44 p.)<br />
Frank, Joachim, Workspace Loft. Inc. 287 S. Manning Blvd. Albany, NY-12208 USA 198?<br />
↑ 845 Park Ave. Albany - “ - 1979<br />
.............................................................................................................................................................<br />
Scientist, writer, visual and conceptual artists, also involved in Mail Art and in processing<br />
images by computer .<br />
^Prop (Multimedia mag. by artists of the cooperative «Workspace». Cut letter
& 24.5x18 cm. sizes, offset, ~24-30 p. 1979-86, 1-2xy., #1-13)<br />
^# 1-13<br />
^Post Historic Documents. (with Louise Krasniewicz). Cat.: in: Prop #12. July '84<br />
~<br />
Literature:<br />
(Prop, #9-10): «If the other back issues have as much to offer as this one, they are a<br />
bargain at $1.50 (back issuues are all that's left unfortunately). The writing and<br />
visuals in #9/10 are gutay, bizarre, political,, original, the layout simple & creative.<br />
A large-type story runs in a line from pg to pg throughout the book, experimental,<br />
phots in the centerfold, strange drawings by the editor's kid, contributors notes, & a<br />
flexi disc – all inside a 28pg booklet.»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.)<br />
Joachim Frank: The Expanding Network: Toward the Global Village. In: Chuck →<br />
Welch (ed.): Eternal Network. A Mail Art Anthology. University of Calgary Press,<br />
1995. 113-116 p.<br />
Frank, Peter P. O. Box 24 A 36. Los Angeles, CA-90024-1036, USA 1990<br />
↑ 712 Broadway, 5th Floor New York, NY-10003 - “ - 1986<br />
↑ 80 N. Moore St. #12 C. New York, NY - “ - 1979<br />
.............................................................................................................................................................<br />
Fluxus in New York. In: Lightworks (→ Burch), N°11-12, Fall 1979, 29-45 p. Fluxus<br />
Postal Modernism: Artists' Stamps and Stamp Images. (Essay in: Art Express,Vol. 1, <br />
N°1, 1981. Reprinted in: M. Crane / M. Stofflet (eds.): Correspondence<br />
Art. Contemporary Art Press. (→ Loeffler) S. F., 1984. 425-449 p.<br />
^Something Else Press, an annotated bibliography. (→ Higgins, Dick) Offset, 90 p.<br />
McPherson & Co., P.O. Box 638, New Paltz, NY-12561, 1983 Fluxus<br />
«Franklin Furnace» 112 Franklin St. New York, NY-10013 USA 1980<br />
^Franklin Furnace Archive Artists' Book Bibliography I-II-II. (1977, 78, 79) 143 + <br />
144 + 143 unbound note cards of 10.5x15 cm.,m offset {500}. 1977<br />
^Flue (At first info leaflets in tabloid size of 43x29 cm. with 4-8 p., or of 64x48 cm. <br />
in 2 p. Later voluminous magazine with catalouge parts and theories,<br />
cut letter size, 56-60 p. All publs. in offset. 1980-, bim., / qu.)<br />
Editor: Martha Wilson. 1980<br />
^# Vol.1/ 1,2, 4, 5; Vol.4/ 3-4, Vol.5/ 2<br />
Four part exh. devoted to Bookworks from Eastern Europe and the Soviet Union: <br />
1.) The Roumanian Contribution to Dadaism and Surrealism (Curated<br />
by Valery Oistenu, November-December 1981)<br />
2.) Avant-Garde Books form Russia ca. 1910-1930 (curated by Gail<br />
Harrison Roman, Dec. 1981 - Febr. 1982)<br />
3.) Russian Samizdat Art 1960-1982 (org.: Valeri & Rimma → Gerlovin,<br />
Febr.-March, 1982)<br />
4.) Contemporary Eastern European Bookworks (selected from the<br />
Franklin Furnace Archive by Krzysztof Wodiczko, 1982)<br />
^Mail Art Then and Now, & essay anthology. In: Flue Vol. 4,#3-4 (Winter 1984): <br />
Editorial: Mail Art Then – Ad Reinhardt and Gilbert & George<br />
Ed Plunkett: From Pre- to Post-Postal Art<br />
John Evans: Corresponding by Tattoo<br />
Valery Oisteanu: Illegal Mail Art (a poetical essay)<br />
Ray Johnson Speaks – The Way it was<br />
Ken Friedman: Mail Art History: The Fluxus Factor<br />
Anna Banana: Mail Art: Canada & Western U. S. A.<br />
Lon Spiegelman: A History of Los Angeles Mail Art (1978 Trough 1983)<br />
Carlo Pittore: N-tity<br />
Mark Bloch: The P.A.N. Project.<br />
E. F. Higgins III.: On Mail Art: Doo-Da Postage Woorks<br />
Ronny Cohen: A Conversation with Mike Crane
Fatima Bercht & Josely Carvalho: Solidarity Art by Mail.<br />
Artists' Books: Japan. Cat.: Exh. from March 15 - April 20, Franklin Furnace, 1985<br />
Lettrism and Hypergraphics. The Unknow Avant-Garde 1945-1985. (Ed.: Jean-Paul<br />
Curtay) Exhibition and Cat.: with chronology, exhibition checklist and<br />
critical essay by Curtay from Fanklin Furnace. November 1985<br />
<br />
<br />
~<br />
Literature: Russian Samizdat Art: 1960-1982. In: Umbrella (→ Hoffberg), Vol. 5, #2, 25-26 p.<br />
and in: Flue, Vol. 2, #2, Spring 1982<br />
«Franklin Furnace, the largest public collection of material published by artists, has<br />
as its house couple issues the publication has taken on a commercial and magazine<br />
format. Plans are to have it avaible on a retail basis. Issues are thematic...» (Lightworks<br />
[→ Burch]. These Things Too [Print review]. N° 16, Winter 1983-84. 55 p.)<br />
(The Mail Art Then and Now exh. in the Franklin Furnace coused a very polemical<br />
discussion in the camp of the participants. More about the Franklin Furnace Mail<br />
Art Pannel in New York:)<br />
→ Spiegelman, Lon / Umbrella, «special exlcusive mailart edition» (with the<br />
article Review of Postal Art Panel by Faith Heisler and the open letters by<br />
Carlo → Pittore, Lon → Spiegelman, Chuck → Welch, J. P. → Jacob, Ken<br />
→ Friedman, R. → Saunders, Joachim → Frank, and others. In: Umbrella<br />
(retracted issue), Vol. 7, N° 2. 1984<br />
→ Wamaling, Mark / Entartete Kunst, in: Newark Press, Letter, phc., 8 p. 1984<br />
→ Welch, Chuck : Corresponding Worlds: Debate and Dialogue. (See the paragraph:<br />
The Franklin Furnace Mail Art Fiasco) In: Chuck Welch (ed.):<br />
Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995.<br />
187-197 p.<br />
Edward Gomez: Artists' Books: Japan. In: Umbrella (→ Hoffberg). Vol. 8, #1.<br />
1-3 p. 1985<br />
«Lettrism and Hypergraphics... After 35 years of semiobscurity in Europe, lettrism<br />
has been rediscovered and assessed and seems to be today as a sort of Super-Futurism.<br />
Included are the first „metagraphic“ artists' books from 1950, photographs<br />
from 1953, a reconstruction of what is probably the first video installation, phonetic<br />
poems by Isou and his followers from 1845 on, and the near complete work of the<br />
first artists who worked on magnetic tape, François Dufrene, as well as more recent<br />
and contemporary works by artists from France, Italy and Germany...<br />
(In: Umbrella [→ Hoffberg]. Vol. 9, #1. 5 p. 1986)<br />
Franzen, Piet / SIDAC CBK Leiden + Sidac Studio, Hoge Woerd 77, Leiden Neatherlandes 1999<br />
↑ Harmenjansweg 9 Haarlem, NL-2011 / P. O. Box 311, Haarlem, NL-2000, 1978<br />
.............................................................................................................................................................<br />
^Sema-cahier (Correspondence like paper-works in envelopes, sent out as a little mag. <br />
{each issue in 6 copies, altogether 350-500?}. Mostly A/4 paperworks<br />
in envelope of 22x15.5 cm. mixed techn. 1978-84, ir.?, publications not<br />
numbered, about 80 issues?)<br />
^ 7 div. Issues<br />
^Circular, Mail Art project. Inv., 1981<br />
<br />
^Clay Stamp. Inv. completed with a bag to retour..., 1981<br />
<br />
art-works / art & archives. Ongoing project for the foundation of an Mail Art etc. <br />
archive in the Stadsbibliotheek, Haarlem. 1982-83.<br />
^1. Mai, 1983. Cat. published in 1986 only!: 17x24 p., offset, 96 p. with a very rich <br />
image material and the texts: Ulises → Carrión: Mail Art and the Big<br />
Monster; Paul Hefting: Mail Art. The exhibition was held at the Postal &<br />
Telecommmunication Service. Den Haag, 1983.<br />
^Brood / Bread and Dinner. Catalogue in the form of a A/3 poster, offset print, RV.
Exhibition at the Sidac Studio, Leiden, Sept 30 - Oct 31, 1999<br />
~<br />
Literature: «Sema-cahier (art & project) is a small hand-made booklet, in an edition of only 6<br />
copies. Glued together pages bearing red and black crayon lines, pieces of cotton<br />
wool and torn holes create a visual and tactilesequence. Subscription: ƒ15,-<br />
(In: Artzien [→ Gibbs], Amsterdam. Vol. 2, N°2-3, Dec 1979–Jan. 1980.. n.p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 33 p.<br />
«Fred & Howard's Hausfrau Haven» («Largest card store in the state»)<br />
769 South Third. German Village Columbus, OH-43206. USA. 1987<br />
^Fifth Annual International Mail-in Postcard Art Show. (To the Hausfrau Haven's <br />
15th anniversary.) Invitation postcard. Maybe the only Mail Art<br />
project in which some artists could make money (Prizes: $500, $250<br />
and $100). Columbus Arts Festival / Ohio State University. May 1987<br />
^Sixth Annual International Post Card Show. Invitation and notifying card about <br />
the winners: Piotr Szyhalski, PL; Luc Fierens, B; Beth Soyland, USA;<br />
Susan Hessler, USA. / Hausfrau Haven / P. Library / State Univ. 1988<br />
«French Graphism» → Appendix<br />
Fricker, Hans-Rudi , Büro für künstlerische Umtriebe auf dem Land.<br />
Hüttschwende Trogen, CH-9043 Switzerland 1985<br />
^Artistic Activities in the Country-side. Cat.: Horz. A/4, offset, 6 leaves.<br />
<br />
Exh.: Schulhaus Hüttschwende, Oct 2 - Nov 13, 1982<br />
^Mail Art Icon. Inv. (Please paint or draw or... an Icon, a saint's image...) <br />
Cat.: A/5, phc., 36 p. 1983-84<br />
^Tourism Review (A Mail Art mag. on Fricker's «tourism» idea by him self with the <br />
protocol of the so called «malicious tours» – the network as reciprocal<br />
visits of mail artists. A/5. offset + rubber stamps, 24 p. 1985, #1)<br />
^Networkingmaterial. (Text and image documentation in German and English) ®<br />
Cut A/4 size, phc., ~200 p. ISBN 3-923971-11-7. Designbuch Verlag<br />
Cremlingen, → Löbach / Galerie für Visuelle Erlebnisse, Weddel,<br />
Band 10. On the occasion of the exhibition of Fricker in Museum für<br />
moderne Kunst, Weddel. March, 1986.<br />
^No Budget Tours (Tourism Guide). Elaborated Lufthansa Timetable from Summer <br />
1986 with an insert: 30 phc. sheets of 20x10 cm. Texts: Proposals for<br />
visiting at 30 network artists all over of world. 30 copies for the participated<br />
artists only. n.d. Artists' book outfit. (1986-87?)<br />
^Mail Art is not Fine Art it's the Artist who is Fine. (A rubberstamp book, each copy ®<br />
dedicated for a mail artists. Handstamped outfit, A/4, 148 p. {150})<br />
Designbuchverlag, Cremlingen /Akt. Kunst, #12. 1987<br />
^I am a Networker (Sometimes). Mail Art und Tourism im Network der 80er Jahre. <br />
Cat.: A/4, offset, 128 p. / Kunstverein St Gallen, CH-9000, July-August<br />
1989. Texts by C. Padín, P. Petasz, S. Segay, R. Nikonova, G. G. Marx,<br />
V. Baroni, I. Kántor, C. Welch, M. Stirnemann, Ch. François<br />
^ Mail Art – a Process of Detachment / Mail-Art – ein Ablösungsprozess. (About <br />
→ Art Strike and the necessity of a Decentralized Mail Art Congress<br />
to clearing the role of the Networker. A/5, phc., English / German. 8 p.)<br />
S.P. Trogen, «The 72nd day of the Art Strike» (March 13, 1990)<br />
^Art-Stamp / Andere Briefmarken aus dem mail-art-Archiv des Büros für künstlerische<br />
Untriebe. Cat.: A/4, phc., 36 p. Oberstufenzentrum Grünau, Witten- <br />
bach CH. March 1991<br />
^Schilder. Doc. 44x31 cm., offset, 4 p. Exh.: Kunsthalle, St. Gallen. April-May 1993 <br />
^Mail Art PTT-Museum Bern – Stampsheets in accordion book. 4 stamp sheets for the <br />
Mail Art / artists' stamp exhibition at the PTT Museum, Bern, Feb 23 -
May 29, 1994, mounted on the pages of a cardbroad accordion of 31.5x<br />
22 cm. (A collective work by HR Fricker, G. Ruch & M.V. Stirnemann)<br />
~<br />
Artistamps: ^ICON Commemorative (Sheet of 16 diff. stamps, colour phc. {30}) <br />
...to the mail-art friends I met in New York City Feb 1984<br />
^Alphabet (Sheet of 56 diff. stamps, colour phc.) New York, 1984<br />
Zaummaterial / Alphabet (Sheet of 30 diff. stamps, colour offset) 1985<br />
^auf der Suche nach Edelweiss zu Tode gestürzt (Block of 12 stamps,<br />
dark blue/w offset) with additional rubber stamps: Damned To<br />
Be a Talent / TAMned To Be A Tourist, etc. n.d. (1986)<br />
^First Decentralized... Congress 1986 (Oversize sheet of 24 diff. stamps,<br />
green offset on white paper) 1986<br />
^Mail Art The Big Deal 4 (Sheet of 9 id. stamps, b/w prints with blue<br />
rubber stamps) n.d.?<br />
^Miss Zaum (Block of 16 stamps, blue print on white paper, + indigo<br />
rubber stamps: Edition Laufender Hund, etc.) Issue 88.<br />
^Hiroshima / USAirmail 45 (Sheet of 24 id. stamps + 4 stamp text, red<br />
and blue print on white paper) n.d. 1985-1988?<br />
^Glasnost / Angstlos / DDR 90 (Block of 9 id. stamps, monochrom print<br />
/blue or green or red/ on white paper) n.d. (1988)<br />
^(Block of 12 id. stamps, blue print on white paper) 1989<br />
^Shozo's Issue (Block of 4. id stamps in the head of Shozo Shimamoto,<br />
blue and red phc. {30}) n.d.<br />
^Schilder für Troisdorfer Ortekataster (Sheet of 15 diff. stamps, black<br />
and blue print on white paper, not perforated) 1997<br />
^Shilder für Troisdorfer Ortekataster (Block/Cover of 12 diff. stamps,<br />
blue and green print on white paper, perforated) 1997<br />
→ Mail Art Congress 1986 and 1992, see in the «literature», too!<br />
~<br />
Literature:<br />
«...xerox is the medium of the nomad and the poor. I am a nomad and poor<br />
(sometimes). I mark my way with copies (copier-graffity), the bookwork keeps<br />
the copies together... The image I used for this „person“ [that is the famous<br />
„shadow-head“ icon used as brand by Fricker – eds. note] comes from a fotoportrait<br />
of my self. I blowed up the eyeball with two light reflexes on it and added a tie...<br />
then I distorted the image in the xerox-machine...» (H-R. Fricker: Statement.<br />
^In: Sarah → Jackson: Books Build Bridges / Copier Art – Bookworks. Cat.:<br />
TU ° NS. / National Postal Museum Halifax, 1986. 154. item)<br />
^H. R. Fricker (and other authors): I am a Networker (Sometimes). Mail Art und<br />
Tourism im Network der 80er Jahre. Cat.: A/4, offset, 128 p. / Kunstverein St<br />
Gallen, CH-9000, July-August 1989.<br />
«Is the scissored frenzy of scribbing, glueing, rubber-stamping and passing paper<br />
from one artist to another dying down, fading off in some high tech electronic<br />
horizon? Afterall, this is the age of the FAX and Federal Express, modems moving<br />
messages out into digital space towards computer-knit bulletin boards and exchange<br />
services. Let's not even mention how expensive its gotten to mail things. Oh, screw<br />
it: Pick up the phone and make the call. H. R. Fricker, the Swiss mail artist seems to<br />
have at least some thoughts along these lines. He sees mail art as a bit mummifiedmaybe<br />
way past the point of it all. He ties the action of sending to mail art shows<br />
and to other mail artists as akin to mourning – that beneath the action is the realization<br />
that mail art is the forsaking of a productive role of art-making within general<br />
society. If mail art has become the process of sending regrets and second thoughts,<br />
it is of diminished meaning for him. Fricker, in 1986 along with Günther → Ruch,<br />
called for a Decentralized International → Mail Art Congress. He advocated small,<br />
informal, personal meetings between artists and a sharing of strategies and art in<br />
very direct, face-to-face ways. From it he sees a new definition of purpose evolving
in the form of: The Networker...» (Lightworks [→ Burch]. Postscript. N° 20-21,<br />
1990. 69 p.)<br />
^F. R. Fricker: Territory and Individual Expression. In: Artistamp News / Artist<br />
Profiles Continued (→ Banana). Vol. 3, #1-2. February 1993<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 132-134 p.<br />
^Mail Art. Netzwerk der Künstler / Reseau d'Artistes. Cat.: 21x21 cm., offset,<br />
40 p. Texts: H. R. Fricker, K. Krönig, G. → Ruch, M. V. → Stirnemann.<br />
PTT Museum, Bern. February 1994<br />
^Vittore → Baroni: H. R. Fricker. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 180-181 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 110-111 p.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian and<br />
English. AAA Edizioni. Bertiolo, 2000. 136-137 p.<br />
Friedman, Ken Norwegian School of Management. Box 4676 Sofienberg. Oslo, N-0506. Norway 1995<br />
↑ Fluxus West. P. O. Box 600. Canal St. Station, New York, NY-10013. USA 1986<br />
↑ 66361 Elmhurst Drive San Diego, CA-92120 - “ - 1977<br />
↑ ? San Francisco - “ - 1971<br />
.............................................................................................................................................................<br />
The New York Correspondence School Weekly Breeder (An important experiment <br />
to find the best form of a Fluxus publ. It became more and more voluminous<br />
and by the end was a confusing accomulation of all kind of<br />
typographical matter. Also wrong, «dadaistic» dates of the issues,<br />
e.g. 1953. Friedman was the first editor of the zine.)<br />
Letter size, after 1971 with changed editors:<br />
1971= Friedman: #1-11,<br />
1972= Stu Horn: further 12 issues,<br />
1972-74= → Bay Area Dadaists: 7 newer issues (+ a «20th anniversary<br />
issue» in 1992) See a list of these issues → Bay Area Dadaists<br />
International Contact List of the Arts / Fluxus West & Image Bank, Vancouver. 1972 <br />
Omaha Flow Systems / Joslyn Art Museum, Omaha, Nebraska. April 1-24, 1973. <br />
(The first large Mail Art Show with unlimited participation at all.)<br />
Org.: K. Friedman / Inv., Docs., Literature.<br />
^International Sources (Concept and Mail Art anth. in: Source Magazine, N° 11, <br />
1974) → Composer / Performer Edition<br />
Artistamps: °Fluxpost Commemorative Issue (Bloc of 25 id. stamps,offset) 1974 <br />
New Wilderness Letter (Fluxus-like mag. with graphics exclusively by the editor <br />
only. Letter, offset, ~4-6 p. {500}. 1978?-, #1-8?) Lincoln NE<br />
^Art Café. Revue. (Fluxus like graphical mag. with drawing, photos, menues, etc. for<br />
Art Café, 151 Second Ave. New York. 1985, #1-2?)<br />
<br />
^The Fluxus Performance Workbook. (in: El Djarida, N°9, [G. → Nordø], Trondheim, <br />
Norge, 1990) Offset, 64 p. {2500} Artists:<br />
G. Akasegava, E. Andersen, Ay-O, R. Bozzi, G. Brecht, H. Christiansen,<br />
A. Cox, A. M. Fine, K. Friedman, L. Heflin, Hi Red Center, D. Higgins,<br />
T. Ichiyanagi, J. Jones, B. af Klintberg, M. Knizak, A. Knowles, T. Kosugi,<br />
G. Maciunas, R.. Maxfield, L. Miller, Y. Ono, N. J. Paik, T. Schmit,<br />
M. Shiomi, B. Vautier, R. Watts, E. Williems, L. M. Young, I. Bloom,<br />
P. Hovdenakk, G. Nordø<br />
~
Literature: K. Friedman: Flowing in Omaha. In: Art & Artists, Aug. 1973, London, 6-9 p.<br />
K. Friedman: Mail Art History: The Fluxus Faktor. In: Flue (→ Franklin Furnace),<br />
Vol. 4 #3, 1984, 18-24 p.<br />
Michael Crane: Exhibitions and Publications. / Omaha Flow System. In: M. Crane /<br />
M. Stofflet (eds.): Correspondence Art. Contemporary Art Press (→ Loeffler).<br />
San Francisco, 1984. 302-304 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 51 p.<br />
K. Friedman: The Early Days of Mail Art. In: Chuck → Welch (ed.): Eternal<br />
Network. University of Calgary Press, 1995. 3-16 p.<br />
«...Fluxus seems to have earned a place in history. Lots of books have been<br />
published, most of them by people who aren't Fluxus artists. With Mail Art, it seems<br />
to be different. Almost all books, magazines, articles are written by mail artists...<br />
The first people to write about Fluxus were the Fluxus artists ourselves,<br />
describing our ideas, our works (...) The second wave of writers on Fluxus was<br />
typified by Fluxus friends and enthusiasts. This included critics... curators and<br />
gallerists, archivist... By the 1990s, art historians and critics began to discover<br />
Fluxus and intermedia and make the major focus of their work. (...) Most important,<br />
the Fluxus writers knew their own history and many have been broadly conversant<br />
in general culture, culture theory and art history. This makes a qualitative difference<br />
between Fluxus and Mail Art. Few mail artists know their own history well. They<br />
tend to oppose historical writing and thinking. They are often anti-experimental and<br />
judgmental about intellectual issues, believing that scholarship, theory and intellectual<br />
process are the antithesis of the network spirit. As a result, they don't know that<br />
many of the authors writing on Fluxus have also written on Mail Art... Only a<br />
handful of Mail Art writers make sense to outside scholars. You can count them on<br />
your fingers – Chuck → Welch, Mike → Crane, Judy → Hoffberg, Anna → Banana,<br />
John→ Held, John→ Jacob. (...) Mail Art people have their own, strongly held<br />
opinions. When you combine strong opinions with a lack of historical knowledge,<br />
what outsiders write on Mail Art, can seems strange... Mail Art is a minor field for<br />
art historian and art journals. You don't get much credit for working on Mail Art but<br />
you can get a lof of anger. (...)<br />
...I remember your reply to Guy → Bleus's FAX-project in which you<br />
explained why you don't take part in Network Telefax Art Projects. Do you take in<br />
Internet Art Projects?<br />
No, I don't, but not for any particular reason. There haven't been many well<br />
thought out art projects on Internet... Web sites make visual art possible. But most<br />
artists using the medium aren't doing work that interests me. If the work isn't interesting,<br />
I won't take part just it's presented in cyberspace.<br />
Since the beginning, the term „mail artist“ has been used in relation to<br />
correspondence. Now everybody is talking about „networkers“ and „networking“.<br />
Somehow I see that the focus isn't as much on art as it is on communication...<br />
...I don't use the term „networking“ to describe art... The idea of a network<br />
of people doing Mail Art correspondence art or E-mail art as „networkers“ or<br />
„tourists“ bothers me... What makes one network different than another? The focus<br />
and content of their communication. When a network begins to focus primary on the<br />
fact that it is communication, it becomes a group of pen-pals, a small-town social<br />
club...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Ken Friedman. TAM Publs.:<br />
TAM-960104. A/5, 22 p. Tilburg, 1996)<br />
John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 56-57 p.<br />
Fröhlich, Dirk Buchlabor, Priessnitzstr. 19. Dresden, D-01099 Germany 1993<br />
↑ Buchlabor, Louisenstr. 70 b. Dresden, GDR-8060 1989
.............................................................................................................................................................<br />
^Spinne (Bookworks as assembling {20}, also in chest, as #13. Mostly A/4, <br />
~25-30 leaves, 1989?-, ~ 50#)<br />
^# 13, 17, #Oct-Dec. '93,<br />
«Fröhliche Wohnzimmer, Das» → Widhalm, Fritz<br />
Froidefond, Bernard / → Suel, Lucien. 102 rue de Guarbecque-Berguette, Isbergues, F-62330, France 1972<br />
^Starcrewer (Mag. Literature and poetry fascinated by irrational stuff in general and <br />
influenced by W. Burroughs and the USA underground trends especially.<br />
The first series edited by Froidefond: 1972-73, second series by Suel:<br />
78-81, here A/4, offset, ~32 p. #1-14)<br />
^# 12, #?,<br />
Froidefond, Bernard & Joceline. Les-Eyzies-de-Tayac France 1976<br />
L'Oeil Lisant (Portfolio with unbound matter like assembling, graphic with avantgarde<br />
texts & theories. Offset, 27x18 cm. 1976-, qu.)<br />
<br />
«Fruit Basket Upset» 1183 E. 10 th Street, Chico, CA-95928 USA 1985<br />
Alternativ book shop / archives, also exchange “center” for many kind of visual arts, also for<br />
Artist’s Books and Mail Art projects. Connections to American and European Youth Culture.<br />
~<br />
^World Book Archive. Invitation & a one sheet doc. (hand coloured!) with <br />
participant list. Show at the “1078 Gallery” in Chico. 1986<br />
Fulgor C., Silvi Via Pagino 1. Frontone, I-61040 Italy 1989<br />
^Magic and Mystery. Mail Art Show N° 1. Cat.: A/4, phc., 20 p. (Endless project, <br />
therefore additional documents also in the next years...) Exhibitions in<br />
the Galleria Performance, Fabriano / Centro Culturale, Moie / Saletta<br />
Roveresca, Mondavio (all near to Ancona). Summer 1989<br />
Furnival, John Route One, Box 244 Roswell, New Mexico-88201, USA 1985<br />
Fürstenau, Klaus Peter Bergerstr. 122 Frankfurt-1, D-6000 Germany 1984<br />
The Dictionary (Commonpress #53) 17.2x12.4 cm., 156 p., 99 participants. 1984 <br />
Artistamps: ^Cavellini 1914-2014 / President of USE (2 sheets identical sheets of <br />
div. autoportraits stamps, colour offset, printed over with diff.<br />
texts by each sheet with black, the 2 sheets are numbered by<br />
rubber stamps) Marked: «1984 by Klaus Peter Fürstenau»<br />
Furtado, Mario, CIDAC Av. Pinheivo Chagas 77. / 2° Esq. Lisboa, P-1700 Portugal 1989<br />
^Vivere il Mediterraneo – Lisboa-Messina Doc. A/3 sheet, phc. (with Tonno <br />
Perna, Via Ettore Lombardo Peregnino 93, Messina I) 1989<br />
Fusco, Rosario François Caixa Postal 06. Cataguases / Minas Gerais, Brasil 1986<br />
Cataguases (Monthly supplement to the news Journal Cataguases. Strong avant <br />
garde outfit, experimental texts and alternative graphics, also Mail<br />
Art contributions. 35.5x29 cm., offset, 8 p. 1986?-, m.)<br />
Gaard, Frank 4116. 39th Av. So. Minneapolis, MN-55406-3434, USA 1993<br />
↑ 3131, 1st. Av. S. Minneapolis, MN-55408 - “ - 1992<br />
↑ 1611 Eliot Av. S. Minneapolis, MN-55404 - “ - 1991<br />
↑ 5228. 43rd Av. South, Minneapolis, MN-55417 - “ - 1990<br />
↑ P. O. Box 1265. Minneapolis, MN-55458 - “ - 1988<br />
↑ 133. E. 25th St. Minneapolis, MN-55408 - “ - 1974<br />
.............................................................................................................................................................<br />
^Artpolice (Epoch-making graphzine of the American underground scene. In the first
~<br />
Literature:<br />
years often 43x28 cm. (double-letter) issues in offset print, sometimes<br />
as loose leaves. Later letter and digest size brochures (also in horizontal<br />
form) with litho and xerox technic and with comics like additive booklets.<br />
1874- 94, qu., with all supplements ~ 80-100#)<br />
^ 34 div. issues 1980-1994<br />
«Artpolice is the bunch of Minneapolis animals that draw real good. Their stuff is<br />
gruff and low-down in the best sense of the terms. This collective of artists woork<br />
like an alchemist, culling one of the lowest common denominators in visual communications,<br />
namely, comics... Thematically their strips deal with depravity and lost<br />
essence and somehow there's almost a whriting religuous and pseudo-religious<br />
quality about their work...» (Lightworks [→ Burch], Art Alternatives in Print,<br />
N° 13, Fall 1980, 50 p.)<br />
(Artpolice, Vol. 16 N°3): «The Artpolice imagery is always striking, but not only<br />
striking, lots of subjects are hidden behind these disturbing drawings of violence,<br />
sex, poverty and other items. The Artpolice graphics are always in black and white<br />
and very contrasted, uncluding such contributions as Andy Baird, Frank Gaard,<br />
Denise Monaghan, Craig Smith and many others»<br />
(Publication Reviews. In: Métro Riquet [→ Duvivier], #8. Paris, 1990. n. p.)<br />
Troublesome Art & Bothersome Ideas. (About Artpolice, Vol. 17, N°3, Winter<br />
1990-91, a special edition in co-operation with Lightworks.) In: Lightworks<br />
(→ Burch), N° 20-21, 1990 34-39 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 89, 148 p.<br />
Gaglione, Bill Stamp Art Gallery. 466, 8th St. San Francisco, CA-94103 USA 1995<br />
↑ 2090 17th Ave. San Francisco, CA-94116-1244 - “ - 1989<br />
↑ Abraca-Dada, 2311 Lake St. San Francisco, CA-94121 - “ - 1986<br />
↑ 1183 Church St. San Francisco, CA-94114. - “ - 1975<br />
.............................................................................................................................................................<br />
Dadazine (Digest, half-legal or letter size mag. with ? issues in 1969 & 1975-78)<br />
Daddaland, San Francisco. Some issues:<br />
#1: 22 p., n.d. (1969?) with the rubber stamp imprint: THIS IS A ® <br />
SPECIAL RUBBER STAMP ART OF DADA(D)AZINE. 1969<br />
°#1: An issue published in Fall 1975 <br />
#2: 12 p., with contributions by J. Zontal and Dawn Gaglione. 1976 <br />
#5: Offset, 8 p. (produced as an insert for a la → Mamelle publ.) <br />
The Only Paper Today, San Francisco, 1978<br />
Daddaland Postcard Show. Mostly Flowers Gallery, San Francisco, 1972 <br />
^VILE (Mag. 1974-78, #1-7. Editor for the issues 1-6 Anna Banana. The issues ®<br />
4 & 6 have been signed by Bill Gaglione as co-editor, issue 7 was<br />
edited and published by Gaglione)<br />
1 = Vol. 1. N°1, Febr. 1974 (announced as February 14, 1985).<br />
Letter, ip., 56 p.<br />
2 = Vol. 1. N° 4, «The Editors Vile». Sept. 1974. Letter, phc., 48 p.<br />
3 = Vol. 3. N° 1, Dec. 1975. Letter, offset, 66 p.<br />
4 = Vol. 1. N° 2 + Vol. 2. N° 1, «International Double Issue».<br />
Summer 1976. Letter, offset, 100 p.<br />
5 = Vol. 3. N° 2, Summer 1977. Letter, offset, 98 p.<br />
6 = Vol. 6. N° 3, 1978. Fe Mail Art. 18x25 cm., offset, 107 p.<br />
7 = Stamp Art. Winter 1979. Letter, rubber stamps, np. (Rubber stamp<br />
assembling, ed. by B. Gaglione, prod. manager: Joel Rossman)<br />
^#2, 3, 4, 5, 6,<br />
DadalaND / bill gAgli One. (Photocopied digest size 16 p. booklet on account of the
visiting Michael → Gibbs) San Francisco, n.d.<br />
The Last Dada Manifiesto. Digest, phc., 24 p. (Text attributed to Indian Ralph) n.d. <br />
°Visual Poem Book. Inv. Letter size sheet, offset. Dadaland. San Francisco, 1977 <br />
^Typewriter Stamp Poems. 21.5x16.3 cm., ofset, 10 p. {50}, Edtion Book as Artwork, <br />
→ Schraenen. Antwerpen. 1978<br />
°VILE #7 = Stamp Art.(Assembling of orig rubber stamps, 24x16 cm., 376 p. {300}. ® <br />
180 parts. Bibliography. Banana Prods. San Francisco, 1979<br />
Stamp Art (Rubber stamp assembling, spiral bound {150} by 57, 90, 80, 120 artists, ® <br />
1981-84, #2-5) San Francisco<br />
Care 11 = Stamp Art Magazine #5, San Francisco, Summer 1984<br />
® <br />
Launching the Stamp Art Gallery in San Francisco, Nov. 11, 1990. Curator: ®<br />
John → Held, Jr., colaborators: Darlene Domel, Barbara Moore &<br />
Ted → Purves. Exhibition activity with a retrospective character tending<br />
to the golden age of the Fluxus, Mail Art, artists' postage stamps and<br />
rubber stamp art in the 70s and 80s.<br />
Artistamps: ^Networker Congress 92 (Sheet of 20 id. stamps, phc. on white paper, <br />
with additional rubber stamps) 1992<br />
Stampzine (Start a new rubber stamp assembling, 1994-, y?)<br />
® <br />
~<br />
Artistamps as posters or advertisements for the exhibitions in the Stamp Art Gallery <br />
or in related places:<br />
^Picasso Gaglione: Tampon Trouvé (Sheet of 9 id. stamps, black and<br />
red on white) TAM Gallery, Tilburg. Sept. 15 - Oct. 15, 1995<br />
^Women in the Post (Sheet of 16 id. stamp images, black and red on<br />
white, not perforated) Oct. 30 - Dec. 1995<br />
^Ken Friedman Rubber Stamps (Sheet of 20 id. stamps, black and red<br />
on white) November 4-29, 1995<br />
^Netlandia Event (Sheet of 36 diff. stamps , black and red on white)<br />
A. P. Owen & J. Held in the D. Mare Gallery, November 1995<br />
^International Artistamps (Sheet of 25 id. stamps, red on white) 1-30<br />
Dec. 1995<br />
~<br />
Selected exhibition catalogues & rubber stamp / Mail Art editions: (Also on the basis of the<br />
edition list «Stamp Art Gallery», offset, 20 p., San Francisco, 1996) The most<br />
publs. {ca. in 50 copies} are letter size & spiral bound, unless otherwise noted:<br />
~<br />
Joseph Beuys. Cat.: (Grounds of the material of the Daddaland Postcard Show in<br />
the Mostly Flowers Gallery, San Francisco, 1972) 14 p., 1992<br />
New York Correspondance School Weekly Breeder. 20th Anniversary Issue.<br />
(Editor Tim → Mancusi's introduction to the history of this zine, which<br />
played a pivotal role in the zine explosion of the 70s and 80s. Contributors<br />
by Ray → Johnson, B. Griffith, B. → Cleveland, J. Berner, J. → Evans.)<br />
34 p. 1992<br />
S. Gustav Hägglund: Rubber Stamp Art. (Stamp art works first exhibited at La<br />
→ Mamelle Art Center, San Francisco in 1981) 24 p. 1993<br />
Graf → Haufen. (Doc. of a stamp art performance / environment exh. from Berlin<br />
exhibitied anew in the Stamp Art Gallery) 39 p., 1993<br />
Henning → Mittendorf: Hand Carved Stamps. (Introduction text & rub. stamp<br />
works) 62 p., 1993<br />
Scott Helmes: Visual Rubber Stamps Poems. (Poetry activity by a large collection<br />
of «antique» rubber stamps) 29 p., 1993,<br />
Mike → Crane: Stamps in Use. Cat.: Half letter size, 36 p., 1995<br />
B. Gaglione & J. → Held: The Fake Picabia Broothers: L'Art Tampon – Reflections<br />
on the rub. stamp exh. in the → Musée de la Post, Paris, 74 p., 1995<br />
J. H. → Kocman: Stamps and Other Residure 1970-1979. Cat.: 76 p., 1995<br />
^J. H. Kocman. Works: 1970-1979. (Brochure with essay by T. → Purves,<br />
P. Gaglione, G. → <strong>Perneczky</strong>. Digest size, 10 p. + 8 postcards) 20 p., 1995
~<br />
Source:<br />
Literature:<br />
Art from the Rim: The New York Correspondence School of San Francisco Artistamp<br />
Travel Diary. (An account of the Artists Postage Stamps exh. in<br />
Salem, Oregon and a like show in the Stamp Art Gallery, with photos &<br />
a perforated artists' stamps sheet) 28 p., 1995<br />
Stephen Ronan: Tampon Trouvé (The Found Stamp). (Essay & stamps) 18 p. 1995<br />
Kurt Schwitters: Stamp Drawing 1918-23. (With essays by Charlotte Eisner &<br />
Geoffrey Cook + reproductions) 26 p., 1995<br />
^Cavellini 1914-2014. (The rubber stamps of Cavellini, 27 pieces. Text by J. Held.)<br />
Cat.: 36 p. Exh.: November 27-December 31, 1995<br />
Serge → Segay. (Hand-carved stamps and an interview with the artist: Rubber Trip<br />
Over the Whole World) 34 p., n.d.<br />
Endre → Tót. Cat.: with reproductions & a perforated stampsheet. 46 p. 1995<br />
Gugliemo Achille → Cavellini. Cat.: (Text by J. Held, + rub. stamp impressions +<br />
a special stamp sheet by Gaglione) 72 p., 1995<br />
Ken → Friedman: Fluxus Rubber Stamps. Cat.: Essays by J. Held, G. M. Gugel<br />
berger, A. Philips + reproductions of stamps and a perforated Fluxus West<br />
stamp sheet by K. Friedman) 110 p., 1995<br />
Baba Dada: Stampstomper. Cat.: (Rub. stamps contributed by 37 artists) 54 p.1995<br />
M. B. Corbett: The Complete Stampworks. Cat.: (Essay by J. Held and the very<br />
large contemporary rub. stamp activity of Corbett) 120 p. 1996<br />
Ray → Johnson: Bunny Dead. (A compilation of articles, exh. announcements, etc.<br />
to the death of Mail Art pioneer Ray Johnson on Jan. 13 1995) 112 p., 1996<br />
Andrej → Tisma: Collected Writings, 1986-1995. (Anth. of twenty essays accompanied<br />
by rubber stamp designs and photos by Tisma) 96 p., 1996<br />
^Robert Watts: Artistamps, 1961-986. (J. Held's essays and an interview about the<br />
first sheets of artist postage stamps + postcards and philatelic sculp turs of<br />
Watt. Featuring of the Watt-archive by L. Miller & S. Seagull) 66 p., 1996<br />
^Flux Post Kit 7. Cat.: (Texts by → S. Perkins & B. Gaglione) 60 p., 1997<br />
John → Held, Jr.: The Bay Area Dadaist. (An Introductory History... + Bay Area<br />
Dada, 19970-1984: An Annotated Bibliography of Primary Sources. Letter,<br />
phc., 74 p. Edition Stamp Art Gallery. San Francisco, 1997<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 64, 77-78 p.<br />
(Stampzine): «...I had just got back from Europe and I was in eastern countries and I<br />
sow what was going on, they were doing those type of magazines, I was<br />
aware of that, but I saw a lot of it, and I said wow! Again it was the money<br />
factor, who had money to publish? So it was a nice way to put a publications<br />
together.<br />
Stephen Perkins: So you connect assemblings with the Eastern block?<br />
Bill Gaglione: Most of the publications that I saw there were assembling type<br />
publications, so I was influenced by that. In the 1970s we toured Eastern<br />
Europe.<br />
SP:<br />
BG:<br />
Which magazines?<br />
Off hand I can't remeber, they were so obscure. Pawel → Petasz type magazines<br />
or rubber stamp magazines, → Galántai in Budapest, he showed me a<br />
lot of stuff. Again when I got back I said I wanted to do an issue of VILE,<br />
but I don't want to go through the hassle of getting the grant, actually Anna<br />
(→ Banana) did most of that. And I wanted to do color and it was strictly<br />
rubber stamps and it was a weird size. I got to give credit 'cause I had to cut<br />
each page 300 times and then stamp it 300 times. It's a really nice issue, it's<br />
thick, it's huge, I think 185 artists sent pages. Another aspect of assemblings<br />
was that I liked the collating, because I used to call all my friends and it's a<br />
nice social way to get together, instead of just sittting there drinking or<br />
getting stoned, which we did, but we worked and it was fun... Also, whoever
SP:<br />
BG:<br />
contributed got a free issue, that was a nice way of distributing that book.<br />
So had you contributed to assemblings before?<br />
Oh yea, Kostelanetz, a lot of stuff in Europe, all through my sort of quote<br />
„mail art career“, I've liked them the best 'cause I alway used rubber stamps,<br />
it's a real home made feel, real artsy fartsy... Then I did the magazine called<br />
Stamp Art in the '80s. Here's the first issue, we started in 1980-81 and I did<br />
five publications. It was the same thing, they were all hand stamped, that was<br />
my only requirement, I told people you can do anything you want but each<br />
page has to be hand stamped at least once, and the rest you could do anything<br />
you want.»<br />
(Interview with Bill Gaglione. In: Stephen → Perkins: Assembling Magazines.<br />
Internationale Networking Collaborations. Cat.: Half-legal, phc., 64 p. Subspace,<br />
Iowa City. 1996 / Print: 1997. 34 p.)<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 74-75 p.<br />
Gagnon, Jean-Claude, Image Hunters / Chasseurs d'Images. 359 Lavigueur, Apt. 1. Quebec QC. G1R 1B3, Canada<br />
^Réparation de Poésie (Assembling magazine in box or bag {100}, mostly with <br />
24x18 cm. or digest size contributions. Thematic issues, each with ca.<br />
40 contributions. Additional and unregular also digist size, photocopied,<br />
~32 p. text-bulletins in French with info about projects, magazines, etc.<br />
and graphic. 1991-, ~y.)<br />
Early issues: #1 Le folklore poetique {60}.<br />
#2 A Changing Decade {100}.<br />
#3 Li(e)vres d'artistes {50}.<br />
#4 Poetic Surfaces {100}.<br />
#5 Chasseurs d'images {100}.<br />
#6 Poésie extraterrestre {100}.<br />
#7 Livre d'artiste {100}.<br />
^ # 5, 10<br />
~<br />
Literature:<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 297 p.<br />
Gajewski, Henryk P. O. Box 15561 Amsterdam NB. NL-1001 Netherlands 1985<br />
↑ c/o Box 1051, Maastricht BB, NL-6201 - “ - 1984<br />
↑ Galeria Remont, P. O. Box 744 Warszawa, PL 00-950 Poland 1977<br />
.............................................................................................................................................................<br />
°Eliza Gajewski (Artists' Book) 18.5x14.5 cm., offset, 40 p. {500} G. Remont, 1975 <br />
Other Child Book (1977-81). Cat.: / Znak Gallery, Warszawa. 1977<br />
<br />
Art Text (Contemporary Polish and foreign texts about new art trends. A/4. offset. <br />
1977-, 5-6xy.) Ed. Galeria Remont. 1977<br />
TransREMONTexpress (Infomag of the Gallery Remont, sometimes reprints from <br />
the early 70s art publications. Cut A/4, offset. 1979-?)<br />
Children (Commonpress #20, not edited yet)<br />
<br />
Rubberstamp Workshop Remont (A co-operation project of the Galeria Remont, ® <br />
Warszawa and the Stempelplaats, Amsterdam, March 21- 24, 1979.<br />
curators: Henryk Gajewski, Piotr → Rypson, Wieslaw Szweryn & Aart<br />
van → Barneveld) Cat.: A/6 horz., orig. rubber stamps, 60 p. + offset<br />
print documentation, 16 p. 59 parts. Stempelplaats, 1979<br />
Post (Art infos, Mail Art news, etc. from the circle of the Gallery Remont.<br />
<br />
A/4 leaflet, xerox, 1980-81, #1-14) 1980<br />
^Audio Child ’83. (cassette project) Inv., 1983<br />
<br />
Identity (1984-86). Cat. 1984. (Completing and event. exh. of the project at the <br />
Amazonic Archive of R. → Maggi, Milano, ^ Inv., 1985)<br />
Networking Paper. Iidentity Communication Exchange. (Correspondence like mag.
~<br />
Literature:<br />
Mail Art matter in visual contributions and texts, sent to the participants<br />
only. Very limited edition = 15-18 copies. A/5, phc. 1985-87, #1-9?)<br />
Amsterdam<br />
«...Artists were invited to make works in book form, with no limitations other than<br />
that the work should be clear to children between the age of 4-10 years, and that it<br />
should be enlightening, not doctrinal. More than 250 artists from 29 countries sent<br />
in projects of specially designed books. The opening of the exhibition took place in<br />
May 1979 at the Palace of Culture & Science, Warsaw Polytechnic, and Galeria<br />
Remont... Several artists from Holland participated in the project (...) The following<br />
article by H. Gajewski accompanied the exhibitions in Holland...»<br />
(Introduction and accompaning article to the Other Child Book project. In:<br />
Artzien [→ Gibbs], Amsterdam. Vol. 2, N°1, November 1979. n.p.)<br />
Other Child Book Exhibit. In: Umbrella (→Hoffberg), Vol. 2, #4. 93 p. 1979<br />
Galántai, György / Klaniczay, Julia, Frankel Leó u 68/B H-1023, PF. 52, Budapest H-1277. Hungary 1978<br />
& Artpool Center, Liszt Ferenc tér 10. I. em. 1. Budapest - “ - 1992<br />
artpool@artpool.hu<br />
.............................................................................................................................................................<br />
Launching the inofficial gallery in the cemetery chapel Balatonboglár, H (1970-72) <br />
Launching the underground Archive & Edition Artpool, Budapest. (1979- )<br />
<br />
^The Artpool Archive. (Announcement and invitation to send contributions.) A/6 size <br />
offset print accordion booklet, r/v., with 18 p. 1979-1980<br />
^Pool Letter / Pool Window (One page infomag, A/4, xerox sometimes with manual <br />
interventions. 1980-82, #1-30)<br />
^#1-30<br />
^Sent Art. Doc. (Offset poster on brown paper,, 51x35 cm. part. list.) → FMK. 1980 <br />
^Textile without Textile (Assembling in portfolio {300}, A/4, phc. matter, #1 only) <br />
Edited with the Savaria Museum. Szombathely H, 1980<br />
^Art & Post (with R. → Swierkiewicz ) Cat.: A/5, offset, 8 p. / Újpesti Mini Gal. <br />
Budapest, 1981<br />
^Art-Umbrella-Postcard-Show. Cat.: A/5, offset, 40 sheets {97} / Helikon Gal. <br />
Budapest, 1981<br />
^Everybody with Anybody (Orig. Hung. Rubberstamps{300}) Cat.: A/5, offset + ® <br />
orig. rubber stamps, 68 p. /→ FMK, Budapest. February 26, 1982<br />
^World X Art X Post. (Artists' postage stamps) Cat.: 20.5x29.5 cm., horz., offset, <br />
68 p. With the reprinted text of Peter → Frank's essay: Postage<br />
Modernism: Artists' Stamps and Stamp Image. / Fészek Klub, Budapest.<br />
April 1982<br />
Artistamps: ^Cooperation (With G. → Lloyd. Sheet of 35 diff. stamps, colour <br />
xerox) Printed in Hungary © 1982 G. Galántai Ginny Lloyd<br />
^Budapest Issue (With G. → Lloyd. Sheet of 25 diff. stamps, colour <br />
xerox) © 1982 G. Galántai Ginny Lloyd<br />
^Artpool's Ray Johnson Space (Action till 1993) Doc. → Liget Gal. 1982 <br />
^Art Letter / AL (Avant Garde magazine about art and politic, edited in the «Year <br />
of the Communication». Hungarian texts with English summary.<br />
A/5, (#10 & 11 in A/4)phc., ~148-60 p. 1983-84, #1-11)<br />
^#1-11<br />
Budapest-Wien-Berlin Telephon-Konzert (Metacommunication) April 15. 1983. <br />
Artistamps: International special 73 83 (Sheet of 20 diff. stamps, colour offset) <br />
Artpool's Stamp Edition. Budapest, 1983<br />
^Art Pool's Art Tour (Sheet of 15 diff. stamps, colour xerox) 1983 <br />
^Hungary can be yours (Commonpress #51) planed for an exhibition in→ FMK, <br />
exh. & Cat.: 1989 only: 24x22 cm, offset, also colour, 30 p.) 1984<br />
^In the Spirit of Marcel Duchamp. Doc. A/4m phc., 6 p + 1 sheet supplement <br />
/ Liget-Galéria + ELTE University, Budapest. December 1987
^Bélyegképek / Stamp Images (International artists' postage stamps. Org.: Judit <br />
Geskó) Cat.: Cut A/4, offset, 24 p. Text: Géza <strong>Perneczky</strong>: Artists'<br />
Stamps. + References + exponat list, 281 items [Hungarian + English])<br />
Musum of Fine Arts, May 29 - September 25, 1987. Budapest.<br />
^Envelopes. Doc. One A/4 sheet, phc. / Liget-Galéria. June 1987<br />
<br />
Correspondence Container. Doc. A/4 sheet, phc. / Burg Jansenplein, Hengelo, <br />
NL-7553, Netherlands. June-July 1988<br />
Launching the Artpool as Artpool Rechearch Center supported by the City Budapest:<br />
Liszt Ferenc tér 10. PF. 52. Budapest, H-1277. 1992<br />
^Artpool 1992. Docs. about exhibits, events, archive activity, publications, etc... <br />
(Spiral book, A/4, phc. + offset, 56 p., like publs. also in the next years)<br />
^FAX Your Art Today. (Artpool's FAXZINE, +36-1-121 08 33) Cat.: A/5, phc., <br />
20 p. Budapest. August 24-25-26. 1992.<br />
^Danube Connection Wien-Budapest. Inv., 1993<br />
<br />
^Network Bridge / Spielkammeret → Jensen. Cat.: A/5, phc., 28 p. / Artpool. 1994 <br />
^Artpool: Networker Post. Artistamp Stamp-Sheets by the Network for the Network. <br />
(100 loose artistamp sheets in phc. reproduction by 100 invitated artists<br />
in A/4 size portfolio.) 1994<br />
^Polyphonix 26 – Budapest. International festival for visual and sound poetry curated<br />
by the Artpool and the group Polyphonix (Paris). October 2-6, 1994.<br />
Publication: A/4, offset, 12 p., + cover (detailed program brochure).<br />
^Ray Johnson Memorial Space. (A/4 poster) Exh. at the Museum Ernst, Budapest, 1997 <br />
~<br />
Literature:<br />
Mail Art News /Textile without Textile and other activities of the Artpool. In:<br />
Umbrella (→ Hoffberg), Vol. 5, # 2, 35 p. 1982 – about the Everybody with<br />
Anybody stamp action in: Vol. 5, # 3, 65 p.<br />
«Art Letter / AL is a Hungarian avant garde magazine of art, litareture, architecture,<br />
music, etc... Each issue includes a summary of contents in English. AL chronicles<br />
the wide range of activities of the Artpool gallery and art archive, both projects by<br />
György and Júlia Galántai, lectures, articles, translations, films, interviews, performances<br />
etc... Tolerated by the authorities but unable to publish legally, AL seeks to<br />
continue the avant garde tradition established in Hungary during the 1920s. I'd say<br />
they're succeding!» (Stephen → Perkins: Magazine Reviews. In: Box of Water,<br />
N° 2, 1986)<br />
<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 16, 82-83 p.<br />
^Vittore → Baroni: Archivi / György Galántai. In: Arte Postale. Guida al network<br />
della corrispondenza creativa. (Text: Italian) AAA Editori. Bertiolo, 1997.<br />
212-213 and 216-217 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 223 p.<br />
John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 21 p.<br />
Galdamez, Jesus R. ? San Salvador El Salvador 1979<br />
°Exp. Int. de Arte Correo. Doc. One sheet of 28x40.5 cm., recto/verso, offset, <br />
with the list of 63 parts. San Salvador, 1979<br />
Galingani, Alberto Via Sercambi 22. Firenze, I-50133 Italy 1979<br />
Art in Opposition (A MailArt magazine with the statement: ...publicazione gratuita <br />
e anonima di espressione e communicazione marginale, aperiodica...
Very loose, collage like layout. Peli, Crozier, Gaglione, Carrión, Rypson<br />
& others. A/4, phc., 6-20 p. 1979-, #1-5?)<br />
Garbin, Ornella Viala Marche, 40 Monzese (Milano), I-20093 Italy 1997<br />
^Collage (Late Mail Art compilation magazine in a small {~32} edition. Also cat. <br />
publs. for Mail Art projects as „Angeli“/1997 & “The Four Elements”<br />
/1998. ~A/5, phc., ~ p., middle 1990s, about 10 issues)<br />
^ #8<br />
^Il Diabolo – Mail Art Project. Inv., 1995<br />
<br />
Angeli. Inv., 1997<br />
<br />
^The four elements: air, water, land, fire. Inv., 1998<br />
<br />
Garcia, Dominique (!Dom Tom!) 10, rue des Gardes Paris, F-75018 France 1990<br />
↑ 112 rue de Chateau Paris, F-75014 - “ - 1987<br />
.............................................................................................................................................................<br />
^01 / 02 (Series of computer graphic books like magazine {100}.<br />
<br />
A/5, phc. or offset? ~ 60 p. 1987-88, #1-2)<br />
^Videotexto. (Offset brochure, A/6, offset, 20 p.) S. P. n.d.<br />
^Mon Stres (Magazine? A/5, phc.,, 16 p. 1990-, 1#) Sortie du Zine Edition. 1990<br />
<br />
<br />
^2 Styles. (Horizontal size A/4 brochure, spiral bound, 32 p.) Ed. Sortie du Zine <br />
(+ Dom Tom) n.d. ~ 1990 (with Captain Cavern, Caramell, Lionel<br />
Garcia, Lombardi, Paquito Bolino, Patalo, Veuve Clito, Y5/P5)<br />
Garcia, E. G. / Gil, R. G. / Mata, J. L. c/o Escula de Artes Aplicadas. Soria / Castilla León, E-42004 1990<br />
^A Quinientos Años de la Llegada de Colón a America. Cat.: Cut A/4, offset, 96 p. <br />
Text: Mata, J. L. Sala de Exposiciones, Dec. 1990 - March 1991<br />
Garcia, Frank<br />
a. k. a. !Il Zozo! Terrain Vague Prods.<br />
44 rue De Meaux, Appt. 18. Paris, F-75019 France 1989<br />
^LPDD / La Pomme de Discorde (Graphzine, partly hand made, in A/5 size, photo- <br />
copy + painting, 12-28 p. 1989-, #1-10?)<br />
^#1, 2, 3, 4, 5, 7<br />
La Pomme Discorde & Lune Product. A/5 graphic booklet with experimental work by <br />
Fabrice Poincelet printed on yellow pages. January 1990.<br />
~<br />
Literature:<br />
(LPDD, #5): «This „Duel“ issue 5 is a special meeting with Françoise → Duvivier<br />
and Jacques Abeille, both illustrating a different theme: „The woman“ and „the<br />
man“... Having this possibilities to do collages on this theme „the man“, I wanted to<br />
epresent him as only a body and a piece of disgusting meat and more in reaction<br />
against the sexist images on women thru the male media. We can see Jacques<br />
Abeille presents here, the women as a bitch thru his own drawings.<br />
(LPDD, #7) «Every issue of LPDD presents verious artists, sometimes one. This<br />
issue 7 features graphics of → Leblanc, → Dom Tom, Julie Doucet and others +<br />
superb coloured by Il Zozo himself.»<br />
(Publication Reviews. In: Métro Riquet [→ Duvivier], #8. Paris, 1990. n. p.)<br />
Garcia, Patrick / Manuel, Pierre, CCP. 2803, 74 W. Toulouse, F-31000 France 1976<br />
°Erres (Magazine for experimental literature and art. «Scènes, textes,, reseaux». <br />
27x29 cm., ~100 p. 1976-77, #1-7)<br />
Garnier, Ilse + Pierre Saisseval, F-80540 France 1996<br />
^Fibel - Eine Elegie. (A/5 booklet, phc.?, 56 p. {101}) Suppl.: Bibliomanische Bei- <br />
lage (on endless perf. computer-paper) Hybriden → Andryczuk, 1993<br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations, 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 241-245 p.
Gaspari, Walter ? Chiuduno Italy 1980<br />
°Fetiche Journal (Xeroxed mag. for prose and concrete poetry, 17.5x12 [#0= double <br />
size]. G. Fontana, F. Beltrametti, R. Kostelanetz, M. Perfetti, D. Daligand,<br />
& others. 1980. #0-5)<br />
Gaston, Elisiabeth 334 Sppringfield Road. Belfast, BTI2 7AG, Northen Ireland United Kingd. 1991<br />
^Paradise. Exh. Cat.: A/5, phc., 28 p. + 2 postcards. 1991<br />
<br />
«Gay Group Lübeck» c/o Heinrich Ratkowski. Soellbrock 1, Lübeck, D-2400 Germany 1986<br />
^Gay Art. Inv. for homosexual matter in Mail Art, 1986<br />
<br />
Geluwe, Johan van The Museum of Museums Bouckaerstr. 8. Waregem, B-8790 Belgium 1986<br />
^Hart Slag Vol. II. (with → Kindt, J.) (Mag. 24.5x18 cm. & A/5 sizes. offset, <br />
28-76 p. 1977-, qu.)<br />
^# Vol.3/2<br />
^The Museum of Museums. Cat.:, A/4, offset, 24 p. Exh.: I. C. C. – Cat.: N°: 204. <br />
Antwerpen, 1981<br />
Museums (Commonpress #40, not edited yet) (1981)<br />
<br />
^Museums on Postcards. Inv. (Send 2 identical postcards of an outside or inside <br />
view of museums...) 1983<br />
^Luc De Blok... (23.5x21.5 cn., offset, 16 p., the visual documentation of the corresp. <br />
between Geluwe & de Blok) Gent, B. 1986<br />
^Architecture is... Doc.: Poster, 60x42 cm, offset. / Art + Architecture, Bookshop, <br />
Jacobijnenstr. 8 Gent, B. October-November 1986<br />
^Flamish Post-Primitivism. (Exh. at the Foncke Gallery, Gent B) Inv., 1993 <br />
^Das Kabinett des Konservators. Cat.: 22x17 cm., colour offset, 28 p. Essays: <br />
Michael Fehr and Filip Luyckx (German and English). / Karel Ernst<br />
Osthaus Museum. Hagen, D. 1996<br />
~<br />
Literature: ^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 92-93 p.<br />
«General Idea»<br />
(A. A. Bronson / Jorge Zontal / Felix Partz & others)<br />
788 King Street West Toronto, M5V 1N2, Canada 1988<br />
↑ 241 Yonge Street, Toronto, M5B 1N8, - “ - 1972<br />
.............................................................................................................................................................<br />
^FILE (The famous post-fluxus mag. from Canada with a great influence on neo- <br />
dada, Mail Art and any kind of cultural radicalism. A very known issue<br />
was that from Dec. '72 with a long «Christmas» artists' address list – a<br />
kind of network! – or the Automn '75 «Glamour» issue. Also the artists<br />
of the → Western Front got featuring in the FILE in it's classic 70s<br />
periode. 35x27 cm. offset. 1972-89, ~ 3xy. #1-29) Art Metropole,<br />
Toronto<br />
^# Dec.'72, Febr.'74, Autom'75, Summer'80, #29 (final)<br />
°S/He. 20.5x12.8 cm., offset, 12 p. {500}. Art Metropole. Toronto, 1976 <br />
°Menage à trois. Bio-biblio-videography. 26.7x20.4 cm., offset, 24 p. {500} Art<br />
~<br />
Literature:<br />
Metropole. Toronto, 1978<br />
«In the years 1968-70, General Idea had come together, as a loosly communal<br />
group of artists, who were collaborating on various projects in Toronto, most<br />
notably, the Miss General Idea Pageant. This group consited of Jorge Zontal,<br />
Michael Timms, a.k.a. A. A. Bronson, Ron Gabe a.k.a. Felix Partz, Mimi Page and<br />
Granada Gazelle. (...) ...at the same time burning out many of the originators and<br />
transforming mail art into something els. First was File Magazine, with its Life<br />
magazine format and lists of names, addresses, and imagery requested by various<br />
artists File was in contact with. The firsat File came out 1971, with a photo of Mr.<br />
Penaut and the Toronto Skyline from Ward's Island in the background, on the
!Genesis P-Orridge! → P-Orridge<br />
cover. The second and third issues of File came out in 1972, furthering the expansion<br />
of the network, including artists in Canada, U. S., Europe, South America,<br />
and Australia. »<br />
(Anna → Banana: Mail Art Canada. In: M. Crane / M. Stofflet [eds.] Correspondence<br />
Art. Contemporary Art Press [→ Loeffler]. San Francisco, 1984. 245 p.)<br />
GENERAL IDEA premiered their latest TV programme Test Tube at De → Appel<br />
(Amsterdam) on 8 November... (The whole text of this production was reprinted in:<br />
Artzien [→ Gibbs], Amsterdam. Vol. 2, N°1, November 1979. n.p.)<br />
(FILE #28): «The Megazine FILE got a start in the early 70 as house organ for a<br />
budding coterie of artists excited about making art and sending it to another doing<br />
the same. Heady, nutso, exuberance was cuptured in those early, classic issues. As<br />
the editors A. A. Bronson, Jorge Zontal and Felix Partz gravitated more toward the<br />
„official“ art world so did FILE. But never too seriously. Number 28 is the first of<br />
two issues to deal with money and art and it takes all sorts of oblique shots<br />
beginning with Warhol dollar bills as endpapers and including portfolios from<br />
Barbara Krüger, Antonio Muntadas, Group Material and Richard Prince... FILE,<br />
invariably stunning in design (this issue by Alan Belcher in addition to General<br />
Idea), tweaks the nose of high falutin' art and culture. But, as a clever, pesky and<br />
precisious child, it teases and torments. FILE is and has become a sort of Mad<br />
Magazine of the hot shit New York art world...» (Lightworks [→ Burch],<br />
Glimmerings [Print review], N° 19, Winter 1988-89, 46 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 52, 62 p.<br />
!Gerbaud et Toffe! (Philippe Gerbaud & Toffe Jacquet), 5 rue Volta, Paris, F-75003 France 1983<br />
^Au Sec! Suprême d'images. (A typical case of French graphzine. A/5, offset, <br />
64-76 p. 1983-, y. #1-4?)<br />
^#3<br />
Gerlovin, Irina (Rimma) & Valery. 285 Quaker Rd. Pomona, NY-10970 USA 1996<br />
↑ 302 Spring St. New York, NY-10013 - “ - 1982<br />
↑ Obere Donaustr. 101-3-9. Wien, A-1020 Austria 1979<br />
.............................................................................................................................................................<br />
^Russian Samizdat Art 1960-82. Cat.: Letter, phc., 14 p. / → Franklin Furnace, New <br />
York, February-April 1982. Traveling shows: Rochester, Washington,<br />
Vancouver, Seattle, Pittsburg, etc.<br />
^Russian Samizdat Art. (Book. Editor: Charles Doria) Offset, 210 p. The major part <br />
of the book is written by the Gerlovins and covers samizdat activity<br />
from then '60s to 1979. Willis Locker & Owens Publ. New York, 1986<br />
^Collective Farm (Assembling with Mail Art like Russian samizdat matter from the <br />
emigration. Interesting form: envelopes bound into books and the orig.<br />
assembling matter laid into these envelopes. Numbered copies, signed<br />
contributions. Var. size. With works by Komar & Melamid, V. Bakhchanyan,<br />
Rimma & Valery Gerlovin, C. Pittore, B. Cleveland, R. Kostelanetz,<br />
A. Abramov, Lev Nussberg, B. Buczak, P. Rypson, G. Hendricks,<br />
T. Hsieh, E. M. Plunkett, No-Grupo, V. Baroni, J. Blaine, Makarevic,<br />
J. Furnival, Dupuy, Peter Frank, C. Schneemann, etc.) 1981-1987.<br />
Altogether 6 issues:<br />
#1. Kolkhoz. Letter size matter (diff. print technics with manual elaboration)<br />
in folder, 34 sheets, 150 copies. December, 1981<br />
^#2. Letter to the USSR. 20 + 2 envelopes of 24x10.5 cm., with very diff.<br />
Mail Art like material. 100 copies. 1982
^#3. Post-Office Dinner. Original material in 25 envelopes of 20x15 cm.<br />
100 copies. 1982.<br />
#4. Wonderkids («famous artworks influented by children's art, are completed<br />
by children of contemporary artists»). 10 + 1 envelopes of<br />
30.5x15 cm. 100 copies? (no data) 1983<br />
#5. 5 Year Plan. 10 + 2 envelopes of 38x25.5 cm. with printed material in<br />
letter size. 100 copies, publication in 1987 only.<br />
#6. Stalin Test. Co-editor: V. Bakhchanian. Contributions in 14+2 envelopes<br />
of 14x11.5 cm. by Russian artists only. 80 copies. 1986<br />
→ Russian Underground, Moscow.<br />
~<br />
Literature:<br />
«Rimma & Valery Gerlovin are two Russian artists who now live in Vienna. They<br />
would very much like to hear from you and find out what you as artists are doing.<br />
Rimma makes objects, usually boxes in the form of cubes, which open to reveal<br />
further information inside, but also does play-poems on a wall. Valery Gerlovin<br />
makes objects, using brbead, mechanical building sets, earthh and toys. They<br />
recently had an exhibition in Vienna and from March 1980 they willbe in the<br />
United States...» (In: Umbrella [→ Hoffberg], Vol. 3, #1, 4 p. 1980)<br />
J. A. Hoffberg: Russian Samizdat Art: 1960-1982. (Concerning the exh. in the →<br />
Franklin Furnace, New York, also about the Aeronautic & Collective Farm magazines<br />
by the Gerlovins) In: Umbrella (→ Hoffberg), Vol. 5, #2, 25-26 p. 1982<br />
Gerz, Jochen 41 rue Buffon Paris, F-75005 France 1977<br />
↑ 25 rue Vandomme Paris. 14-e - “ - 1968<br />
.............................................................................................................................................................<br />
Agentzia (with → Bory, J. F.) (Generous edited French magazine for vis. poetry. <br />
J. Blaine, J. F. Bory, J. Gerz, P. Garnier & others. 21x18 cm. & other<br />
very var. sizes, offset, ~60 p. 1968-, m., over 10#) Ed. Agentzia, Paris<br />
Gette, Paul-Armand. 18, rue Bouchardou. BOT, 27-61 Paris, 10-e. France 1966<br />
Possible address also in Malmö (→ Malmö artists) 1966<br />
.............................................................................................................................................................<br />
Eter / New Eter (Very early assembling like publication with concrete poetry and<br />
visual matter {100 copies}. Colaborators: R. Altmann, Fontanel, J. P.<br />
Raynoud, Rotella, R. Sabatier, J. Spacogna, O. Svanlund and others –<br />
at the New Eter: Boltanski, Raoul Hausmann, G. J. Lac, P. Skelby, J.<br />
Valoch, Ben Vautier, Xenakis and others. Edited in Paris and Malmö,<br />
the exact assignation of the early publications is not decided in the<br />
literature. 27x22 cm., at first 20, later 6-10 loose leaves in folders.)<br />
Eter: Malmö? 1966-1967 #1-5. May be the first issues were edited<br />
in Paris.<br />
Eter [Contested]: Paris, 1968, #1-3.<br />
New Eter: Malmö, 1969-1973, #1-6.<br />
^Eter #1, 2 (in copies)<br />
~<br />
Literature:<br />
<br />
^Paul-Armand Gette: Printed Matters 1945-1993. Versuch eines Catalogue<br />
Raisonné. Neckargemünd, 1993. (Small brochure with 16 pages, offset. Beside<br />
the listing of the magazine Eter 13 other edition works in this catalogue.)<br />
Giacomucci, Ubaldo (Galleria Tokonoma) Via Liguria 6, Pescara, I-65100 Italy 1981<br />
^Bambu (Magazine & assembling {100} with changed editors. Unbound A/5 matter <br />
in portfolio/envelope, ca. 30 sheets per issue. Mail Art only. 1981-92?)<br />
N° 0: by Ubaldo Giacomucci, Italy...................... 21 parts.<br />
N° 1: by Ubaldo Giacomucci, Italy...................... 24 parts.<br />
N° 2: by Robin →Crozier, England...................... 17 parts.<br />
N° 3: by Ubaldo Giacomucci, Italy...................... 33 parts.
N° 4: by Angelo →Vitale, Italy............................ 43 parts.<br />
N° 5: by Jörg →Sonntag, Germany...................... 36 parts.<br />
N° 6: by Wally →Darnell, from Saudi Arabia..... 42 parts.<br />
N° 7: by Ubaldo Giacomucci, Italy...................... 52 parts.<br />
N° 8: by Ubaldo Giacomucci, Italy...................... . ? parts.<br />
N° 9: by César →Espinoza, Mexico..................... 22 parts.<br />
N° 10: Mabugaboo by Angelo →Vitale, Italy...... ..? parts.<br />
N° 11: ?<br />
N° 12: by Margaret Ochocki, England....................? parts.<br />
N° 13: by Guy →Bleus, Belgium........................105 parts.<br />
N° 14: by M. B. Corbett, USA.................................? parts.<br />
^#2, 12, 13<br />
^Polaroid art-core. N°1. (with Jean-Paul → Morelle) Cat.: A/5, phc., 14 leaves,<br />
Exh.: at Nicoletta Franco, Proposte d'Arte, Verona. 1986<br />
^Original Porno Photos ( Request letter, 1986)<br />
~<br />
Literatur:<br />
«...Never met the Italian artist Ubaldo Giacomucci, but always liked his<br />
mailings. Yet I don't know what Ubaldo really meant when he used the malay word<br />
„Bambu“ for the first edition of this assembling magazine in 1981. Anyway, Bambu<br />
is a totally new concept in the field of small press & assembling magazines. It is<br />
based on the original idea of combining a Commonpress (every participant sends as<br />
much – more or less identical – pages to the magazine edited by another artist) and<br />
an assembling (every participant sends as much – more or less identical – pages to<br />
the editor as necessary for his/her edition (can be 75 100 150 or more). The number<br />
of pages of an (Bambu) edition depends on the number of participants...»<br />
(Guy Bleus: Bambu 13. 1982-1992 Anniversary Edition. Collector's Bambu<br />
History and participants list. A/5 assembling matter in box, ~105 leaves + A/5<br />
booklet, 8 p. + cover, 1992)<br />
Gibbs, Michael (KonTexts Publ.), Overtoom 444 Amsterdam, NL-1054 Netherlands 1988<br />
↑ Eerste van der Helstr. 55. Amsterdam - “ - 1979<br />
↑ 31 Pinhoe Road Exeter (Devon) United Kingd. 1969<br />
.............................................................................................................................................................<br />
^KonTexts (Mag. for experimental literature & vis. poetry. Div. sizes of 20x16, <br />
28x11 cm., and in tabloid. Mimeogr. /offset, 1969-77, #1-10)<br />
Exeter-Amsterdam. The issues:<br />
#1, ?<br />
#2, 22.5x20 cm., mimeogr. Concrete poetry. C. MacCarthy, B.<br />
Cobbing, D. S. Houédard, P. de VreeN. Zurbrugg & others.<br />
{250}. Leamington Spa UK, 1972<br />
#3, ?<br />
#4, 20.5x16 cm., mimeogr. Poems and texts. D. Graham, B.<br />
McCallion, K. Friedman, J. Giorno, etc. R. Kostelanetz:<br />
The New Poetries in America (Essay).Beau Geste Press<br />
(→ Mayor). Devon UK, 1972<br />
#5, 15x20.5 cm, mimeogr. East European poets: J. Valoch, J. H.<br />
Kocman, G. Tóth, K. Adamus, + P. Finch, U. Carrión, R. Lax<br />
& others {250}. Beau Geste Press (→ Mayor). Devon UK, 1973<br />
#6-7, A/4, offset. Vis. & exp. poetry, language art: L. Weiner,<br />
BP. Nichol, W. Dias-Pino & others. U. Carrión: The new art<br />
making books. {400}. Amsterdam, 1975<br />
#8, Tabloid, offoset. Poetry in Action: H. Chopin, J. MacLow,<br />
A. Lora-Totino, G. Monach, M. Dermisache c others. {500}<br />
Amsterdam, 1976<br />
#9-10, ~A/4, mimeogr., offset, rubber stamps, + collages.<br />
«Langwe Jart»: D. Higgins, BP. Nichol, J. L. Castillejo, E. Tót,<br />
& others {500}. Amsterdam, 1977
^#5, 6-7, 8, 9-10<br />
Ginger Snaps: A collection of cut-ups, machine prose, words & image trips. <br />
(with Hammond Guthrie) Mimeogr. anth. {300}, Kontext Publ. 1972<br />
Baron Samedi (with Keen Graham) (Magazine. Arts, literary ephemeras. 26.5x21 <br />
cm., offset. 1973, #1-2) Exeter<br />
°Connotations. 21x15.3 cm., offset, 32 p. Second Aeon Publs. Cardiff UK, 1973 <br />
°Extinction. (Booklet, 15x10.5. cm., phc., 28 p.,) {25} In-Out Production → Carrión, <br />
Amsterdam, 1974<br />
°Accidience. (Booklet {125}, 100 p. Daylight Press, Amsterdam, 1975)<br />
<br />
°Scriptimages: investigations int writing and language. (with Servie <strong>Janssen</strong>, Rod <br />
→ Summers & Jenne van Eeghen) (Brochure, 48 p.) Maastricht, 1975<br />
°Pages. (17.5x11.5 cm., mix. techn., ~200 p. {100}. Kontexts Publ. Amsterdam, 1976 <br />
°Limits. A/4, mimeogr., 40 p. {200}. Kontexts Publs. Amsterdam, 1977<br />
<br />
°Kontextsound. Publ. to the «Text in Sound» Festival, Stedelijk Mus. A'dam, 1977 <br />
Deciphering America: a travelling collection. (Anth., 120 p.), Kontexts Publ. 1978 <br />
^Selected Pages. (Offset brochure, 48 p. {300}), Kontexts Publs. 1978<br />
<br />
^Wounded Book (Bookwork {100}, 28 p., collage + rubber stamps, Kontexts Publ.) <br />
1979<br />
^Artzien (with Harry →Ruhé / Gallery «A») (Mag. for intermedia and alternative art <br />
+ vis. poetry. Analytical texts, interviews, exhibition reviews, etc.<br />
21.4x17 cm., mimeogr., later offset. ~36 p. 1979-82, sm. #1-25)<br />
^# 1-25<br />
Artzien Audio Cassette. (With the works by Hezy Leski, Dirk Larsen, Michael Gibbs, <br />
Harrie de Kroon, Inez Vandeghinste, Ulises Carrión, Robert Joseph &<br />
Pier van Dijk, Remko Scha) To the sound-issue of Artzien, Vol. 2, N°9.<br />
Amsterdam, September 1980<br />
°The Absent Words (vis. poetry, concepts, drawings), Cat.: {350} Introduction by <br />
Jörg Zutter, + Biography / Stedelijk Museum, Schiedam, NL, 1980<br />
°Some Volumes from the Library of Babel. (A/5, offset, 24 p.) Ex Libris,<br />
<br />
Amsterdam, 1982<br />
~<br />
Source: ^Kontexts Publications 1969-79. (Edition checklist and featuring the magazine<br />
issues with an introduction by M. Gibbs: 10 years of Kontexts) Mimeogr. 12 p.<br />
Giboda, Igor Gallery 55. Palkovica 8. Kosice, CS-4001 Czechoslovakia 1983<br />
International Rubber Stamp Book (Bound assembling {30} for rubber stamps only, ® <br />
A/4, 22 p. 1983, #1) This uncommonly publication has been edited<br />
and distributed in a time, in which one all kind of network like activity<br />
was forbidden in Czechoslovakia. The publication of a second issue<br />
couldn't success more and the editor left Czechoslovakia before long.<br />
The same thing happened to Igor → Durisin, a friend of Giboda, who<br />
made an attempt with a relative publication entitled International<br />
Stamp Book. There is interesting, who sent contributions to this<br />
International Rubber Stamp Book from all over the world:<br />
J. M. Bennett, A. G. Cavellini, P. v. Dijk, Dogfish, L. F. Duch,<br />
I. Durisin, Nancy Frank, J. Furnival, B. Gaglione, Gibodada, M.<br />
Groschopp, W. Kalkman, Luis, R. Maggi, C. Pittore, Post Ov. Art,<br />
M. Scott, G. Strada, J. Tromitek, E-A. Vigo (The author of this book<br />
found a copy at Lon → Spiegelman in Los Angeles, too.)<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 82 p.<br />
Giersch, Martina & Steffen. Tharandter Str. 27 Dresden, GDR-8028 1982<br />
Mobil ohne Auto. Doc. / Maria-church, Pirna / Church Weinberg. Dresden, 1982
Gilbert & George Art for all, 12 Fournier Street, London E1 United Kingd. 1971<br />
Network / Mail Art like productions:<br />
Souvenir Package. (Cellophane enclosed card with bits of dried grass), 1969<br />
^A Day in the Life of Gilbert & George. 20.2x18.8 cm. offset brochure, 16 p., in a <br />
rubber stamped and addressed envelope {1000}, London. 1971<br />
^Having a lovely time. Wish you were here. Lots of love (Postcard, handmade signed <br />
and addressed) London. 1972<br />
«Greeting Cards» Series. (Cards with certificat texts), 1973<br />
<br />
~<br />
Literature: Mail Art „Then“: Did you know that New York School painter Ad Reinhardt and<br />
British conceptual artists Gilbert & George did mail art? In: Flue<br />
(→ Franklin Furnace), Vol. 4 #3-4 (Winter 1984) «Mail Art Then and<br />
Now» issue, 3 p.<br />
Gillet, Gamla Fyristorg 6. Uppsala Sweden 1994<br />
^Mailed Art i Uppsala, Poster of 100x70 cm., offset. June-September 1994 <br />
Gilmor, Jane Ellen ? Cedar Rapids USA 1980<br />
Ruins (Commonpress #25) Half-legal, 68 p., 63 participants. January 1980<br />
<br />
Gini, Gino Laboratorio 66. A. Naviglio Grande 66 Milano, I-20144 Italy 1985<br />
Via Montecatini 15. Milano, I-20144 - “ - 1981<br />
.............................................................................................................................................................<br />
^L'immagine mitica. / Arte Postale!. Doc. poster + part. list, A/4, offset. 90 artists <br />
with 200 works. / Centro lavoro arte, Milano, 1979<br />
^The Mythical Image.Doc. One sheet of 15x13 cm, offset. /Gall. Apollinaire, <br />
Via Brera 4, Milano. June 1981<br />
^The Mythical Image. Mail Art (with F. Legrottaglie) Cat.: 24x17 cm., offset, 24 p. <br />
/ Palazzo Comm., S. Vito dei Normanni. November 1982<br />
Mail Art History. (With R. → Maggi) ^ Inv.,1984 / Doc. Exhibition at the Centro <br />
Lavare Arte in Milano, May 1984)<br />
^The Mythical Image. Projects, proposals, situations, substitutions, interventions, <br />
hypotheses, ironies, utopias. Photocopied brochure in self edition, n.d.<br />
A/4 size, 11 leaves. 200 copies. (~1986)<br />
^Notes & texts on Mail Art, docs. of exhibitions 1978-1984. (A/4 matter with articles, <br />
notes, lists, and catalogue pages in xeroxed copies, a sending to the<br />
Soft Geometry Archive, Köln, November 1993)<br />
^Artists' books, fairs, exhibitions & the archive «laboratorio 66», mostly in xeroxed <br />
copies, a sending to the Soft Geometry Archive, November 1993<br />
^Pagine e dintorni, libri d'artista (with Emma Zanella Manara) Cat.: 21.5x21.5 cm., <br />
offset, 70 p. / Sede di Gallarate I. September-October 1991<br />
^Il viaggio dietro le forme della forma 1976-1992 (Gino Gini's artists' books, an <br />
anthology) Cat.: 20x14 cm., offset (colour), 56 p. Curated by Gio Ferri.<br />
Ed. Myself, Via Buschi 27, Milano. 1993<br />
^Archivio Libri d'Artista / Selected exh... Doc. 20.5x10 cm., 6 sheets / 6 exhs. in the <br />
Laboratorio 66, Milano. October-November 1994<br />
^Gino Gini – Mostra Antologia (Pittura, scrittura e visualità, libri d' artista 1976-<br />
2000, Mail Art 1978-1983.) Cat.: 21x21 cm. col. offset, 72 p.<br />
Exh.: Civica Galleria d'Arte Moderna Comune di Gallarate,<br />
Mar 26 - Apr 23, 2000<br />
~<br />
Literature:<br />
<br />
^Amadeo Anelli: Gino Gini: Libri. In: L'immaginazione, N° 140, I-73100 Lecce,<br />
July-August, 1997<br />
^Gino Gini: In forma di Libro / Le technice operative intorno al libro d'artista.<br />
In: In Forma di Libro. Rassegna internnazionale di libri d'artista. Cat. (With a list<br />
of artists' books exhibitions curated by Gino Gini 1987-1998) Ed. Archivio Libri
d'Artista „Laboratorio 66“ Milano & Ass. Culturale Valdarmo. Commune di Angera<br />
/ Arsago Seprio / Cavaria con Premezzo / Somma Lombardo. April-May, 1998<br />
^Gio Ferri: Gino Gini. In: Esercizi di Pittura. „Voli Barocchi“ e „Il cielo sopra lo<br />
studio“. Cat. A/3 folded to 4, col. offset. Galleria Avida Dollars Centro Culturale.<br />
Via Orti 14, I-20122 Milano. June 1998.<br />
Glaç, Mirall de Poesía XXX. Apart. de Correus 426, Terrassa (Barcelona) E-08220, Spain 1992<br />
^Poesía Visual. (Coordination: Calleja & Mirall de Glaç) Cat.: 21.5x11 cm, offset,<br />
28 p. Poesía XXX, Terrassa, Barcelona. September 1992 <br />
«Glassboro State College» (Bob Cardano, Attila Matusek, Des McLean, Ilene Poff & others)<br />
Art Dept. Glassboro State College, Glassboro, NJ-08028, USA 1984<br />
^Half-life Network (Electrocopy assembling {150}. Letter size, ~30-40 leaves in <br />
bag. 1984-, y. ~10#)<br />
^#1, 2, 3, 4, 5, 6, 9<br />
^American Blasphemy. Doc. One legal size sheet, phc. / Des McLean Art Dept. <br />
+ Glassboro State College. January 1987<br />
Glaw, Johannes-Werner Güthstr. 68. Güthersloh, D-4830 Germany 1989<br />
^Bookmarks Mail Art I-II-III. Cats.: 2x A/4 sheets / 2x A/5 sheets / A/5, phc., <br />
20 p. 1989<br />
Glusber, Jorge,<br />
Centro de Arte y Communication (C.A.Y.C.)<br />
Elpidio Gonzales 4070. Buenos Aires, Argentina 1971<br />
^C. A. Y. A. C. (Infomag. Letter size leaves, offset, one or more sheets for a sending. <br />
Sometimes also whole catalogues in the form of accumulation of singel<br />
leaves. 1971-77? ~weekly, numbered pages, over 800 issues)<br />
°Art and Computers in Latinamerica. (Text: Spanish / English, 22x16 cm., offset, <br />
34 p.) CAYC. Buenos Aires, 1973<br />
°Video Alternativo. Cat.: of the Fourth International Open Encounter. Viedos by <br />
Arakawa, H. Fischer, W. Vostell & others. 22x16.5 cm., offset, 40 p.,<br />
CAYC, Buenos Aires, 1976<br />
~<br />
Literature:<br />
Michael Crane: The Spread of Correspondence Art / 1968-73: ...South America...<br />
In: M. Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art Press<br />
(→ Loeffler). San Francisco, 1984. 150 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 36-37 p.<br />
Gluschenko, Alexander 18-1-3. 1-i Peschany Per., Moscow, 125252 Russia 1996<br />
Gogolyák, Sándor Save Pepovica 4 Odzaci, YU-25250 Yugoslavia 1995<br />
Mail Art (Book publication), 1984<br />
<br />
^Artistic Embargo Stamps. Doc.: A/3 sheet, offset + postcards Exh.: Centre <br />
Culture, Odzaci. May 1995<br />
Goins, Brad P. O. Box 2432, Station A. Champaign, IL-61820 USA 1985<br />
^Raunch-O-Rama (Mag. for music anf network. A/5, phc., ~12 p. 1985?- squ. <br />
#1-18?) «Raunchy music... The beautiful is always strange (Baudelaire)»<br />
^#9, 12, 15, 17<br />
Strixbok. A letter-size 9 p. unbound xerox publ. with «Strindberg» graphics. 1987 <br />
~<br />
Literature: (Raunch-O-Rama, #14, #15): It's about time I gave this one a real review. Rauncho-rama<br />
keeps an eye and ear to the ground od new music (tape and vinyl), and also<br />
on performance, small press, and correspondence ectivities. The revioews in ti are
Gojowczyk, Hubertus → Goyowczyk, Hubertus<br />
casual but that does not mean they are without insight; I admired the to-the-pointness<br />
of it all. The prpeofessed stance here are anti-academic and anti-corporate art,<br />
because Goins feels there are too many strings attached in such relationships for real<br />
expression. At the same time, it does not „ignore the influence of classical and tradi<br />
tional popular forms of music. Interview, reviews, graphics, punchiness, informative.»<br />
( L. → Dunn: Mail Review. In: PhotoStatic. N° 25-26, Summer 1987, 875 p.)<br />
(Strixbok): «“A graphic meditation on the life and failure of August Strindberg and<br />
other playboy philosophers“ is basically a series of xerages which center around<br />
images of Strindberg and others in his life. The images are really nicely composed<br />
and the way the faces glare out of black is arresting. Some of the references & bits<br />
of text are lost perhaps if you don't know Strindberg (or at least they were for me)<br />
but the pages are attractive. (Un)bound looseleaf with a twine tie.» ( Lloyd → Dunn:<br />
Mail Review. In: PhotoStatic. N° 25-26, Summer 1987, 875 p.)<br />
Golkowska, Wanda Laka Mazurska 13 / 5. Wroczlaw P-51-164 Poland 1996<br />
Earth Collection (1979-83). Exh. / doc.<br />
<br />
Kalendarium for Kurt Schwitters (with M. Koscielak) . 1987<br />
<br />
^Hom. à H. Stazewski / Doc.: Poster, letter, photos. / Gal. Rekwizytornia / Teatr<br />
Wspólczesny, Wroclaw, Poland. 1989<br />
<br />
^Hom. à H. Stazewski. Cat.: 21x10.5 cm., offset, 4 p. / Galerie L'Idee, Zoetermeer,<br />
Netherlands. July 11-29, 1990<br />
<br />
^Hom. à H. Stazewski. Doc. Digest, offset, 4 p. /Cont. Art Workshop, 542 West<br />
Grant Place, Chicago, IL 60614. September 1995<br />
<br />
Gómez, Antonio Apardo 186, Merida E-06800 Spain 1996<br />
^Paint it Green. Inv., n.d.<br />
<br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology.<br />
Russian. Ed. Simplicii. Kaliningrad, 1998. 49<br />
Gomez, Edward P. O. Box 3208 New York. NY-10185 USA 1985<br />
Think Art Doc. 1985<br />
<br />
Gómez, Joaquim Arde Libertad 1. Merida, E-06800 Spain 1996<br />
Gonzales, Ricardo → Ibiza, Mail Artists<br />
!Gossip, Mr.! 3 Chatsworth View, Curbar. Nr. Sheffield, S3O 1XD United Kingd. 1990<br />
^Egomania. Cat.: A/4, phc., 36 p. 1990<br />
<br />
Gottschalk, Jürgen Studio Riesa Efau. Adlergasse 16 Dresden, D-01067 1997<br />
Hochschulstrasse 34, Dresden, D-01067 1997<br />
↑ c/o Siebdruckwerkstatt / Silk Screen Studio. Dresden, GDR 1981<br />
.............................................................................................................................................................<br />
Visuelle Erotik (planed for the Theaterclub, exhixbited in Gottschalk's studio <br />
only) 1981<br />
^Waiting / Warten. Inv., 1982<br />
<br />
Gottschalk was sentenced to 2½ years in prison because of his Mail Art activity<br />
in the years 1984-1985<br />
Gottschalk was expelled from the GDR into West-Germany 1985. He came back<br />
anew to Dresden in the 1990s and opened his Silkscreen Studio<br />
„Riesa Efau“ 1997.<br />
^Phönix-project at the Siebdruck-Werkstatt / Silkscreen Studio. Inv., 1997 <br />
^The unbearable Arrogance of Money / Die unerträgliche Überheblichkeit des
Geldes. Cat.: One sheet of A/3 horz., r/v, folded to two, phc. 239<br />
parts. Text by Tony Lowes: Der universelle Hunger Aufruf. 1998<br />
^Visuelle Erotik. (The old project from 1981 in an exhibition?) Inv., 1998<br />
<br />
Goubert, Filip Pamelstraat 49 / 5. Liedekerke, B-1770 Belgium 1991<br />
^Doewa Art (Assembling in cover, A/5, ~20 leaves. 1991-, 2xy.)<br />
<br />
^#1, 2<br />
^Brussels sprouts-free. Inv., ~1992<br />
<br />
Goulart, Claudio Zwanenburgwal 90 Sous. Amsterdam JH, NL-1011 Netherlands 1986<br />
^Between you and me. ~A/5 school exercise book with rubber stamps {40}, 18 p., ® <br />
Amsterdam. 1981<br />
°A stamp is. 14x16.5 cm., rubber stamps, 36 p. {12}. Amsterdam, 1981 ® <br />
~<br />
Literature:<br />
Hanny Keulers: „The Opening“, an event by Claudio Goulart at Bedaux.<br />
(In: Artzien [→Gibbs], Amsterdam. Vol. 3, N°1, January 1981. 24 p.)<br />
Gould, Dennis c/o Freedom Bookshop, In Angel Allee. 84b Whitechapel High St. London, Ei 7QX, UK. 1982<br />
^Riffraffpoets (Poetical anarchist mag. A/5, offset & litho. 1982-, #1-4)<br />
<br />
^# 3<br />
~<br />
Literature: Géza <strong>Perneczky</strong>: With Love and Sabotage (About Neoism and Radicalism in the<br />
Mail Art) In: The Magazine Network. The trends of alternative art in the light of<br />
their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 152-175 p.<br />
Goyowczyk, Hubertus (also Gojowczyk) Windmühlenstr 41. Krefeld-Bochum, D-4150 Germany 1988<br />
^Worte ohne Bücher und Bücher ohne Worte. Cat.: 26x21 cm., offset, 72 p.<br />
<br />
/ Herzog August Library, Wolfenbüttel. May-June 1980<br />
Greenberger, David P. O Box 1230 Saratoga Springs, NY-12866, USA 1979<br />
^The Duplex Planet (Mag. Digest, offset, ~12 p. 1979- m., over #120)<br />
<br />
^# 83, 91, 92<br />
~<br />
Literature: «(The Duplex Planet) issues document the views and meanderings of the residents<br />
of a nursing home in Jamaica Plan, Massachusetts. The editor selects a generale<br />
theme to discuss, e.g. „aversion“ in #13, and the dialog rolls on from there. It's<br />
homey and heartwarming, but also, not a little strange....»<br />
(Lightworks [→ Burch], Art Alternatives in Print, N° 13, Fall 1980, 51 p.)<br />
^Catherine Susan: Overheard at America's Lunch Counters, #7. (Quotes from The<br />
Duplex Planet illustrated by drawings.) 14x11 cm., offset, 64 p. Cherry Stone Press,<br />
Seattle (4715 16th NE, WA-98105). 1987<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 14 p.<br />
Gribling, Frank c/o Kunsthistorisch Instituut te Amsterdam Netherland 1973<br />
^Mail Art. Cat. A/4, mimeogr. 16 p. Texts: Dutch. One of the first Mail Art <br />
exhibition with this name at all. Materials from C. Blok, A. Peetersen,<br />
H. v. Eelen, E. Wolf, Art & Project te Amsterdam, Galerie J. Weingarten.<br />
The exhibited artists were students of the university as well as<br />
known conceptual and Fluxus artists: Jan Dibbets, Gilbert & George,<br />
On Kawara, the editors of the magazine K.W.Y. (Lourdes Castro, Christo,<br />
Jan Voss, etc.), Nam Jun Paik, Ben Vautier, etc. Amsterdam. Oct., 1973<br />
Groh, Klaus P. O. Box 1206 Edewecht, D-26182 Germany 1995<br />
↑ (I.A.C.) Roter Steinweg 14. Edewecht-Friedrichsfehn, D-2905 1979
↑ Roter Streinweg 2a Edewecht-Friedrichsfehn, D-2905 1977<br />
↑ Bismarkstr 22. (Int. Artists Coop.) Oldenburg, D-2900 1972<br />
.............................................................................................................................................................<br />
^Aktuelle Kunst in Osteuropa. (Book, an image and documentation anthology. Its <br />
material was collected by the Czech artists Petr → Stembera, Praha.<br />
This publ. indicated the first motivation to get to know each other and<br />
take contact with each other for the young Eastern European concept<br />
and underground artists. Its consequence was the building up of an<br />
artist network in the first half the seventies. The book was withdrawn<br />
by the editionhousbecause of political reason shortly after the publication.<br />
23x24 cm., offset, n. p., ~240 p.) DuMont Aktuell, Köln, 1972<br />
Introduction by Groh (1971). Further essays and texts:<br />
Josef Kroutvor: Möglichkeit, Experiment, Ideen und Kreationen<br />
(Prag, 1971)<br />
Stano Filko: plan project art (Bratislava, 1968-69)<br />
Gábor Attalai: L–P–C– art. (Land-, Project-, Conceptual Art)<br />
(Budapest, 1971)<br />
Artists:<br />
G. Attalai (H), I. Bak (H), P. Bartos (CSSR), A. Berezianski (PL),<br />
H. Bernea (R), S. Bogdanovic (YU), E. Brikciuus (CSSR), M. Campulco<br />
(?), D. Chatrny (CSSR), J Chwalczyk (PL), V. Cigler (CSSR),<br />
H. Demartini (CSSR), B-S. Dimitrijevic (YU), Z. Dlubak (PL), S. Dragan<br />
(YU), S. Drózdz (PL), A Dzieduszycki (PL), Grupa ∃ (C. Drca, V. Kopici,<br />
A. Rakovic, YU), M. Erdély (H), S. Filko (CSSR),<br />
T. Gáyor (H), W. Golkowska (PL), Z. Gostomski (PL), M. Grygar (CSSR),<br />
P. Ilie (R), R-V. Jacobi (R), Gy. Jovanovics (H), Z. Jurkiewicz (PL),<br />
T. Kawiak (PL), J. Kocijancic (YU), J. Kocman (CSSR), Grupa KôD<br />
(M. Mandic, S. Tisma, D. Erb, S. Bogdanovic, YU), S. Kolibal (CSSR),<br />
J. Koller (CSSR), Gy. Konkoly (H), B. Kozlowska (PL), J. Kozlowski (PL),<br />
J. Kroutvor (CSSR), G. Kulijaš (YU),<br />
A. Lachowicz (PL), N. Lach-Llachowicz (PL), L. Lakner (H), J. Major (H),<br />
K. Malich (CSSR), M. Matanovic (YU), D. Maurer (H), L. Méhes (H),<br />
M. Michalowoska (PL), A. Mlynarcik (CSSR), M. Moucha (CSSR), P. Neagu<br />
(R), R. Nemec (CSSR), D. Nez (YU), L. Novák (CSSR), L. Nusberg (UDSSR),<br />
Grupa OHO (M. Matanovic, M. Pogacnik, D. Nez, A. Salamun, YU), Gy.<br />
Pauer (H), A. Pálfalusi (H), G. <strong>Perneczky</strong> (H), M. Pogacnik (YU), L. Popiel<br />
/J. Fedorowiczz (PL), B. Poznanovic (YU), J. Rosolowicz (PL),<br />
Z. Ságlová (CSSR), A. Salamun (YU), K. Sokolowska (PL), R. Sikora (CSSR),<br />
J. Steklik (CSSR), P. Stembera (CSSR), T. Szentjóby (H), M. Todorovic (YU),<br />
E. Tót (H), G. Trbuljak (YU), J. Valocj (CSSR), T. Walter (PL), H. Waniek<br />
(PL), A. Wisniewski (PL), R. Wittman (CSSR)<br />
^Reale Concepte. (Mimeogr. 12 p. + objects {50}) New Reform, Aalst B (→ Hondt),<br />
1972?<br />
Launching the International Artists’ Cooperation, February 1972<br />
^Help! Jorge → Glusberg is wanted by the Argentinian police. Inv., 1972<br />
^I. A. C. (International Artists' Cooperation) Informations. (Maybe the first xeroxed<br />
infomag of the international Network. Mail Art news only {300}.<br />
A/5, 4 p. 1972-77, ~bimonthly, #1-28) Oldenburg / Friedrichfehn<br />
^#4, 5, 8, 9, 20, 23<br />
^Ready Made Poetry at the New Reform Gallery, Aalst, B. Inv., 1973
I. A. C. (Very small «monographical» publications with post-fluxus, art language, <br />
Mail Art conept, etc. artists: «All alternative artists/authors of the 70s.»<br />
A/7, phc., 1973-75. #1-52) Oldenburg<br />
°Sentences. 21.3x15 cm., mimeographed texts + rubber stamps, 44 p. Edewecht, 1974 ® <br />
°Art-Impressions. 18x13.5 cm., offset, 24 p. Beau Geste Press. Cranleigh UK, 1975 <br />
^My Best Friend. Cat.: A/5, phc., 56 p. / IAC-Focke-Edition N° 7. 1977<br />
<br />
°Fluxus Briefmarken (Selected repros by xerox, 28 p.) Edewecht, 1978<br />
<br />
^Can the Artist Help Survive? (Commonpress #13) A/5, phc., 16 p. with a yellow <br />
cover, 31 participants. Edewecht, March 1979<br />
^A Crazy Dada Idea. Cat.: A/5, phc., 52 p. 1980<br />
<br />
^Landscapes and Stampcapes – exhibition at the Gallery Tokonoma, Pescara I, <br />
(→ Giacomucci), Inv., 1983<br />
^Papers – exhibition at the Galeria O. N., Poznan PL. Inv., 1983<br />
<br />
^Artists' Books / Künstlerbücher - Buchobjekte (with Havekost, Dierks, & Schröder)<br />
Cat.: 19x19x26 cm., offset, 1420 p., ∆-format! / Bibliographie und<br />
Information System der Universität Oldenburg.. 1986<br />
~<br />
Literature:<br />
«The forms and appearance of classical dada are dead; and the world has also<br />
changed. Much of that era is dead too.<br />
Dada is no „-ism“; therefore, it is wrong to talk about a dada comeback. It is<br />
correct, however, to see that the great dada thought contains more than has been<br />
transmitted, or preserved in the form of objectivized relics, that is, traces of thoughts<br />
and actions which were extracted from their former context and therefore have lost<br />
their original value. Dada can and should only be seen in its global context. The era<br />
at the beginning of the century was ready for the breakthrough. For the first time<br />
human possibilities were analyzed. Dada rendered help and showed how human<br />
potentials and qualities sould be utilized.<br />
Dada lives everywhere. Dada is a phylosophy of life which is not dependent<br />
upon a certain epoch. Whoever lives in dada lives as a human individual, always<br />
aware of the fact and the responsibility he has as an individual toward others...»<br />
(Klaus Groh: Thoughts on Dada and Mail Art and the New Dada. In: M. →<br />
Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art Press [→ Loeffler].<br />
San Francisco, 1984. 70-75 p.)<br />
^Klaus Groh: Mail Art – ein soziales System. In: Mitteilungen des Instituts für<br />
moderne Kunst, Nürnberg. Nr. 34/35, Januar 1985.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 55-56 p.<br />
«...No-ism in my convinced opinion means, Mail Art never will become a<br />
special Art-Style. Mal Art just is a medium to transport art or was a super-welcome<br />
medium to transport art in depressed countries from that time when the iron curtain<br />
still was closed! Mail Art you can compare with any other media like camera or<br />
brush. All old and new fixed Art Styles or ...Ism can be transported by the postal<br />
person to person communication. So Mail Art too! And of course many single<br />
persons & groups are involved in that easy system. With Mail Art really everybody<br />
can be an artist, but – you can see – with big big differences in Quality!, because<br />
there are principies of art in any way (...)<br />
Could you explain the thought behind „Try to Try“. It seems that „to try“ is<br />
important to you as I remember another thought of you which was „Try = Life“<br />
To try is the permanent decision in all action of life. The human decision<br />
should not only be an animal self-reaction, it should be accompanied by thinking<br />
about all consequences and about all alternatives. So mostly there is to each human<br />
act an alternative act with similar matching situation...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Klaus Groh. TAM Publs.<br />
Tilburg, 1994)
^Judith A. Hoffberg: Conversation with Klaus Groh. In: Umbrella, Vol. 20, No 3-4,<br />
1997. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, the Anthology. Santa<br />
Monica, 1999. 55-57 p.<br />
Groschopp, Michael Wernigeröderstr. 44 Magdeburg, GDR-3015 1986<br />
Lateinamerikanische Graphik und Postkunst Exh.: Insel-Galerie. Magdeburg, 1982 <br />
Groot, Jenny de Rudolfstraat 60, Hengelo WK, NL-7553 1996<br />
↑ Elisabethstraat 69, Hengelo, JD NL-7555 1989<br />
.............................................................................................................................................................<br />
Transport & Transit Junctions. Inv., 1989<br />
<br />
^Femail Art – portrait of yourself/mother/grandmother/daughter/sister... as Queen of <br />
hearts! Inv. 1996<br />
Guderna, Ladislaw / Varney, Ed. 2268 W. 45th Ave. Vancouver B.C. V6M 2J3 Canada 1979<br />
Scarabeus (Mag. Graphic works and photos, mostly by the editors {200}. 18x15 cm., <br />
offset. 1979-, #1-3) Gallery Press, Toronto - Vancouver.<br />
Artistamps: Diverse stamp sheets by b/w offset (Mail Art Guderna, Global Postale, <br />
etc.) Vancouver, 1980-1984<br />
Guerrero, Mauricio (Artefax) Paileros N° 48. Mexico D. F., MEX-15300 Mexico 1993<br />
^The Tree of Life / El Arbol de la Vida. (Artefax III.) Doc. 8 p. on the backside of <br />
a poster of 84x60 cm., offset, in portfolio. November 1993.<br />
^The Tree of Life. A second exhibition (Artefax V.) in: Museo de Arte Carrillo Gil / <br />
INBA. Poster of 54x42 cm., offset. Mexico. October 1995<br />
Guerini, Giampaolo Stampa Allternativa. Via San Giovanni 2, Bergamo, I-24100 Italy 1979<br />
^Théatre de Silence (A suppl. to the Stampa Alternativa by Guerini. Vis. poetry + <br />
Mail Art. 24x17 and 17x12 cm, offset, also phc. 1979?-, qu. about 10#)<br />
^#2, 12<br />
Guest, Tim<br />
→ Art Metropol<br />
Guglielmi, Anna Villa Colleoni 7. Verona, I-37031 Italy 1985<br />
Lotta Poetica (Magazine for vis. and exp. literature. Anna Guglielmi took over the <br />
editorial work of the «Nuova series» of Lotta Poetica from → Sarenco<br />
and de → Vree 1982. Also new outfit: texts Italian and English,<br />
27x21 cm., offset, ~40 p. 1982-, sm.)<br />
Further→ Sarenco<br />
~<br />
Literature:<br />
«Lotta Poetica productes. This motherlode comes on like a freight train,<br />
carrying forward art experiments within and about the Fluxus and quasi-Fluxus<br />
modes. European with a preponderance of documentation from Italy and France<br />
with texts in English and Italian. Number 18 pulls off an exquisite interview with<br />
Ray → Johnson by Henry Martin. Number 21 documents art by Brecht, Chairi and<br />
→ Chopin among others. The issues present the work upfront, unburdened with<br />
analysis. Oftentimes the artists' work is shown de facto or via interviews and<br />
writings. Drawback: Too often the art of the editorial board is heavily featured. Not<br />
to say that the work of people like → Sarenco, Arias-Mission, → Miccini, → Bory,<br />
and → Blaine is without charm and fascination. Sound-related art and visual poetry<br />
get special and on-going treatment. A set of LPs under the title „Radiotaxi“ is<br />
available.»<br />
(Lightworks [→ Burch], These Things Too [Print review], N° 17, 1985, 27 p.)<br />
Guglielmi, Federico P. O. Box 744. Bologna Centrale. Bologna, I-40100 Italy 1996<br />
Grafton 9. / Via Paradiso 3. Bologna, I-40122 - “ - 1996
.............................................................................................................................................................<br />
^Luther Blissett / Rivista di Guerra Psichica... (Mag. 25x17 cm., offset, 36-48 p. <br />
1995 - 1996, #0, 1-2, 3.) Distributed at Grafton 9, Bologna<br />
^#0, 1-2, 3,<br />
The last firewirx display / Luther Blissett project. Inv. 1996<br />
<br />
Gular, Claudio / Pons, Flavio / Vera C. Barcellos & others., rua Garibaldi 782, Porto Alegre (R.S.), Brasil 1977<br />
^Nervo Optico. Publicação aberta a divulgção de novas poeticas visuais. (One sheet <br />
mag. with conceptual photos and polit art. 33x23 and 33x46 cm. leaves,<br />
offset. 1977-78, bm., #1-20?)<br />
^# 10<br />
Gunderloy, Mike 6 Arizona Ave. Rensselaer, NY-12144 USA 1982<br />
^Factsheet Five (Network info-mag. about all kind of alternative publs. After a <br />
modest begin – some xeroxed pages as inforag – a very successful<br />
letter size magazine, offset, ~80 p. 1982-87 quarterly, 1987-91 bimonthly,<br />
and altogether #1-44 in this first sequence. Since 1991 a new<br />
series with Luce Hudson and Seth Friedman as editors.)<br />
^# 25, 26, 27, 33-34<br />
~<br />
Literature:<br />
«...this magazine of mostly mag. reviews is encyclopedic in its coverage of the<br />
incredibly diverse range of material out there. Really essential. My only criticism<br />
(and something Mike Gunderloy, the editor readily acknowledges) is that the<br />
art/visual/verbal/collage magazines dont really get a very substantive or empathetic<br />
coverage... I have just received the latest issue #26, and this situation has been<br />
ammended a bit with the addition of a 2pg column of review by Bob Grumman on<br />
experimental books, although his emphasis is more on the textual than the visual<br />
mix. C'est la vie!» (Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 150-151 p.<br />
«Gutenberg Museum» Mainz Germany 1989<br />
^Americans in Print. Zeitgenössische Buchkunst in der USA. (Org.: Eva-Maria Hane- <br />
butt-Benz & Beate Szerelmy) Cat.: Letter, offset, 44 p. May-June '89<br />
Gutiérrez, Pedro Juan APDO Postal 6239 Habana, 10600 Cuba 1996<br />
^Paraguay. Exp. Latinoamericana de Arte Correo. Cat.: 22.7x17 cm., offset, 8 p. <br />
(57 participants) Text: Gutiérrez / III. Bienal de la Habana. 1989<br />
~<br />
Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 257 p.<br />
Guttierrez, Roberto 1762, rue du Vieux Pont de Sèvres Boulogne, F-92100 France 1978<br />
^Plages (Irregular published periodical in the form of voluminous books by mixed <br />
technics and assemblings in colourful portfolios. It is a luxerious edition<br />
of alternative paper-works, experiment texts and arts, also Mail Art.<br />
Partly signed original works in the issues. A/4 size, ~100-200 p., at the<br />
start stitched, later with loose leaves in spring folders or as box edition,<br />
sometimes with inserts or additional objects as T-shirt or accordion-inset.<br />
Edited in 700 copies, from the N° 32 in 1000 ones. 1978- qu., ~75#)<br />
^# 21, 41<br />
Hahn, Blair / Kulczycky, Casanndra Los Angeles USA 1984<br />
^Yippee yi yo cahier (Assembling magazine in box or sacking bag. Letter, ~60 leaves, <br />
1984, #1-2)<br />
^# 2
Hainke, Wolfgang Forstweg 14 Ganderkesee-2. D-2875 Germany 1988<br />
^Angebot des Monats (A series of commercial postcards printed over by silkscreen) <br />
Exh.: Wort für Wort (Word by Word) Kunstverein Kassel, October 30 -<br />
November 11, 1983.<br />
^Modelle / Notierungen. (Note-books of the author – 6 xerographical booklets of <br />
A/5, 36 p.) 1983<br />
The Bremen-Kassel Connection (A collective work by W. Hainke, J. O. → Olbrich, <br />
A. → Schnyder, & Inge Trauer). 21.5x32 cm., 10 perforated sheets +<br />
2 text sheets {50}. 1986 (^Inv. to the exh. at the Kunoldstr. 34, Kassel)<br />
→ Olbrich, Jürgen O. / Actions and Exibitions at the Artspace Kunoldstr. 34, Kassel<br />
Hamann, Volker (!Anthroart!) Kamillenstr. 10. Berlin-45. D-1000 Germany 1990<br />
↑ Aminallee 8 Berlin-33. D-1000 - “ - 1988<br />
↑ Feurigstr. 61 Berlin-62. D-1000 - “ - 1981<br />
↑ In der Lehmkaul 2. Rösrath, D-5064 - “ - 1980<br />
.............................................................................................................................................................<br />
^Anthropology (The only Mail Art magazine about an alternative anthropology with <br />
analytical texts and underground images. {~100} A/4, phc. ~80 p.<br />
1981-82, #1-2)<br />
^Non System Pictures Words. Collected photocopied pages with essay like texts. <br />
A few copies only. A/4, phc., 44 p. n.d. (1980?)<br />
^Ghana Mail Art. Inv. to the Thokoke (?) Show, 1984<br />
<br />
^Ghana Mail Art Show. Doc. / text, list + 16 postcards. An Anthroart Action: <br />
Feurigstr 61, Berlin-62 / Acra. 1985<br />
^Africa Arise. (with →Ayah Okwabi, Ghana) Cat.: A/5, phc., 12 p. Edited in <br />
~<br />
Literature:<br />
Frank-<br />
Berlin, 1988. Project in Ghana / Germany, 1987<br />
^Volker Hamann: / Barbara Wolbert: Brücke zwischen zwei Welten... Übernahme<br />
aus Afrika in der deutschen Alternativkultur. Offprint from «Notizen», Nr. 28, Okt.<br />
1988, Institut für Kulturanthropologie & Europäische Ethnologie. Universität<br />
furt. 461-470 p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 174-175 p.<br />
I'm a Networker, Ha Ha... (A mailart reflection by Anthroart) In: Artistamp News<br />
(→ Banana). Vol. 4, #1. March 1994<br />
Vittore → Baroni: Cultura di rete. Lo scambio è il/nel messagio. In: Arte Postale.<br />
Guida al network della corrispondenza creativa. (About the „Network Future<br />
Direction“ diagram of Hamann. Text: Italian) AAA Editori. Bertiolo, 1997. 236 p.<br />
Hambleton, Richard (!R. Dick Trace!) 200 W. 57th St. New York, NY-10019 USA. 1981<br />
↑ Investigation Department. Box 403, Station 1. Vancouver B.C. V6C 2N2. Canada 1978<br />
.............................................................................................................................................................<br />
Artist Identification Aid Chart / Postcards. Mail actions in 1974 -76.<br />
<br />
I. D.'s World Post (A book of postage stamps in 2 editions of 25 / 25 copies: <br />
b/w and color-xerox. 1978<br />
Edition (Mag. Letter size, offset. 1978?-, ?#) Intermedia Press, Vancouver<br />
^Mr. Ree Search Continued. (Doc. volume of the with Mail Art combinated street<br />
action 1975-1979. Text by Hambleton. Two editions: the first one had<br />
an introduction in English & French, + quotations about the Mail Art<br />
by J. M. Poinsot, K. Friedman, U. Carrión, the second one in English,<br />
French, German, Italian and Japanese, + English quotes about Mail Art<br />
by Crozier, Below, Zack, Rehfeldt, Hambleton, Ko de Jonge, Poinsot,<br />
J. A. Hoffberg, J. Dowd, L. Thompsay & J. Miller, Tavenner, Crowcroft,
P. Carter, A. Banana, Lad. Guderna, Cavellini, Todorovic, Scott, Mappo,<br />
Spiegelman, Crane, Friedman, Cleveland, Pat Larter, F. Colpitt, Carrión,<br />
L. F. Duch.) Cat.: offset, 120 p. ~300 parts. Investigation Department.<br />
Vancouver-New York, 1979<br />
^Suicide. Inv.: Two half-legal leaves, phc., invitation text with an answering- form. <br />
Deadline: June 1981<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 69 p.<br />
Hamill, Tom 743 Oakland #13 Oakland, CA-95611 USA 1989<br />
↑ P. O. Box 603 Mechanicsburg, PA-17055, USA 1985<br />
.............................................................................................................................................................<br />
^Alea (Mag. for experimental literature with works by Kempton, Polkinhorn, Gibbs, <br />
Kostelanetz, etc. Letter, phc., ~30-48 p. 1985-, y.)<br />
^# 3<br />
Hamilton, I. G.<br />
→ !Private World!<br />
Hampl, Josef Werkgroup Ratlla. Hoofdstraat 51 Pieterburen, NL-9968 Netherlands 1992<br />
^Ratlla-Zig-Zag-Project. Cat.: A/5, phc., 12 p. / Postmuseum Munnikeholm, <br />
Groningen NL, October 1992<br />
!Han Psi! (Laurent Maginelle). 45 rue Vaillant-Couturier, Escaudain, F-59124 France 1985<br />
^Heart and Soul (Mail Art mag. with A/4 and A/5 assembling issues {15 copies <br />
only!}. The brochure form: phc. + mixed techn., ~20 leaves. Sometimes<br />
thematic issues, e.g. N°7 = „Silence and Disorder“. 1986-, ir.)<br />
^# 1, 2, 3, 4<br />
!Hapunkt FIX! Reisstr. 26. Berlin-13, D-1000 Germany 1985<br />
^Fix News / Fair Info Xchange (Mag. with Mail Art info-matter, A/5, phc. ~16 p. <br />
1985-, ir.)<br />
^# 2<br />
^Telephonbook – send me 90+9 pages from your local-telephonbook. Inv., 1985 <br />
^Fair Info Xchange Telephonebook (One shot bound assembling by pages of the <br />
local telephonebooks of the participants {99 copies, also with any<br />
varians of 32-34 p.}. A/4, mix. techn., normally 35 pages + cover, 1985)<br />
^Recycling Mail. (“Add to and return” project) Doc.: Invitation letters and circulars. <br />
A booklet publication was planned in fall 1986. “...I started to spread<br />
around copies of the pages of the folders. I asked people to work on<br />
these pages & return them... Some of this stuff is lost in the network...”<br />
(Circular by Hapunkt Fix, 198)<br />
~<br />
Statement:<br />
«Hallo mail-artists! Send me a number of copies of your current projects/exhibitions/archives.<br />
I'll spread them around. Hello independent labels! Send me a bunch<br />
of your catalogues. I'll spread them around as well! Hello you! Send me one IRC to<br />
get up to 100g (=1.2 lb) of information or two IRC's to get up to 250g!»<br />
Literature:<br />
«Hapunkt Fix is the mastermind of FIX, Fair Info Exchange, which he describes as<br />
„a project to spread around news...“ (...) In the future he plans also to publish a FIX-<br />
Telephonbook. In his commitment to the Mail Art movement, Hapunkt is presently<br />
planning an exhibition in his apt. which will change every few weeks, a Mail Art<br />
shirt project, & The Mail Artists City Archive, in which mail artists sending him<br />
info on the geographical & social surroundings of their lives (including maps,<br />
tourist info, photographs) will receive in exchange a small book on Berlin written in<br />
English...» (West-Berlin Contacts. In: Anti-Isolation [→ Xexoxial], #2, 1986. 24 p.)
Harding, Tim Wordless Press. P. O. Box 79114 Lakewood, OH-44107 USA 1987<br />
In the Mail (Mag. for xeroxed and collaged images. Digest, phc. 1987-, m.) <br />
!Harlekin Art! (M. Berger) Wandersmannstr. 39 Wiesbaden, D-65205 Germany 1990<br />
Artistamps: ^Geschenke (Sheet of 32 diff. stamps, b/w offset) Harlekin. n.d. <br />
^A Mail Art Project for the 3rd Dimension (with → Olbrich, J.) Cat.: in box <br />
of 21x21x21 cm. (~210 leaves of 20x20 cm., offset / + supplements.)<br />
Exh.: June 21 - Jule 7, 1990<br />
^1...2...3 Dimensions. (With Jürgen O. → Olbrich) Cat.: 24.5x17 cm., offset, 36 p. <br />
/ Art Nürnberg 6., Messezentrum, Mail Art Projekt. June 1991<br />
→ Olbrich, Jürgen O. / Actions and Exibitions at the Artspace Kunoldstr. 34, Kassel<br />
Harley Terra Candella. Box 2219 Guerneville, CA-95446 USA 1995<br />
↑ P. O. Box 170579. San Francisco, CA-94117 - “ - 1989<br />
↑ Box 268. Oberlin, OH-44074. - “ - 1985<br />
.............................................................................................................................................................<br />
Artistamp activity beginning with the Valentin Issue (Unicorn holding envelope) <br />
by the „Tristan Local Post“ in 1975. After a series of unicorn and<br />
selfportrait images, the inscription „Candella Pavane“ (originally the<br />
title of a shadow puppet play) appeared at the First New York Stamp<br />
Invite Issue with the participating of E. F. → Higgins III / Doo-Da<br />
Post September 1977 and on the Candella Pavane / First Issue by<br />
Harley January 1978. The „Terra Candella“ marking appeared the<br />
first time on a three stamps issue November 1978. Predominantly<br />
drawn stamp images in the 1980s (e. g. Bathers Issue, Oaxa Issue).<br />
The very first collage works by diverse fragments & patterns as dominant<br />
motives of images were compilled into the stamps at the Cleveland<br />
State Show Issue January 1982. Beginning from the 1990s, Harley<br />
used these non-figurative collages of various patterns for his stamp<br />
images very often and built up an oeuvre with high coherence. The<br />
stamp sheets have been made usually in 25 - 30 signed and numbered<br />
copies + additional prints of 50 sheets or less – both unperforated and<br />
perforated, sometimes in a reduction of 50% or 65 %. Also a number<br />
of these additional prints came into the network.<br />
°Self-portraits. Inv. on letter size offset sheet. Also exhibition. Oberlin, 1981 <br />
First Internationale Mail Art Congress. Organized by Harley as president of the <br />
congress in Cleveland at the Image Resource Center from 1-10 April<br />
1983. There were planned exhibitions, discussion panels and papers,<br />
as well as international exchange of information and contacts.<br />
(Invitation in: Umbrella, [→ Hoffberg] Vol. 5, #5, 125 p. 1982)<br />
^Correspondings Worlds: Artists' Stamps. Cat.: Half-legal, offset, 42 leaves / in <br />
envelope. Oberlin College / Allen Memorial Art Museum Oberlin OH.<br />
Curator: Harley. January 1987 (The first curated exhibition of artists'<br />
stamps at the museum level in the USA.)<br />
^It's in the Mail: Artistamps. Cat.: Digest, phc. (also colour), 24 p. / California <br />
Museum of Art. Luther Burbank Center for the Arts, 50 Mark West<br />
Springs Road, Santa Rosa, CA-95403. May-July 1995<br />
~<br />
Artistamps (very selected):<br />
^Valentine. (Sheet of 16 stamps, unicorn holding envelope, Offset, blue<br />
print on buff paper) 10 cents. Tristan Local Post. 1975<br />
^First New York Exhibition Issue. (Sheet of 16 stamps, unicorn holding<br />
fish. Offset, magenta & blue-green on white paper.) Tristan Local<br />
Post, Oberlin Ohio, 13 cents, First New York Exhibition, Harley<br />
Francis II. Also first day cover for the Carl Solway Gallery Show<br />
of Harley. 1975.<br />
^Harley 1977. (Block of 14.5x18 cm. with 8 stamps, self-portrait of the
artist. Black & ochre on white paper) Tristan Local Post, 1977<br />
Candella Pavane. First Issue. ( Sheet of 6 diff. stamps by stylized masks.<br />
Colour xerox.) Tristan Local Post {16}. 1978<br />
Terra Candella. (Block of 3 diff. stamps, mythological figures. Black,<br />
half-tone and red on var. background colours.) Tristan Local Post,<br />
1978, Terra Candella, Shettlet $3.00<br />
^Indian Issue. (Block of 10x6 cm. with one stamp. Black and pink on<br />
white paper, with Georgian and Armenian inscriptions) 1980,<br />
Terra Candella. (As souvenir sheet in January 1980)<br />
^First Diplomat Mission. (Block of 16x23 cm. with 8 stamps, 2 diff. images:<br />
the artist with his wife / the artist. Black, half-tone & yellow)<br />
Tristan Local Post, de Terra Candella. Europe – 1980<br />
^Stampworks. (Issued only on postcards of 23.4x10.2 cm, bather and palm<br />
tree. Black and turquoise on white. For the exhibition of Harley's<br />
stampworks in the Cleveland State Gallery.) Terra Candella, 1982<br />
^Cleveland State Gallery Show. (Sheet of 21 diff. stamps with collage<br />
images. Offset, 4 colours.) Also first day covers, January 8, 1982<br />
^Ghost of Hiroshima. (Sheet of 16 stamps. Black offset print on cream<br />
paper) Terra Candella, 1982<br />
^First Artistampex London (Sheetlet of 16 diff. stamps . Black oofset<br />
print on ochre.) Terra Candella. London - Ontario - Canada. 1984<br />
^Bathers I. (Sheetlet of 9 diff. stamps. Indigo print on white.) Terra Candella<br />
$1. 1985<br />
^Bathers II. (Block of 10x17.5 cm. with 6 diff. stamps. Red print on<br />
white) Terra Candella 50. 1985<br />
^Post-Nuptial League (with → Dogfish. Oversize block of 35.5x21.5 cm.<br />
with 4 diff. stamps placed in 3 groups, which has been perforated<br />
individual. Colour phc. on special paper.) 1986<br />
^4 Colours Xerox. (Sheet of 25 diff. stamps, 4 patterns on each images.<br />
Colour photocopy, 4 passes process.) Terra Candella. 1986?<br />
^Corresponding Worlds... (Block of 15.5x13 cm. with 4 stamps. Emblem<br />
and inscriptions. Offset, black, pink & yellow.) For the artists'<br />
stamp exh. in the Allen Memorial Museum, Oberlin, Jan.-Feb. '87.<br />
Also first day cover issue with rubber stamps from Oct. 15, 1986<br />
^Oaxaca. (Sheet of 25 stamps. The artist with friend. Red print on white.)<br />
Oaxaca '88, 50, Terra Candella. 1988<br />
^Proof. (Sheet of 16 stamp fields, from among which only 9 are fulled<br />
with diff. images. Full colored frames between the double (!)<br />
perforation. Colour photocopy. No printed marking or text )<br />
Rubber stamp: Royal Mail Terra Candella. 1988<br />
Argentina. (Sheet of 25 diff. stamps with collage images. Colour offset.<br />
For Edgardo-Antonio →Vigo.) Terra Candella 7. 1991<br />
The Year of Tibet 2018. (Sheet of 18 diff. stamps with collage images +<br />
3 fields for joint issue with Tui Tui graphic and text / → Dogfish.<br />
Colour offset.) Terra Candella 29, 1991<br />
First AIDS Seal. (Sheet of 35 stamps with diff. collage images. Colour<br />
offset.) Terra Candella, AIDS 5+5. 1991<br />
It's in the Mail. (Sheet of 35 stamps with identical texts and diff. collage<br />
images. Colour offset.) For the exh. in the California Museum of<br />
Art, 1995, originally 125 sheets. Terra Candella 32. April 1995<br />
Ode to Schwitters. (Sheet of 20 diff. stamps, vertical ordered collages.<br />
Colour offset.) Terra Candella 32 c. 1995<br />
^Stampfrancisco Issue. (Sheet of 16 diff. stamps, collage images. Colour<br />
offset.) Terra Candella Exh. at Stamp Art Gallery, San Francisco.<br />
April 6-30, 1996. Also block of 16x10.5 cm. with 4 diff. stamps.<br />
^Square within Square. (Sheet of 16 stamps with diff. collage images.<br />
Colour offset.) Terra Candella 32 c. 1997
~<br />
Rubber stamps used by the Terra Candella Post Office: altogether about 80 stamps<br />
in ca. 20 years – the earliest dated one is from 1978 (Tristan Local Post,<br />
Stamp Art). Characteristic inscriptions: Bureau de Post de Terra Candella<br />
/ Travelling Post Office de Terra Candella / Vienradzu Gleznotajs<br />
no „Terra Candella“ / The Netherlands Royal Diplomatic Mission of<br />
Terra Candella / Unicornourum terrae Candalae pictor / H S H Harley<br />
the painter of unicorns of Terra Candella official business / etc. Also<br />
Armenian, Indian, Cyrillic and Hebrew, etc. inscriptions with like texts<br />
which ones generally say The painter of unicorus of the land of light<br />
Terra Candella.<br />
~<br />
Source:<br />
~<br />
Literature:<br />
Harley's archive from 1975-1995 is held (with works of hundreds of other artists)<br />
in the Fine Art Library of Oberlin College in Oberlin, Ohio.<br />
Robert Rudine (→ Dogfish): It's in the Mail – Artistamps and the Mail Art<br />
Movement (About the by Harley curated exh. in the California Museum of Art)<br />
In: Artistamp News (→ Banana), Vol 5, #1, June. 1995. 3 p.<br />
«1975 marked a major development in my stamping activities. It was the year that<br />
the late art historian Ellen Johnson, gave me the exhibition catalog from James<br />
Warren → Felter's first major exhibition of non-official stamps by artists and SFU.<br />
(...) I had never seen any mention of this vast body of work: all stamps, all art.<br />
I bundled up my stamps and covers posthaste and shipped them off to Vancouver.<br />
Consequently, my work was included in this exhibition that toured Canada, the<br />
USA and Europe. From this happenstance introduction into the Mail Art Network,<br />
my mailing list expanded to world-wide contacts with well over 2000 artists. For<br />
the first time in my life, I had some sense of a peer group...»<br />
(Harley: Profiles. Harley. Terra Candella. In: Artistamp News (→Banana),<br />
Vol 6, #1, Feb. 1996. 3 p. – Reprint from Esse Quam Videri: To be, rather tahn to<br />
seem. In: It's in the Mail. Cat. Santa Rosa, 1995)<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000. 150-151 p.<br />
Harris, Dorothy Patrick<br />
→ !Arto Posto!<br />
Hartwich, Knut / Goes, W. c/o Pickstrasse / Apotheke Sellin – Rügen, GDR-2356 1986<br />
The Man and the Sea – Ch. Baudelaire. Doc. Exh.: in Bergen-Rügen (forbidden by <br />
the GDR authorities!), 1986. (^Inv., 1986)<br />
«Harvestworks Inc.» 596 Broadway, Suite 602, New York, NY-10012 USA 198?<br />
^Tellus / The Audio Cassette Magazine (Thematic cassettes, e.g.: Flux Tellus. 1990-,) <br />
^# 24<br />
Hasucha, Christian ? c/o Galerie 68elf, Bismarkstr 68 Köln, D-50672 Germany 1995<br />
^Interventionen. Cat.: 18.5x14.5 cm., offset, 8 p. / Gal. 68elf, Bismarkstr. 68. Köln <br />
September - October 1995<br />
!Haufen, Graf! (Klaus / Karsten Rodemann) + Ruf, Ines. Fürbringerstr. 17. Berlin D-10961. Germany 1999<br />
↑ Neoist Propaganda Inst., Postlagerkarte 032457 c. Berlin-12 - “ - 1986<br />
↑ Artcore Edition & Gallery, Weisestr. 58. Berlin-44, D-1000 - “ - 1984<br />
↑ Havelmalensteig 6. Berlin-22, D-1000 - “ - 1982<br />
↑ c/o Fürbringerstr 29. Berlin-61, D-1000 - “ - 1980<br />
.............................................................................................................................................................<br />
^Found Art. (Xerographic art) A/5, phc., 48 p. {50} with one orig. page, Artcore, '84 <br />
^Informative Art. Cat.: A/5, phc., 48 p. {100}. 1985?
^Klein Sassen. Eine Assoziationsreihe von Graf Haufen, 5 Febr. 1985. (Booklet with<br />
concrete poetry. On the occasion of → Kallnbach's Kleinsassen project.<br />
A/6, phc., 23 leaves. Havelmatensteig 6, Berlin-32. 1985<br />
^Black Mail. A series of manipulated postage stamps: all human figures have been<br />
coloured over black. Known as singel stamps as well as items in philatelic<br />
collector albums prepared by Haufen. ~1985<br />
^Smile (Neoist magazine, texts and images, partly with lettrism. A/5, phc., ~50 p.<br />
Two issues in 1986 as Volume 64 and Volume 63 – in this order!)<br />
^Künstler gestalten Räume / Artists install spaces. A/5, phc., 48 leaves + 1 collage<br />
work. 200 numbered copies. Org.: Graf Haufen, Ona Nuk, Roland<br />
Szefferski. Exh. at the Artcore Gallery, March-April, 1986.<br />
^Mail Art Workshop / Artcore Gallery '86. (Assembling like broch., A/5, mix. techn.<br />
/ handmade, 20 p. {100 numbered copies}). Artcore Ed., ACE-12.<br />
(Also as Congress '86 material) Berlin. August, 1986<br />
^Selbstportrait (Photocopy-degeneration). Not entitled, not dated (1986?), brochure<br />
of A/5 size, phc., 34 leaves.<br />
^Photocopy animation. Not entitled, not dated (1986?). Small booklet of 12x10 cm.,<br />
phc., 48 leaves.<br />
^Neoism Now Show. (Documentation to the similarly named publication) Cat.:<br />
A/5, phc., 4 p. (Address list of 99 participants who are all specified as<br />
Monty Cantsins!) Exh.: Artcore Gallery, Nov-Dec, 1986<br />
^Book Art. Inv., 1986 (Maybe, the show was not realized – no catalogue)<br />
^Die Post kreativ genutzt – Ein Abriß zur Geschichte der kreativen Postnutzung.<br />
(Mail using creative – an essay about the history of the creativity in<br />
mail traffic) 3 brochures (24 / 16 / 52 p.) with textx and images and<br />
original mail art works. A/4 size, phc., all material in an envelope. 1987<br />
^Blood & Gold (with Ines Ruf) (Postcard assembling in box {50}, 1987-88, #1-8)<br />
1 Blood & Gold; 2 Passion; 3 Propaganda; 4 Zero / Not; 5 Body;<br />
6 Flaming Steam Iron; 7 Neoism Now; 8 Plagiarism.<br />
^# 1-8<br />
^(Monty Cantsin:) The Possible Catalogue (Neoist matter, A/5m computer print,<br />
~ 400 p.) Artcore Ed. ACE-16. Berlin. 1987<br />
^(Monty Cantsin:) Neoism Now. The First Neoist Anth. and Sourcebook. (A/5, phc.,<br />
152 p. ) Artcore Ed. ACE-19. Berlin. 1988 (more → Neoism)<br />
^Space, Shutte & Roll (Intermedia mag. A/4 xerographical brochure, 20-25 p.,<br />
+ audio cassette in millboard cover of 40x26 cm. {100} 1988, #1-3)<br />
^# 1, 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Haus, Arno Ginnheimer Landstrasse 148 Frankfurt-50, D-6000 Germany 1981<br />
^Frankfurter Ideen. The magazine of the creative communication. (Mag. with design, <br />
photo, peformance, Mail Art, etc. A/4, offset, ~80-90 p. 1981, #1-5)<br />
^# 4<br />
«Hausfrau Haven» → Fred & Howard's<br />
Heiden, Carola van der Niews Rijn 46. Leiden, NL-2312 OG. Netherlands 1995<br />
^Box in a Box. Exhs.: Alkmar /A'dam / Wormerveer / Lekkerkerk / Krommenie <br />
/ Leiden / Hasselt / Voorshoten 1994-95. Cat.: A/6, offset, 20 p.<br />
+ div. suppls. Texts (Holland / English):<br />
C. v. d. Heiden: Box in Box Project... collection of curiosities.<br />
G. Bleus: Mail Art never sleeps.<br />
Heindesign Stempel-Mekka. Böhmerstr. 18, → Eilperstr 76, → Hochstr. 73, Hagen, D-58042 1991-98<br />
The only “rubber stamp art” shop in Germany – large offering of rubbers / store catalogues /<br />
collective and individual exhibitions for mail artists, rubber funs and children.<br />
^Exhibition room opening. Inv., 1991 ®<br />
^Exhibitions: Art Naphro / Janet → Hofacker “The Illustrated Woman” /Sally Mericle ®
“Mars Tokyo / H. & A. → Mittendorf / Love Potion N°9 / Diana Arsenau,<br />
Inv., 1992<br />
^Crazy about You. Inv., 1993 ®<br />
^Tim Mancusi’s rubber works. Sticker-Inv., 1994 ®<br />
^Opening the Eipelstrasse room. Inv., 1994 ®<br />
^3 rd International Stempel-Mekka. Inv., 1994 ®<br />
4 th International Stempel-Mekka. Inv., 1995 ®<br />
^5 th International Stempel-Mekka Exh. – Osthaus-Museum, Hagen. Inv., 1996 ®<br />
Heirman, Hugo / Panamarenko / Vercammen Wout, P. O. Box 138. Antwerpen, B-2000, Belgium 1967<br />
Happening News (Mag. edited by the Antwerpen happening scene, text and image <br />
accumulation like collage. A/4, offset. 1965-66, #1-6)<br />
Held, John Jr. P. O. Box 410837 San Francisco, CA-94141 USA 1996<br />
↑ 7919 Goforth Dallas, TX-75238 - “ - 1988<br />
↑ Gallery Modern Realism, 1903 Mc Millan Av. Dallas, TX-75206 - “ - 1984<br />
.............................................................................................................................................................<br />
Fine Arts Librarian at the Dallas Public Library, later colaborator of the Stamp Art<br />
Gallery in San Francisco. Numerous articles on Mail Art and relatives.<br />
°Diary of Correspondence. (An index of corresponding members) 36 p. Mid York <br />
Library System, Utica NY, 1979<br />
^Mail Art about Mail Art (Commonpress #55) Cut digest, offset, 34 p., ~400 parti- <br />
cipants. Texts by J. Held, J. P. → Jacob, D. → Zack. Modern Realism /<br />
Exh.: Richland College, Dallas, 1984<br />
^Summer Mail Art. Inv., 1984<br />
<br />
^Mail Art for Kids. Cat.: Letter, offset, 10 leaves. Exh.: Dallas Museum of Art <br />
in cooperation with the Dallas Public Library, Dec 30, 1984<br />
^When I was a Cowboy. Cat.: Digest, offset, 16 p. Exh.: OFF Centre Centre, <br />
Calgary / Modern Realism / AKA Gallery, Saskatoon (1986)<br />
Artistamp activity from 1985, mostly b/w phc. works on white or ocher paper, sometimes,<br />
the perforation doesn't follow the position of the stamp images. <br />
Also co-operative works with other artists (e.g. help in perforation).<br />
Artistamps: ^An International Survey of Mail Art (Block of 6 id. stamps, b/w phc., <br />
not perforated) On the back side of an invitation card, 1985<br />
^International Artists Cooperation: Mail Art Shows, 1970-1985. Cat.: Letter, phc., <br />
146 p. (A show about shows. The resulting Cat.: / book lits about 1300<br />
Mail Art exhibitions with notes on sources and a list of participants.)<br />
Dallas Public Library, 1985<br />
^Mail Art Postage Stamps – Coll. of J. Held. Doc. One 36x58 offset sheet / Glassel <br />
School of Art – Museum of Fine Arts, Houston. Nov.-Dec. 1986<br />
^Hiroshima (The Bomb). («Japan Travel Diary, July 28 - August 14, 1988») Cat.: <br />
Digest, offset, 28 p. 1988<br />
^Tartu Shadows / Procedings of the int. Mail Art symposium in the USSR. Cat.: <br />
Digest, phc., 12 p. / Modern Realism, Dallas. October 1990<br />
^Mail Art: An Annoted Bibliography. (Digest, offset, 534 p. Voluminous handbook <br />
with 2199 items, + author, title & subject index) «Suppressed» introduction<br />
by → Ackerman. Scarecrow Press, Metuchen NJ / London, 1991<br />
^Int. Mail Art Symposium in the USSR: John Held Jr. visits the Soviet Union and <br />
(...) Estonian artist Iimar Kruusamae. In: N D #14, 1991, 15-19 p.<br />
^FAX Congress and Show. Inv. to the Dallas Public Library. 1992<br />
FAX<br />
^Int. Networker Culture. Exh. Poster of 61x46 cm., offset. / Univ. of Texas, <br />
Org. & Text: John Held. Dallas / Richardson. April 1993<br />
^John Held at the Artpool in Budapest. Info-letter, 1994<br />
<br />
^Faux Post: an Int. Exh. of Artists’ Postage Stamps – Visual Art Resources, Eugen OR <br />
Inv.-flyer, 1995<br />
^The Bay Area Dadaist. (An Introductory History... + Bay Area Dada, 19970-1984: <br />
An Annotated Bibliography of Primary Sources). Letter, phc., 74 p.
Edition Stamp Art Gallery (→ Gaglione). San Francisco, 1997<br />
^L'Arte del Timbro / Rubber Stamp Art. A Century of Rubber Stamp Art. Birth and<br />
implications of a new art medium. A/5, offset, 176 p. Editor: V. Baroni.<br />
AAA Edizioni, Bertiolo I, 1999<br />
→ Gaglione / Stamp Art Gallery<br />
~<br />
Seurce:<br />
<br />
^4468. Modern Realism (Mini size stock-catalogue, xerox, 8 p., with 83 items<br />
+ list of exhibited artists, published by J. Held in the middle of 80s) Dallas, n.d.<br />
Artists exhibited: Arto Posto, Mitzi Cartee, Julie Dyslexis, Gummiglot, Honoria,<br />
Willie Marlowe, Graciela G. Marx, Ashley Parker Owens, Fran Rutkowsky,<br />
Tarzana Savannah, Jenny Soup, April Wade.<br />
Literature:<br />
(Int. Artist Cooperation: Mail Art Shows 1970-85): «...This is a wonderful resource<br />
for mail art researchers, even though it is a bit difficult to retrieve information<br />
because of the lay out.» (Stephen → Perkins: Catalogues. In: Box of Water, N° 3,<br />
1987)<br />
^Interview with John Held. In: N D, N° 10, Austin, 1988 (→ Plunkett), 9-13 p.<br />
<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with John Held Jr. Part 1. A/5, 18 p. TAM<br />
Publs., TAM-950095. Tilburg, 1995<br />
Vittore → Baroni: John Held Jr. In: Arte Postale. Guida al network della<br />
corrispondenza creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 248-249 p.<br />
John → Held Jr.: Networking: The Origin of Terminology. Further: New Directions:<br />
Into the Nineties (The Chapters: Open Networking: Sacred Run / Thinking Openly:<br />
Art Strike 1990-1993 / Open Ethics? / Computer and Fax: Opening Geopolitical<br />
Boundaries / Conclusion). In: Chuck → Welch (ed.): Eternal Network. A Mail Art<br />
Anthology. University of Calgary Press, 1995. 17-22 p., 103-111 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 533 p.<br />
Helm, B. c/o Kulturhaus der Energiearbeiter, Rhinstr. 139a. Berlin, GDR-1136 1988<br />
Lecheln und lecheln lassen – Postkunts gegen verordnete Ruhe. Doc. 1988? <br />
Helm, Glenn 700 W. Brown St. #10. Tempe, AZ-85281 USA 1986<br />
^Censorship Works. (Xeroxed bookwork, mini, phc., 24 p.) S. P. Phoenix, 1986 <br />
^International Folk Art. (Letter, 10 phc. leaves + 1 colour xerox sheet) S.P. 1986 <br />
Helmes, Scott 862 Tuscarora St. St Paul, Minnesota USA 1982<br />
Rubber stamp activity since 1974. Collector of antique stamps. Since end of th 1970s ®<br />
also in the Mail Art scene with rubber stamped interventios and poems.<br />
^Read & Pass out. (Rubber stamped coloring book by original rubber stamps and ®<br />
hand written texts, a few copies only.) Letter size, ~20 leaves. 1985<br />
^August, 1986. (Visual poetry) Digest size, phc., 16 p. The Zelot Press, Vandergrift <br />
PA-15690, 1986<br />
~<br />
Literature: ^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 112-113 p.<br />
Helsinki, Mail Artists. c/o Museum of Contemporary Art Helsinki Finland 1992<br />
^Mail Bang! Postipamaus! (org.: Asko Mäkelä, Ilkka Juhani & Takalo Eskola) <br />
Supportad by Post & Telecom. Cat.: 23.5x23.5 cm, offset, 48 p<br />
(cover in form) Helsinki. November 1992 - January 1993
«Helyettes Szomjazók» (Group), c/o Elek, István, Hárfa u. 59 / I. Budapest-VII. Hungary 1985<br />
^Világnézetiségi magazin / World-out-looking Mag. (Handmade mag. with texts and <br />
images from the underground {~30}. Texts in Hungarian. A/4, silkscreen<br />
and mimeographic, ~60 p. 1982-85, #1-6)<br />
1. Megjelenik minden hó 14-én, 1982<br />
2. Világnézetiségi Magazin, 2. száj<br />
3. Hülye, aki elolvassa, 1984<br />
4. ?<br />
5. Henri Michaux: 3 vers, 1985<br />
6. Üde elvágyódás, 1985<br />
^# 1, 2, 3, 5, 6<br />
^A Stenker (Journal object in tabloid size of 59.5x42 cm., a handmade «daily news» <br />
with silkscreen and mimeographic {50}, 12 p. 1985, #1 only)<br />
^A Hejettes Szomjazók Tudatfelszabadító Hadmüvelete. (a planned and forbidden <br />
exh. in the Kisgaléria, Komárom H.) Poster/Inv. in A/3, offset, 1986<br />
^El Greco (Graphic-protfolio {83}, 12 sheets A/4., colour mimeogr. + xerox) 1992? <br />
Hemi Post<br />
→ Mittendorf<br />
Henry, Clarice c/o 1125 Broadway, Hewlett-Woodmere Library, Hewlett, NY-11557. USA 1985<br />
Between the Pages Doc. Letter, phc., 2 sheets. Hewlett-Woodmere Public Library, <br />
Hewlett, April-May 1984<br />
Herman, Christian / Holtz, Sheila 18 Benner Road, Royersford, PA-19468 USA 1995<br />
c/o Amie Oliver Farmville, VA- ? - “ - 1989<br />
↑ 4350 MC Pherson St. Louis, MD-63108 - “ - 1984<br />
.............................................................................................................................................................<br />
Velocity / Estudio. Contributor-sponsored alternative arts magazine (One of the most <br />
beautiful Mail Art publ. {100} by photocopied pages and assembling<br />
matter. Every issue featured an individual contributor:<br />
Velocity Annex / Estudio Annex. Letter size, phc. + mix. techn.)<br />
Velocity (ed. by Christian Herman): 1984-88, #1-9<br />
Estudio (ed. by Sheila Holtz): 1988-1990, #10-13<br />
^Velocity. An International Mail Art Show. Cat.: Letter size, phc., 50 leaves. 1986 <br />
~<br />
Literature:<br />
(Velocity): «...One issue I have has an indispensible interview with found artist Bern<br />
→ Porter who's been doing it for 50 years or so, fascinating and thorough. Packed<br />
with your favorite underground visuals and ephemera. As is the case with a lot of<br />
the assemblings, you take what you get, so the notion of „editing“ is throown out the<br />
window.» (Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 15 p.)<br />
«...Throughout its seven year tenure, the basic format and reaison d'etre of the<br />
magazine remained unchanged. We wished to provide a venue primarily for visual<br />
artists, but also for poets, visual poets, multidisciplinary artists and writers. Media<br />
varied from photocopy to hand-colored, hand-collaged and appliqued originals, to<br />
various forms of printmaking, cut-outs, fold-ups, etc... Contributors provided 105<br />
copies of the artwork or writing which, when received by mail, were then arranged<br />
and assembled into an edition of one hundred copies... Each issue had a featured<br />
artist – a regular contributor who agreed to provide eight to ten pages (x 105) for<br />
the „Estudio Annex.“ In addition, each issue had a cover artist, a contributor who<br />
provided front and back covers with original artwork in a variety of print media...<br />
We received considerable feedback, generally positive, interested, and<br />
inquiring. For example, I was contacted by a young fellow involved in an<br />
Assembling magazine which exclusively featured artwork by children and teenagers.<br />
He himself was in his mid-teens and organized the entire project on his own.<br />
I found his interest and support both inspiring and gratifying.<br />
The MailArt Network was essetial to our existencne and growth. Most of the
artists / contributors to Estudio had heard aboutus through the network and continued<br />
in it as active participants. Since mail art shows and projects usually involve a<br />
„theme“, we decided, several issues into publication, that we would utilize this idea<br />
also. Some of the themes explored in subsequent issues were „Truth,“ „Glory,“<br />
„Money,“ and „The Goddess.“ In my opinion these were some of our best issues...»<br />
(Sheila Holtz: Editor Statement, 1996. In: Stephen → Perkins: Assembling<br />
Magazines. Internationale Networking Collaborations. Cat.: Half-legal, phc., 64 p.<br />
Subspace, Iowa City. 1996 / Print: 1997. 22 p.)<br />
Herrmann, Dieter P. Moritzstr. 17 Wiesbaden-1, D-6200 Germany 1988<br />
↑ c/o Bauverlag GMbH. Postfach 1460 Wiesbaden-1, D-6200 - “ - 1983<br />
.............................................................................................................................................................<br />
^Infrarot (High quality magazine in style of the French graphism with int. contribu- <br />
tors. Every issue has a certain subtitle: wild pictures, bad pictures, telepictures,<br />
degenerated pictures, imitated pictures, etc. A/4, silkscreen<br />
and offset, 1983-88, #1-8)<br />
^# 7, 8<br />
^Infrarot & seine Bande. Cat.: A/5, silk screen, 26 p. Exhs.: Galerie du Confort <br />
~<br />
Literature:<br />
Moderne, Poitiers / Galerie alte Hauptfeuerwehrwache, Mannheim /<br />
Nova Galeria Newton, Barcelona / Nouvelle Galerie Atomium,<br />
Toulouse. 1987<br />
«By far one of the most exciting visual arts mags. that have come through my mail<br />
for awhile. This issue (#7) devoted to the theme „tele-images/pictures“. Whoever<br />
the editors are (can't see a name) they have done a great job of pulling together<br />
some strong work from 14 contributors, presenting it full page, imaginatively and<br />
grafically, with lost of colour & silk-screened to boot! (...)<br />
13 contributors make this (#8) issue of Infrarot magazine a perfectly decadent<br />
descent into a beautyfully silk-screened world of eros and death, with every<br />
permutation between. Another unsettling creation by the editor Dieter Herrmann.»<br />
(Stephen → Perkins: Magazines. In: Box of Water, N° 3 & 4, 1987 & 88)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 138-139,<br />
144 p.<br />
Hess, Hans-Jürgen Neuanbau 5. / 12-3. Schwarzenberg, (GDR-9430 →) D-08340 Germany 1996<br />
^Die Mauer / The Wall. Doc.: A/4 sheet, phc., + postcards / Gal. Schwarzenberg. <br />
1990<br />
^Alphabet project. / Scriptual Graphic. Cat.: A/4, with 31 silkscreen printed <br />
leaves + cover, 25 parts. Also a special edition of the Cat.: with orig.<br />
works {70}. Schwarzenberg / Annaberg-Buchholz (→ Milde), 1992<br />
^Herbarium I-II. ( assembling in portfolio {100}, A/4, ~50 leaves. 1995-96, #1-2) <br />
Exh.: Schlossgalerie Schlettau, Annaberg. Ed. Ljub, Schwarzenberg /<br />
Chemnitz ( → Milde), 1996<br />
^# 1<br />
Spuren. Hommage á Guillermo Deisler. A/4 portfolio with graphics by E. Koenig, <br />
H-J. Hess (each 10 pages), texts by Koenig, Hess & B. Milde. {10}<br />
Edition Ljub, Schwarzenberg / Chemnitz (→ Milde), 1997<br />
Heude, Philippe !Alexandre Iskra! 16 Res la Sarette, 143. / Ave. de Hambourg, Marseille, F-13008 1984<br />
^L'Amateur d'Images (Magazine. Mail Art compilation by underground graphics. <br />
A/5, phc. 1984-, squ.) The first issues in 30-40 copies only<br />
^# 5, 7<br />
Heyden, Carola van der. Kolfmakerstaag 3 / Nieuwe Rijn 46, Leiden, VE, NL-2311 Netherlands 1995<br />
^Box in Box project – 10x10x10 cm. Inv.-flyer, 1995
Higby, Frank ? London United Kingdom 1977<br />
A collection of artists' postcards. (by Albrecht/d, Anon, Beuys, Below, Elsässer, <br />
Harrods, Heindorff, Higby, Knoedler, Nortvedt, A. Schmidt, Staeck,<br />
Thomas, Tite). Spiral bound instant print publication in A/4 size {75},<br />
24 leaves. London, January 28, 1977<br />
Higgins, Dick P. O. Box 27. Station Hill Road, Berrytown, NY-12507 USA 1984<br />
↑ P.O. Box 842 Canal St. Sta. New York, NY-10013 1977<br />
↑ 238 W. 22nd St. New York, NY-10011 1965<br />
.............................................................................................................................................................<br />
The Something Else Newsscards / Newsletters (Small informations about press, <br />
authors and new publications for the friends of the editor. The newscards<br />
often as supplements to the newsletters. An early form of the<br />
contact net between editor and readers)<br />
The Something Else Newscards (1965: #1-9, 1966-72: #10-15)<br />
The Something Else Newsletters (1966-73, #1-20)<br />
October 25, 1998 1998<br />
~<br />
Literature: Peter → Frank: Fluxus in New York. In: (Lightworks, N°11-12, Fall 1979, 29-45 p.<br />
D. Higgins: A Child's History of Fluxus. In: Lightworks (→ Burch), N° 11-12, Fall<br />
1979, 26-27 p.<br />
Peter → Frank: Something Else Press, an annotated bibliography. (Offset, 90 p.)<br />
McPherson & Co., 1983<br />
«The state of wxchanging feeling by mail is lírical art best. And since your friend<br />
cannot see your body language, it goes best if you synthesize your feeling into a set<br />
of sympathic objects, pictures, gestalts. Encode expressively, and spin your myth.<br />
Nothing ventured, nothing gained...»<br />
(Dick Higgins: Reflections on the History of Correspondence Art. In: M. → Crane /<br />
M. Stofflet (eds.) Correspondence Art. Contemporary Art Press [→ Loeffler]. San<br />
Francisco, 1984. XII-XIV.)<br />
«...I have probably seen forty or fifty actual exhibitions of mail art, and NOT ONE<br />
OF THEM was interesting to see. There were good things in each of them of course,<br />
but the effect of looking at them was weak. Why? Because they did not reflect the<br />
function – they always treated the sendings as final artifacts (sometimes ranked<br />
according to the prestige of the artist). But mail art pieces are virtually never final<br />
artifacts – they are conveyors of a process of rethinking, community-building and<br />
psychological and intellectual extension. Thus it is, I think, a distor-tion to think, of<br />
mail art as a commercial commodity of any kind. Because it is typically modest in<br />
scale usually and it is usually technically simple, the finest piece may come from the<br />
greenest, newest or the least skilled artist. There is no rank in mail art so long as the<br />
artist thinks and sees clearly. (...)<br />
I think mail art may be history – it has been with us at least since Rimbaud's<br />
burnt letters – but only a Dan Quail (a proverbially obtuse right-wing politician<br />
here) would say, as he did in 1989, that „History is Over!“ And as long as there<br />
are people-artists-living alone here and there, confronted by problems (professional,<br />
formal, human or social), Mail Art is likely to have a role to play in helping to alleviate<br />
those problems. What we must not do is allow ourselves to take ourselves too<br />
seriously-tendentiousness is a natural health hazard for the mail artist. The freshness<br />
and unpredictability of the medium are part of why, if mail art works at all, it really<br />
does. Just as we must always reinvent ourselves, according to whatever situations<br />
we find ourselves in, we must always reinvent our arts. And that includes mail art.»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Dick Higgins. A/5, 20 p. TAM<br />
Publs., TAM-960105. Tilburg, 1994)
^Ken → Friedman: In Memoriam: Dick Higgins, 1938-1998. In: Umbrella (→<br />
Hoffberg), Vol. 21, No 3/4, 1998. Reprinted in: J. A. Hoffberg: Umbrella 1978-<br />
1998, the Anthology. Santa Monica, 1999. 157-163 p.<br />
!Higgins, E. F. III.! (Sam Scotland) DOO DA Postage Works. 153 Ludlow /6. New York, NY-10000. USA 1985<br />
^Piece of Licorice and other White Elephants. (22x14 cm., offset, 128 p.)<br />
<br />
Sam Scotland ed., Glotco Paraphemalia. New York. 1972<br />
Doo Da Post. Artists' postage stamp activity which made Higgins the most known <br />
artists of this genre in the internaztional Mail Art field. Mostly portrait<br />
images which has been painted original in oil and photographed for the<br />
colour photocopy procedure. Perforated sheets of ~16 stamps, mostly<br />
identical images. Since the 1970s.<br />
Nudes on Stamps (Commonpress #18) Digest, 8 p. with 128 artists' postage stamps, <br />
120 participants. DOO DA Postage Works, August 1979<br />
^3 rd International Doo Da Postage Works Show. Inv.-card, 1982<br />
<br />
On Mail Art: Doo-Da Postage Works (Essay about artists' postage stamps and their <br />
creators). In: Flue / Franklin Furnace, Vol. 4 #3, 1984, 37-39 p.<br />
~<br />
Literature: ^E. F. Higgins III.: Artists Stamps. In: Print Collectors Newsletter. Nov.-Dec.,<br />
1979.<br />
«The world of stamps beyond the latest 20-center flourishes. Artists are making<br />
their own postal-type stamps and within that arena Ed Higgins is a primemover. His<br />
highly collectible sheets of 16 commemoratives (perforated, color Xerox and 100%<br />
rag paper) are $32. @ postpaid. A mail artist series (two sheets of stamps in an<br />
edition of 200) is $40, signed and numbered. And, forall you high rollers, here's<br />
your chance for philatelic fame: portraits by commission. Ed ask for an actual<br />
sitting (no photos). For $300. you get one 16“x18“ oil painting and 20 sheets of<br />
stamp. Become a part of the World Post.» (Lightworks [→ Burch], DooDa Postage<br />
Works, Art Alternatives in Print. N° 14-15, Winter 1981-82. 57 p.)<br />
«DOO DA, to the best of my recollection, comes from the song Camp Town Ladies,<br />
or Zippety Doo Da. I had realized ya gotta have a name of a country on it if it's<br />
gonna be a stamp, and Doo Da sounded like a good one to me... Somewhere in<br />
there, I started using the „Wingnut“ as a logo for Doo Da Post. This comes from the<br />
Midwest slang of a „wingnut“ being somewhat off the wall... I moved to N. Y. in<br />
1976 and printed my first color Xerox stamps. Many of my early stamps incorporated<br />
reproductions of my paintings... To date I've done some 250 or so different<br />
editions of Doo Da Stamps, usually in signed, numbered editions of 100.»<br />
(E. F. Higgins III.: Stamp Artist Profiles. Doo Da Postage Works. In: Artistamp<br />
News [→ Banana]. Vol. 2, #1. August 1992)<br />
«... I got involved in the mail art network about 1975-'76. At the University of Colorado,<br />
I was working with paintings & printmaking, working from „2-D“ objects as<br />
my models. Posters, Postcards, Play money, Stamps, envelopes, etc. I produced the<br />
first sheet of Doo Da art stamps in 1975. Right around that time a visiting artist.<br />
Edwin Golik Golikoff, a N.Y. Artist, living in Denver, told me about mail art,<br />
Buster → Cleveland, Ray → Johnson, Anna → Banana, etc. I started mailing the<br />
stamps, collages etc. around then.<br />
What were the first reactions of the people you started to mail your works<br />
to?<br />
That would be hard to figure, as I wasn't there, when they got their mail.<br />
Mail art is neither a wrapped gift to a friend at their birthday Party, nor a Rauschenburg,<br />
in a show, in a Museum, in a collection, reproduced in an Art Business<br />
Magazine, commented about by „Art Critics“ etc. etc. Judging from the responses,<br />
from other artists, through the mails, some of my stuff must have interested some to
espond. The many different mail artists' correspondences revealed the miraid<br />
various influences affecting these artists. Golikoff used a typewriter, & puns in<br />
many of his letters & postcards. Ray Johnson, his gray copies of drawings, gossip,<br />
& puns. His surreal puns, sometimes understood. Concrete poetry, newspaper &<br />
picture collage, pornography, manifestos, self-documentation, self-historification,<br />
self-promotion, were some of the things sent, received, & seen in mail art show<br />
catalogues. One of these things were stamps; on the letters from real countries,<br />
artists stamps, & rubber stamps. Due to my background interest, I gravitated to<br />
corresponding, with these concerns, to other artists & shows having this as a format<br />
or main idea. (...)<br />
I was a painter & printmaker, and carried these disciplines into my mail art<br />
activity, most notably, painting Doo Da Stamps. Often these 16“ x 18“ paintings<br />
were photographically reduced, and printed as sheets of stamps with the color<br />
copier, perforated, & used in mail art. As a printmaker in the traditional methods,<br />
the color copier was an explosive discovery to me. No longer did time & money<br />
restricted the imagery, edition, distribution etc. To spend 2 hours each pulling an<br />
edition of Etchings, tends to discourage mailing off a dozen or so to friends, and<br />
push one more into the $ Art Gallery system. (...)<br />
ARTISTAMPS, like their traditional cousins, „Govn't minted miniature<br />
prints“, share significant similarities - the main one being, I think, the imagry on<br />
them, i.e. „relating to the people, lands, ideas, nature, accomplishments, celebrations,<br />
religions, etc. of the country.“ The correspondence carried by the regular<br />
stamps, becomes the correspondence, carried by the Artistamps in mail art, that<br />
joyous dance of the muses amongst us...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with E. F. Higgins-III. A/5, 14 p.<br />
TAM Publs., TAM-960138, Tilburg, 1994)<br />
^Vittore → Baroni: E. F. Higgins III. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 46-47 p.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. (With the essay by<br />
Higgins III:: Small is big) Monography in Italian and English. AAA Edizioni.<br />
Bertiolo, 2000.<br />
«Hildesheim, Goethe Gymnasium» (Michael Fox) Hildesheim Germany 1985<br />
^Nacht / Night. Cat.: A/4, phc., 72 p. 300 copies. Spiral bound. June-July, 1985 <br />
^Nature – Second Mail Art Project. Cat.: A/4, phc., 88 p. spiral bound. Exh.: at <br />
the Rathaushalle, Hildesheim. June 1-21, 1987<br />
Hill, Crag 1015 Clifford St. Pullman, WA-99163 USA 1997<br />
↑125 B. Bay View Drive Mill Valley, CA-94941 - “ - 1993<br />
↑ 491 Mandala Blvd., N°3. Oakland, CA-94610 - “ - 1983<br />
.............................................................................................................................................................<br />
^I Chings & Prototypes / Language as an oracle... (Digest, phc., 24 p.) → Xexoxial. <br />
^Score (with B. Di Michele & L. Schneider) (A visual-verbal/concrete literary <br />
magazine by a very generous presentation, along with Kaldron<br />
[→ Kempton] these 2 mags probably attract the most interest from the<br />
west coast exp. poetry of the US. Additional one-sheet publications<br />
entitled Scorebroadsides, numbered alphabetical. Letter, offset, ~32 p.<br />
1983-92, #1-12. From #13, 1997, new series which has been edited in<br />
Pullman WA)<br />
The issues:<br />
#1 ?<br />
#2 ?<br />
^#3 Visual works by K. Kempton, DiMichel, R. Kostelanetz, C. Hill,<br />
K. S. Ernst, V. Baroni<br />
^#4 Works by Karl Kempton and Loris Essary
^#5 Anthology of works by H. Pollkinhorn, K. Robertson, S. Helmes,<br />
Di-Michele, S. G. Hagglund, J. W. Curry/W. Maki, J. W.<br />
Curry / J. Adler, M. Rosenberg, J. Blaine, J. M. Bennett, C.<br />
Hill, V. Baroni, M. And<br />
^#6 Visual works by J. W. Curry<br />
^#7 Publ. Review / Wisual works by C. Hill, M. Winkler, J. Bennett,<br />
G. Barwin, G. Evanson, K. Young, T. Green, B. DiMichele,<br />
K.S. Ernst, K. Kempton / Essays by b. Grumman (Picturing<br />
verbalizations...) and H. Polkinhorn (The Visual Poem).<br />
^#8 The Bern Porter/Jürgen O. Olbrich issue with found poems and<br />
found art pieces + notes and remarks on this matter by the<br />
authors: J. R. Colombo, W. Hillgirt, C. Hill, C. Pittore, DiMichele,<br />
B. Grumman, T. Beckett, M. Duchamp, M. Melnikov)<br />
^#9 Letters / Forum / Reviews / Received & Recommended / Visual<br />
works by J. Keppler, G. Huth, D. Caroll, J. Blaine, K. Kempton,<br />
F. Aguiar, J. Byrum, B. DiMichele, L. Dunn, L. Currie,<br />
T. Hamill, B. Andrews, G. Barwin, B. Grumman, C. Hill,<br />
R. Wolf-Rehfeldt, J. Olbrich, M. Basinski, P. Johnson, M.<br />
Almeide<br />
^#10 Anthology of visual works from Portugal (essay by F. Aguiar),<br />
Mexico (teyt by H. Polkinhorn), Australia (text by P. Spence)<br />
and USSR (essays by G. Janacek and L. Hejinian)<br />
^#11 Anthology of works by M. I. E. Child, L. Schneider, J. Berry,<br />
R. Martin, G. Cook, D. Webb, D. Powell, W. Branch, C. Hill,<br />
LR. Gorman, R. Maggi, G. Beining, S-P. Martin, T.W. Flynn,<br />
S. Segay, K. Kempton<br />
^#12 Works by C. Baker, J. Martone, B. Grumman, M. Basinski, B.<br />
DiMichele, R. Martin, A. Nielsen, A. J. Gnazzo, J. Brannen,<br />
E. A. Miller, W. Fetterman<br />
New Series from 1996, «The only American magazine entirely devoted to<br />
visual poetry» (Editors: Spencer Selby & Crag Hill, in Pullman WA):<br />
^#13. International anthology.<br />
^#14. International anthology.<br />
^Scorebooklets (A series of digest size offset text publs. ~1216 p.) 1980s<br />
<br />
Score Sheets/ Scorebroadsides (Series of letter size recto/verso phc.-ed leaflet <br />
publs. ~60 #) 80s<br />
^Mail Art Proposals: News – Sionews / Selfaddressed envelopes / Mail Art Cookbook. <br />
Inv..letter, 1985<br />
^Corporate Profile. (Xerographical works, letter, 22 p. in portfolio)<br />
<br />
Alea Ed. → Hamill. Consord CA. 1984<br />
^I'm. (Offset, 12 p.) Scorbooklet #2. n.d. 1980s?<br />
<br />
Score Review (Single sheet outputs of the poetry magazine Score,letters, essays and <br />
graphics. Letter size, phc. 1980s, ~30 #)<br />
^Dict. / A reading of the dictionary... (A reading of the dictionary, illustrated. <br />
Half-legal, phc., 50 p.) → Xexoxial, Madison, 1989<br />
^Core. A Symposium on Cont. Visual Poetry. (Responses to a questionaire on visual <br />
poetry, edited with John → Byrum) Generatorscore Press, Mentor OH,<br />
1993 / Mill Valley, CA. 1993. Responses / statements by the following<br />
authors:<br />
F. Aguiar, C. Baker, D. Barone, V. Baroni, M. Basinski, G. R. Beining, J. M.<br />
Bennett, W. Benson, C. Bernstein, J. Berry, F. W. Block, J. Brannen, L. Bremner,<br />
B. Campbell, S. Cena, D. Cole, P. G. Collier-Weidenhoff, J. J. Cory, Dadata,<br />
D. Davidson, A. de Araujo, K. P. Dencker, B. DiMichelle, J. Drucker, K. Ernst,<br />
B. Fox, P. Ganick, R. Golchert, L. Gorman, B. Grumman, A. Hatherly / E. M. de<br />
Melo e Castro, D. Higgins, W. Hood, G. Huth, Anni I, E. Kac, B. Keith, K. Kempton,<br />
R. Kostelanetz, B. Leirner, P. Limnios, J. Lipman, R. Maggi, S-P. Martin,<br />
S. McCaffery, D. Meadows, E. Minarelli, S. Smith Nash, G. <strong>Perneczky</strong>, S. Pid,
~<br />
Source:<br />
Literature:<br />
H. Polkirnhorn, R. Prost, M. Rosenberg, S. Selby, J. Spahr, C. Stetser, M. Stüssi,<br />
T. Taylor, A. Vallias, E. Was, D. Wellman, K. Young,<br />
^Score Publications ( Leaflet with a list of booklets, broadsieds & circulars, music<br />
casettes and albums, special editions as well as with the featuring of the Score<br />
magazine issues. Book authors: Sha(u)nt Basmajian, Bill DiMichele, Peter Ganick,<br />
Bob Grumman, Dick Higgins / Harry Polkinhorn, Craig Hill, Geof Huth, Laurie<br />
Schneider, ) Oakland, 1992<br />
(Score): «Along with Kaldron (→ Kempton) these 2 mags probably attract the most<br />
interest from the west coast visual-verbal/concrete world. Tastefully edited with<br />
lots of white space and usually 4-6 pages by each artist (Hurrah!) and starting to<br />
runan occasional essay or 2. If the vcisual-verbal is your bag, begin here. Collect<br />
all these issues. (He probably is into selected trading, inquire.)»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.)<br />
(Score, #9): «For the past 5 years Score has served as a forum for language<br />
experiments. It is non-theoretical, non-academic and simply lays the works out for<br />
all to see. The orientation is visual poetry – a nebulous term – butas Dick Higgins<br />
notes, „poetry which is in the intermedium between literature and visual art.“ This<br />
issue is a beauty – tip-ins and clever overall design.» (Lightworks [→ Burch],<br />
Glimmerings [Print review], N° 19, Winter 1988-89, 45 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 114-115 p.<br />
Hitchcock, Steve 224 C Avenue Coronado, CA-92118 USA 1979<br />
↑ 6266 Madeline St. Apt. 97 San Diego, CA-92115 - “ - 1977<br />
.............................................................................................................................................................<br />
^Cabaret Voltaire (Mag. with neodada/Mail Art materials. Mini size of 14x10 cm., <br />
phc., ~100 p. in each issue. 1977-, qu.) Also thematic issues: e.g.:<br />
#2.) Mistakes & Errata; #3.) The Drawing-Completion test;<br />
#4.) New Music Internationale; #5.) Decadence; etc.<br />
#1, 3, 5<br />
°Gray Matter. Inv. Letter size offset sheet / State University. San Diego, 1978 <br />
Ethics and Art (Commonpress #24. not edited yet)<br />
~<br />
Literature:<br />
Steve Hitchcock: Mail Art Communication. In: M. Crane / M. Stofflet (eds.):<br />
Corres pondence Art. Contemporary Art Press (→ Loeffler). S. F., 1984. 273-276 p.<br />
<br />
Hofacker, Janet<br />
→ Illustrated Woman<br />
Hoffberg, Judit A. ↑ P. O. Box 3640 Santa Monica, CA-9094 USA 1995<br />
↑↓ P. O. Box 40100 Pasadena, CA-91114 - “ - 1978<br />
↑ Umbrella. P. O. Box 3692 Glendale, Ca-91201 - “ - 1978<br />
.............................................................................................................................................................<br />
^Umbrella (A spec. magazine for int. news about art periodicals, books, artists' <br />
<br />
books, catalogues and efemeras es well es events of the avantgarde and<br />
alternative art scene, also Mail Art section, network info exchange, etc.<br />
Letter, offset on spec. blue paper, ~32 p. 1978-84 bim., from 1985 2xy.)<br />
^# A complette collection<br />
°Artwords & Bookworks. (with Hugo, Joan) Cat.: Letter size, offset, 46 p. Texts by<br />
Michael → Crane, Joan Hugo & Judith Hoffberg / Inst. of Contemporary<br />
Art. Los Angeles, 1978<br />
Umbrella Mail Art Show. Inv. Announced in the magazine Umbrella. 1979<br />
°Artists' Publications in Print, #1 & 2. Cat.: Tabloid, offset, 30 p. A. A. P. N.
Glendale CA, 1979 / 1981<br />
U.S. Post Office Stratifies the Postcard (Essay about the Postal Service and the<br />
strategy of Mail Art) In: Umbrella, Vol. 2, #4. 77 p. July 1979<br />
Alternative Art Publishing Conference. A journal about the New York scene and the<br />
conference in the Visual Studies Workshop (→ Lyons), Nov. 5-6, 1979,<br />
Rochester. Among the featured publishers and institutions Nathan<br />
Lyons, Richard Minsky (Center for Book Arts, London), Ulises Carrión<br />
(Other Book & So), Tom Ockerse (Rhode Island School of Design),<br />
David Buchan (Art Metropole, Toronto), Dick Higgins (Something Else<br />
Press), Clive Philpott (MOMA), Martha Wilson (Franklin Furnace),<br />
Felipe Ehrenberg (Beau Geste Press, Devon), Chuck Hagen (Magazine<br />
Afterimage), Judit Hoffberg (Umbrella), the problems of art magazines,<br />
the book distribution, criticism, exhibitions, etc. Appeared in Umbrella,<br />
Vol. 2, #6, 125-131 p. Glendale, November 1979.<br />
^Freedom – Mail Art Show. Inv. Exh. at the Armory Center for the Arts, Passadena, <br />
curator: Judit → Hoffberg. 1992<br />
^Cross + Currents. Bookworks from the edge of the Pacific- Cat.: Letter, offset, 56 p. <br />
Spiral bound. / Umbrella Ass. Texts: J. A. Hoffberg, → Buzz Spector,<br />
Harry Reese. Exh.: University of California, Santa Barbara, Nov. 1990<br />
/ California State Univ. Hayward, Oct. 1991 / Selby Gallery, Sarasota,<br />
Febr.-March 1992<br />
~<br />
Literature:<br />
<br />
<br />
^Giny Lloyd: Judit Hoffberg and the Umbrella. German translation in: Materialien<br />
an der Fachhochschule Würzburg, 1981-82, edited by Hubert Kretschmer.<br />
A/5, phc., 22 leaves. Würzburg, 1977.<br />
(Statement): «This is the first issue of Umbrella, which is a new vehicle for art<br />
news, reviews and resource information. We know that we cannot be comprehensive<br />
, but we are trying to give you as much news as possible in a clear, concise<br />
format.<br />
We feel that we are presenting you with an information resource that appeals<br />
to art historians, artists, librarians, and anyone else who is interested in what is happening<br />
in this most explosive period of art development.<br />
We also offer a means of inter-communication with our column called INFO<br />
EXCHANGE, which we are offering to you as a service. Please take advantage of<br />
this column...» (Umbrella, Vol. 1, #1, Jan. 1978)<br />
«To paraphrase the stockbrocker's ad, „When Hoffberg writes, book and mail artists<br />
listen.“ This is the motherlode. Tons of leads, reviews, contacs and good resources...<br />
In fact, all sorts of artists have been doing covers and centerfolds for Umbrella. It's<br />
a happy day when this magazine hits the inside of the mailbox. Better yet when one<br />
digs in. (Lightworks [→ Burch]. These Things Too [Print review]. N° 16, Winter<br />
1983-84. 59 p.)<br />
«The Judith A. Hoffberg Collection of Bookworks has been acquired by the 9<br />
campuses of the University of California and will be housed at the Art Library of<br />
UCLA in Los Angeles. The collection of over 2000 artists' books and periodicals<br />
also includes the archive of exhibition catalogs, reference tools, correspondence<br />
files, as well as unformation files on the growth and development of the whole field<br />
of bookworks since the early 1960s...<br />
(In: Umbrella [→ Hoffberg]. Vol.8, #1. 7 p. 1984)<br />
Judith A. Hoffberg: Mail Art Today: Self-Sustaining or Self-Destructing? In: M. →<br />
Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art Press (→ Loeffler).<br />
San Francisco, 1984. XX-XXI.<br />
^Lon Spiegelman: Archives (about the purchasing the Judith A. Hoffberg Collection
and the Jean Brown Archive by the UCLA Art Library / Getty Center for the<br />
History of Art and the Humanities and similar problems) In: Spiegelman's mailart<br />
rag (→Spiegelman). Vol. 1, #4. December 1986. 15-16 p.<br />
(Umbrella) «A newsletter which reviews artist's books, magazines, and other activities.<br />
Energetic coverage of the coffee table book scene, and a little bit of the<br />
independent stuff, too.»<br />
(→ Dunn: Mail Review. In: PhotoStatic. N° 28, Jan. 1988, 961 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 11-12 p.<br />
^Judith A. Hoffberg: Umbrella 1978-1998, the Anthology. (With a large collection<br />
of articles and artists' works from twenty years Umbrella.) 23x18 cm., offset, 164 p.<br />
Umbrella editions. Santa Monica, 1999<br />
Hoffmann, Klaus c/o Städtische Gallerie & Kunstverein Wolfsburg, D-38440 Germany 1979<br />
c/o Bonner Kunstverein. Adenauerallee 7, Bonn 1. D-5300 - “ - 1979<br />
c/o Schlleswig-Holsteinisches Landesmuseum, Schleswig - “ - 1969<br />
.............................................................................................................................................................<br />
^Napolium (sic!) spiel ich niemals mehr... (Napoleon-Miniaturen from the Collection <br />
Klaus Hoffmann) There is a Pre-Mail Art project which was started in<br />
1963, may be the first «add to and return» action. Postcards with an<br />
Napoleon drawing of Louis David have been sent out to the artists all<br />
over the world. About 130 ones came back with interventions by P. Alechinsky,<br />
E. Baj, J. Beuys, L. Castro, Christo, J. Dibbets, R. Filliou, R.<br />
Hamilton, D. Higgins and many others. First exhibition in the Landesmuseum<br />
Schleswig 1969, later in 9 further museums in div. German<br />
cities. Last exhibition and catalog (A/5, offset, 24 p., text German):<br />
Bonner Kunstverein, Bonn. June, 1979<br />
«Hoger Inst. voor Visuele Kommunikatie» Weg naar As, 50. Genk, B-3600 Belgium 1989<br />
^20 x Communication (20 years of Stedelijk Hoger Inst.) Cat.: 20.5x20 cm., offset, <br />
44 p. Hoger Inst., Genk, 1989<br />
Hol, Jim / Munday, Georgette New Agency. 46 Denbigh St. London, SW1 United Kingd. 1979<br />
The Agent. (A participatory mag., the contributions consist of words, pictures and <br />
money. Daughters of Dada, O. L. Nations, P. Petasz. E. Tót & others.<br />
A/5, offset. 1979-, m.?)<br />
Holfter, Stefan J. Dresbacherrstr. 13. Overath, D-51491 Germany 1992<br />
^Envelope Art. Posters of 62x84 cm and 60x78 cm., phc. 1992<br />
<br />
^Mail Art for Hospital. Inv. with a small collage-work, 1992<br />
<br />
Holmes, Mimi / !Miz Mimi! Art Missionary. 2233 McBurney. Florence, AL-35630 USA 1986<br />
↑1308, 21 St. Haleyville, AL-35565 - “ - 1983<br />
.............................................................................................................................................................<br />
^Secrets of the Hearts / Help! We're running out of mummies. Cat.: Half-legal, <br />
phc., 10 p. Haleyville, two projects ~1983-84<br />
^Draw the Face (1985), Describe the Missing Person (1987), “add to and return” <br />
projects by Mail Art, Invs.<br />
^Things – 3rd Haleyville Mail Art Show. Cat.: Half-legal, phc., 12 p. Traveling <br />
show: exhs. at the Haleyville Public Library, Florence, Arab, Hartstelle,<br />
Blount County Schools, Univ. of Alabama, etc. 1986<br />
^Noise Mail Art. Cat.: Half-legal, phc., 4 p. Florence, 1987<br />
<br />
^Books, Mail Art Show. Cat.: 18x11 cm., phc., 12 p. Florence, 1987
^Simulacrum (or open theme). Inv. to Art Dept., Cornell College, Mt. Vernon IA,<br />
1989<br />
<br />
Holt, Helen Berkeley Office, 1649 Dwight Way. Berkeley, CA-94703 USA 1986<br />
^Mail Artists' Int. 1986 Calendar. Cat.: Letter, offset, 24 p. Berkeley Office <br />
Holtz, Sheila 4350 MC Pherson St. Louis, MD-63108 USA 1988<br />
Estudio (Assembling {100}, thematic issues, 1988-89, #1-5) The continuation of the <br />
Velocity and Estudio by Christian → Herman)<br />
Home, Stewart BM Senior London, WC1 3XX United Kingd. 1991<br />
↑ 41. Irvin House, Uamvar, Stat. Poplar London E14 6QG 1985<br />
↑ 84 / b. Whitechapel High St. London E 1 ?<br />
↑ 11. Bromwich Hse. Houson Terrace, Richmond Hill, Surrey, TW10 6RU ?<br />
↑ 31 Norfolk Farm Rd. Pyrford Woking, Surrey, GU22 8LH 1984<br />
.............................................................................................................................................................<br />
Neo-Smile (Collective edited Smile issue: S. Home, B. Allen, P. Horobin, A/4, 8-14 p. <br />
1984) Scottland, North-Ireland, England, 1984<br />
Smile xerox (Early attempts marked as «xerox», 1984, #1-3)<br />
<br />
Listed issues:<br />
SMILE (xerox 1) (A/4, phc. 10 p. „Lesson 2, establish the name Smile“<br />
1984)<br />
SMILE (xerox 2, ritual) (A/4, 8 p. 1984)<br />
SMILE (xerox, contents childish drawings & photoboth pictures,<br />
A/4, 6 p. 1984)<br />
^Smile (Mag., the leading organ of the Neoism a'la «Karen Eliot». A/5 and A/4, offset, <br />
some early issues are photocopied. Analytical texts, a few images.<br />
London, 1984-89, #1-11)<br />
Listed issues:<br />
^SMILE 1. (A/4, 20 p. Stewart Home in T-shirt cover. Febr. 1984)<br />
Statement / Notices / Doing the obvious is more radical than you'd<br />
imagine / Concrete poems by Home / The complete guide to becoming<br />
an avant-garde artist<br />
^SMILE 2. (A/4, 20p. Stewart Home cover. Apr. 1984)<br />
Editorial / Information / Manifesto of the Generation Positive /<br />
Observations sur le Generation Positive / Concrete poems /<br />
Ha Ha Ha or wey the generation Positive is always right / Ultimatum<br />
der generation Positive<br />
^SMILE 3. (A/5, 16 p. Burroughs cover. June 1984)<br />
Editorial / Monty Cantsin / The Neoist cultural consporacy is a quest<br />
/ 333 and other poems / First International Neoist Manifesto /<br />
Meaning and intention and the Neoist conspiracy / Data<br />
^SMILE 4. (A/5, „Do it yourself“ issue, screenprinted cover only. Aug. 1984)<br />
^SMILE 5. (A/5, 16 p. Home in checkered cloth cover. Oct. 1984)<br />
Addresses / The Generation Poositive presents an examination<br />
of the work of Stewart Home / Neoism / Total Anticopyright /<br />
Great triumphs of the human spirit / Poems / The Generation<br />
Positive presents a list of names / ... the multiple name aesthetic /<br />
... presents magazines breeding like rabbits / The Second International<br />
Neoist Manifesto of Post Positivist Revolt<br />
^SMILE 6. (A/5, 16 p. Dog picture cover. Dec. 1984)<br />
Smile 6 addresses / The Third International Neoist Manifesto of<br />
Post Positivist Fluxation / The Meaning and purpose of the Neoist<br />
cultural conspiracy revelead / Monty Cantsin / First Manifesto<br />
of the Neoist Performance / Poems / Neoism / The Neoist network<br />
and the Mail Art phenomena / Smile / Saying of a famous artist<br />
and plagiarist
^SMILE 7. Neoism: Dance the Monty Cantsin (A/4, 20 p. 1985)<br />
Addresses / Blood, bread and beauty / Neoist artefacts / Correspondence<br />
script / Stewart Home / Neoist poetry<br />
^SMILE 8. Smile back at the ruling class (A/4, 20 p. Bottle cover1985)<br />
Open letter... / Poetry and revolution / Supression of reality /<br />
Artists Strike / Praxis manifesto / Towards the self referential<br />
in art / Basic banalities / marginal culture from de Sade to the<br />
present / Art or praxis? / Nihilism, philosophy without meaning<br />
^SMILE 9. Take your desires for reality (A/4, 20 p. Demo cover. 1986)<br />
The destructuion of meaning and the meaning of destruction /<br />
Beyond chaos, beyond coherence / The art of ideology and the<br />
ideology of art / From Dada to Class War / Glamour / Postmodernism<br />
in black and white / Anarchist / Empty words /<br />
Notes on context and methodology / Networking / Second<br />
Manifestation of Praxis / Conditions surrounding creativity<br />
^SMILE 10. Sex without secretions ( A/4, 20 p. Cola cover. 1987)<br />
Desire in ruins / The refusal of creativity / Artist' placement<br />
and the end of art / Destruction in art, destruction of art / Multiple<br />
names / The avant-garde of presence / Third Manifesto<br />
of Praxis<br />
^SMILE 11. Plagiarism special (A/3 tabloid, 8 p. 1989)<br />
Demolish serious culture / 20 questions you could ask about<br />
the Art Strike 1990-1993 /Rowards an acognitive culture /<br />
Gender, sexuality & control / Pataphysics / Book review<br />
^The Assault on Culture. Utopian currents from Lettrism to Class War. A/5, offset, <br />
120 p. Aporia-Press & Unpopular Books, London, 1988<br />
^Plagiarism. Art as Commmodity and Strategies for its Negation. (Offset, 30 p.) <br />
Aporia Press, London, 1988. Tetxts by Karen Eliot, Tex Beard, Bob<br />
Jones, John Berndt, Simon Anderson, Ralph Rumney, John Zerzan,<br />
Valery Solamas, Klaos Oldanburg, John Carlin, Anon, Gustav Metzger,<br />
Stewart Home<br />
^The Festival of Plagiarism. (Document of the London «Festival of Plagiarism», <br />
1988) A/5 offset, 24 p. No Copyright / Sabotage Ed. London, 1989<br />
^Art Strike Handbook. (An anthology of manifestos, articles and interviews by Home <br />
and others) A/5, offset, 40 p. No Copyright. Sabotage Ed. London, 1989<br />
^Re:Action (4 pages mag. with Neoist texts and polit art matter. A/4, phc. 1991-1999, <br />
# 1-10, sy.)<br />
^# 1-10<br />
^No Pity. In the tradition of Skinhead, Suedehead & Bootboys. (A/5, offset, 144 p.) <br />
AK Press, Edinburgh, 1993<br />
^Neoism, Plagiarism & Praxis. (A/5, offset, 208 p.) AK Press, Edinburgh /S. F. CA. <br />
/ BM Senior, London. 1995<br />
^Green Apocalypse (with → !Blissett, Luther!) (A/4 offset brochure, 48 p.)<br />
→ Unpopular Boooks, / Neoist Aliance, London. 1996.<br />
Texts by H. Rollin, R. Essex, R. Hunt, The Independent, Re-Action, etc.<br />
→ Neoism / Literature: István → Kántor: Some of the Monty Cantsins.<br />
→ Smile mania<br />
~<br />
Literature:<br />
(Smile, issue 1, 1984. Statement): «Hello and welcome to Smile the official organ<br />
of the generation positive. This magnificent new artistic movement is so avant-garde<br />
that at present it only has one member, myself. Consequently this first issue consists<br />
solely of my own work.<br />
The basic tenets of the generation positive can be summed up in the two<br />
words „positive plagiarism“.<br />
Comsequently I encourage all reraders to get the work contained in this issue<br />
published again under their own name.»
(Stewart Home in Smile #10, 1987): «The whole of post-modern life is mediated by<br />
a series of abstractions. Creatively pleasure, imagination, desire, all have a role to<br />
play in the maintenance of the capitalist system. The show is over. The audience<br />
start to leave. Time to collect your coats and go home. You turn around. No more<br />
coats. No more homes. Abolish pleasure. Refuse creativity. Smash the imagination.<br />
Desire in ruins. The present is absolute. Everything now!»<br />
Ed Baxter: Rueing meaning ruin? (About the exh. Ruins of Glamour, Glamour of<br />
Ruins in Crisenhale Gallery, London, Dez. 1986) In: Records Quarterly Magazine,<br />
Vol, 2, N°1, March 1987, 33-36 p.<br />
Ed Baxter: A Footnote to the festival of Plagiarism. In: Variant #5, Summer /<br />
Autumn 1988, 26-29 p.<br />
Grant Kester: SMILE. («For Neoists, to be artists on a sociaty in which „culture“ in<br />
all its forms is a primary agent of political domination is an inherently contradictionary<br />
act») In: New Art Examiner, Oct. 1987, 18-18 p.<br />
(Orientation for the Use of a Context and the Context, for the Use of an Orientation):<br />
«Karen Eliot is a name which refers to an individual human being who can be<br />
anyone. The name is fixed, the people using it aren't. Smile is a name which refers<br />
to an international magazine with multiple origins. The name is fixed, the types of<br />
magazines using it aren't. The purpose of many different magazines and people<br />
using the same name is to create a situation for which no one in particular is<br />
responsible and to practical examine western philosophical notions of identity,<br />
individuality, originality, value and truth.<br />
Anyone can become Karen Eliot simply by adopting the name, but they are<br />
only Karen Eliot for the period in which the name is used. Karen Eliot was materialised,<br />
rather than born, as an open context in the summer of '85. When one becomes<br />
Karen Eliot one's previous existence consists of the acts other people have undertaken<br />
using the name. When one becomes Karen Eliot one has no family, no<br />
parents, no birth. Karen Eliot was not born, s/he was metarialised from social forces,<br />
constructed as a means of entering the shifting terrain that circumscribes the „individual“<br />
and „society“.<br />
The name Karen Eliot can be strategically adopted for a series of actions,<br />
interventions, exhibitions, texts, etc. When replying to letters generated by an<br />
action/text in which the context has been used then it makes sense to continue using<br />
the context, i. e. by replying as Karen Eliot. However in personal realisationships,<br />
where one has a personal history other than the acts undertaken by a series of people<br />
using the name Karen Eliot, it does not make sense to use the context. If one uses<br />
the context in personal life there is a danger that the name Karen Eliot will become<br />
over-identified with individual beings.<br />
We are perhaps heading towards the abolition of the personal; perhaps everything<br />
is social and the personal (the individual) is just illusion. This area of activity<br />
must be debated, examined.»<br />
(The Karen Eliot manifesto by S. Home appeared as a flyer ca. 1985-86<br />
and reprinted in a number of underground publications in the next years, at last<br />
[without the final paragraph] in Home's Smile N° 11, 1989, 1 p.)<br />
Peter Suchin: Review of Stewart Home's THE ASSAULT ON CULTURE.<br />
In: Variant #6, Spring 1989.<br />
(Smile issue 11 editorial): «Neoism was founded by Al Ackerman, Maris Kundzin,<br />
and David Zack in Portland, Oregon, on 10th November 1977. These three attempted<br />
create a situation in which a definition of Neoism would not make sense. As the<br />
movement spread across North America and Europe, Neoist activities became<br />
centred on Apartment Festivals; at first these were small gatherings held in partici-
pants homes, later they were organised around alternative galleries, cinemas and<br />
urban spaces. By the time the 64th Apartment Festival (Berlin December '86) took<br />
place, Neoism had a considerable history and the participants found it difficult to<br />
sustain the movements' anti-theoretical orientation. The Berlin festival was Neoism's<br />
finest hour but it also marked the end of the group. The Millionth Apartment Festival<br />
in New York (November '88) was a complete failure.<br />
When Graham Harwood and Steward Home organised the First Festival of<br />
Plagiarism in London (January/February '88), they wanted to break free of the<br />
bohemian taints which were attached to their Neoist comrades. And so at the heart<br />
of the plagiarist movement there lies a polymedia celebration of those cultural<br />
practices which transgress the logic of the commodity and its exchange value.<br />
Plagiarists emphasise the collective nature of all cultural productions and the central<br />
role played by the audience in this process. Recognising that the task of revolutionary<br />
propaganda is to discredit all received ideas without offering a single alternative<br />
thought with which they might be replaced, plagiarists separate the ideas of the<br />
avant-garde from avant-garde personalities and then bring both into disrepute. Thus<br />
much of this plagiarist issue of Smile is given over to an exploration of so called<br />
redical culture from the fifties and sixties.<br />
As well as destroying the traditions of the dead generations, we are also<br />
intent upon attacking our own power. After plagiarism comes the Art Strike, there<br />
years of silence between 1990 and 1993.<br />
Your immortal friend, Monty Cantsin. Smile, BM Senior, London WC1N<br />
3XX»<br />
(In: Smile N° 11, 1989, 2 p. Remarkably Home does not make mention of<br />
István Kántor – also a founder of Neoism – in this text, who was the first user of the<br />
name Monty Cantsin.)<br />
(The Festival of Plagiarism): «...This is a very unglossy interpretation of the events,<br />
as Home unflinchingly details the successes and failures of the many events associated<br />
with that Festival. The writing, while a bit dens, is capable of formulating<br />
arguments of real clarity and power. Home seems to be one of the main theorists of<br />
the activities that have sprung up in the wake of Neoism. These include the recent<br />
interest in plagiarism and art strike actions, ones which merit, to my way of<br />
thinging, a good deal of attention. Home addresses issues which seem terribly apt<br />
perhaps because of where the technical project of human development leaves us –<br />
with xerox machines and tape recorders and legislation against their fullest use.<br />
(A lot like a god giving us genitalia and then telling us it's bad to use them.)»<br />
( Lloyd → Dunn: Print Reviews. PhotoStatic. N° 36, June 1989, 1340-1341 p.)<br />
(The Assault on Culture): «...To see this book merely as art history would be incorrect.<br />
Home is an activist and intends this work to be simultaneously a description of<br />
certain models of assaults on culture, as well as an example of such an assault...»<br />
( Lloyd→ Dunn: Print Reviews. PhotoStatic. N° 38, Oct. 1989, 1438-1439 p.)<br />
→ Held, John, Jr.: Mind the Gap. Bridging Art and Life During a One-Week Mail<br />
Art Performance Party in London. In: Lightworks [→ Burch]. N° 20-21, 1990. 42-<br />
45 p.<br />
Simon Ford: The art of legitimation: The on-going transformation of the avantgarde<br />
from counter-cultural force to dominant institution. Stewart Home interviewed<br />
by Simon Ford. In: Edinburgh Review, 1991, 87-97<br />
Géza <strong>Perneczky</strong>: With Love and Sabotage (About Neoism and Radicalism in the<br />
Mail Art) In: The Magazine Network. The trends of alternative art in the light of<br />
their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 152-175 p.<br />
Ian Sinclair: Who is Stewart Home? In: London Revies of Books, 23 June 1994,
21-22 p.<br />
Home on the deranged. In: Rouge, issue 17, 1994? 26-27 p.<br />
Don Webb: No Pity (by S. Home). In: American Book Review, Vol. 18, N°1,<br />
April/May 1994<br />
(PP): (Interview with) Stewart Home. In: Kinokaze #2, Summer 1994, 23-28 p.<br />
Trystan Page: The Art of Provocation. In: Perspectives #7, Spring 1994, 28 p.<br />
Home, Stewart: About Art Strike. In: Chuck → Welch (ed.): Eternal Network.<br />
A Mail Art Anthology. University of Calgary Press, 1995. 137-141 p.<br />
Hompson, Davi Det P. O. Box 7035 Richmond, VI-23221 USA 1973<br />
An International Cyclopedia of Plans and Occurences. One of the first Mail Art exhi- <br />
bitions in the USA organized by Hompson for the Anderson Gallery,<br />
Virginia Commonwealth University in Richmond, using the correspondence<br />
network lists: fluxus, NYCS (→ Johnson), Image Bank (→ Western<br />
Front), and the I.A.C. (→ Groh). Cat.: March 15 – April 10, 1973<br />
d'Hondt, Roger (New Reform Galerie) Schoolstraat 17. Aalst, B-9300 Belgium 1972<br />
^Tendenzen van een Nieuwe Kunst. Cat.: A/4, mimeogr. 34 p. 1972. Artists: Attalai, <br />
Gerz, Goos, Groh, Heyrman, Kalkmann, Linnartz, Löbach, Nannucci,<br />
<strong>Perneczky</strong>, Schwind, Stembera, E. Tót, J. Urban, Valoch,<br />
^Reale Concepte. Texten – concepten en projects van Klaus → Groh, K. (Letter,<br />
mimeogr. + collage/objects, 12 p. {50}) 1972<br />
<br />
^Wij Hebben ook Ideën. Of Aktuele Kunst uit Oost-Europa. Cat.: Spiral bound, cut <br />
A/4, mimeogr., 24 sheets. 1972 Artists: Attalai, Baginski, Bak, Beke,<br />
Chwalczyk, Dalibor, Dimitrijevic, Filko, Gazdik, Golkowska, Haka,<br />
Klivar, Kocman, Koller, Marcola, Miler, Natalia L L, <strong>Perneczky</strong>, R.<br />
Sikora, Sosnowski, Stembera, Stosic, Todorovic, E. Tót, Valoch<br />
Hong Kong Mail Art. LS Division, City University. Ken Koebke, 83 Tat Chee Ave., Kowloon Tong, Hong Kong<br />
^The Frankenstein Mail Art Exhibition – Mail Art, haiku, limerick, questions... etc. <br />
Large project / internet home-page: www.cityu.edu.hk/ls/research/frankenstein<br />
Inv., 1996<br />
Hoocker, Richard Santa Fe Council for the Arts, 109 Washington Ave. Santa Fe, NM-87501 USA 1983<br />
^Airmail Eros. Cat.: Digest, phc., 44 p. / Center for Contemporary Arts, Santa Fe. <br />
November 1983<br />
Horiike, Tohei 853-2 Tadanuma-cho Shimizu-City, Shizuoka-Pref., 424-03 Japan 1979<br />
^Free Space for All – Step Ahead in Shizimu '76. (Co-editor: Akihiro Sakai) <br />
Cat.: 31x22 cm., instant print, 58 loose leaves. Works by 28 Japanic<br />
and 23 international artists from the Mail Art scene. (In view of the<br />
chronological development, this publ. is the N°0 of the later peroiodical<br />
ART communication.) 1976<br />
^ART communication (Mail Art periodical by matter of Japanic, European and <br />
American artists on ~30-40 loose sheets in envelope. 31x22 cm.,<br />
instant print, 1977-79, #1-2?) Freedom Research Center. Shimizu City<br />
^ #1<br />
Rubber Stamp Art. 21.5x14 cm., offset, 16 p. (Full page reproductions of images ® <br />
created by rubber stamps of Bill → Gaglione in San Francisco.)<br />
Ed. Shimizu. San Francisco, 1979
Horobin, Pete Data. 37 Union St. Dundee, Scotland, DD1 4BS, United Kingd. 1985<br />
°Destruction / Creation - Action - Open sandwich. A performance doc. 9 orig. photos <br />
mounted on cardboards of 14x9 cm. Handwritten titles. Dundee, 1981<br />
Actions. Description and distribution of documentation in the form of A/4 size photo- <br />
copied sheets in envelopes. Dundee, 1981<br />
DATA DD1 4BS. Text publication in the form of A/4 size brochure, phc., 10 leaves. <br />
The author calls himself «The principal player». Dundee, Nov. 1981<br />
RAT ART – RAT ART TRAP – GALLERY... (4 Postcards from DATA) ~1981 <br />
^Struwel Peter Scrapbook. (A cooperative work of Robin → Crozier, Geoffrey Young, <br />
A. Barrio, Spudz/Cees Franke, Pete Horobin and Peter → Below. Below<br />
started a German children book for an «add to things and images» action<br />
in 1977. After the intervention of Crozier, Young, Barrio and Franke,<br />
in January 1981 the book was given to Pete Horobin, who destroyed it<br />
in the sense of a Destruction/Ceeation action. After this final result, the<br />
pile of loose pages have been photocopied and bound to a new book in<br />
10 copies by Peter Below.) A/4, phc., 101 leaves + cover. Mixed Media<br />
/ Kriptonic Press. Würzburg. February, 1981<br />
Small DATA publications (14.5x10.5 cm, photocopy.):<br />
Severn Scripts, 9 leaves, April 1982<br />
Actions, Lyon. 44 p. March 1982<br />
<br />
ACROBAT LIVE. (On the occasion of Horobin's visit at Jürgen → Olbrich in Kassel) <br />
Diary like documentation with many inserts bound to a book. A/4, phc,<br />
+ inserts by mixed techn., ~100 leaves. December 1-31. Kunoldstr. 34,<br />
Kassel. 1982<br />
ACROBAT TOAST x 33. – Kunoldstrasse 34. LIVE. (A series of fotos with Jürgen <br />
→ Olbrich & Pete Horobin during of an «toast-action» in Kassel)<br />
Poster of 32x46 cm., blue print. Dated at 9. 12. 82 / 17:30. Kassel.<br />
^Bread Data to Bread Bank. Inv., 1982<br />
<br />
DATA Communication / Daily Action. Diary lyke daily documentation: A/4 size <br />
photocopied leaves for each day with hand written texts, fragments of<br />
printed matter, collages, drawings, or photos about objects, cloths, body<br />
parts, etc., ~ 30 sheets in each envelope which one was printed over by<br />
offset with the title form. Monthly distribution during the year 1983.<br />
^Smile (Neoist mag., often with correspondence material and contacts by special <br />
(completed) DATA forms by Horobin, also exh. catalogues and sociological<br />
matter. A/4, A/5, phc., 6-68 p. 1985-88, #1-9)<br />
Listed issues:<br />
SMILE (A/4, phc., 6 p. Teeth cover. 1985)<br />
SMILE (A/4, 10 p. Teeth cover / different contents. 1986)<br />
ATTIC SMILE (A/4, 12 p. 1986)<br />
^SMILE „FOMT CIRCULAR“ (A/5, 20 p. Texts by D. J. at FOMT.<br />
1986)<br />
SMILE C. N. (A/5, 16 p. materials by Snowwhite Jung &<br />
David → Zack. 1986)<br />
^SMILE „sell your archive“ (A/4, 30 p. 1987)<br />
^SMILE UB40 (A/!, 28 p. 1987<br />
SMILE (A/5, 4 p. Karen Strang's matter. 1987)<br />
SMILE „Lifes a bitch“ (A/4, 68 p. Accompanies exh. on suicid. 1988)<br />
^DATAcell. (Brochure with an appeal to send «data» and with mostly graphical <br />
Neoist «data» material, A/4, phc., with orig. photos and rubber stamps,<br />
16 p.) 25 Normand Road, Dysart Fife, Scotland. 1985<br />
^Non-Participation Festival. (A/3 size poster with text only, phc. on yellow paper. <br />
Statement and appeal to the diverse forms of non-participation<br />
+ statement of an Alternative Garden Festival in Glasgow and the<br />
Programm of the Free University of Glasgow during the Summer<br />
months of 1988) Dundee, 1988<br />
→ Neoism / Literature: István → Kántor: Some of the Monty Cantsins.
~<br />
Since the start of the Art Strike (1990) Pete Horobin is not more available. His contact-partner:<br />
Attic Data. c/o Marshall Anderson. 7 Wemyss Buildings. High Street. Kiskcaldy Fife. Scotl. UK.<br />
→ Olbrich, Jürgen O. / Actions and Exibitions at the Artspace Kunoldstr. 34, Kassel<br />
~<br />
Literature:<br />
«Each day is an event. Each day culminates in an action. Each action is a series of<br />
gestures. Each gesture is the manifestation of concept through a medium. Each<br />
action is photocopied and distributed. Each daily action records my life. Through<br />
these daily actions I ruie my level of awareness. An awareness of time and history.<br />
By distribution each action is shared. The awareness is shared. I wish to ruie the<br />
level of awareness in others. This process I have chosen to name DATA. D – Date /<br />
A – Action / T – Time / A – Art.»<br />
(P. Horobin: DATA. Leaflet. Published in Cairn, #5. May 1980, 9 p.)<br />
«Pete Horobin is seeking information, pamphlets, periodicals, photographs, tapes<br />
etc. in the field of art and communication for the first private archive of Alternative<br />
Art in Scotland. He is sincere and forthright, and has done some remarkable work<br />
in mail art books, postcards and indictments of the Scottish art schools and Scottish<br />
art. Since there are no „free“ magazines with a sympathetic ear in Scotland, DATA<br />
needs more outlets. An alternative publishing system for Horobin's images,<br />
opinions, daily actions, worods and concepts, DATA uses the Mail Art Network to<br />
get his messages across...»<br />
( jah: News. In: Umbrella [→ Hoffberg], Vol. 4, #2, 32 p. 1981)<br />
(Non-Participation Festival, Scotland 1988): «The Festival of Non-Participation<br />
is a decentralised cultural festival being held in Scotland during 1988. The festival<br />
will provide an open situation in which various groups and individuals can organise<br />
events. (...)»<br />
(Only the titles of the various possibilities of non-participation):<br />
NON-PARTICIPATING IN SOMETHING ELSE<br />
Home taping evenings / Art = Non-Participation / Non-Participation = Occupation /<br />
Non-Participation = Unemployment / Fast days: Nov. 4th. 5th. & 6th. / Walking<br />
Weekend: May 28th–29th. Cicle days: July 10th & 28th. August 12th.<br />
NON-PARTICIPATE BY PARTICIPATING IN SOMETHING ELSE<br />
Stay at home days: April 13th. May 17th. Sept 22nd. / Switch of TV days:<br />
March 2nd. April 20th. May 18th.<br />
Géza <strong>Perneczky</strong>: With Love and Sabotage (About Neoism and Radicalism in the<br />
Mail Art) In: The Magazine Network. The trends of alternative art in the light of<br />
their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 152-175 / 170 p.<br />
!Horus!<br />
Horvath, Al<br />
→ Mounier, Patrick<br />
Falling Down Press, Dead Fish Prod.<br />
P. O. Box 99315 / Erceview St., Cleveland, OH-44199, USA 1975<br />
White Heap (Mag. with experim. poetry & art, partly assembling {50}, Letter, 1975-, ) <br />
Horwitz, Suzanne «Synapse» Visual Art Press. The Philadelphian I. A 5.<br />
1401 Pennsylvania Av. Philadelphia, PA-19130 USA 1986<br />
Words and Images: A Survey of Contemporary Artists' Books. (org. with Alexandra <br />
Lerner and coordinated by Michael Strueber, a travelling exh. with<br />
works by 125 artists opened at the Philadelphia Art Alliance on 18<br />
May 1981 and showed also in the Pittsburg Center for the Arts and<br />
the Southern Alleghenies Museum of Art. An catalogue has been
published with an essay by Peter → Frank.)<br />
^Philadelphia Indep. Publishers of Artists' Books. (with Sandra Lerner) Cat.: Letter, <br />
offset, 32 p. 1982<br />
^Vampyr: being a diary, fragments of his visit (A graphic album with Stephen Spera) <br />
24.5.x19.8 cm, offset, 48 p. Synapse, Philadelphia, n.d. (1980s)<br />
~<br />
Source: Horvitz, S. / Lerner, A.: Philadelphia Independent Publishers of ARTISTS' BOOKS.<br />
Letter, offset, 32 p. (An artists' books catalogue)<br />
Houédard, Dom Sylvester 262 Randolph Ave. London, W9 United Kingd. 1971<br />
Kroklok (with Bob → Cobbing and Peter Mayer) (A classic of the alternative and exp. <br />
literature mags. A/4, mimeograph. 1971-, ir.) Writers Forum, London<br />
Houser, Christina 2512 N.W. Marshall, #15 Portland, OR-97210 USA 1995<br />
^Exquisite Corpse – send 4x6 inch fragment of human body. Inv.-letter, 1995 <br />
^Oh Idol, my Idol... (with Terry Durst, Seattle, one shot assembling {30}, letter size, <br />
bound, 1996)<br />
Huber, Joseph W. Göhrenerstr 13. Berlin, (GDR-1058 →) D-10437, Germany 1996<br />
Nature is Life – Save it (International Art Project, «mail it») Doc. 1977 <br />
^Bild-Wort-Montage. Doc.: A/4 leaflet folded to 4, offset. Nagelwerk, Berlin, 1987 <br />
^SCHILDERungen. (Photo/postcard series, A/4, phc., 16 p.) Ed. Karte'll, Berlin. 1995 <br />
Texturen. (Postcards series with „German visual poetry“) Ed. Karte'll, Berlin, 1996 <br />
Joseph Huber died 2002 in Berlin 2002<br />
Huckauf, Peter ? Berlin Germany ?<br />
Spontanistische Collagen. Cat.: / Meta-Galerie, Berlin, 1984<br />
<br />
Floß & Wüstung. Alphabet des Augenblicks (Offset, 36 p.) Ed. Gertraud Scholz <br />
Verlag Neue Freiheit Berlin (?)<br />
→ Transfurism<br />
~<br />
Literature:<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 541 p.<br />
Huemer, Peter Fichtenstr 11 Pasching, A-4061 Austria 1990<br />
^Kopiegraphie / Mischtechnik - Arbeiten 1987-1990. Cat.: A/4, offset, 42 p. <br />
/ Galerie → Maerz, Linz, 1990<br />
^Dazwischen... In: Cat.: «Zwischenbilder, Copygraphy + Electr. Graphic» Linz, <br />
Österr. Landesmuseum, 1994. 23-24 p.<br />
^Copy Book Art International. (with Thomas Meyer) Exh.: Gal. → Maerz, Linz. <br />
Cat.: A/4, phc., 120 p. {500} (with orig. copy-pages, like assembling)<br />
Text: P. Huemer: In Search of a Book that was never written. 1996.<br />
Huigin, Sean O. c/o Writers Forum London United Kingdom 1976<br />
°Curtal Sails. (Assembling like anth. with works by J. Adler, H. Burke , C. Cheek, <br />
S. Clews, B. Cobbing, P. C. Fencott, B. Griffits, J. Pike, L. Upton, etc.<br />
A/4, mimeogr. 54 p.) Writers Forum. London, 1976<br />
«Humanitarian Fond» → Zhukov, Leonid<br />
«Hundertmark, Galerie & Ed.» Brüsselerstr. 29. Köln, D-50674 Germany 1988<br />
↑ Reinoldstr. 6 Köln-1, D-5000 - “ - 1983<br />
↑ Blumenweg 12. Berlin-42. D-1000 - “ - 1975<br />
.............................................................................................................................................................<br />
Gallery and editionhouse activity in Fluxus, visual poetry, conceptual art and diverse <br />
trends of alternative art. Since 1970s.<br />
^Konkrete / Visuelle Poesie. Cat.: A/6, phc., 16 p. 1992
«Hungarian Visual Poetry» → Visual Poetry, Hungary<br />
Hunker, Tracy P. O. Box 8421 Columbus, OH-43201 USA 1979<br />
Testube (Magazine about art + technology, 1979- )<br />
<br />
!Hunter, Rev.! → Wamaling, Mark H.<br />
Huston, Mail Artists, Rubberstamps, Box 740 E. 19th St. Houston, TX-77008 USA 1987<br />
^An Envelope and its Contents. Doc. One xeroxed sheet of legal size. / Missouri <br />
Street Gallery / Montrose Art Aliance. April 1987<br />
Hyatt, Michael (Hyatt Gallery) 933 S. Leseur St. Mesa, AZ-85204 USA 1986<br />
↑ Gallery 1331. 721 Pine St. Santa Monica, CA-90405 - “ - 1984<br />
......................................................................................................................................................<br />
^Music Orwell, 1984. Inv.-flyer, 1984<br />
<br />
^Olympia Kalender / Mail Art, Inv. on postcard: „Olympic Games“. (1983) 1984 <br />
^Olympic Games, Music & Orwell's 1984. (with M. Hyatt, L.→ Caldera, M. Mollett, <br />
R.→ Meade) Poster of 53x31 cm., offset. Exh.: Base 2 Gall. Los<br />
Angeles, & Hyatt Gall. 1331, Santa Monica. July-August 1984<br />
!Ibírico! Retablo Str. N° 1- 4. C Alcorcón (Madrid), E-28921, Spain 1997<br />
↑ AMAE Aptdo. N° 47, Alcorcón (Madrid), E-28921, - “ - 1995<br />
.............................................................................................................................................................<br />
^I. Mustra Int. de Mail Art. Cat.: A/4, offset, 16 p. (English /Spain) Centro Civico <br />
Social, Alcorcón. January 1990<br />
^Pinturas - dibujos - grabados. Cat.: A/5, colour offset, 8 p. Text: E. S. de Soto. <br />
/ Centr. Civico y Social, Alcorcón. December 1991<br />
^Mail Moz-art. (with Miquel Arranz → Sanchez) Cat.: 21x17 cm., offset, 24 p. <br />
/ ILMO. Ayuntamiento de Alcorcón. Delegacion de Cultura. 1991-92<br />
^Rooms. (Xeroxed matter + collages) Horz. mini size, 16 p., {100}. Introduction: <br />
Ma-Luz Bermejo. Ed. Koine / Libros. n.d. (1992?)<br />
^Universo racional. (Accordion book with additional documentations, also as flyer <br />
with 6 leaves, phc.) Alcorcón, 1993<br />
^100 años MIRÓ. “III. Muestra Int. de Mail Art Ciudad de Alcorcón” Cat.: <br />
23.5x16.5 cm., offset (colour), 24 p. / ILMO. February 1994<br />
^A. M. A. E. / Asociacion Mail-Artistas Españoles. (Mag. with Mail Art infos and <br />
exhibition invitations. Also short featurings. A/5, phc., ~26 p. 1995-97,<br />
m. #1-16)<br />
^# 1-16<br />
^Visual & Experimental Poetry Show – in Santo Domingo, Republic Dominica. <br />
→ Inismo<br />
~<br />
Literature:<br />
Inv.-letter, 1996<br />
«...In 1995 I decided to create an Association which includes the most active<br />
Spanish Mail Artists, and for this end, I consulted them, one by one, by mail (of<br />
course). The response was excellent and unanimous: They support and encourage<br />
my plan. I was greatly surprised, because of the independence which is a feature in<br />
Artists, in general... Now, AMAE is recognized in my country, where I receive a lot<br />
of information from Institu-tions which is materialized in the Bulletin, jointly to<br />
Visual and Experimental Poetry, News, a Who is Who, etc. etc. and transmitted to<br />
all the networkers in Spain and out.... One of the purposes of the Association was<br />
fulfilled....<br />
What other purposes does the Association have?<br />
Other purpose that AMAE be after too, is a section in his bulletin (?WHO<br />
IS WHO?), in which come out all the Spanish Mail Artists (two in each edition),<br />
and in this way, we get to know each other better. Subsequently to publish a guide<br />
with the same title, with names, addresses, phone numbers, etc. and to distribute it,
among all of us... (It's an idea that I extend to other mail artists with regards to their<br />
countries). And who knows, maybe a Mondial Guide of mail artists, why not?<br />
Probably <strong>Ruud</strong>, your mail interviews are yet the beginning... Also AMAE helps to<br />
keep in touch all the M. A. of the Kingdom.<br />
To organize exhibitions... Actually, AMAE prepares one in SANTA DO-<br />
MINGO (Dominican Republic), but not of mail art, VISUAL & EXPERIMENTAL<br />
POETRY, at the „CASA DE TEATRO“, which is the meeting place of Dominican<br />
Artists and Intellectuals... I will travel there, carrying the works of European Poets<br />
(Although most, Spanish)...<br />
I don't think the other forms of communication, like e-mail, fax, etc. will<br />
scroll down mail art. Some people will feel at ease connecting by other forms than<br />
mail (could be since smoke signals to Tam-tams....). Mail art has its own system...<br />
The sending, the waiting for, the surprise comes on an unexpected day... but then,<br />
you touch the enveloppe which is 3-Dimensional, you'll open it, etc. etc. From the<br />
sending to the receiving, a time process (sometimes, long or short, be implicit). (...)<br />
How involved are you in the Experimental Poetry and/or Visual Poetry?<br />
About 20 years ago, visiting a JOAN BROSSA exhibition in Barcelona<br />
(BROSSA is the undisputed leader of the Spanish experimental Poetry), and as a<br />
Plastic Artist, I was interested by this strange way to capture and to visualize the<br />
Poetry.... And it was from then, when I began to investigate in this way... Actually<br />
I take part in all the important exhibitions of Visual and Experimental Poetry in<br />
Spain, and all over the world.<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Ibírico A/5, 16 p. TAM Publs.,<br />
TAM-970173. Tilburg, 1997)<br />
Ibiza, Mail Artists c/o Escuela de Artes Aplicadas de Ibiza. Baleares, E-07800 Spain 1988<br />
^Estamp Ibiza. Inv.-card to the Museum of Cont. Art, 1983 ®<br />
^Columbus. A Quinientos Años de la Llegada de Colón a America. Cat.: Cut A/4, <br />
offset, 72 p. June-July 1988<br />
^A 500 Años... de Colón. Segunda Convocatoria. Cat.: A/4, offset, 38 p.<br />
<br />
Exh.: Escula de Artes Apl. de Logroño (Org.: Ricardo Gonzales)<br />
May-June, 1989<br />
!Icarus! (Llys Dana publ. / Jaques Juin?) Bremen Germany 1980<br />
°All Ready Cut 4U. (Assembling like accordion publication) 1980<br />
<br />
«I. C. C.» / Internationaal Cultureel Centrum. Meir 50. Antwerpen, B-9000. → Schraenen<br />
«Idea X.Change»<br />
(→ Peters, Ursula / → Mela, E. / →Patrick, Tom / → Cellini, James)<br />
8 Balboa Av. San Rafael, CA-94901, USA 1985<br />
^Idea X-Change (Collected edited Mail Art mag. Half-legal, phc., ~18 p. 1985-, ir.) <br />
IALA by U. Peters / Dada-Relief Front by E. Mela / Eat It Up by<br />
T. Patrick / Art & Soul by J. Cellini<br />
^# 1<br />
Igloo, Alex (!TorridZone!) (Dislokate Klammer) 444 Sixth Avenue, Brooklyn, NY-11215, USA 1985<br />
P. O. Box 400, Old Chelsea Station. New York, NY-10001. - “ - 1978<br />
.............................................................................................................................................................<br />
Smegma (with → Scarletina Lust) (Neo-dada magazine with Mail Art, an accumu- <br />
lation of images and texts, sometimes with disk-supplement. Letter and<br />
half-legal size, offset, also colour print. 1978-, y.)<br />
°Bob Dylan Mail Art Exh. Cat.: Half-legal, phc. 39 p., ~160 participants (Also was <br />
selling a T-shirt to commemorate the exhibition.) Exh.: Galleria dell'<br />
Occhio, (→ Pittore) New York. 1983<br />
~<br />
Literature: John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 28 p.
«Illusion Production» 15 rue Pierre Curie Mondville, F-14120 France 1982<br />
Sensationnel le Journal (Handmade graphzine by silkscreen, mimeographic, and <br />
with textile, postcards and audiocassette supplements. A/4 & A/5,<br />
mixed techn. 1980= N° 0, 1982-, y.)<br />
^Art Boundage. Inv.-flyer, 1982<br />
<br />
~<br />
Literature: Ljmite, N° 28 (→ Billé)<br />
!Illustrated Woman! (Janet Hofacker) 485. N. Oaktree Ln. „C“. Thousand Oacks, CA-91360. USA 1994<br />
Rubber stamp artist with a large collection of “historical” rubbers. Artist’s postcards. ®<br />
«Image Bank» 303 E. 8th Ave. Vancouver, V5T 1S1 Canada 1977<br />
(by Michael Morris & Vincent Trasov / a method for the exchange personel informations and<br />
research between artists 1969-79 / associated with the → Western Front Society, Vancouver)<br />
.............................................................................................................................................................<br />
Image Bank Postcard Show (80 postcards in a box) Coach House Press for the <br />
Image Bank Exhibition at Fine Art Gallery, U. B. C., 1971<br />
^International Image Exchange Directory (Unpaged talonbooks, a directory listing <br />
the names and addresses of hundreds of artists around the world, along<br />
with their specific requests for images and correspondence. Compiled<br />
Jan. 1970 – Nov. 1872, published also in the File Magazine #1, 2 & 3<br />
(→ General Idea). With address lists, short notes and many illustrations,<br />
booklet of 8.5x13 cm., offset, ~200 p.) Talon Books, Vancouver, 1972<br />
Image Bank Network Sampler (Box format edition with 20 publs., prints and <br />
ephemera, documenting ideas & fantasies) S. P. Vancouver, 1976<br />
^Image Bank Postcard Show – 1977. (48+1 cards in box) Coordination: Panama <br />
Design Studio N.Y. Edited by Image Bank. Vancouver, 1977<br />
Das Sofortbild Polaorid. Cat.: 29 p. Exh.: in Aktionsgalerie, Bern, travelled to <br />
numerous centres in Europe. Org.: Rudolph Jaggli, Oct. 1977<br />
Image Bank Exhibition / Centre Culturel Canadien, Paris. Org.: Yves Pepin, 1978 <br />
L'Estamp Aujourd'hui 73/78. Cat.: / Bibliotheque Nationale Paris, France. Section C, <br />
Cartes Postales (Cards designed by Image Bank, Dadaland, R. Filliou,<br />
Allen Jones & others) Paris, May-June 1978<br />
Ie Festival International de la Carte Postale d'Avant Garde 1979. (Image Bank <br />
post cards in the exh. at a vitrine bookstore) Paris, June 1979<br />
^Art & Correspondence from the Western Front. Cat.: 72 p. (further → Western Front) <br />
The National Museums of Canada, Vancouver, 1979<br />
~<br />
Literature:<br />
Art-Rite's «Image Bank» issue, #17, 1978 (→ Canepa, Anna)<br />
Immos, Frans ? Amsterdam Netherlands 1978<br />
°You and Me. Inv. / Other Books and so... Amsterdam, 1978<br />
<br />
°Vocab. English / Xaoh – Xaoh / English. (Orig. rub. stamps, 10 p.) Stempelplaats. ® <br />
Amsterdam, 1978<br />
«Inconnu»<br />
(Group, Edition) (Bokros, Péter / Molnár, Tamás / Pálinkás, József)<br />
Izabella u. 92. II. 17/a Budapest, H-1064 Hungary 1989<br />
↑ Völgy u. 29/a. Budapest, H-1021 - “ - 1986<br />
↑ Téglagyári út 7/b. Szolnok, H-5000 - “ - 1981<br />
.............................................................................................................................................................<br />
^Hard Magazin (Cartoons & graphism, A/4, offset, 1979, #1 only) Szolnok H<br />
^Inconnu (Polit art underground mag. A/5, mimeogr. 80-110 p. 1981-82, #1-2)<br />
<br />
<br />
Punknow Ed. Inconnu Group, Szolnok H<br />
^#1, 2<br />
Galeria Arteria (non-official exhibition & «fair» activity with all kind of alternative <br />
arts) Bercsényi-Klub, Budapest, 1983<br />
^Alkalmi Eseményújság (Occasionally News of Events) (Polit art mag. A/4 horz.,
phc., ~26 p. 1984-86, #1-3) Inconnu Press / Arteria Editor<br />
^#1<br />
«Inismo» in Italy<br />
Literature:<br />
^Alí Ghaderi: L'Inismo o la „coscienza“ della parola. / Eugenio Giannì: Appunti<br />
di estetologia inista. / François Proïa: L'Inisme et les mondes virtuels.<br />
In: Bérénice (→ Bertozzi). Vol. 1, N°1, Roma, March 1993. 30-32 / 73-78<br />
/ 107-111 p.<br />
^Letteratura odeporica e arte postale iniste. (A special issue of Bérénice with ca.<br />
30 articles about the diverse activities of inismo. Authors: G. A. Bertozzi,<br />
G. Agresti, Ibírico, G. Mattioli, Maria L. Bermejo Baquero, Julio Carreras<br />
and others) In: Bérénice (→ Bertozzi). Anno II. Roma, March, 1994<br />
«Inismo» in Spain (Internationale Novitrice Infinitesimale / Código Universal Infinito)<br />
Magazines:<br />
^Koine also Grafe Koine, Koiné, Koinè, Koine-INI, KoinèINI, Kóinè. (The «central» magazine<br />
of the Spanish inism mouvement with visual literature, short manifests, and<br />
with featuring of exhibition or festival events. Hand made interventions by collages.<br />
~A/5, phc. / offset, ~8-32 p. 1985-, squ. ~30#) Editors: Duval / Molero Pryor / Gutman<br />
Figueiredo / M a -Luz Bermejo / Morante & others. c/o Las Suartes 33 B-c,<br />
Collado Villalba (Madrid) E-284300, Spain .....................................................1985<br />
(In #24: Inismo & Andalucia; #25: El Inismo en España; N° Mayo 1991: Origines<br />
del Inismo. «Christmas & Mail Art» issues: Dec. 1991, Jan. 1992, Dec. 1992).<br />
^#Aug. 1990, #May 1991, #14, 16, 18, 19, 20-21, 22, 23, 24, 25,<br />
Inicuba Centro Latinoamericano de Poesía Inista (Mag.) ..............................................1992<br />
^Inizial<br />
c/o Apartado Postal 6239. Ciudad Habana. 10600. Cuba<br />
Revista Inista de Poesía (Mag. A/5. 1992-, sometimes idientical with the Koine)<br />
................................................................................................................1992<br />
^#1, 3 (Koine #25),<br />
^Boletin de Noticias Inispania / Info Ini. (Mag. A/5, phc., ~10 p. 1992?- Boletin..., from April<br />
1994: Info Ini ) c/o Koine, Villalba ...................................................................1992<br />
^#6, 9<br />
^Fanz Ini / La Fabrica de Signos (Mag. A/5, phc., 12 p. 1993-). .....................................1993<br />
c/o Antonio Pielago, San Gregorio 19. Galapagar (Madrid) E-28260<br />
^# Marzo 1993 (#1 ?)<br />
^Inia Kelma / Taller Andaluz de Poesía Inista (Mag. A/5, phc., 16 p. 1993-, qu.) .................1993<br />
c/o Juan Orozco Ocaña, Nueva 4. Montellano (Sevilla), E-41770<br />
c/o Pedro Romana, 1. 4° 2a Cordoba<br />
^#2, 3, 4, 5, 6, #? from 1996<br />
Aina Inia (Mag. ) ? ............................................................................................................199?<br />
^Mondragon / Taller de Poesía (Mag. A/5, phc., 6-8 loose leaves in cover, 1993- ) .............1993<br />
c/o (Graciela Garcia?) San Francisco, F-32 3-A. Turon / Asturias, E-33610<br />
^#1<br />
^Zebra / Vértice poesía inista galega. (Mag. 21x17 cm., phc., 16 p. 1993 ?)................1993<br />
c/o Pedro Gonzales (A Zebro Inista), Caritel (Ponte Vedra), E-36829<br />
^#1<br />
Zeinue / Zeinu∋ (Mag. A/5, phc. 1993-) c/o Vitoria N° 19. Areta (Alava), E-01400 .............1993<br />
^Grafe Koine La Fabrica de Signos. (New series) (Mag. A/5, phc., 22 p. 1994-, ir.) Ibírico,<br />
M. Prior & Ma-Luz Bermejo. c/o Las Suertes 33. Bajo-C. Collado Villalba<br />
E-28400 .............................................................................................................1994<br />
^1994/#1, 2, '97/9, '98/9-10,<br />
^Ini Vox Revista de Prensa. (Mag. A/5, phc., 8 p. ~#1-12)..............................................199?<br />
c/o Grupo Inizil (Jorge Barreto. R. São Francisco do Piauí, 498, Casa 6. & Neli<br />
Vieira. R. Jaime Costa - BL A-20. Apto. 11. Santo André, CEP 09230-420, Brasil)
Exhibitions:<br />
^Exposicion Internacional Bibliografica de Poesía y Literatura Visual-Experimental. Doc.: A/5.<br />
Org.: Mail Art Archive Turon. / Sala de Exposiciones Casa Municipal de Cultura,<br />
„Teodora Cuesta“, Mieres. June 21 – July 12, 1991<br />
^ Ibírico. Pinturas - dibujos - grabados.Cat.: A/5. Text: E. S. de Soto. / Centr. Civico, Alcarcón<br />
1991<br />
^Premio Inista de Poesía – Gabriele-Aldo Bertozzi. Doc. Exh.: Galeria Arnal, Villalba, 1992<br />
c/o Group Zeinu (###), Jabier Herrero, Vitoria N°19, Areta, E-01400<br />
^Inismo y Vanguardia (Org.: Zeinu∋ / Koine / Inispania) Doc. Exh: Circ. de Bellas Artes,<br />
Madrid, 1993<br />
^Joan Miró 100 Years... Exh. et the Alcorcón Cultural Center. Inv.-letter, 1993<br />
^Exposicion de Poesía Inista. (by KOINE, M. Prior, Bermejo, M. Bermúdez, Ibírico), 1993<br />
Cat.: A/5, offset, 16 p. Texts: Ibírico: Vanguardia e inismo<br />
Koine: Breve Historia del Inismo Español<br />
F. J. Molero Prior: Soportes, limites y tiempos poeticos<br />
Works by M. B. Fernandez, M. Bermejo, F. J. Molero Prior, Ibírico,<br />
M. Bermúdez, M. Luz Bermúdez<br />
^Nuevos Soportes Poeticos. Ibírico, Molero Prior, Maria-Luz Bermejo (Integrantes de Grafe<br />
Koine) Doc.: Accordion. / Galeria Azteco, Madrid. May 21 – June 2, 1994....94<br />
^1o Encuentro Internacional de Poesía Inista. Doc.: A/5. Organiza: Inia Kelma, Zeinue, Grafe<br />
Koine / Casa del Cultura de Colleldo Villalba (Madrid), Oct. 3-9, 1994<br />
^10 Años de Inismo Español. Exp. de Poesía Inista, Grafe Koine. / Collado Villalba, 1995<br />
Cat.: Text: J. Camarero: Principia Semiotica Inista.<br />
~<br />
Publications:<br />
^Ibírico: Rooms. (10.5x14.5 cm,horz., phc. + collages, 16 p.) Intr. by Ma-Luz Bermejo,<br />
Grafe Koine / Libros, 1992<br />
^Zeinu(∋): 1. Manifesto. 1992 (Colour offset, 4 leaves) Zeinue, Taller Vasco de Poesía, 1992<br />
^Zeinu(∋): Esto no es una crisis. 5 A/4 leaves / Marqués de Casa Riera, Madrid, 26 Marzo 1993<br />
^Campal, Jose Luis: Gran Oferta. (Vis. poetry,12 p.) Grafe Koine / Libros.Villalba-Madrid, 1993<br />
^Gonzales, Perez: Gabineta Inista. (21x11 cm., phc., 10 p.) Koine / Libros. Villalba-Madrid, n.d.<br />
^Gonzales, Pedro: Libro dos Sinais. (12 p.) Grafe Koine / Libros. Villalba-Madrid, 1993<br />
^Gutierrez, Pedro J.: Doce Poemas Inistas. (21x11.5 cm, phc., 14 p.) Koine/Libros, Villalba,1993<br />
^Ocaña, Juan Orozco: Escrito en el Aire. (Phc., 8 p.) Grafe Koine / Libros. Villalba, 1993<br />
^Ocaña, Juan Orozco: I. N. I. Signo. (Phc.,, 16 p.) Nueva 4, 41770 Montellano (Sevilla), n.d.<br />
^Primer Manifesto Inista de Grafe Koine / La fabrica de signos. (by Ibírico, Mª Luz Bermejo<br />
Molero Prior) 4 p., xeroxed yellow paper, Collado Villalba- Madrid, 1993<br />
^2° Manifesto Inista de Grafe Koine. (by Molero Prior?) 2 xeroxed leaves, Villalba, 1994<br />
^Premio Inisto de Poesía / by Gabriele-Aldo Bertozzi. ( 8 p.) Koine Taller 3.<br />
Artists: Molero Prior, M. Luz Bermejo, M. Bermedúz, Ibírico. 1994<br />
^Diaz, Lisiak-Land: Inias. (21x11.5 cm, phc., 16 p.) Grafe Koine / Libros. 1994<br />
^Herrere, Jabier: Inista Almanatea (21x11.5 cm phc., 16 p.) Grafe Koine / Libros. Villalba, 1994<br />
^Feme inismo. (21x11.5 cm., phc., 20 p.) Introduction: Ma-Luz Bermejo, vis. poems by L. Aga-<br />
Rossi, M-L-. Bermejo, L-L. Diaz, E. Galan, M.- Martinez and A. Sema. Grafe<br />
Koine / Libros, Viallaba-Madrid, 1994<br />
^Bermejo, Ma Luz: Marcel Duchamp y el Inismo de Molero Prior. Ed. Koine, Madrid, 1994<br />
^Inismo & Inismi: 10 Años de Inismo Español. (20 p.) Grafe Koine, Collado Villalba / Madrid.<br />
1995<br />
^Camarero, Jesús: Principia Semiotica Inista. In: Inismo & Inismi, Koine, 1995.<br />
^Herrero, Jabier: Poema Inista (5 drawings + text sheet: Filosofia para una nueva poesía) Handmade<br />
techn., Phc.,, rub. stamp. c/o Vitoria N° 19, Areta Alava, E-01400, 1995<br />
^Molero & Roman: Alquigramia. (21x11.5 cm., phc., 16 p.) Grafe Koine / Libros, Villalba, 1995<br />
^42 Inist Poems (Unicat?) M. Pryor - 29; M. Bermudez - 4; Mª Luz Bermejo - 3; M. Aidisa - 3;<br />
F. Reyes - 1; M. Blanco - 1; E. Galan - 1) A/5 leaves, phc. Villalba, 1997<br />
^Barajas, Hector: Mexico Inista (Visual works only, 12 p.). Grafe Koine / Libros. February 1998<br />
^Barreto, Jorge & Vieira, Neli (Gruppo Inizil): El Inismo en Brasil (Texts. In: Ini Vox, N° 10,
A/5, phc. 8 leaves). São Paulo, Brasil, February 1998<br />
^Bertozzi, Gabriele-Aldo: Ausschwitz alta tension. (xerography, 12 p.) Grafe Koine / Libros.<br />
Madrid. May, 1999<br />
~<br />
Literature:<br />
M. P. Alberdi: Manifiesto mundial de une nueva corriente creadora: INI (Internazionale<br />
Novatrice Infinitesimale). In: Seminario Puerta de Madrid,<br />
December 13, 1980. Alcalá de Henares, Madrid.<br />
Laura Aga-Rossi: Qu'est-ce que l'Internationale Novatrice Infinitesimale?<br />
In: CICK-Téchne, Paris-Firenze. 1981, 45 p.<br />
«EL INISMO fue creado en Paris al igual que el Futurismo y el Letrismo. El 3 de<br />
enero de 1980 se reunieron en el Cafe de la Flore los poetas Jean-Paul Curtay,<br />
Laura Aga-Rossi, y Gabrielle Aldo-Bertozzi, con la presecia de Isidore Isou, padre<br />
del Letrismo, plantenndose desde el primer momento la busqueda de nuevos caminos<br />
poeticos. Aislados de los anteriores, pero coinciswentes en munchos planteamientos<br />
con el grupo italo-frances, se desarrolló en el Madrid de la Transicion una<br />
nueva vanguardia, deseosa de romper con el pasado.<br />
En 1984 Miguel Valdivia y Francisco-Juan Molero Prior dejan la revista<br />
Rafagas, al no coincidir los planteamientos de esta publicacion con lo que deseaba<br />
hacer; fundando el taller de Poesía, Taller 3, junto a Maria-Luz Bermejo. A los<br />
pocos meses sacan una evista bajo el nombre de Koine, la cual se transforma en el<br />
vinvulo de espresion del incipiente Inismo hispano, en el cual abundan los exiliados<br />
hispano-americanos, como el caso de Maria Pilar Alberdi.<br />
De forma táita se produjo un pacto entre el grupo hispano-americano y el<br />
italo-frances sobre el empleo del término INISMO, as como las basca teoricas de<br />
nuevo movimiento...»<br />
(F. J. Molero Prior: Origines del Inismo. In: Koine Ini, N° May 1991.)<br />
Gabriele-Aldo Bertozzi: Inismo Spagnolo e Argentino. Chieti, Solfanelli, 1992<br />
«El Inismo en lengua española se inicia con el grupo argentino, formado por Julio<br />
Carreras, Maximillano Mariotti, Estaban Olocco y Daniel Doñate entre otros. De<br />
ellos destaca Julio Carreras, creador de „Cuentos Ini“ (Roma, Lucarini Editrice,<br />
1987) y propulsor del primer Manifesto INI Argentino. Carreras mantuvo una fuerte<br />
amistad con la también argentina, afincada en Alcalá de Henares, Pillar Alberdi.<br />
Ella, a través de la revista „Mundo de Papel“ fue la introductora del Inismo en<br />
España, al poner en contacto por medio de su pubéicacióm a poetas de ambos lados<br />
del Atlántico.<br />
Fueron por lo tanto los poetas argentinos, algunos de ascendencia italiana,<br />
quienes, en contacto con el Inismo italiano difundieron este movimiento en el área<br />
de Lengua Española. El papel desempeñado por Pilar Alberdi y su revista „Mundo<br />
de Papel“ es fundamental al poner en contacto a Julio Carreras y a Hugo Fiorentino,<br />
con poetas españoles como F.Reyes, Encarna Galán, M. Valdivia o Francisco<br />
J. Molero Prior. Mundo de Papel tuvo una corta vida, pero en sus seis números<br />
uncluyó a poetas como Bertozzi, Moreno Marchi o. A. Merante, creándos las bases<br />
del Inismo peninsular.<br />
El Inismo Español aparece con la formacion en 1985 de Taller 3. Los componentes<br />
del grupo venían de otros colectivos, fanzines y revistas de la llamada<br />
„Movida Madrileña“. A ninguno de ellos terminaba de convencer lo que estaban<br />
haciendo en sus respectivos grupos, porlo que creyeron necesario crear un Taller de<br />
Poesía. Huían de las politazadas revistas de la época. Valdivia y Molero Prior se<br />
conocieron por medio de la revista „Rafagas“. Al grupo inicial se unieron Encarna<br />
Galán y Francisco Igeño.<br />
Taller 3 creó en ese mismo añ la revista „Koine“. El primer número publicó<br />
una separata dedicada a la Vanguardia izaliana, que se complementaríacon otra,<br />
varios números después. Nuevos poetas se unen al colectivo: Reyes, M. J. Blanco,
Karma y Guinot. Lallegada de nuevos miembros coincidió con la macha de otros en<br />
1986. A fines de es año Taller 3 da un giro importante en su rumbo y se integra plenamen<br />
te al movimiento Inista. Esto coincidió con la publicación de una series de<br />
trabajos del grupo de Roma, así como la difusión del Primer manifiesto ini Español.<br />
Los inisias españoles colaboraron en el Segundo Manifiesto Internacional. Molero<br />
Prior, con la publicación de su ensayo „Sucesiones poéticas“ contribuyó a la reelaboración<br />
del Inismo.<br />
El abandono de E. Galán y la drogadependencia de M. Valdivia estuvo a<br />
punto de deshacer el grupo. Superada la crisis, Taller 3 publicó un número doble<br />
bajo el titulo genérico de Inismo & Inismi.<br />
La introducción del Inismo en país portugués fue lento. Al principio simples<br />
contactos informativos entre algunos poetas y Koine, luego un puente por su intermedio<br />
entre el Letrismo portugués y el INI. Ello sucede a través de poetas como C.<br />
→ Figueiredo, A Pimenta o F. → Aguiar. Juntos, los inistasespañoles y portugueses<br />
organizan en Collado – Villalba la 1e Feria Internacional Inista. Poco después publican<br />
el II manifiesto INI español, que coincide con sendas exposiciones en Oporto<br />
y Lisboa.<br />
Nuevos poetas se integran al movimiento: J Gutman, N. Amaro, F. Duval.<br />
En mayo de 1990 Nel Amaro y Taller 3 organizan su idea de arte embotellado y<br />
su lanzamiento al río Turón. El el verano de 1990 los inistas españolesparticipan<br />
en las exposiciones europeas con que se celebran los 10 años del Inismo en el<br />
mundo.»<br />
(Ma-Luz Bermejo Baquero: El Inismo en España y Portugal. In: Koine Ini,<br />
N° Aug. 1990. Also as small flyer in: Koine, N° 22, April 1992)<br />
^Lisiak-Land Díaz: El Inismo en España. In: Bérénice (→ Bertozzi). Vol. 1, N°1,<br />
Roma, March 1993. 88-93 p.<br />
«GRUPOS INISTAS ESPAÑOLES<br />
El movimiento inista español, como lo ilustra muy bien Bertozzi, se divide en los<br />
grupos siguientes:<br />
– Inismo Madrileño: KoinèINI. Es el priomero en orden cronológico (fines de<br />
1986-inicio de 1987), con su principal animador Molero Prior, justamente considerado<br />
fundador del Inismo Español;<br />
– Inismo Asturiano: Colectivo «Auxilios Mutuos S. L.», operante desde 1990;<br />
– Inismo Cordobés: INIC, aparecido en 1992;<br />
La fecha final de la obra de Bertozzi es el 30 de abril de 1992, mientras tanto otros<br />
grupos se van formando, como el:<br />
– Inismo Vasco: ZEINU (∃), cuyo Primer Manifiesto lleva la fecha 1992 (posiblemente<br />
en verano) y tiene como principal representante a Jabier Herrero.<br />
– Inismo Gallego: Banda performamtica do Sul, grupo que se ha puesto en contacto<br />
con los demás sóéo recientemente. Sin embargo, vale la pena tener en cuenta<br />
la dualidad voluntad/creación o si se prefiere proyecto/realización del grupo, aunque<br />
sea aún temprano para establecerlo....»<br />
(Lisiak-Land Diaz: El Inismo en España. In: Koine, N° 25 / INIzial N° 3,<br />
September-October, 1993, 3-18 p.)<br />
→ ^Ibírico: Vanguardia e Inismo. In: Exposicion de Poesía Inista. Centro Civico<br />
San Jose de Valderas, Alcorcon. Febr. 3-18, 1993 (Cat.: A/5, offset,16 p.)<br />
I. Encuentro Int. Sobre «Lenguajes Artisticos Inter-Medios» In: Boletin de Noticias,<br />
N°6.) 10 p. (Texts, exhs., congress programms.) Ed. Zeinue, Areta<br />
(Alava). Nov. 1993<br />
Garcia, Graciela: El inismo busca romper las barreras del lenguaje. In: Mondragon,<br />
N° 1, April 1993.
→ ^Padín: El Inismo: Nueva Tendencia Poetica. (Leaflet, 2 p. from March, 1994)<br />
«Institute of Contemporary Arts» Nash House. The Mall. London, SW1 United Kind. 1968<br />
The Magazine of the Institute of Contemporary Arts (Mag. 1968- )<br />
<br />
«Inter-Dada '80» c/o Stephen Caravello / Susan Meier. 546 North State st. #3. Ukiah, CA-95482. USA 1980<br />
~<br />
Literature: «North America's first International Dada Festival will be held in Ukiah, California<br />
in May, 1980. Under the auspices of the Mendocino Arts/Crafts Economic Development<br />
project (MAED) and Mendo-Dada (MAD) the festival will be a four-day event<br />
(1- 4 May) encompassing the more dada-esque branches of contemporary arts as<br />
practiced by more than on hundred artists from Europe and the Americas.<br />
The festival will serve two primary purposes, according to MAED spokesperson<br />
Stephen Caravello, one of which is to enhance mendocino County's blossoming<br />
reputation as an artistic community... Caravello's other motivation in helping<br />
Inter-Dada '80 is related less to economics, and more to promoting art for its own<br />
sake. (...)<br />
Chairman for the festival, Buster → Cleveland, says that a sizable number of<br />
organizations are already lending support and planning to participate in the festival,<br />
including... Mendo-Dada, Umbrella and Wet Magazines, San Francisco's La Mamelle<br />
Gallery (→ Loeffler), Anna → Banana and Dadaland (→ Gaglione), Arturo<br />
Schwarz and → Cavellini...»<br />
(Inter-Dada 80. In: Umbrella (→ Hoffberg). Vol. 2, #3. 62 p. 1979.)<br />
«Response to the Inter-Dada '80 Festival scheduled for next May... has been so great<br />
that the staff has been increased to handle all the mail. An International Dada Dance<br />
Contest will be held, with prized to be awarded. Kurt Schwitterss' play, Collision,<br />
will be performed, as will Ionesco's The Bald Soprano in multi-meida fashion by<br />
Stephen Caravello and Ukiah Players...<br />
(Inter-Dada 80 Update. In: Umbrella Vol. 2, #4, 82 p. 1979. Later updates<br />
in Umbrella: Vol. 3, #1, 4 p. / #2, 25 p. / #3, 49 p. 1980)<br />
Inter-Dada Mail Art Show. (Theme: Dada in the 80s.) Organized by Buster →<br />
Cleveland. Ukiah, California. Invitation in: Umbrella, Vol. 3, #2, 1980<br />
°Lon → Spiegelman: California Dada. Report and documantation on the Inter<br />
Dada '80, Los Angeles. Letter, offset with collages + rubber stamps, 38 p. {200}.<br />
Los Angeles, 1980<br />
«Inter-Dada '84»<br />
to quote „Harry Bates“, San Francisco, September 2-9, 1984, organized by Ginny → Lloyd (Box<br />
1343, San Francisco, CA-94101) and Terrence → McMahon (Fault Press, 33513, 6th St., Union<br />
City, CA-94587) featured a get-together-dinner at LaMamelle (→ Loeffler), two nights of performances<br />
at the Victoria Theater and in the 20x20 Gallery, and included film, video, and sound<br />
poetry evenings, a Dada fashion show and a Dada dance contest. There has been opened also an<br />
Interdada 84 Mail Art Show at the 16th Note featuring over 300 artists from over 25 countries.<br />
Besides a number of USA and Canadian artists participated same ones from Europe, too, e.g.<br />
→Cavellini from Italy, and Jürgen → Olbrich from Germany. The headquarters of the festival was<br />
at the Maelstrom Bookstore, 572 Valencia St., San Francisco.<br />
~<br />
Literature:<br />
^Inter Dada '84. Letter size offset print brochure, 8 p. (first one perforated),<br />
+ colour offset poster of 58x43 cm. Essays:<br />
Terrence McMahon: Insufficient Dada<br />
Ginny Lloyd: Who needs the MX when there's INTERDADA?<br />
Eited by → Lloyd Prods. / The Fault Press, San Francisco, 1984<br />
^Inter Dada '84 San Francisco September 2-9 (The Program). Introduction by<br />
T. McMahon. Letter size, phc., 16 p. + orange cover.
A series of reports in → Spiegelman's mailart rag. Vol. 1, #2. November 1984:<br />
L. Spiegelman: Spiegelman leaves ½ his beard at InterDada '84. 5, 8, 20 p.<br />
L. Alien: Mollett lands on InterDada festival. 9, 15 p.<br />
John Leslie Fox II: Tought on InterDada '84 (with photos). 9-12, 15 p.<br />
John → Held Jr.: A report on InterDada '84 (with a detailled account of the<br />
festival program). 18-20 p. (A reprint of the article from Vol. 3, N°1,<br />
Dadautumn issue of the Newark Press by Mark → Wamaling)<br />
Editorial: Mailart News and Notes / InterDada '84. 13 p.<br />
«...The center piece of Interdada 84, as in 1980, was the return appearance of Cavellini.<br />
Lloyd called many times to encourage him, and Carlo → Pittore, the visiting<br />
Europe, added increased fervor as only he is wont to do. Finally the great man was<br />
convinced. Cavellini's appearance was central to both the spirit of the Festival and<br />
added a sense of historic continuity.<br />
An appearance by Ray Johnson was also scheduled, but family matters<br />
forced him to cancel at the last moment. Another „nothing“ by the father of the<br />
movement.<br />
Even without Johnson, this event had to be one of the liveliest, if not the<br />
largest, gathering of mail artists at one time in the United States. A gathering that<br />
not only celebrated the spirit of Dada inherent in mail art, but also the publication of<br />
the first book on the artform, Correspondence Art by Mike → Crane...»<br />
(John Held: A report... In: Spiegelman's mailart rag. Vol. 1, #2. Nov. 1984)<br />
Vittore → Baroni: Dadaismi. L'avanguardia addomesticata. In: Arte Postale.<br />
Guida al network della corrispondenza creativa. (Text: Italian) AAA<br />
Edizioni. Bertiolo, 1997. 88-91 p.<br />
I.S.E.L.P. (Institut Superieur pour l’Etuide du Langage Plastique)<br />
31. Boulevard de Waterloo, Bruxelles Belgium 1974<br />
Exhibitions for the different alternative art forms held at the ISELP: <br />
Art and Computers, 1974<br />
<br />
Chromos, 1976<br />
<br />
Humor and Caricatures, 1977<br />
<br />
Strip Cartoons, 1978<br />
<br />
The Builders of the Imaginary, 1979<br />
Artists‘ Rubber Stamps, 1981<br />
<br />
® <br />
!Iskra, Alexandre! → Heude, Philippe<br />
Jacks, Robert (New York - Austin TEX - Sidney AU) ?<br />
9 Bayview St. Lawender Bay, 2060 NSW Australia 1988<br />
↑ Fine Art Dpt. Melbourne University, Parkville 3052, Victoria, Australia 1978<br />
.............................................................................................................................................................<br />
^Hand Stamped (Booklets with raster-ruberstamps, entitled, e.g.: Red Yellow Blue / ® <br />
Twelve Red Grids, 1973 / Twelve Drawings, 1974 / Color Book, 1975 /<br />
Red Diagonals, 1976 / Dots Lines, I-II, 1976-77 / Dots, 1978 / Vertical<br />
& Horizontal, 1978 / Black Lines, etc.) in the time of 1973-79,<br />
12 div. issues?<br />
^# 8 div. issues<br />
Stamps (Rubber stamp assembling in box of 28.5x22.5 cm. 1976-77, #1-2) New York ® <br />
~<br />
Literature:<br />
«Some Rubber Stamp Functions:<br />
1. As the most convenient way to draw and reproduce.<br />
2. The convenience of transportation and exhibition of small works.<br />
3. As theprocess avoids the elitism of the professional print activity.<br />
4. Extending the boundaries of art.
5. Making works available to everyone.»<br />
(From a letter of Robert Jacks, dated Febr. 3. 1978. In: Rubber [→ Stempelplaats],<br />
Febr. 1978)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 72 p.<br />
Jackson, Leavenworth P. O. Box 9988 Berkeley, CA-94709 USA 1991<br />
↑ 175 Belvedere Street San Francisco, CA-94117 - “ - 1985<br />
.............................................................................................................................................................<br />
^Do Not Bend /a rubberstamp romance (One tabloid sheet printed r/v. and folded to ® <br />
16 pages, in a cover) S. P. n.d. (1970-s)<br />
^Preseverance Furthers / Clown War 12-A. (14.3x13.7 cm., offset after rubber ® <br />
stamps, 20 p.) S. P. 1976<br />
^Anything in Parentheses can be Ignored (Text: Seeger, Judit – poetry & drawing, <br />
digest, offset, 40 p.) San Francisco, 1980<br />
~<br />
Literature: Leavenworth Jackson. In: Rubberstampmadness (→ Sperling). Vol 1, #2. 1980<br />
«I use the copier as a printing press, and also for reducing and enlarging elements in<br />
preparation for finished artworks. I print small, variable and personal editions...<br />
Why do I make art? As a means of community out there whoever they may be... and<br />
more fundamentally: because the art making activity itself is an essential part of my<br />
life.» (L. Jackson: Statement. In: Sarah → Jackson: Books Build Bridges / Copier<br />
Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 215. item)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 75-76 p.<br />
Leavenworth Jackson: Mountins and Rivers in the Mail. In: Chuck Welch (ed.):<br />
Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 219-<br />
220 p.<br />
Jackson, Sarah 1411 Edward Street Halifax NS. B3H 3H5 Canada 1991<br />
↑ Technical Univ. of Nova Scotia, Box 1000. Halifax B3J 2X4 - “ - 1985<br />
.............................................................................................................................................................<br />
^Mail / Copier Art Exh. Cat.: 22x36 cm., offset/phc. 42 p. 240 parts. Texts by <br />
Sarah Jackson, Doug Barron, Louise → Neaderland, Robert Morgan /<br />
Art & Technology Festival - TU ° NS. 1985<br />
^Books Build Bridges / Copier Art – Bookworks. Cat.: 21.5x36 cm., horz., phc., 84 p. <br />
301 parts., a lot of statements / National Postal Museum, Halifax. 1986<br />
Texts: Francine Brousseau: Introduction<br />
Christian Rigal: Of Books & Copiers (press / xerography)<br />
George M. Mitchell: Re: Letterpress<br />
Sarah Jackson: We mark our dreams...<br />
^Copy Art Builds Bridges. (Brought over from Canada, Tchn. University of Nova <br />
Scotia + London Borough of Camden. Cat.: A/4 size. Exh.: Swiss<br />
Cottage Library, London. May 23 - June 27, 1989<br />
^Print Folio Book (4 leaves + 2 colour prints, 25,5x38 cm) S. P. Halifax, 1988 <br />
^Art Travels – at the National Postal Museum, Québec. Inv.-letter, 1992<br />
~<br />
Literature:<br />
(Mail/Copier Art. Statement): «We believe that an exhibition of over 200 entries of<br />
Mail/COPIER ART from around the world deserves documentation. Even if modest<br />
in scale, the catalogue reflects not only the distinctive quality of the works, but also<br />
the friendship which ties us as free artists sharing ideas democratically trough art.<br />
There is no judgment, no „star“ system, no elaboratate evalution... just a<br />
searching for a successful expression which explores each individual's use of the
process, copier (electrostatic) art. Artists have a camera that prints „hard“ copy in<br />
single or full colour. They can explore scale, form, papers, collaging graphic motifs,<br />
etc., in a very personal way. Some final products can be in limited editions, multiples,<br />
bookworks, murals (you name it). The ART results by a blend of magical<br />
transformation through the medium...» (Sarah Jackson: Mail/Copier Art Exh. Cat.:)<br />
«...So when copy artists make the claim that anyone can make a Xerox image, they<br />
are, of course, correct. The real task, however, is making a Xerox image appear<br />
significant – first to ourselves, then to others. Copy artists are also mail artists or<br />
intermedia artists. They tend to allow their ideas to travel through many divers,<br />
often „instant“ forms of production. (Moholy- Nagy distinguishes between the<br />
reproductive and the productive arts. The former imitates nature, the latter creates<br />
its own.) The key to good copy art – and yes, I am reffering here to work that has<br />
quality – is the means by which one discovers new ideas through the medium one<br />
has chosen to use. Good ideas do not necessarily make good copy art, and vica<br />
versa. Fundamentally, good copy art is good art...» (Robert Morgan: The Continuing<br />
Legacy of Copy Art – in the Making. In: Sarah Jackson: Mail/Copier Art<br />
Exh. Cat.:)<br />
(Books Build Bridges...): «...the curator of this show has made this catalogue an<br />
elegant bookwork in itself. By using two spines the catalogue opens up as three<br />
pages wide, a sort of triptych bookwork, that juxtaposes xeroxes of the work and<br />
the artists statements about their work.» (Stephen → Perkins: Catalogues. In:<br />
Box of Water, N° 3, 1987)<br />
«A superbly produced catalogue. Unique spiral binding on two sides opens up to a<br />
42-in wide centerfold! Lists addresses & statements by 301 copier artists whose<br />
works are in the exhibition, as well as many reprinted examples of the art itself.<br />
More than a glimpse into the endless possibilities of the copier art medium. If only<br />
more mail art exhibitors would put this kind of care & vision into their projects &<br />
documentation.» (by M. And in: Anti-Isolation [→ Xexoxial], #3-4, 1987. 29 p.)<br />
Jacob, John P.<br />
(!Hype World Headquartier!)<br />
2425 Rockfort Road Bloomington, IN-47401 USA 1992<br />
↑ 45199 Depew Ave. Austin, TX-78751 - “ - 1988<br />
↑43 W. 27th. Street. #6F. New York, NY-10001. - “ - 1982<br />
.............................................................................................................................................................<br />
Who's Who of the Happy Young People Enterprises (HYPE). Inv. New York, 1982 <br />
^Post Hype (Mail Art mag. The first issues in the usual one-sheet info size, later <br />
more and more voluminous. Letter & digest, phc., 4-62 p. sometimes<br />
with rubber stamps. 1982?-84, bim., ~ 10#)<br />
^# Vol1./3; Vol.2/1, 2, 3, 4, 5; Vol.3/ 1<br />
Artistamps: ^Cavellini NYC 82 (Sheets of 12 id. stamps, colour phc.) jpjacob 1982 <br />
^Carlo Pittore performans la buffoneria (Sheet of 12 diff. stamps, <br />
colour phc.) jp. jacob. hype 83.<br />
^The First Int. Portfolio of Artists' Photography. Cat.: Digest, phc., 8 p. + 1 orig. <br />
photo as suppl. / New York. 1983<br />
^Censorship East / Censorship West. Inv. Exh.: Gallery Dell'Occhio (→ Pittore). <br />
New York, April 1984<br />
^Mail Art. A partial anatomy. / In: Post Hype, Vol. 3, #1. (Letter, phc., 64 p.) 1984 <br />
Essays by J. A. Hoffberg, G. <strong>Perneczky</strong>, V. Baroni, A. Banana, Crozier,<br />
R. Cohen, Anthroart (V. Hamann), A. Igloo, H. Gajewski, D. Zack.<br />
Artists talk on art: R. Morgan, M. Bloch, Ed Higgins, C. Pittore,<br />
E. Plunkett, J. Evans, S. Random, K. Friedman, R. Cohen, D. Higgins,<br />
R. Kostelanetz, C. Welch, J. P. Jacob, J. Held, D. Cole & others<br />
^Letter. (to «Peter» about Mail Art and mail artists as Fricker, Zack, Pittore, Cole, <br />
Gajewski, etc.) (Digest phc. matter, 12 p.) New York, n.d. ~1984
^The Wedding of the Century / In: CARE # 10. → Boumans. (Portfolio 6 p + 11 artist <br />
postage stamp sheets, invitation, orig. photo) Riding Beggar Press. 1984<br />
^The Catalogue of Ideas (4 small bag for Life, Time, Hunger, Death / rubber stamps ®<br />
in a cover, xeroxed text) n.d. ~1984<br />
^Howling Mad Mail Photo of Yourself. Inv., 1985<br />
<br />
Artistamps: ^The Howling Mad Mail (Sheet of 36 stamps/autoportraits, 2 images, <br />
b/w phc.) JPJ '85<br />
^Schooting at Strangers. (A photo/graphic publ. on tabloid size pages of 27.5x40 or <br />
27.5x43.5 cm., hard xerox, in plastic envelope {75}). Ridding Beggar<br />
Press, New York, 1985.<br />
Also a accordion book with the same title (8 p. xerox + rubber stamps)<br />
S. P. n.d. ~1985<br />
^The Second Int. Portfolio of Artists' Photography. (Eastern European Artists) <br />
Doc. Digest, phc., 8 p. + accordion folder (3x) / Liget Galéria, Budapest -<br />
New York, May 1986<br />
^Hidden Story. Samizdat from Hungary & Elswhere (with → Várnagy, T.) Cat.: <br />
Letter, phc., 84 p. Exh.: → Franklin Furnace Archive, New York.<br />
Sept.-Nov. 1990<br />
~<br />
Literature:<br />
«(Mail Art. A partial anatomy / Post Hype, Vol. 3, #1) A circumspect look at mail<br />
art. →Hoffberg, →Banana, →Johnson, →<strong>Perneczky</strong>, each write. But a capper is a<br />
complete transcript of the raucous, disjunctive panel discussions on mail art, run in<br />
conjunction with the → Franklin Furnace mail art exhibition of early 1984. Ronny<br />
Cohen, the exhibition curator, is expelled from the panel's discussion after a nasty<br />
upbranding by various members. Apperently she committed a major faux pas in the<br />
sphere of mail art by selecting only certain pieces for display rather than all<br />
received. She's additionally accused of not knowing what the hell mail art is about<br />
(other than in an academic way). This issue is for the serious mail artist who may be<br />
fascinated by other motivations, explanations and renegade dynamics. Class item.»<br />
(Lightworks [→ Burch], These Things Too [Print review], N° 17, 1985, 28 p.)<br />
John P. Jacob: Mail Art: Aesthetic Revolution or Personal Evolution? In: Chuck<br />
Welch (ed.): Eternal Network. A Mail Art Anthology. University of Calgary Press,<br />
1995. 213-217 p.<br />
Jacob, Steffen Pfarrhügel 44. (Karl-Marx-Stadt, GDR-9054→) Chemnitz, D-09125. Germany 1985<br />
°The Year of Communication. Doc.: 1 xeroxed A/4 sheet with the list of 30 parts. <br />
Karl-Marx-Stadt, 1983<br />
^Mauer / Wall. A/4 doc., phc., + postcards / Jugendklub «Tip», Karl-Marx-Stadt, <br />
1984<br />
^Art in Small Size. Doc.: A/4 sheet, typewritten text by carbon copy, signed, + <br />
original rubber stamp prints.<br />
^Collages & Drawings. A/6 accordion book, offset, 8 p. Galerie Hermannstr. – Knut <br />
Röser. May 8 - June 5. Karl Marx-Stadt GDR-9002, 1990<br />
Artistamps: Für gemeinsames Lächeln (Sheet of 14 id. stamps / map of Germany, <br />
colour offset) → Harlekin Geschenke Witzbaden. n.d. (199?)<br />
James, Robin<br />
→ «Cassette Net»<br />
!Janet, Janet! (Stephen → Perkins) P. O. Box 170715 San Francisco, CA-94117 USA 1990<br />
↑ 135 Cole St. San Francisco, CA-94117 - “ - 1985<br />
.............................................................................................................................................................<br />
^SCHISM (Mag. Mini size, phc. 8-16 p. 1985-89, #11-24) «...a flurry of karate chops <br />
to the heart of commodity culture.» (Box of Water, #4, → Perkins)<br />
More about the single issues: → Smile mania / Schism<br />
^# 11, 12, 13, 14, 15, 16, 17, 18, 22, 24<br />
^SCHISM, reprint (Any differents to the orig. publication in the coloring of the cover
Literature:<br />
paper only. With a yellow title page for the whole series. Reprinted in<br />
the 1990s, Iowa City)<br />
^#11-24<br />
~<br />
«In the wake of Jenny Holzer this little booklet lays it all on the line. Each page<br />
carries a word or two, uppercase and tense. „DRUG / TESTS: / THE / LOYALITY<br />
/ OATH / FOR THE / NEW / INQUISITION“ -30- Oops, the beans are spilled.»<br />
(Lightworks [→ Burch], Glimmerings [Print review], N° 18, Winter 1986-87, 52 p.)<br />
«Janet Janet has been a Bay Area enigma for several years now. She seems to only<br />
appear on stage, in performance, or through her provocative little pocket-magazine,<br />
Schism. Does she exist outside of these? She may be an enigma to us, but we, the<br />
world, are not enigmas to her. Is this the schism, the separation, between us? She<br />
sees what we cannot? In her latest Schism #21, she states „la culture est l'inverse de<br />
la vie“. Yet she doesn't come right out and say that; she spreads this message over<br />
eight pages, including seven images from the Paris student riots of 1968. In this<br />
world, it is a simple matter to distinguish culture from life, but the energy of an era<br />
can push culture closer to life. 1968 was one of those years. Janet Janet, extraordinary<br />
psychohistorian that she is, was there...» (Lloyd → Dunn: Print Reviews.<br />
PhotoStatic. N° 34, Febr. 1989, 1240 p.)<br />
Jankowski, Matti c/o Circle Arts, 1439 Ocean Ave. 2 F. Brooklyn, NY-11230 USA 1983<br />
^Perpetual Motion (Mail Art compilation magazine, also visual poetry.<br />
<br />
Digest, phc., ~16 p. 1983- )<br />
^# 22, 23<br />
<strong>Janssen</strong>, <strong>Ruud</strong> TAM (Traveling Art Mail) Box 10388 Tilburg, NL-5000 JJ Netherlands 1996<br />
^TAM Bulletin (Mag. A/5, phc. 1984-?, over 30#, irregular, it was avaible from 1987 <br />
also on <strong>Janssen</strong>'s computer host)<br />
^1984: #7, 9,10, 11, 14, 17, 18, 19,<br />
^1985: #1, 2, 3, 4, 5, 6,<br />
^1986: #2<br />
^1987: #1<br />
^Art in the Future, Snip-Xerox Proj. Cat.: A/5, phc., 27 p. 48 participants. 1984 <br />
^TAM was here. Doc. A/4, phc., 4 p. / → Melkweg Gallery Amsterdam, February- <br />
March 1985 / arteStudio → Morandi, Ponte Nossa I, August 1985<br />
^Bank Art Project 1986-87. Cat. in: TAM Bulletin, N° 1, 1987. (A/5, phc., 12 p.) <br />
^TAM Rubberstamp Archive (Endless project - collection of orig. rubber prints. ® <br />
From time to time archive lists and reports, e.g.: The Rubberstamp<br />
Archive 12 p. + 3 p. list, 1984 / Rubberstamp Archive Newsletter,<br />
July 1996, 12 p., etc.)<br />
^Selfportrait photo exchange. Inv.-flyer, 1985<br />
<br />
^Bank Art. Inv.-flyers, 1985<br />
<br />
Artistamps: ^tam 45 c (Block of 4 id. stamps, b/w phc., not perforated) n.d. <br />
^l'timbre-poste pour l'trimbre (Sheet of 8 diff. stamps, phc on green <br />
paper) n.d. (1989?)<br />
^Statements about Mail Art (Block of 16 diff. stamps, phc. on yellow <br />
paper) TAM / Tilburg. n.d. (1989?)<br />
TBHS (Host system: TBHS, Sysop: <strong>Ruud</strong> JANSSEN, by appointment, 1990- ) <br />
History in Mail Art (A/5, phc., 32 p.) Illustrated ed. {30} n.d. (1990)<br />
<br />
^Burocratic Stickers from your Country. Inv.-flyer, 1990<br />
<br />
^Fill one stamp (-field)! Add to... artistamp project. Form-page, 1991<br />
<br />
^Xerox Selfportraits. Inv.-flyer, 1992<br />
<br />
Artistamps: ^Statements about Mail Art (Sheet of 16 diff. stamps, phc. on white <br />
paper) TAM / Tilburg. n.d. (1992?)<br />
^Statements about Mail Art (Sheet of 16 diff. stamps, phc. on red <br />
paper) TAM / Tilburg. n.d. (1992?)
^Statements about Mail Art (With Made → Balbat. Sheet of 16 diff. <br />
stamps, phc. on rose paper, not perforated) Marked: TAM / MB.<br />
TAM. Tilburg, 1992<br />
^Some thoughts about Mail Art (A/4, phc., ~4 leaves publications, started in 1993<br />
1, The first set; 2, Why write about mail Art?; 3, A personal experience;<br />
4, The Internet/1995; 5, Answering all mail; 6, Assembling zines;<br />
7, Eastern European MA in Swerin; 8, TAM-publs.; 9, Future commun.;<br />
10, Older statements; 11, Generations in Mail Art; 12, Bike Corresp.;<br />
13, About Ray Johnson; 14, Mail Art nowadays; 15, About changes;<br />
16, Answering all the mail; 17, Future communication;<br />
^Electronic Mail Art (10 letters between March 1994 and Apr. 1995, A/5, phc., 4 p.)<br />
^The Mail-Interview Project (A5 brochures, phc., 4-32 p. started Nov. 1994):<br />
Published in 1995:<br />
^TAM-950065 - with Michael Leight, England, 12 p.<br />
^TAM-950066 - with Klaus Groh, Germany, 4 p.<br />
^TAM-950076 - with Arto Posto, USA, 12 p.<br />
^TAM-950079 - with Michael Lumb, England, 22 p.<br />
^TAM-950080 - with Rod Summers, Holland, 8 p.<br />
^TAM-950085 - with Henning Mittendorf, Germany, 24 p.<br />
^TAM-950087 - with Dobrica Kamperelic, Yugoslavia, 12 p.<br />
^TAM-950088 - with Chuck Welch, USA, 20 p.<br />
^TAM-950091 - with Robin Crozier, England, 12 p.<br />
^TAM-950092 - with Anna Banana, Canada, 20 p.<br />
^TAM-950095 - with John Held Jr. (Part 1), USA, 24 p.<br />
^TAM-950097 - with Carlo Pittore, USA, 24 p.<br />
^TAM-950101 - with Jenny de Groot, Holland, 12 p.<br />
<br />
<br />
<br />
Published in 1996:<br />
^TAM-960103 - with Svjetlana Mimica, Croatia, 16 p.<br />
^TAM-960104 - with Ken Fridman, USA/Norway, 24 p.<br />
^TAM-960105 - with Dick Higgins, USA, 24 p.<br />
^TAM-960110 - with Ashley Parker Owens, USA, 16 p.<br />
^TAM-960114 - with Clemente Padín, Uruguay, 20 p.<br />
^TAM-960115 - with Mark Bloch, USA, 12 p.<br />
^TAM-960116 - with Mark Greenfield, England, 24 p.<br />
^TAM-960123 - with John M. Bennett, USA, 16 p.<br />
^TAM-960124 - with Patricia Collins, England, 20 p.<br />
TAM-960134 - with Ray Johnson, USA (was broken up)<br />
^TAM-960135 - with Jenny Soup, USA, 16 p.<br />
^TAM-960138 - with E. F. Higgins III., USA, 20 p.<br />
TAM-960139 - with Robert Rockola, USA<br />
^TAM-960140 - with Rudi Rubberoid, USA, 16 p.<br />
^TAM-960145 - with Andrej Tisma, Yugoslavia, 24 p.<br />
^TAM-960147 - with Vittore Baroni, Italy, 28 p. (also as Arte Postale! #77)<br />
^TAM-960151 - with Ayah Okwabi, Ghana, 20 p.<br />
Published in 1997:<br />
^TAM-970159 - with Julie Hagan Bloch, USA, 20 p.<br />
^TAM-970161 - with Julie Paquette - ex posto facto, USA, 20 p.<br />
^TAM-970162 - with Michael B. Corbett, USA, 20 p.<br />
^TAM-970163 - with Rudd <strong>Janssen</strong>, Holland (by M. Greenfield), 28 p.<br />
^TAM-970167 - with Günther Ruch, Switzerland, 28 p.<br />
^TAM-970169 - with <strong>Ruud</strong> <strong>Janssen</strong>, Holland (by Carol Stetser), 20 p.<br />
^TAM-970171 - with Carol Stetser, USA, 20 p.<br />
^TAM-970173 - with Ibírico, Spain, 16 p.<br />
TAM-970176 - with Jürgen O. Olbrich (Part 1), Germany
TAM-970180 - with Tim Mancusi, USA<br />
Published in 1998:<br />
TAM-980184 - with Edgardo-Antonio Vigo, Argentina<br />
TAM-980185 - with Jonathan Stangroom, USA<br />
TAM-980186 - with John Held Jr. (Part 2), USA<br />
TAM-980188 - with Guy Bleus, Belgium<br />
TAM-980213 - with Litsa Spathi (Part 1), Germany<br />
TAM-981214 - with Litsa Spathi (Part 2), Germany<br />
^Secret Thoughts about Mail Art. («...Now you have the luck top read some of these<br />
thoughts...» A/4, phc., ~3 sheets, started in 1997) Also online version:<br />
<br />
~<br />
Seurce:<br />
~<br />
Literature:<br />
<br />
<strong>Ruud</strong> <strong>Janssen</strong>: Newsletter for Participants and other People Interested in the Mail-<br />
Interview Project. (4 A/4 pages + 1 order form) TAM 960106, from January<br />
1996, it was avaible also on e-mail: tam@dds.nl<br />
<strong>Ruud</strong> <strong>Janssen</strong>: Newsletter for Participants and Other Interested people about the<br />
Mail-Interview Project. A/5, phc., 8 p., from October 1, 1997, also as online<br />
service: and<br />
,<br />
TAM-Publications. (items from the 1990s only!). A/5, phc., 4 p. July 1997<br />
«(...) TAM started in 1980, and it stood then for TRAVELLING ART MAIL.<br />
Over the years the word TAM also has functioned on it's own and got other meanings<br />
too (like Tilburg's Academy of Mail-Art and Tilburgse Automatiserings Maatshappij).<br />
I use the „firm“ or „College“ TAM als to play with the official institutes.<br />
It is funny that in the first meaning the words ART MAIL are there, knowing that I<br />
only got hooked up to the network in 1983. (...)<br />
Both in your interviews and in a lot of your text, you appear to spend a lot<br />
of time analysing the network rather than the individual artist or your own art,<br />
what is the reason for this?<br />
...The interviews and texts are accesible for the network, so it is only natural<br />
that „the network“ is central in the interview. By answering the specific questions<br />
the interviewed person can decide how many details one wants to give about his/her<br />
personal life and personal art. The really personal details and exchange of art with<br />
other mail artists is mostly on a one-to-one basis. In the many interviews that have<br />
come out you can see how different the interviews go. Analysing the network is<br />
interesting for me. It seems everybody has his/her own views about the network<br />
and some mail artists even think that they have grasped the whole concept of the<br />
network. With each interview I discover that the network means something else to<br />
every specific cell in the network. (...)<br />
...There are also some American artists who are writing a lot of texts to<br />
establish Mail Art as an „ism“. Altough this does not appear to by your aim, all<br />
texts about Mail Art help to „establish“ it as an „ism“...<br />
...Wether Mail Art becomes an „ism“ of not, isn't at all interesting for me.<br />
Normally things are an „ism“ if the impact on our society was large enough. For<br />
me Mail Art at the moment has more become a way of life. That I use the postal<br />
system to communicate, a pen and paper, make visuals, use the computer, send out<br />
an e-mail, publish a text on the internet; it is just the need to communicate and to<br />
search for what this life is all about and what possibilities that there are. (...) In<br />
Mail Art it is for newcomers very difficult to find out what has happened since the<br />
sixties. The many books that are made are difficult to get, and also only show a<br />
very limited view. I only know very few books on Mail Art NOT written by mail<br />
artists. As long as that is so, Mail Art won't be an „ism“ as I see it. (...)<br />
...Surely much Mail Art is not conventional art, certainly not many square<br />
canvas for framing. The Mail Art „by-products“ such as xeroxs, rubberstamped
envelopes etc.. are not what you would expect to find in the „traditional gallery“.<br />
The important question is: can Mail Art itself be framed? The „by-products“ are<br />
like photos, tickets and programmes of an event and not the event itself?<br />
I once said „Mail Art is a search“. Of course there are „by-products“ as you<br />
mention. The answer to your quaestion is simple. NO; Mail Art itself can't be<br />
framed, it is even difficult to explain to a non-practicioner what Mail Art is (...)<br />
I am not in contact with the official art world or the gallery-scene... That postal<br />
museums are interested in Mail Art in nothing new... But the postal museums<br />
mostly let mail artists curate the show or let them advice the museum. Nothing<br />
wrong with a sponsor for a great show on Mail Art. But showing „by-products“<br />
isn't what Mail Art is all about...»<br />
(Mark Greenfield: The Mail-Interview with <strong>Ruud</strong> <strong>Janssen</strong>. (TAM Publs.:<br />
TAM-970163. A/5, phc., 19 p. Tilburg, 1997)<br />
«...I started with these mail-interviews 2nd November 1994. At that time I also<br />
just switched to the use of Internet (I was working with datacommunication since<br />
1987), and so I had a lot of communication possibilities to send out mail. I remember<br />
I just had read one of the interviews in the magazine ND with a mail artist, and<br />
realized that I was in contact with so many mail artists without knowing their<br />
„whole story“. In mail art you only get to see the part of the correspondents they<br />
send you by mail. So I realized I would like to read more about a lot of mail artists,<br />
but actually there isn't that much to read besides the books with selections others<br />
made.<br />
The first week I started the project I invited Klaus Groh, Robin Crozier,<br />
Ruggero Maggi, John Held Jr., Dobrica Kamperelic, Guy Bleus, Svjetlana Mimica,<br />
Ray Johnson, Michael Leigh, H. R. Fricker, Rod Summers, Michael Lumb. The<br />
first series of twelve persons. To my surprise EVERYBODY reacted, and already<br />
8 of these started interviews are finished with a publication. (...) Till today six<br />
series have been started and already 23 interviews are finished. This wasn't the<br />
plan in the beginning; if a project is interesting it grows on its own. Besides the<br />
booklets for the interviewed person and myself (the TAM-Archive) I also printed<br />
more interview booklets for other mail artists to read, and because the interviews<br />
are also an experiment of using the different communication tools, I am working<br />
with the traditional snail-mail, the FAX, but also the e-mail on the Internet.<br />
(Carol Steetser: The Mail-Interview with <strong>Ruud</strong> <strong>Janssen</strong>. (TAM Publs.:<br />
TAM-970169. A/5, phc., 20 p. Tilburg, 1997)<br />
Vittore → Baroni: <strong>Ruud</strong> <strong>Janssen</strong>. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 220-221 p.<br />
John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 31, 160-161 p.<br />
Japan Mail Art 832-8 Kawabe-cho Hodogaya-ku Yokohama-shi Kanagawa 240 Japan 1983<br />
^'83 International Summertime Mail Art Show. Cat.: 26x18.5 cm., phc., 44 p. / Hodo- <br />
gaya Post Office, N° 24. The Kanagawa Pref. Hall, Gall. of Art, July '83<br />
Jarvis, David Aardpress. 31 Mountearl Gardens London SW16 2 NL United Kingd. 1980<br />
↑ Aardwerk Studios, 15 Ambleside Av. London, SW16 1QE - “ - 1978<br />
.............................................................................................................................................................<br />
^Poems – 1. (Literature works 1973 / 1978) A/5, phc., 10 p. {200} Secomd edition <br />
published 1978?<br />
^Poems – 2. (Literature works and drawings – some pages hand coloured) A/5, offset, <br />
20 p. {200}. London, 1975<br />
Poems – 3. London, 1977<br />
<br />
Visi –Poem from Alfred Austin. A/5?, 1978?<br />
<br />
Poem – Drgs (various single sheets with poetry and drawings) London, 1975-78
^Conversations with Ruth Aaboe. A/5, phc. + collage, 24 p. {150, signed, numbered} <br />
London, 1978<br />
Punkomik (Small Mail Art magazine with special themes for each issues. A/5, phc., <br />
1979?-, about 36#)<br />
^Salonika. An artist' book with Dira Sivarajah (?) by Aard Press, London, 1979. <br />
Horz. A/6, phc., 16 p. 200 numbered copies signed by Sivarajah.<br />
Aardlynx A selection of vis. poetry – a sister mag. of Punkomik. A/5. 198?-, #1-3?) <br />
^POCHTA - («Russian Mail Art») Cat.: A/5, phc., 24 p. March. 1985 <br />
Smile / Piss-take of Smile. AKAUCN I. D's. (Smile mutant, 5x10 cm., phc. 1985) <br />
Artistamps: ^Aardcourt Circular (A series of sheets of 12 stamps, with diff. artists' <br />
portraits in shield, phc., not perforated) Aart Press, 1986<br />
^Crackerjack Kid Visits Aardyerx (Block of 12 id. stamps, red phc. on<br />
white paper, not perforated) July 30, 1988 London. D Jarvis<br />
^Transvestal Virgins (Block of 18 id. stamps, rubber print on green<br />
millimeter paper, Duchamp as Rrose Sélavy) E.O.N. 1988<br />
!Jas! → Felter, James W.<br />
Jensen, Dale 2317 B. Carleton St. Berkeley, CA-94709 USA 1986<br />
Malthus (Magazine for visual poetry. Letter. 1986-87, #1-4)<br />
<br />
Jensen, Deborah (from Houston) c/o Dahl Fine Arts Center, 713, 7th St. Rapid City, SD-57701. USA 1987<br />
^That's what I Like about the West. Cat.: Letter size, phc., 24 p. 1987<br />
<br />
Jensen, Frank (Ed. Spilkammeret), Sankt Hansgade 20. Roskilde Denmark 1995<br />
^Mail Artists' Tarot (Mag. A/4, phc., also colour pages, ~20 p. 1993?-, ir. )<br />
<br />
^# 3, 4<br />
^Cardmaker (with G. M. Witta & K. Smith Jensen) (Postcard assembling in the form <br />
of a brochure. 13x18 cm. horz., mixed techn., ~20 leaves. 1994?)<br />
^Mail Artist's Tarot, '95. Cat.: in Mail Artists' Tarot, 1995: A/4, phc. 20 p. <br />
^What is an Ansel then? Cat.: A/4, phc., 10 p. 1995<br />
<br />
Artistamps: ^Apa-Tarot (Block of 4? diff. stamps, b/w offset {100}) Series 2, 1994 <br />
^Universal Correspondence (Sheet of 28 stamps, 6 images, b/w offset, <br />
{36}) Free Int. Corr. Artistamp Series 6. August 1995<br />
In Memory of Cats (Block of 12 stamps, 6 images, colour offset, {60})<br />
<br />
Free Int. Correspondence Artistamps Series 7. n.d. (1996?)<br />
^Female Archetypen in the Fairy Tales. Cat.: A/4, phc., 16 p. + 1 colour p. 1996 <br />
^Missing Documentation / MA Obscurities, Mail Art projects without promissed docs. <br />
Cat.: in: Mirror N° 1. A/4, phc., 6 p. 1996<br />
^Mail Artists' Trunk. (Assamblage) Cat.: 3 A/4 size sheets in colour phc. 1997 <br />
~<br />
Literature: ^Spilkammeret. Int. archive for manticresearch / Ed. Ouroboros Manteia. (Xeroxed<br />
8 p. info broch. about archive, publs. [as the magazine Manteia], Mail Art projects<br />
& above all tarot-, cartomancy- and playing cards: «The purpose of Spilkammeret<br />
is to collect, register, document and preserve divinatory systems like tarot, I-Ching<br />
and runes».) n.d. (1995?)<br />
!Asta Erte!: The (fake) Mail Interview with K. Frank Jensen. (Published as the #2 of<br />
the „magazine“ Mail Art Obscurities by Jensen.) A/5, 16 b/w & 4 colour phc. pages.<br />
Edition Spilkammeret. Roskilde, 1997.<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian and<br />
English. AAA Edizioni. Bertiolo, 2000. 162-163 p.<br />
Jesch, Birger Friedhofstr. 15, Blankenhain, D-99444 Germany 1996<br />
↑ N° 6. (Later: → N° 32.) Volkmansdorf GDR-6801 1984<br />
↑ Oederanerstr. 19. Dresden GDR-8028 1980
.............................................................................................................................................................<br />
°Please, Stamp for Me. Inv. on paper of 10x14 cm. Dresden, ongoing pr. 1980- , <br />
Schießscheiben-Projekt / Target-project. In the churchs of Radebeul, Meißen <br />
Greifswald, , Rostock, 1981<br />
Please, stamp for me / Collective Collages. Doc. / Church Weinberg. Dresden, <br />
1982<br />
^Besser Reich als Arm. (Wilchelm Reich Mail Art Project) Doc. One A/5 sheet by <br />
photography, folded to two, a few copies only. Exh.: at the friend Sören<br />
Neumann, Försterstr. 2, Dresden. 1983. Additive documantation to this<br />
illegale exhibition and its „Stasi“ echo from 1993: A/4, phc., 11 leaves.<br />
^Wilchelm Reich Pr. Exhibition at → !Egon! (Sören Neumann), Dresden, 1983. <br />
Cat.: (edited 1993 only): A/4, phc., 11 leaves, with docs. of the State<br />
Security Service's researches on GDR Mail Art!<br />
^Moon Faces. Doc. A/5 phc. sheet with 73 participants / Volkmansdorf, 1984 <br />
^The Dark-Side of your Moon-Face – on photo portrait. Inv.-flyer, 1985<br />
<br />
^Your Favorite Pornography (Commonpress #100) + Mail Art projects and events in <br />
the GDR 1975-1990. A/5, phc., 24 p.<br />
^Your Favorite Pornography. Cat.: a/5, PHC., 14 P. Exh.: (with → Wohlrab) <br />
Galerie Schwamm. Weimar, March 1990<br />
^DDR Mail Art 1975-1990 (Chronological list of events with short commentaries, <br />
an essentiel source-matter for the history of the non-official alternative<br />
arts in the GDR. sA/4, phc., 7 leaves) S. P., Volksmansdorf,<br />
n.d. ~1991<br />
^Kleiner Nachgeschmack aus der DDR. (Letter & objectassamblage in a box of <br />
15x20x3.5 cm. (2x 45/audio-cass., soap. laurel leaves, etc.) 1991<br />
^Gazetta (News from 7. July 1955 from all over the world, worked over)<br />
<br />
Cat.: A/4, phc., ~120 p. {250}. Exh.: & Edition: Staatl. Museum.<br />
Schwerin, July-August 1996<br />
^Springfoolmoon project – by a sent ceramic tile photographied... Inv.-letter, 1998 <br />
Jirgens, Karl 95 Rivercrest Road Toronto, M6S 4H7 Canada 1982<br />
^Rampike (Multimedia mag. in a very unusual form. Also contributions from Eastern<br />
Europe. 42x12 cm., offset, ~80 p. 1982-, 2x3y.)<br />
^#Vol.4/2-3; Vol.5/2, 3; Vol.6/1, 3; Vol.7./3<br />
~<br />
Literature:<br />
<br />
«A rampike, says the dictionary, is an erect tree, broken or dead. And certainly the<br />
shape of this magazine echoes this – it's 6“ wide and nearly 17“ high. Anyway this<br />
issue on „propaganda“ presents all sorts of visual and writing on point. Coverage of<br />
Vito Acconci's large-scale „Instant House“ constructed of U.S. and Soviet flags, has<br />
its wall go up as the vieiwer sits inside, a conversation with Brion Gysin, scads of<br />
poems, photos of performance work, a smattering of mail art. A thought provoker.»<br />
(Lightworks [→ Burch], Glimmerings [Print review], N° 18, Winter 1986-87, 51 p.)<br />
!Jocelin! 2 rue Gervex Paris, F-75017 France 1984<br />
^Amtramdram (Well known French graphzine of the third generation. A/5, offset, <br />
76-100 p. 1984?-, #1-7?)<br />
^# 5, 7<br />
^Pygmee Comix presente Amtramdram. (22.5x15 cm., offset, black/red print, 32 p.) <br />
n.d. (~1985)<br />
^Nonotte et Patouillet (late issues by Christian → Bertolino? Little graphzine in <br />
plastic bag with small object supplements {50}. Late issues without<br />
numbering! A/5, phc. -124 p. 1986?-, )<br />
^#1, 2<br />
^Black Night Arbeit hell & heaven (16x11 cm., offset, 64 p.{150}) Ed. APAAR, <br />
54 rue da la Glaciere, Paris, F-75013, 1988.
Johnson, Ray 44 West 7th Street Locust Valley, NY-11560 USA 1991<br />
°The paper snake. (Anth. of corresp. works, 50 p.) Something Else Press, 1965 <br />
Ray Johnson died January 13, 1995 in New York 1995<br />
~<br />
Literature: Russel Edson Fables: What a Man Can See. Drawings made 1959 by Ray Johnson.<br />
In: Penland, N. C.: The Jargon Society (Jargon, 37). 1969<br />
Ray Johnson Dollar Bill Show. Catalogue of the exhibition held at the Richard<br />
Felgen Gallery, September 16 - October 17. Chicago, 1970<br />
Ray Johnson. Catalogue of the exhibition held at the Gallery Schwarz, April 5-29.<br />
Milano, 1972<br />
Ray Johnson. Catalogue of the exhibition held at the Angela Flowers Gallery,<br />
April 10 - May 10. London, 1973<br />
An Exhibition of the Letters of Ray Johnson. Held at the North Carolina Museum of<br />
Art, October 31 - December 5. Raleigh, 1976<br />
Mail Art Then: Ray Johnson Speaks. In: Flue (→ Franklin Furnace), Vol. 4 #3-4<br />
(Winter 1984) «Mail Art Then and Now» issue, 14-17 p.<br />
Rosalyn Harbor: Works by Ray Johnson. Catalogue of the exhibition held at the<br />
Nassau County Museum of Fine Art, Feb. 7 - April 8. New York, 1984<br />
Richard Craven: The New York Correspondence School: Alternatives in the Making.<br />
In: M. Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art<br />
Press (→ Loeffler). San Francisco, 1984. 117-121 p.<br />
Thomas Albright: New Art School: Correspondence and Correspondence Art. In:<br />
M. Crane / M. Stofflet (eds.) Correspondence Art. 1984. 205-211 p.)<br />
Henry Martyn: Interview with Ray Johnson. In: Lotta Poetica. (→ Sarenco)<br />
N° 18, 1985.<br />
Matthew Rose: Inside Ray Johnson's House. In: Lightworks [→ Burch]. N° 20-21,<br />
1990. 53-55 p.<br />
°Stigliano, Phillys / Parente, Janice: Ray Johnson. Letter size brochure by black &<br />
colour offset, 30 p. Biography. Moore College of Art. Philadelphia PA, 1991<br />
More Works by Ray Johnson, 1951-1991. Catalogue of the exhibition held at the<br />
Goldie Paley Gallery / Moore College of Art and Design, Nov. 1 - Dec. 15.<br />
Philadelphia, 1991<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 49-50 p.<br />
«It seems like publishing is very important for you. In mail art a lot has been<br />
written about the boek „The Paper Snake“ by Ray Johnson, which you published<br />
with Something Else Press. What was the story behind this specific book?<br />
Dick Higgins: There is no doubt in my mind that Ray Johnson was one of the<br />
most valuable artists I've ever known. He... had made hundreds or thaousands of<br />
postcards-size collages using popular imagery, had also made big collages and then<br />
cut them up, sewn them together into chains, had buried the critic Suzi Gablik in a<br />
small mountain of them (alas, only temporarily), hadprinted various ingenious little<br />
booklets and sent them off into the world, and, since there was no appropriate<br />
gallery for his work, had no taken to sending his collages out-along with assemblages<br />
in parcel post form... But Ray could write too. He was also interested in<br />
theater and performance, had picked up many ideas from the days when he and his<br />
friend Richard Lippold lived downtown in New York City on Monoe Street on the<br />
floor below John Cage (all of them friends also from Black Mountain College), and<br />
he wrote and sent out innumerable playlets, poems, prose constructions, etc. (...)<br />
Something Else Press was founded on the spur of the moment. First I did my<br />
book „Jefferson“s Birthday/Postface“ (1964). But beforoe the thing was even<br />
printed, I decided the next book should be a cross-section of the things Ray had sent<br />
me over the previous six years... I knew the book would be hard to sell, so I didn't<br />
want to make it a Big Important Book; I chose the format of a children's book...<br />
Ray, who had at first been displeased by the project, perhaps feeling it would lock
him into a format too much, become very enthusiastic as the project developed...<br />
later he called it The Paper Snake after a collage and print he had made. He also<br />
wanted the price to be „$3.47“, for reasons I have never known (prices of that sort<br />
to be $3.48 or $3.98)... Such people usually felt that Ray's mailings were and<br />
should remain ephemera. There were almost no reviews, but one did appear in Art<br />
Voices, one of the most scorching I have ever seen, complaining the book was<br />
precious and completely trivial, a pleasure to an in-group...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Dick Higgins. A/5, 20 p. TAM<br />
Publs., TAM-960105. Tilburg, 1994)<br />
Vittore → Baroni: Ray Johnson Lives! In: Arte Postale, N° 69, Jan.-Feb. 1995<br />
Clive → Phillpot: The Mailed Art of Raxy Johnson. In: Chuck → Welch (ed.):<br />
Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 25-32 p.<br />
Vittore → Baroni: Ray Johnson. In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 15-18 p.<br />
John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 58-59 p.<br />
^Bill Gaglione, John Held Jr.: A Ray Johnson Miscellany. Letter size, phc., 94 p.,<br />
in 50 copies. Spiral bound brochure with an original rubber stamp on the cover.<br />
Correspondence and documentation material collected by the Stamp Art Gallery<br />
of Bill Gaglione. (Includes also the facsimile images of the rubber stamps by Ray<br />
Johnson) Snowman Publs. San Francisco - New York, 1999<br />
«Joke Project» (Seiei Jack Nakahara)<br />
203 Tanowa N°2, 1-14-19 Tamagawa Denenchofu Setagayaku, 158 Tokyo, Japan 1984<br />
(Toshi Onuka) 1445 Broderick Street, San Francisco, CA-94115 USA 1999<br />
International music & art mail system of the „home taping avantgarde” to exchange <br />
music/sound/noise cassettes and art pieces/magazines or catalogues.<br />
The members of the Joke system get ID-s (identical cards) to fill it and<br />
send back with own sound/art matter to the coordinator who issued<br />
compilation cassettes / printed Mail Art publications and spread them<br />
among the Joke network. The system had an American „headquartier”<br />
in the 1990s, too: Toshi Onuka, San Francisco.<br />
The Joke Project functioned in the 1980s and 90s as an international<br />
compilation-cassettes exchange system in Japan, Northen America<br />
and in the Western European countries. Beside them, also some larger<br />
Mail Art events organized by the Joke Project were registred:<br />
^International Mail Music & Art Exhibition. Tokyo.<br />
Inv. (over size photocopied letter) with the rules of the system, 1984<br />
Cat.: 36x13 cm., phc., 16 p. Exh.: November 2-4, 1984<br />
^2 nd International Art & Music Exhibition. Inv. (flyer), Tokyo, 1985<br />
^Monster from an other planet - Mail Music & Art. Inv. San Francisco, 1999<br />
<br />
<br />
!Joki Mail Art! (Jo Klaffki) P. O. Box 2631 Minden, D-4950 Germany 1985<br />
Postcard and artists' postage stamp activity from 1982<br />
<br />
Artistamps: ^Diverse sheets, mostly by 12 identical or difference stamps, often on <br />
caricatures or cartoon like narrative themes. Colour phc.? Additional<br />
rubber stamps on the sheets: Workshop Joki, Mail Art Workshop Joki<br />
P.A.N., Joki Mail Art Post Numemrando, Post as Notion Joki Mail Art <br />
^Joki Mail Art '82. (Anthology of recent Mail Art works & graphicsby the author.) <br />
24.5x20.5 cm., phc., 160 p. + colour offset cover. Ed. Argo-Art, 1982<br />
^Hoppla Kultur (Mail Art project after a lithography by A. Paul Webers).<br />
<br />
Cat.: A/4, offset, 48 p., 65 parts. Exh.: Kuléturszene Fabrik e. V.
Königstr. 40a, D-4950 Minden. August 1984.<br />
^Joki Pocket Cinema. Mini size booklet of 7x10 cm in style of cartoons, phc., 24 p. <br />
It was used also for letters to network-friends by completing of the<br />
graphical elements (by hand writing & other kind of interventions,<br />
e.g. rubber stamps) ~1985<br />
^Smile (Magazine with many Mail Art and a few Neoism. A/4, offset, ~60 p. <br />
1984-91, #1-11?)<br />
^#1, 2, 3, 4, 5<br />
^Hommage á Liberty (meant the famouse monument from New York). Inv. 1985 <br />
^Artists’ Postage Stamp Exhibition. Inv.-flyer, 1985<br />
<br />
^International Money Art Exhibition. Inv.-flyer, 1985<br />
<br />
^Jo Klaffki: Peintre de „Mail Art“. Doc.: One A/4 sheet, RV offset print. Two <br />
exhibitions: Goethe Institut, Marseilles, October 1985 / Kulturfabrik<br />
Minden, January 1986.<br />
^Flag – Congress Mail Art Project. Inv.-flyer, 1986<br />
<br />
^Happy Birthday North-Rhine-Westfalia! Inv.-flyer, 1986<br />
<br />
^Copy Art Book (Xerox degeneration process, A/5, phc., 34 p. {30}) S. P. n.d. <br />
^Pig Show. Doc.: Artistamp sheet with participants as pig stamps. A/4, phc., 4 p. <br />
Mailart Station Minden, September 1987<br />
Artistamps Book - 1992. Hand made portfolio of stamp sheets of A/4 size. 1992. <br />
Joki died May 18, 1997 1997<br />
~<br />
Literature: Mail Art. (An image catalogue of all Joki Mail Art activities between 1982-83<br />
edited by the artist himself) A/4, phc. + colour offset, ~180 p. Argo-Art Verlag<br />
Minden D, {99 copies} n.d. (1984?)<br />
(Smile, #9, extra in support of 1990-93 Art Strike): «This extra issue 9 is devoted to<br />
the art strike movement as like as a regeneration project and also a challenge to face<br />
the upcoming „mail-art-stream“. Joki Mail-Art writes his own opinions without<br />
forgetting to make fun of everything. What is „Art Strike“?, I've published their<br />
manifest in the news section and let you read this text, sharing their opinions about<br />
art today, conceptually defined by a self-perpetuating Elite and marketed as an<br />
international commodity... A lot to tell and criticize about this bourgeois Art establishement,<br />
but unfortunately too much artists are more interested in being famous<br />
and getting power than experimenting art indeed, this manifest is welcome although<br />
utopist...»<br />
(Publication Reviews. In: Métro Riquet [→ Duvivier], #8. Paris, 1990. n. p.)<br />
^Anna Banana: Artistamp Book - 1992. In: Artistamp News (→ Banana), Vol. 4,<br />
N° 1. March 1994<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian and<br />
English. AAA Edizioni. Bertiolo, 2000. 164-165 p.<br />
Jonge, Ko de P. O. Box 7082 Middelburg GD, NL-4330 Netherlands 1988<br />
↑ Vendenburgstraat 10. Middelburg JW, NL-4337 - “ - 1984<br />
.............................................................................................................................................................<br />
^What is the Different Between Open and Closed (Commonpress #2) A/5, phc.,<br />
24 leaves, 34 participants. Key Art Ed., Middelburg, March 1978<br />
°Directions for Use. A keyhole image by rubber stamp, “add to and return” project. ®<br />
Cat.:, 99 cards. → Stempelplaats, Amsterdam, 1980<br />
°01.01.81. Reports from Ewerywhere.. Cat.: 17x10.5 cm., phc. + rubber stamps & ®<br />
orig. photos. Middelburg NL, 1981<br />
^Deelnemers Mail Art Project: „De Stem“ / The Newspaper as a Mail Art Museum.<br />
Cat. in the form of a poster of 49x72 cm., offset, with part list and<br />
images. 1982<br />
Dokumente 7777777. Inv. for a project of closed documents at the Artspace
Kunoldstr. 34 (→ Olbrich) in Kassel, July 7, 1982 («All documents will<br />
be opened by Ko de Jonge and be shown that day»)<br />
^De 4 in 1 Krant. Cat.: as supplement (4 pages) with participant list (203 parts.) <br />
to the newsprint De Stern in Middelburg. 58x42 cm., offset. Exh.: De<br />
Beyerd., Centre voor Beldende Kunst. Bosch str. 22. Breda. December<br />
1982 - January 1983<br />
^Art=Start + (a «library of contemporary art» / artists' books with the same title and <br />
size [~600 contributors] on the basic of blank books sent out to contributors<br />
by Ko de Jonge, since 1982) Cat.: A/5, offset, 40 p. Texts:<br />
Ko de Jonge: Inleding.<br />
Wim Beeren: Aktie... fiktie in de kunst.<br />
Ludo van Halem: Fluxpost! Fluxus en mail art.<br />
René Block: 30ste verjaardag van Fluxus in Wiesbaden. (1992)<br />
Jörg Zutter: Boekwerken van kunstenaars (documenta 6).<br />
G. v.d. Rook: Het boek als Kunstwerk.<br />
Harry Ruhé: Ulises Carrión (1941-1989)<br />
Ludo Bekkers: ASPC in Antwerpen.<br />
^Books of Souls, Silence & Friends. Cat.: A/6, phc., 12 p. More exhibitions: <br />
Akademic Centrum Kultury Palaczyk Wroczlaw (W. Ropiecki), Poland.<br />
Bart Boumans (Enschede Academy of Art) CARE magazine, in Holland,<br />
Catalogue edited by Ko de Jonge, Holland 1983.<br />
^Symmetry '88. Cat.: A/5, offset, 84 p. 40 parts. / International Etalageproject. <br />
Middelburg, 1988<br />
^Wall News – paper project (for a demolition house. If walls couild speek).<br />
<br />
Cat.: Horz. 10.5x15 cm., phc., 40 p. Exh.: Last Show, Gallery<br />
Bellemans, Oosterstraat, Axel. August 1989<br />
^Jonge meets – work at the enclosed poster. Inv.-letter + poster, 1991<br />
<br />
Art = Start + ... (16 exhs. in the year 1993)<br />
<br />
^Art = Start + Archief. Cat.: 40 p. / Zeeuwse Bibliothek te Middelburg, 1993. <br />
Texts: Ko de Jonge: Inleding<br />
Ludo van Halem: Fluxpost! Fluxus en mail art<br />
René Block: 30ste verjaardag van Fluxus in Wiesbaden 1962<br />
Jörg Zutter: Boekwerka van kunstenaars / documenta 6.<br />
G. v d. Rook: Het boek als Kunstwerk<br />
Harry Ruhé: Ulises Carrión 1941-1989<br />
Ludo Bekkers: ASPC in Antwerpen<br />
^Views on Freedom / Zicht op Vrijheid. (project for installed boxes). Cat.: A/5, <br />
offset, 23 sheets in portfolio, + supplement (poster, program, etc.)<br />
realized in Gevangentoren, Vlissingen NL. May 1995<br />
^Everything goes to the Ocean. (with 18 invitated artists in co-operation with the <br />
literature magazine “Ballustrada”, Middelburg, NL).<br />
Inv., 2000 / Cat.: in the Ballustrada, 2000, Nr. 3-4, 40-49 p.<br />
All contributions in colour offset reproduction (!), texts by Ko de<br />
Jonge.<br />
Joseau, M. L. Apdo 449. Lérida, E-25080 Spain 1988<br />
^Art, Insectes & Gnomes. Inv.-flyer, 1987<br />
<br />
^The Sneak (Mail Art infomag., also octagonal size. A/5. phc., 8 p. 1988-, bim. #1-4?) <br />
^#1<br />
Jovanovic, Alexander, Zmaj Jovina 12/24 Odzaci / Serbia Yugoslavia 1992<br />
^Cage / Anti Embargo Magazine (Mag. with Mail Art matter from all over the world. <br />
A/4, offset, ~24 p. 1992-95? #1-5?)<br />
^#1, 2, 5<br />
Juhász, Pál Fényes udvar 6. VII/32. Debrecen, H-4029 Hungary 1989<br />
^Vasco de Gamma (Mail Art like graphzine {5-10}. A/5, phc., 8-12 p. 1989, #1-11,
the issues are not dated and partly not numbered)<br />
^#1, + 8 unidentified issues<br />
^Akasztott Ember (Graphzine like Vasco de Gamma. A/5, phc. 8 p. 1990, #1-2)<br />
^#1, 2<br />
<br />
Juin, Jacques (!Llys Dana!) (!Ra!) c/o Roselius, Zur Waldwiese 2/A, Gorxheimertal, D-69517 1992<br />
↑ c/o Heiner, Kreutzstr. 20. Bremen, D-2800 Germany 1982<br />
↑ Am Schützenplatz 191. Riede, D-2819 - “ - 198?<br />
↑ Am Banhof 1 Syke, D-2808 - “ - 1979<br />
.............................................................................................................................................................<br />
^Sphinx / Sphynx (with → Mounier, Patrick) (Alternative art, literature and culture <br />
in a text/image collage, French. A/4 and 27x21 cm., offset, 76-140 p.<br />
1978-82, ~1-20#)<br />
^# 10-11<br />
Le point d'ironie (Assembling + mag. 1979-80? #1-3?)<br />
<br />
°Internat....Fool! Cat.: A/5, offset, 62 p. Ed. le Point d'Ironie. (Editor: Ra= J. Juin) <br />
Riede D, 1980<br />
^(Llys Dana:) Chain-book, 666 L'ove. One of the roving handmade Mail Art books<br />
like chain letter. Initiator of this project: Piva Enrico, v. Petrarca 15,<br />
Rezzato (BS) I-23086. Second in the chain: Juin, J. (A/5, mix. techn.,<br />
64 p.) Bremen, 1983<br />
~<br />
Literature:<br />
<br />
«Sphinx, Anatolie au Café de l'Aube and LePoint d' Ironie are three European new<br />
wave/fanzine/mail art periodicals all rolled into one special issue of Sphinx. (#12-<br />
13) It adds up to plenty of reproductions of high impact collage, rubber stamp and<br />
xerography. It's not that the art is so good, but that this fascinating communication<br />
and exchange goes forward. Crude, exuberant, fanatical: Art trying to wiggle off the<br />
page. Also from Jacques Juin...» (Lightworks [→ Burch], Art Alternatives in Print.<br />
N° 14-15, Winter 1981-82. 58 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 66-67 p.<br />
!Jung, Kim Il! (Uwe Hamm-Fürhölter) Silcherstr. 15 München-40, D-8000 Germany 1986<br />
^Being Silent. Mail Art and Sound Project. Doc.: A/6, phc., 8 p. 1986<br />
<br />
Jung, O. 1 rue W. Chalet Paris, F-75015 France 1988<br />
↑ 12 rue du Poitou Montrouge - “ - 1986<br />
.............................................................................................................................................................<br />
^Fort de Cafe (Small graphzine, sometimes with objects using at drinking of coffee.<br />
Mini, phc., ~20 p. 1986?- ir. Issues not dated, not numbered) <br />
^ more issues<br />
Jupitter-Larsen, Gerald X. P. O. Box 323 Fremont, CA-94531 USA 1992<br />
↑ P. O. Box 42 Denver, CO-80201 - “ - 1988<br />
↑ P. O. Box 48184 Vancouver, V7X 1N8 Canada 1979<br />
.............................................................................................................................................................<br />
^Ocean Front (Mail Art like mag. «...intended for those interested in alternative <br />
artistic experiences...» [Statement] Letter and digest, phc. ~4-8 p.<br />
1979-80, bim. #1-10?)<br />
^#3<br />
°Nihilism-Terrorism-SM. Invitation on postcard. Vancouver, 1980<br />
<br />
Kinky Sex (KS). («Pornographical» zine on Mail Art basis, partly assembling with <br />
original collages from porno mags. Letter & digest, 1980-82. #1-8?<br />
There exist issues with the phantasy numbering over 40, too!)<br />
^Destroy this piece within one week of receiving it (Collage mat. with porno <br />
magazines & xerox bound to a brochure, 14x19 cm., 20 p.) n.d.
^Mail-Artists in Vancouver. (Brochure with works by Jupitter-Larsen, Colin Utopia, <br />
Zaba, Emil Daley, B. C. Jensen, Hal Welter, Elain Rowget & Byron<br />
Black) Letter size, instant pr., 8 leaves. Vancouver, n.d. (1980?)<br />
°Abnormality. Cat.: Letter, phc., 18 p. 49 parts. Vancouver, 1981<br />
<br />
Liquids from the Human Body (Assembling in envelope {150}. Letter, 1981, #1) <br />
^Haters. (17 cm. disk with 5 music pieces in cover. ) Vancouver, 1981 <br />
°Metro Media Monthly M-A Exh. (#1-5?) Doc. A/4, phc. and mimeogr. sheets. <br />
Vancouver, 1982<br />
Why I Hat the World? (Commonpress #59) Letter, 13 p., 45 participants. 1982 <br />
Nilmag (Nihilist small-mag. with sound poems, drawings or texts – about «empty <br />
envelope action» and like projects... Digest, phc., 1982-84? #1-3?)<br />
Co-coordinator for the Commonpress (after → Petasz, P.) (1983- )<br />
<br />
Launching the Newsounds Gallery (in connection to the band „Haters”) for collecting <br />
and presenting sound works made by the tape-network all over the<br />
world, 1985<br />
^Abnormality – cassettes only! Inv.-letter, 1985<br />
Sound-Portraits I-II. Submissions aired on Newsounds Gallery, Apr. 9 and 16, 1985, <br />
at the Radio CFRO, 102.7 FM, 11 p.m., Vancouver. Participants:<br />
Apr. 9: Doug J. Brown, G. X. Jupitter-Larsen, Elaine Rowget, B. C. Jensen,<br />
Tippy Gets Mad, Doreen Gray, Isomatrix (all from Vancouver), Humanoise<br />
(Lon Beach), Jeff Mullican (Los Angeles), Twa Digs Under Paris (Madison),<br />
Barry Edgar Pilcher (Iilford, UK), Hel Welter (London, UK)<br />
Apr. 16: Ulex Xane (Victoria, AUS), Kowa Kato (Zushi, J), Merzbow<br />
(Tokyo, J), No Unauthorized (Cesson, F), Stehen Møller Rasmussen<br />
(Valby, DK), Guy Stuckens (Bruxelles, B), Jürgen O. Olbrich (Kassel, D),<br />
Falx Cerebri (Berlin, D), Luca Miti (Roma, I), Bruno Talpo (Bergamo, I),<br />
Moroandi Conspirancy (Bergamo, I), Rai (Genova, I)<br />
^The Quarternion Journal Devoted to highly abstract probabilities in art and science <br />
(with Fraser Hall & Daniel Titus) (Mag. letter, offset, 1985-86, #1-2)<br />
^#2<br />
^Interview about Nihilism. A/4, phc., 6 leaves. n.d. (~1985)<br />
<br />
^Conceptology – fractionary comcepts. (Theoretical writings) S. E., 1985.<br />
<br />
Digest size, phc., 12 p.<br />
^The Totimorphus / text + one «not-an-image» (Digest, offset, 8 p.) S. P. 1986 <br />
^The Facts on Polywawe (Text with drawings. Digest, offset, text + drawings, 12 p.) <br />
S. P. 1986<br />
^Wanted Audio Art – No Music, please! Inv.-flyer, 1987<br />
<br />
^Final. / An one act play + illustrs. about existence. (21.7x13.6 cm., offset, 12 p.) <br />
S. P. 1988<br />
^The Haters' Colouring Book (Mini, phc., 24 p. + 1 carbon rod {250}) S. P. 1989 <br />
^A basic introduction ot the 't. n. u. (17.5x17.5 cm, offset, 6 p., 3. ed. with a disk, <br />
{300}.) 1990<br />
^Essays (34 Essays) (Digest, offset, 64 p.) N. D. Austin (→ Plunkett, D.) 1991 P<br />
~<br />
Literature: «Positive as opposed to negative destruction is the basic concept behind the<br />
performance art of the Haters, a Canadian band led by a mysterious character<br />
known as G. X. Jupitter-Larsen. He calls what he does „multidimensional<br />
destroyed music“. If Jupitter-Larsen shows up (and sometimes a no-show is part<br />
of the show) he will be part of the International Erotic Art Festival from 7-10 p.m.<br />
today in the Art Department Gallery, 772 Santa Fe Drive (Vancouver).<br />
The exhibit will represent about 35 international, national and local artists.<br />
Hater’s show have included smashing videotapes with a video camera or having<br />
a tattooist with an empty needle „tattooing“ Jupitter-Larsen‘s arm....»<br />
(Rocky Mountain News, August 4, 1986)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 181-182 p.
~<br />
Source:<br />
^Co-Op Radio / CFRO / 102.7 FM. Info circular by Jupitter-Larsen for the<br />
tape-network. Letter size, phc., 1985<br />
«K, Group» 1715 Cook St. Vancouver B.C., V5Y 3J6 Canada 1984<br />
Group K Journal (Magazine for experimental art, performance, video, etc. <br />
Letter, phc., 1974-, qu.)<br />
Kadar, Josef /!K'dar! Revue Envelope / 47 rue Fondary Paris, F-75015 France 1995<br />
^Revue Envelope (Mag. in form of envelopes printed over with info text. Div. sizes, <br />
offset. 1988?-, ~ 100#) 1988<br />
^ 3 issues: Dec. 1993, #24, 90<br />
^Revue Art (with Judit Nemes) (Magazine, also catalogues, for Mail Art matter. <br />
Very var. sizes, also tabloid. Offset, ~48 p. 1990?-, ir.)<br />
^# 21, 42<br />
^Post-Mail-Art, Cat.: 41.5x21 cm., offset, 48 p. / Kis Galéria, Szilfák alja 2. <br />
Hajdúszoboszló, H-4200 Hungary. August 1995<br />
«Kaliningrad, City / Hist.-& Art, Museum» Klinikeskaja 21, Kaliningrad, RU-236016 Russia 1994<br />
^Perfo-Ratio Kanta. (Org.: → Lev Sherstjanoi, → F. Schulz, → H. Mittendorf, <br />
→ S. Segay, → R. Cohen,→ R. Nikonova) Cat.: A/4, phc., + poster<br />
Kaliningrad, 1994<br />
^Artistamps: ^Kant Perforation (Block of 8 id. stamps, colour offset, not perforated) <br />
City Art Museum -1724. Königsberg, 1994<br />
^Word Theatre – hommage to Velimir Chlebnikov. (with → Bulatov, → Sherstyanoi, <br />
D. V. Pokladova. J. Kuznetsov) Doc. Accordion book (4+2 sheets),<br />
20x14 cm., offset. texts: English and Russian / City Art Museum,<br />
Kaliningrad. October 1995<br />
Kalkmann, Hans Werner ? ? Germany 1973<br />
A. R. T. Was ist Kunst? (Assembling, ?, 1973) Bodenburg D, 1973 <br />
Definition of Art. Project and exhibition at the Other Book and so (→ Carrión) <br />
Amsterdam, March 1 - 26, 1977<br />
Kallnbach, Siglinde. Margnardstr. 10. Fulda D-6400 Germany 1985<br />
↑ Gottschalkstr. 35. Kassel, D-3500 - “ - 1983<br />
.............................................................................................................................................................<br />
^Verbindungen Kleinsassen. „Eine Conexation“ Doc. A/5, offset, 22 p. + 60x30 <br />
cm., offset poster. / P. Klüber Haus / Kleinsassen D-6417, 1985<br />
Kalmus, Peter Palarikova 5. Kosice CS-04001 Czechoslovakia 1985<br />
!Kamikaze, Joseph! Imago Verlag Aachen Germany 1982<br />
Imago (Mag. with ironic reflections about art-styles, museums, politic and art. <br />
{150} A/4, handmade mix. techn. 1981-82, #1-4)<br />
Bad (About art and art institutions. A/4, mix. techn., partly handmade. 1982-, qu.) <br />
~<br />
Literature: Instant Media ( → Kretschmer), N° 16<br />
Kamperelic, Rorica & Dobrica, Terazije 27 / II. Beograd, YU-11000 Yugoslavia 1994<br />
↑ Milovana Jankovica 9 B. Beograd, YU-11040 - “ - 1988<br />
↑ Radivoja Koraca 6 Beograd, YU-11000 - “ - 1985<br />
.............................................................................................................................................................<br />
Art as idea. Doc. / Town Library, Beograd, 1981<br />
<br />
Make art no arms, I. Doc. / Noilt Bookshop, Novi Sad / Gorenski Museum Kranj / <br />
Likovni Salon, Kovceje / 1982<br />
Make art no arms, II. Doc. /Atelje Ars, Beograd, 1983
Art as idea, 2nd stage. project & exhibition. Doc.1984 <br />
^World's Artists Family. Cat.: 23.5x16 cm., offset, 8 p. by the Svetska Porodica<br />
Umetnika. More exhibitions: Gallery PPM (Prostor Prosiren Media)<br />
Starcevicev trg. 6/II. Zagreb. April, 1984. Atelja ARS, Save Kovacevica<br />
51, Beograd? May, 1984<br />
^Open World (Mail Art info magazine with a large sphere of influence, a very visual <br />
collage of informations. A/5, phc. ~8-16 p. 1985- sm. ~ 90#)<br />
^# 6, 7, 25, 33, 38, 50, 51, 54, 65, 66, 77<br />
Art as idea, 3rd stage. Exh.: → Morandi, Arte Studio, Ponte Nossa. 1987 <br />
Art as Communication. (with N. Petric & V. Smokovic). Doc.<br />
<br />
/ Mladost Bookshop, Pluda.1988<br />
E.G.O. / Erotic Games are Open. Doc. (over 600 participants!)<br />
<br />
/ City Galerija, Banja Luka. 1989<br />
Feel me (Feedback card project) Doc.1990<br />
<br />
^Umetnost Kao Komunikacija (20x13 cm., offset, 200 p.) Grafopublic,<br />
<br />
Beograd, 1992<br />
^Artefact. Magazine for fine, applied & alternative arts. (with Boris Vakovic &<br />
others) (Voluminous offset mag. for alternative art, 24x17 cm., 52 p.<br />
1994-95, ir., #1-2?) Special World Services, Majke Jevrosime 18.<br />
Beograd. '94<br />
^Artefact, #2 / Special World Service, Word for 2. / Beograd, 1995. From the contents: <br />
Destructio unis-generatio alternius (Od utopije do entropije)<br />
Mail Art Network Dnevnik, 1994<br />
Rasterivanje Mraka (Illustrated by the Mail Art exh.: Pain and Torture)<br />
~<br />
Literature:<br />
Daniel → Plunkett: Dobrica Kamperelic (An interview in Belgrad: «Mail Art<br />
network for me is just a solution to make contacts... interpersonal relations»)<br />
In: N D #13, 1990, 30-31 p.<br />
<br />
«...if I remind well, my friend Zarko Rošulj, visual-poet, literary critic,<br />
technical editor in publishing house NOLIT (where I'm working too) gave<br />
me in 1978 some mail art invitations and introduced me with some interesting<br />
art-people/alter-artists.... Than, I've started to collaborate in/with<br />
WEST-EAST (→ Zagoricnik), international association for concrete and<br />
visual poetry, I found many addresses from alter-artists all over the world<br />
and became a mail-artist that time. My first (collective) project/exhibition<br />
has been in 1981 at Beograd's Town Library (where I've been working 1976-<br />
1977) and was named „ARS AS IDEA“. After this project I've been real<br />
mail-artist with many mail art projects, contacts, full-relationships (meetings)<br />
etc.. etc... I've done over 20 mail art projects (...) and more then 60 foreign<br />
guests (performers, mail artists or just artists) from Japan, Holland, Canada,<br />
Italy, Germany, Belgium, USA, Switzerland, Norway, Hungary.... Of course,<br />
many, many meetings with (former) YU mail artists, cooperative projects<br />
under UN sanctions, isolated, frustrated....<br />
And I'm still incarnation of an OPEN WORLD (sic!) = the title of<br />
my mail art magazine from 1985. (...) As a member of two art associations<br />
(fine artists and writers) in my country I have sometimes problems with my<br />
mail art activity (its silly activity as my friends/artists and writers understood<br />
it). I've spent very much money in the passed 15 years.... Why am I still in<br />
the mail art network? Well, because I'm still a dreamer, I'm still believing in<br />
OPEN WORLD, I prefer friendship, I like the exchange of good art ideas<br />
(materials is usually poor!) and energy.... I'm an utopist, that's a fact.<br />
...Yes, but let me explain something about ARTEFACT. Firstly, I'm<br />
editor for Expanded Art Media (this is the title of my Section at Serbian Fine<br />
Artists Assoc.) and owners+directors are: Dragan Pavlov (sometimes networker<br />
and founder/owner of DEDALUS publishing/small-house), general-editor,<br />
Boris Vukovic (who comes from Australia), art director + designer, Pedja
Krsmanovic, technical editor/computer etc. and some young people + editors.<br />
ARTEFACT is NOT a typical mail art zine. ARTEFACT is a magazine for<br />
different art/media: literature, film, theatre, music, design... expanded media<br />
(installations, performances, video-art, visual poetry, etc.) including mail-art,<br />
too. Also its an international art review on 56 pages, not so luxus, but, you<br />
can see, on very good paper and with good design. (...) We started with ARTE-<br />
FACT in January 1995. We have three promotions at nice artspaces with exhibitions<br />
(you participated, dear <strong>Ruud</strong>, too), performances video-art... and also we<br />
introduced the magazine on TV programs, in newspapers, on radio, etc. So, a<br />
good start, but we need money and support of artists and real art-lovers all over<br />
the world just now!...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Dobrica Kamperelic. A/5, phc.,<br />
10 p. TAM Publs.: TAM-950087, Tilburg, 1995)<br />
Open World, Open Mind / Otvoreni Svet, Otvorena Svest. (Texts about/by Kamperelic<br />
and other mail artists + illustrations) Offset, 160 p. Dedalus Publishing.<br />
Beograd, 1996<br />
^Dmitry → Bulatov: A Poit of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 52 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 285 p.<br />
Kántor, István<br />
(!Monty Cantsin!),<br />
↑ P. O. Box 30. Stuyvesant Stat. New York, NY-10009 USA 1988<br />
↑ 1020 Lajoie Avenue Outremont, H2V 1N4 Canada 1984<br />
↑ 307 rue Ste-Catherine Montreal, H2X 2A3 - “ - 1982<br />
↑ 5538 Cartier Montreal, H2H 1X9 - “ - 1979<br />
↑ 4055 Madison Ave. Montreal, H4B 2I8 - “ - 1978<br />
.............................................................................................................................................................<br />
^The Neo (The first large publications of the Neoism planned as a «5 years paper». <br />
Nonsens as Neoist theory, Mail Art matter, graphism, Neoist events...<br />
The last two issues [1980-81] were published with the title Organ.<br />
Letter, offset, 12 p. 1979-80, #1-10, + 11-12), Montreal<br />
^#1-12<br />
^APT '80. A Neoist Para-Festival. (→ Kántor) (Xerox, double-letter size, 2 leaves, <br />
offset?) Montreal, n.d. (It has been printed probably later than 1980)<br />
^Brain in the Mail (with → Zack, David, text) Cat.: 25x17.5 cm., offset, 78 p. <br />
«Have a nice brain wave» Vehicule Art. Montreal, 1980<br />
Texts: István Kántor: Introduction / David Zack: Letter. / Articles in the<br />
Montreal Press: De la poste à la machine; Connaissez-vous l'art postal?;<br />
P.S. Seen Brain in the Mail exhibition yet?<br />
^The New Neo / Organ (Mag. Letter, offset, 12 p. 1980-81, #11-12)<br />
<br />
^RCRN. Radio Centre de Recherche Neoiste (Letter, phc., 8 p.) Vehicule Art, ~1982 <br />
5th Int. Apartment Festival. NY-C. March 15-21 1982 (Xerox, 8 p.) Publ. Centre <br />
de Reserche Neoiste, New York, 1982<br />
^(Anonym:) Neoism in the Modern Age (White rat with black glasses) (Letter, phc., <br />
7 p.) Montreal, n. d. (~1983)<br />
Smile (The «Big Smile», 1984-85, #1, made in a singel copy only) Outremont. 1984 <br />
^imMortalLIES (Smile mutant. Half-legal, letter, phc., 24 p. 1985? #1-2) Outremont <br />
Smile / Music anth. (Poster with 3xC 60' audio-cassettes. 1985)<br />
<br />
^Start (Smile mutant, digest, phc., 16 p. 1986, #1), Montreal. 1986<br />
<br />
Artistamps: Professional Neoist (Sheet of 16 perforated labels, b/w phc.) n.d. <br />
^Bloody-Art. Monty Cantsin's Blood Campaign Actions 1979-87. (Introduction essay<br />
with the data of 99 blood taking actions. Xerox, 6 + 4 letter size leaves) <br />
Neoist Embassy, Outremont, 1987<br />
^How to Explain Neoism? Anthology of Pamflets 1978-1990. (Xerox, 23 letter size <br />
leaves) Neoist Front, New York, 1990<br />
→ Rivington Academy
→ Neoism / Literature: Some of the Monty Cantsins. (In: imMortal LIES #2)<br />
~<br />
Literature: (Tetxts from the Neo/Organ, 1979-80):<br />
N°1:<br />
«do you know? the NEO is the 5 year paper, 1979-84, you know.»<br />
«(The Theological Basis of the Red Supper): When you sit down to this Red<br />
Supper, you are not just having another meal. You are in fact symbolically partaking<br />
of the body and blood of Monty Cantsin. The supper itself represents the body; the<br />
red colour represents the blood. (...) There may be some among you who wonder<br />
why such a solemn event as a ritual sacrifice should be treated as a cause for celebration.<br />
But remember that a sacrifice is only the first step towards a ressurection.<br />
An like all the other sacrificial victims, Monty Cantsin ultimately resurrected.»<br />
«I am an extraterrestrial nonartist from the earth. I escaped away from the<br />
total-art-suicide which was forced by two woorld-art-powersin 1984. I wandered<br />
about years in space & I was very glad whan you your Neoplanet adopted me as a<br />
son. I want to enjoy life here and take part in its creation. On earth, I saw how life<br />
can be despotism-art, censorship-art, egoism-art, terror-art. (...) You are lovely<br />
people who never heard about war-artists. Your life is to make love, bring up<br />
children, sing from the sexual organs, talk about everyday life with impunity,<br />
without restrictions, openly. This is the forst time I see the embodiment of human<br />
freedom and kindness. (...) Here is something in my hand, my only souvenir from<br />
the earth. Look at it, this is the most famous art object from the earth. Fuck art.<br />
Monty Cantsin/Kántor, 12 May 1979»<br />
N° 2:<br />
(Lazer Dog's Urban Project, Urban-war of Neoist Nazarus):<br />
CSÖ (Kántor): Urban War?<br />
LAZER (R. → Pilon): Montreal is dead...<br />
CSÖ: ...a war without people...<br />
LAZER: The urban project is a auto-suicide of my brain.<br />
CSÖ: The arrow in the profile?<br />
LAZER: It shows my way in a dead city.<br />
CSÖ: Monty Cantsin is dead too?<br />
LAZER: He is immortal as me and all Neoist.<br />
CSÖ: After the urban war?<br />
LAZER: I'll be 23 and will go to Amsterdam.<br />
CSÖ: Is there more life?<br />
LAZER: I've never been there before.<br />
CSÖ: Once you were Raymond Pilon than Pilon Lazer and now Lazer-Dog.<br />
LAZER: In the urban war Black Dog killed Lion, he has more power.<br />
CSÖ: Is he mongoloid?<br />
LAZER: He is neoid.»<br />
N°3:<br />
«(Waiting for the 80s): OK, here is a page in memory of the On-Night-Art-Gallery-<br />
Action which performeds by the Scrap, the audiance, the neighbours, the police and<br />
many others on July 18, 1979 at Galerie Auxiliaire. It was a wonderful real-nowawe<br />
event, the gallery opened and closed in the same time. „We can do nothing<br />
more as wait for the 80s“ said Robert Berkley in 1970, before the day he died...»<br />
«(New York Kex Club):<br />
PETYA (Peter Berger, member of the Squat Theatre in New York): Karády...<br />
(Katalin Karády, fomuse Hungarian singer in the 30s and 40s)<br />
CSÖ: A really rigid waltz or cold polka.<br />
PETYA: A march from Prague.<br />
CSÖ: Platinum, golden-blood.<br />
PETYA: ...a metal ring, girls in black.<br />
CSÖ: Shining, neo...<br />
PETYA: BRIGHT MUSIC.<br />
CSÖ: Yes, bright music.»
(Further „Squat“: Buchmüller, E / Koós, A.: Squat Theatre. Digest, 230 p.<br />
offset. Artist Space, New York, 1996)<br />
«(Blood Transfusoion Sercive): Jack Nathanson – Frater Neo – joined to the<br />
Neoists in June 1979. He gives blood regulary and he is a founder-member of<br />
„Blood Center for New Arts“.»<br />
«(From Monty Cantsin's comin book, R.ACTION): ...we know nothing, nothinhg,<br />
nothing , llok my blood, it is gold, look my eyes, look them, they are golds and my<br />
shet is gold too, I am gold as brigit Bardot's sex in the60s as well as Isidore<br />
Ducasse's adolescence, my father was a confectioner and he said me once „you<br />
shit“ and I was glad when he died as a dog in the ocean, because he was a hero<br />
and he died for me in the refinery, and I had a pick and went in a church and hewed<br />
the Holy Eucharist for him, my shit is gold as my father's medal with a naked<br />
woman on the sofa...»<br />
N°6 (Vol. 2, N°1):<br />
«(The Party): the party is the central organization of the new overracial ideology:<br />
of the idea of international socialism / only this idea can help us step with head erect<br />
into the 80s / only the international socialist movement can save those european<br />
values which are threatened by national decadences ad classanarchies / the party is<br />
born from historical necessities / to fulfil after twenty years of genetical biological<br />
preparation of rock'n'roll / promise land / the new race needs a new solution...»<br />
N°12 (Organ, Vol. 3, N°2):<br />
« (Centre de Recherche Neoiste, Baltimore): From dec 9th to jan 1981 I was in<br />
Baltimore, MD, USA, to work on the Neoist reserch network project and set up a<br />
centre in Baltimore city. In early nov 1980 I received a phonocall from Baltimore<br />
and a raspy voice informed me that it was Richard of the Krononuts and they<br />
would like to be in close comminication with the Neoists. Talking 5-10 minutes<br />
on the phone, we made some very fast decisions about our future projejcts. One of<br />
these was my visit, including a conference on the Network plan, an apaprtman<br />
festival a manifestation at Pratt Central of Baltimore Public Library and many other<br />
gatherings... jan / 1981, Montreal. Monty Cantsin, researcher»<br />
→ Ackerman, Al (Royal Historian of Neoism): „Istvan Kantor“. Being an Introduction<br />
to the Mystery of Monty Cantsin, Witten in the Manner of one who was<br />
there. (With an supplement: Istvan → Kantor: Neoism?! Monty Cantsin?! Anarcho-<br />
Neoism?! In: Lightworks [→ Burch]. N° 20-21, 1990. 49-52 p.<br />
Géza <strong>Perneczky</strong>: With Love and Sabotage (About Neoism and Radicalism in the<br />
Mail Art) and From my Archive: th Salt of Life. In: The Magazine Network. The<br />
trends of alternative art in the light of their periodicals 1968-1988. Edition Soft<br />
Geometry, Köln, 1993. 152-175, 176-182 p.<br />
Kao, Gabor 13 rue de Lourmel Paris, F-75015 France 1985<br />
^N°4 L'Effort –manufacture d'images. (An anthology of French graphism.) <br />
A/5, offset, 56 p. n.d. (~1985)<br />
!Karen Eliot!<br />
→ Home, Stewart<br />
→ Schiz-Flux Prods.<br />
→ Gentry, Brian<br />
→<br />
Karwowski, Karol ul.. Zakopianska 5/85, Lubin, PL 20-858. Poland 1986<br />
^“et in Arcadia ego“ / I also lived in Arcadia. Cat.: 24x14 cm., offset, 4 p. + suppl. <br />
Exh.: Galerij BWA, Lomzy, ul. Armii Czervonej 19. June, 1986.<br />
Kasher, Brian P. O. Box 3151 Springfield, IL-62708 USA 1990<br />
^Images of Global Peace. Cat.:=letter size flyer + microfich in cover. 1990
Käsmayr, Benno Pf. 1222 Gersthofen, D-8906 Germany 1971<br />
^Und (German subculture, review of small press editions, vis. and exp. poetry in a <br />
~A/5 offset magazine. ~120 p. 1971- qu., nearly 20#) First editor was<br />
(ca. #1-10) Edition & Verlag für Tendenz & Experiment Boczkowski,<br />
D-3500 Kassel, Kirchhainer Strasse 3.<br />
^#8, 11-12<br />
Kato, Kowa 1-2-21 Sakurayama Zushi, 249 Japan 1981<br />
^30 Kowa Mail Board. Inv. on postcard, offset colour. 1981<br />
<br />
°The T-Shirt Show (Send me please your paper T-shirt work). Cat.: 25x18 cm., <br />
phc., 20 p. (125 participants) Exh.: „Nylon 100%“ at Shibuya, Tokyo.<br />
Feb 2-16, 1982<br />
^Papperball Project. Doc. Poster of 82x60 cm., offset, 82 participants<br />
<br />
/ «Gallery 612». Summer 1983<br />
^Polaroid-Selfportraits received by Kowa 1985 in the Mail Art Network. Cat.: <br />
Horz. 25.5x36.5 cm., phc., 13 leaves.<br />
^Mail Artists’ Shows Show. Inv.-flyer, sent out 1984-1986. (Request for whole <br />
exhibition materials from the Mail Art archives of “100-200 artists”)<br />
Kattenstroth, Uli Kaiserdamm 21. Berlin-19, D-1000 Germany 1985<br />
↑ «Juxbox Headquartier» Kienitzerstr. 107. Berlin-44, D-1000 - “ - 1983<br />
.............................................................................................................................................................<br />
^JUKEBOX / NEPP. Free circulating media of the international mail-art labyrinth <br />
(Assembling in A/4 size, stitched, „A Mail Art magazine collected and<br />
spread by Peter Pan c/o Ulli Kattenstroth...“ 35-48 parts., {100}, 1983.<br />
Two issues were published, the first one as Jukebox edition only, the<br />
second one carried also the title NEPP.)<br />
^# 1, 2<br />
^Juxbox (One page info mag, A/4, phc. 1984-, #1-5?)<br />
<br />
^#4, 5<br />
^Vision of an Imaginary Spartakiade at the North Pole. Cat.: A/5, phc., 52 p. <br />
{400} Berlin, 1985<br />
^Kunstarcheologie im kosmopolitischen urbanismus. Ein Versuch über Mail Art. <br />
A/4, typewritten text, 2 sheets. Berlin, ~1985<br />
^Imaginärer Mail Art Kongress, West-Berlin 1986. (Also entitled: Tag des Mülls) <br />
Invitation and manifesto in a form of an A/4 leaflet, phc., 13 leaves,<br />
from the «Juxbox Headquartier Berlin» to a meeting and in 1 May 1986.<br />
Slogen: Waste is Mail, Mail is Waste. Also a workshop to work over<br />
the dirt has been announced. 10 parts., who didn't take part. 1986<br />
^The Jungle of Art. (For 18x26.7 cm. size multi-colored xerox only!) Inv.: A/4 <br />
sheet, phc. on red paper. 1986<br />
^Brückenkopf ins Niemandsland (Bridgehead to no man's land) Inv.: A/4 size <br />
photocopied leaflet. Themen: nothing, also no medium or dimension.<br />
Exhibition will be hold at the Nationalgalerie Berlin in May 1989<br />
^Nichts / Nothing – project without any medium, material or dimension. Inv., 1989 <br />
^Big Bang Party (LSD e.V. & MIDI e.V.), Workshop «Computer und Musik».<br />
Cat.: A/5, phc., 20 p. (with Mona Fux, Tomas Leyser, Rollkommando,<br />
R. Schmidt) Ramm Zata Theater, Fidicinstr 40. Berlin, 1990<br />
~<br />
Source:<br />
<br />
^U. Kattenstroth: Kunstarchäologie im kosmopolitischen Urbanismus. Ein Versuch<br />
in Mailart (Art Archeology in Kosmopolitan Urbanism. An Essay on Mail Art)<br />
Two pages long photocopied manifesto about the sources – as dada, futurism – and<br />
the collective character of Mail Art. Berlin, November 2, 1984<br />
Kaufmann, Peter → Mail Art Congress / Decentralized World-Wide... 1992
Kawan, Pakka K. / Racine, Marina, P. O. Box 3992. Omaha, NE-68103 USA 1988<br />
↑ 659 Haight St. San Francisco, CA-94117 - “ - 1980<br />
.............................................................................................................................................................<br />
^Beef Magazine (Visuals from West Coast artists, interviews, performances, docs.<br />
Tabloid magazine of 58x40 cm. size. Offset, 16 p. 1980-, qu., ~ 15#)<br />
^# 12 (1983/3)<br />
~<br />
Literature:<br />
<br />
«Quarterly free tabloid that relives the hippydom we thought had all but vanished.<br />
Lots of space given to visuals and west coats artists, and interviews with things like<br />
perfomance artists. They say they'll reprint work you send them, though in 3 mailings<br />
to them they've never taken anything so who knows.»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 10 p.)<br />
Kazuyoshi, Takeishi Satsukiso, 3-11-17. Amanuma, Suginamiku. Tokyo 167 Japan 1986<br />
↑ Easy Edition. Meiwaso 3-2 6-4. Nishiogikita 167 - “ - 1983<br />
.............................................................................................................................................................<br />
an Ee! (Handmade Mail Art like mag. with visual matter using news, prints, tickets, <br />
postcards, photos, etc. 26x18 cm. 1983?- squ. #1-6?)<br />
^Easy Editions / E3 (Horz. size Mail Art mag. {30}, A/6, phc., 24 p. 1988?-, weekly? <br />
over 100 #) Areal Print, Tokyo<br />
^#131,95,96,97,99, 100<br />
Keeler, Wally Samizdat Publ. Organ. Box 233, Cobourg, Ont. K9A 4K5 Canada 198?<br />
→ Peoples Republic of Poetry<br />
Kempton, Karl 441 North 6th Street Grover City, CA-93433 USA 1989<br />
↑↓ P. O. Box 7164 Halcyon, CA-93420-7164 - “ - 1977<br />
......................................................................................................................................................<br />
Open Ring (with D. R. Wagner) (Infozine by the Open Ring galleries for vis. poetry <br />
and experimental art. Digest size, mimeographic, 1975-)<br />
^Kaldron (Mag. with ancient and contemporary vis. poetry in a phantastic richness, <br />
also short articles, very important publ. of the USA vis. literature scene.<br />
Tabloid of 44x29 cm., newsprint, ~16 p., unbound. 1977-, ~ 2xy. #1-20?)<br />
^# 18, 19, 20<br />
^Veneration. Precints of the 5th apocalypse. (with Michael Hannon, poems) (44.5x29 <br />
cm. tabloid, offset,, 16 p.) Rainbow Resin Press, 441 N. 6th St. Grover<br />
City, CA-93433. 1980<br />
^Black Strokes with Spaces. (Letter, phc., 82 p.) → Xexoxial. Madison, 1983 <br />
^Access. A journal of post-literature. (with Ruth → Schowalter and De Villo Sloan) <br />
(Spiral bound mag. for visual/verbal works with a series of theoretical<br />
writings. Letter, phc., 46 p. 1987-, ir.) Paperbird Press, 5014 Huron Street,<br />
College Park, Maryland 20740<br />
^#1<br />
^Rune: A Survey. (Edited by K. Kempton & Karl Young [essay], 23x15 cm., offset, <br />
80 p.) Light and Dust Books / Atticus Books – Membrane Press,<br />
Kenosha/Wisc. 1992<br />
^Shadow project. Inv., 1993<br />
~<br />
Literature:<br />
«Tasteful and non-fossilized, Kaldron, over its many tabloid issues remains a<br />
compendium of visual poetry and language. Each issue is an anthology of works<br />
from highly eclectic sources... It's proof positive that contrary to what many say,<br />
visual poetry is more alive and vibrant and of interest today than ever before.<br />
Kaldron's presentation gives a wide berth to editorial intrusion. Works appear in<br />
their own right.» (Lightworks [→ Burch], Art Alternatives in Print, N° 13, Fall<br />
1980, 51 p.)<br />
Karl Kempton, thte weight/wait of inspiration (visual works only). In: Score, #3.
(→ Hill) Letter size, offset, 1985? 2-15 p.<br />
Karl Kempton: Loris Essary. In: Score, #4. (→ Hill) Letter size, offset. 1986?<br />
(Access, #1): «Initial issue of Access is an unusually wellproduced xerox journal<br />
devoted to „post-literature“, a term with which I am unfamiliar. This one is devoted<br />
to the work of Karl Kepmton, whose diagrammatic typewriter graphics are like<br />
mazes at times, and like flow charts as others; the purpose of them is mysterious at<br />
sight, but the accompanying essay and interview, which is quite illuminating as to<br />
where Kempton's „at“ so to speak, dispell a bit of that... I'd say Access is off to a<br />
very strong start, and it'll be valuable to turn to as a source about authors of our time<br />
after they've put out a number of issues.» ( Lloyd → Dunn: Mail Review. In: Photo-<br />
Static. N° 27, Nov. 1987, 917 p.)<br />
H. → Polkinhorn: Untying the Knot: Karl Kempton's Visual Writing. In: Access,<br />
#1, 1987, 5-12 p.<br />
Ruth Schowalter & De Villo Sloan: Magic on the Pages (An interview with<br />
K. Kempton) In: Access, #1, 1987, 39-45 p.<br />
Bob Grumman: Kaldron #20. In: Reviews in Score, #9. (→ Hill) Letter size, ~1989.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 114-115 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 345 p.<br />
Kennedy, Peter & Parr, Mike. 46 & 36, Parkham Street Surry Hills, AUS-2010. N.S.W. Australia, 1972<br />
Concept artists with llarge correspondence activity and Mail Art connections in the first years of<br />
the spreading of the Network. Listed products: Trans-Art collections and Idea Demonstrations: –<br />
by sound taps, photographs, 16 mm. films, video-correspondence, etc.<br />
Kent, Eleanor (Fractal Post) 544 Hill St. San Francisco, CA-94114 USA 1996<br />
Artistamps by comp. graphic and photographied knitted objects from the late 1980s <br />
Keppler, Joseph 10254. 35th Avenue, S. W. Seattle, WA-98146 USA 1984<br />
^Poets, Painters, Composers (Multimedia mag. for exp. and vis. literature. Beautiful<br />
<br />
typography, manufactured paperworks, cut poems, postcards and like<br />
as additive offering or supplements. Letter and var. sizes, offset, ~60 p.<br />
1984-, ~y. )<br />
^# 3<br />
^Colin's Magazine (A special sister review from Poets, Painters... 30.5x16 cm., offset, <br />
16 p. 1990- #1-2?)<br />
^# 2<br />
~<br />
Literature:<br />
(Poets, Painters, Composers) «This amalgamation leans most heavily toward the<br />
first third of its title. Plenmty of visual poetry and some straight verse too. What<br />
seems special in this loose, free-swinging anthology is a clean, righteous essence.<br />
It radiates sincerity with various handdone touches. One page with the wooord<br />
„wind“ on it is cut vertically about ripples. Number 4 is a tape featuring Henri →<br />
Chopin, Jean-Paul Curtay, Richard → Kostelanetz and Bernard Heidsieck.<br />
Posters, postcards and more avaible.» (Lightworks [→ Burch], Glimmerings<br />
[Print Review], N° 18, Winter 1986-87, 48 p.)<br />
«Poets. Painters, Composers has quickly become a magazine to emulate. Not only<br />
is it finly printed (some letter press and hand printing included), but the breadth of
its contents – reviews, prose, poetry, articles, drawings, scores, photographs – is a<br />
rarity in small press.» (Review in Score, #7. [→ Hill] Letter size, offset, ~1988.)<br />
Kerckhoven, Annemie van. Arenbergstraat 10. Antwerpen, B-2000 Belgium 1980<br />
Public Annemy (A very personal alternative magazine with theories and concept art.<br />
24x21 cm. and A/4 sizes, phc., 8-16 p. 1980. #1-2 only?)<br />
Launching the → Club Moral, Antwerpen, organisator and editor activity from1981. <br />
^Force Mental Magazine (with Danny Devos) (Beside music, performance and lit.<br />
also alternative arts. A/4, offset, ~20 p. 1982-, bim.)<br />
^#2, 13, 14<br />
°Hersens met horens 1976-1983. Xerographical publ. Cut A/4, phc., 76 p. S.P. 1983 <br />
→ Club Moral<br />
~<br />
Literature: AMVK (Annemie van Kerckhoven) & DDV (Danny Devos): Club Moral. [with<br />
featuring of performances and lives concerts – list of events in Club Moral from<br />
1981-85]. In: Unsound. (→ Davenport) Vol. 2, N° 3/4, 1985. 35-39 p.<br />
Kern, Michael Mociare 1. Liptovsky Mikuláš Czechoslovakia 1989<br />
Conceptual and Mail Art activity in the 1980s. A large number of photo works. <br />
Michael Kern died 1995?<br />
<br />
<br />
!Kerozen, Eugène! 15 rue A. Néreau Palaiseau, F-91120 France 1991<br />
^Tetes Crues. (Original rubber stamps, 10.5x7.5 cm., 20 p.) n.d. (~1991) ®<br />
^Melle X: Le deuxiéme chauchemar. (16x6 cm., handmade drawn + coloured, 16 p.) <br />
{13} Hanga Roa prod., 15 rue A Néreau. Palaiseau, F-91120. 1992 <br />
^Pilon (Graphic brochure, 25x21 cm., phc., 10 p.) n.d. (in early 1990s)<br />
Kerr, Bob Mildura Arts Center. 199 Cureton Ave. Mildura, AU-3500 Australia 1975<br />
Canberra Telegraph (with Terry → Reid) (Voluminous and encyclopedic «news» <br />
publication with many fluxus, post-fluxus and mail artists. Tabloid of<br />
58x43 cm., newsprint, 16 p. 1975, #1 only?)<br />
°The Aukland Star. (with Terry → Reid) (Tabloid size mag. for post-fluxus & Mail <br />
Art. 1977, #1 only?) Mildura Art Center<br />
~<br />
Literature: Michael Crane: The Spread of Correspondence Art / 1968-73: ...Australia, New<br />
Zealand... In: M. Crane / M. Stofflet (eds.) Correspondence Art. Contem porary Art<br />
Press (→ Loeffler). San Francisco, 1984. 155-157 p. (Further → Reid)<br />
Kholopov, Alexander → Moscow Artistamp Collection<br />
Kierspel, Jürgen Karl-Pfaff-Str. 7A Stuttgart, D-70597 Germany 1983<br />
↑ ↓ Atelier in Keller, M. Lutherstr. 41, Stuttgart 50, D-7000 - “ - 1985<br />
.............................................................................................................................................................<br />
^1'ne... viele Landschaften (After an original photo from the Schäbischen Alb). <br />
Cat.: Horz. 10.5x15 cm. phc. 48 p. Also doc. in form of two A/4<br />
sheets + 2 cards / phc. and xerox. Exh.: Atelier Rolf Glasmeier,<br />
Beckersdelle 16. D-4650. October 1983<br />
^Money (Second Mail Art project by J. Kierspel). Doc.: A/4 sheet folded to 3, phc. <br />
^Mail Art Service (One page info mag on A/4 size sheets, often with a collection of <br />
small skurrilous images + original rubber stamp prints only.<br />
Phcotocopy, not dated, but numbered, ~1983-86?)<br />
^# 14, 16, 17<br />
!Kiki Bonbon! (Jean-Luc Bonspiel) P. O. Box 524. Tour de la Bourse, Montreal, H4Z IJ8, Canada 1979<br />
^Dull Century (with Napoleon Moffat & !Zbigniew Brotgehirn! [Tristan Renauld]) <br />
(Very early Neoist publ. with verbal/graphical nonsenses, texts French<br />
and English. Half-legal, phc., 22 p. 1979, #1-2? )
^Urban Projects / Urban Figures (with !Lion Lazer! [Raymond Pilon]) (Neoist mag.<br />
edited in a loose series without afixed title on the cover. Digest, phc.<br />
20-28 p. 1979-80, #1-3)<br />
N°1 = Strong Clear, N°2 = Sten/graph, N°3 = Urban Figures.<br />
^# 1, 2, 3<br />
^Abolution (the text). (Digest, phc., 8 p.) The Service Inst. of Rechearch and Investigation<br />
/ «Tour de la Bourse», Montréal, n.d. (~1980?)<br />
<br />
<br />
Kiraly, Iosif / Tulcan, D. Str. Giurgi, nr 15. Timisoara, R-1900 Romania 1982<br />
Trans-Idea (Envelope-project) Doc. 1982<br />
<br />
Equinox. Poster, stamps. 1983<br />
<br />
Life without art? Doc. Exh.: Atelier Flondor. Timisoara R, 1984<br />
<br />
Life without art? (with C. & A. Flondor) Exh.: Galeria Pro Arte. Lugoj R, 1984 <br />
Mail Art Archive. Doc. Exh.: Galeria Galatea. Bukarest R, 1988<br />
<br />
Mail Art (with → Oistenau, A.) Exh.: Galeria Galatea. Bukarest R, 1990<br />
<br />
~<br />
Seurce: Calin Beloescu & Iosif Kiraly: What is Mail Art? In: El Djarida (Burial issue 7)<br />
Ed. Guttorm → Nordø. Tabloid, newsprint, 24 p. (n.p.) Trondheim N, 1988.<br />
Kiss, Ilona (Hungarian Assotiation of Book Artists) Budapest Hungary 1990<br />
^In Memoriam Moholy-Nagy – Artist’s Book Show at the Kunsthalle, Budapest. <br />
Inv.-letter, 1995<br />
^International Artist’s Book Exhibition – at the “Vigadó”, Budapest. Inv., 1996 <br />
^Artist’s Books from Hungary – Visual Studies Workshop, Richester. Inv., 1999 <br />
^Künstlerbücher aus Ungarn. 2 accordion like publs. with 4/4 offset colour leaves <br />
as info/invitations. For the „Frankfurter Buchmesse, 1999“, Germany<br />
^Le Livre-Object Contemporain Hongrois – La Louvière, France. Inv., 2000 <br />
Kitasono Katue Tokyo Japan 1963<br />
Vou (Magazine 1963-, m.)<br />
<br />
Kindt, Jacques't Groendreef 238 Gent, B-9000 Belgium 1977<br />
G. Gezellenstraat 25 Waregem B-8790 - “ - 1977<br />
.............................................................................................................................................................<br />
^Hart-Slag (Mag. for experimental lit., photo & graphic. 24.5x18 cm. & A/5 sizes,<br />
offset, 28-76 p. 1977-, qu.)<br />
<br />
^# Vol.3/2<br />
Klaffki, Joe<br />
→ Joki Mail Art<br />
Klivar, Miroslav ? Prague Czechoslovakia 1976<br />
DIM ART First International. Exhibition in Gallery IPD, Prague, December 1976. <br />
With the participation of Klivar and Valoch as only czech artists in this<br />
show, an exhibition was organized for visual poetry, Mail Art & other<br />
kind of experimentale arts. An unique attempt in Czechoslovakia in the<br />
1970s! Only an A/4 offset poster is known as documentation to this<br />
event. (DIM was adopted from Dim Dada Dim, a greetings form between<br />
Tress und Klivar. The exhibited artists: Paulo Bruscky, Ernst<br />
Buchwalder, H. Gruber-Guthenstein, Klaus Groh, Gunnar, Horst Hahn,<br />
Miroslav Klivar, Uhhf Klose, Rainer Luck, Bernd Olleck, Paulot, Romano<br />
Peli, Peter W. Reski, Rittger, H. Steinbach, A. Thomas Stöckl,<br />
B. Kelley Stöckl, Gábor Tóth, Horst Tress, Jiri Valoch<br />
Knepper, David (!Moo Man!) 805 N. Alvord. Evansville, IN-47711 USA 1986<br />
Artists' postage stamp activity, sheets of stamp images, b/w phc. non perforated. <br />
Themes: cows, pigs, Mona Lisa, free (empty) stamps, etc. 1980s
Knízák, Milan Podskalská 7. Praha-2. CZ-12800 Czech 1991<br />
↑ Tulipanova 2802 Praha-1. Czechoslovakia 1988<br />
↑ Novy Svet 11. Praha - “ - 1964<br />
.............................................................................................................................................................<br />
Aktual (Handmade magazine with texts for happenings and Fluxus-actions. Fluxus<br />
A/4, mimeographic, cover with linoleum print. 1964-66, #1-4?)<br />
Correspondence Action: postcards with queustions & instructions sent to addressees <br />
who were found in the Prague Telephonbook. 1965<br />
~<br />
Source: ^Milan Knízák. Aktionen, Konzepte, Projekte, Dokumentationen. Cat.: Offset, 96 p.<br />
Ed.: Klaus → Groh / Oldenburger Kunstverein, 1980<br />
Literature:<br />
«Milan Knízák was born in Czechoslovakia in 1940. In 1962 he started performing<br />
street and environments in Prague, and in 1964 he founded the Aktual Art group.<br />
Contacts were established with several US and Europaen Happening and Fluxus<br />
artists, and Knizák was appointed „Director“ of Fluxus East, in which capacity he<br />
organised Fluxus Festivals in Prague. He currently (1980) lives in Berlin, having<br />
been a recipient of DAAD Fellowship, although he plans to return to Czechoslovakia<br />
soon. Milan Knízák was in Amsterdam recently for a lecture-demonstration at<br />
the → Appel, and an exhibition at Gallery «A» (→ Ruhé)...»<br />
«...Life is always insufficient. If life is sufficient, it does not need anything<br />
to be added, it's good for itself, and you don't need art... The so-called Iron Curtain<br />
was in some ways very good. It means that we couldn't get fucked up so much, we<br />
couldn't get involved too much in the art/money and producing scene which goes on<br />
in the West, and which is horrible. The second reason is that we had to make very<br />
careful choices – if you really want to do something, it's very difficult to do it – you<br />
must choose very carefully one thing from a thousand which you are going to perform,<br />
because you must take some risk...»<br />
(From life to art life. / Kunst is slecht een kruk. Introduction and an interview<br />
/ essay with Milan Knízák. In: Artzien [→ Gibbs], Amsterdam. Vol. 2, N°6-7,<br />
April-May 1980. n.p.)<br />
«KNUST» 2e Walstraat 5. Nijmegen, NL-6511 Netherlands 1990<br />
↑ Groesbeekseweg 2 / a-b. Nijmegen NL-6524 - “ - 1988<br />
↑ St. Annastr. 1. Nijmegen - “ - 1984<br />
(Graphic Studio & Edition, all publications by colour mimeographic/stencil technic.)<br />
Alfred Boland, Jan Dirk de Wilde, Dorothe Krol, Anja Rachmaf, Erik Odijk & others.<br />
.............................................................................................................................................................<br />
Publications, a very selected list:<br />
(all item by colour mimeographic, unless otherwise noted)<br />
^Kutlur (sic!) (Graphic mag. A/5, A/4 and 29,5x 23 cm. Offset.<br />
1982, #1-5, all issues marked as #3!)<br />
^# 1-5<br />
Westerse beschaming (Portfolio/book series like mag. 1983-4, #1-4)<br />
#1 = 28x20 cm., offset, 20 p. Portfolio: 30x21 cm. n.d.<br />
#2 = 21x15 cm., offset, 12 p. Portfolio: 30x21 cm. n.d.<br />
#3 = 15x10 cm., offset, 32 p. Portfolio: 30x21 cm. n.d.<br />
#4 = 42 very diff. size leaves, mimegogr. Cover: 30x20.5 cm. n.d.<br />
^Afgrijs (Graphic magazine with textfragments. A/5, ~40 p. 1984-87, #1-7)<br />
^#1, 2, 3, 4<br />
^Postbode Westland (11.5x7.5 cm. 48 p. in format cover of 28.5x28.5 cm.)<br />
n.d. (~1985)<br />
^De Warheid / Pravdada. Nimmer 1. (Pamflett-mag. 29.7x17 cm., #1: 26 p. + supplement<br />
paperworks) n.d. (1987)<br />
^Crime / Het moderne blädsinn (38 diff. size p. + cover of 30x25 cm.)<br />
Uitg. Schester B. Waving S.E., n.d.
^De Westerse Verslaving. (36 p. of 10.5x15 cm., and 16 p. of A/5) n.d. (~1986)<br />
^Nord es Mord. «Jarry is dood leve de Koning Ubu, Alfred» (29.7x10.5 cm., 40 p.<br />
+ cover) 1986<br />
^WARS, No 1. «de losse band van Swaving en Siwi» (22 A/3 +24 A/4 leaves in a<br />
cover of 42x30.5 cm. offset + mimeogr.) n.d. (~1987)<br />
^Mediaval. Kontaktorgan voor audio-visueel gehandikapten. (Books like mag.<br />
~20-24 p., in var. sizes, 1988-90, #1-3)<br />
^#1 = 29.2x14.5 cm.<br />
^#2 = 21x20 cm.<br />
^#3 = 10x7 cm.<br />
^Ansick / Ansich. (17 mimeogr. post cards in cover) ~1988<br />
^T. Tzara: Dicédãdet a Tzara (Knust Graphics + Tzara's text. 24.5x19cm. 82 p.<br />
+ cover) 1988<br />
^Music for deaf. (Bookwork-multiple: 6 leaves paper, mimeogr. prints + 2 plastic<br />
foils between 2 LP disks, with lack coloured) n.d. ~1988<br />
^Dorotthé Krol: 't buchje Snabignieg (20.5x25 cm., 56 p. + cover) I & II. editions<br />
(~1988-1990)<br />
^Oogentroost. Dageraad Banden, Nummer 1. ( Bookwork {500}. 15x15 cm, mimeographic<br />
+ offset, 36 p. + cover) Uitgeverij Plaats Maken, Arnhem.<br />
^Extrapool (Double-size and applicated booklets like mag., ~50 p. 1989-, #1-3)<br />
#1 = 32x21 cm.,<br />
#2 = 25.5x24 cm.,<br />
#3 = 21.5x20.5 cm. (United Extrapool)<br />
^#1, 2, 3<br />
^Art Divers (Books like mag. 1989-93, #1-3)<br />
#1 = A/5, 48 p. in a cover of 30.5x21 cm. June 1989<br />
#2 = 16x16 cm. 40 p. + cover. October 1991<br />
#3 = «Monster Book» with 20 artists, 22 A/4 leaves in a cover of<br />
39.5x29.5 cm., fixed by a nut and bolt. 1993<br />
^#1, 2, 3<br />
^Half Wit. KNUST's Extramarginal Magazine. (38 leaves of 27.5x19.5 cm., folded,<br />
with a poster supplement of 29x57 cm. 1992)<br />
^#1, 2<br />
^D. Krol: Geiten (Book-object with sound-effect / 15x15.5x7 cm., paper, wood,<br />
collages, 48 p.) 1992<br />
^Mark → Pawson: Life has meaning. (A/4, 26 p.) Knust Stencildruck, 1992<br />
~<br />
Literature:<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 16-17 p.<br />
Kocman, Jiri H. Vackova 64 Brno. CZ-61200 Czech 1995<br />
°Collyrie's Book. Typography by colour inks in 18.5x13.5 cm., 22 p., like<br />
<br />
japanese bound. Limited edition in ? Brno. 1970<br />
Rubber stamp activity, ~1971-1973. (Div. cards & leaves with rubber stamps) ® <br />
^My Activity Report (Booklets like periodical {0-20}. 13x17,5 horz., 2-4 p., ® <br />
mix. techn. with many rubber stamps. 1970-73, #1-15?)<br />
^# 9, 12, 14, 15,<br />
°JHK's Position non-art. A/4 sheet, handwritten, signed. Edition of ? n.d. (~1971) <br />
^Bipolar Fold Analysis (5 leaves folded & stamped in cover) n.d. ~1971 <br />
^Love (A/5 size assembling in box of 21x18x4.5 cm. 24 artists with ~ 30 leaves {30}. <br />
1972, #1 only)<br />
^Project for Flowers and Landscape. (20.5x15 cm. offset/photo repr., title=rubber <br />
stamped. A 3 parts portfolio {30} with an offset photo repro.)<br />
^Stamp Activity (Rubber stamps assembling, bound {30}. A/5, 130 p. 1972, #1 only) ® <br />
^Entomogical Activity (3 parts portfolio of 20.5x10.5 cm. {30} with title text + <br />
butterfly-photo) 1973<br />
^About my Butterfly. (20x15 matter, handwriting, offset/photo, rubber stamp,
4 leaves.) n.d. (~1973)<br />
^Monography of my stamps. (11x18 cm. horz. booklet with 25 or. rubber stamps, ® <br />
27 p. The binding is corrugated board) n.d. (1974)<br />
^My activity 1963-1973. (19x13 cm., offset, 13 leaves sewed between corrugated ®<br />
boards). The content:<br />
Introduction (Engl.) by → Valoch, Jiri. Listed activities: Graphics (1965-<br />
70), Objects (1970), Texts (1969-71), Poems (1970-73), Book-objects<br />
(1970-72), Preparated books (1970-72), Chromatography (1970-71),<br />
Reports (1970-71), Bipolarity (1970-71), Touch (1970-73), Body-works<br />
(1971-72), Project (1972), Landscapes (1972), Reservation (1970-71),<br />
Waether 1971), Food-colour (1971), Ben (1972), Stamps (1971-73),<br />
Ecology ( 1971-73), The End as an Activity (1973) + exhibition &<br />
publication lists. S. P. Brno, 1974<br />
^JHK Language / Love (Paraphrase to Wittgenstein, a mini broch. in 14.3x10 cm., <br />
mimeography, 4 p. Signed copies in an edition of ? ) n.d. ~1975<br />
^JHK Micro Macro Issue. (Brochure of 30x21.5 cm., handwriting + collages + <br />
paintings, 15 p. {50}) 1975<br />
^O papíru / About Paper Sensibility (Manuscript or catalogue text?) 1976 <br />
^8 Pieces by JHK. (Multiple in A/4, hand stamped series of rubbers: 1 rubber stamp ® <br />
on each leave, in envelope /stamped. Signed publ. on account of Kocman's<br />
visit in Köln) Soft Geometry Ed., Köln. 1977<br />
^Marbling Experiences of Three Days (14.5x10.2 cm, offset + collages, 14 p.) 1977 <br />
^Handmade books and paper-re-making book activity, mostly uniques or limited <br />
to 5 pieces, from ~1977 (about 80 pieces in the time of 1977-87)<br />
^#: Marbling Book (n.d. ~1977), In Section Aurea (N°35, 1978),<br />
Harmony in blue (N°49, 1978), Book of tea (N°62, 1978), Dimesion<br />
of a book (N°64, 1978), Vertical Book (1979), Paper-Re-Making<br />
Book (N° 64?, 1982), Paper-Re-Making Book (N°84, 1983), Book<br />
of Clauds (N°86, 1988)<br />
°#: Book of one cup of tea (N°73, 1980), Book (N°92, 1981), Tea hand<br />
made paper by JHK (~A/5, s.d.)<br />
Handmade paper activity / Marbling papers / Neu-Jahr Wünsche Papier, ~1978- <br />
~<br />
Source: ^J. H. Kocman, Handmade Papers, Artists' Books. Cat.: 21x20 cm., offset, 20 p.<br />
(With an till 1990 enlarged draft of the «my activity» work-list, exhibition<br />
index, participation list and an voluminous bibliography) Galerie Jaroslava<br />
Krále, Brno, 1991<br />
J. H. → Kocman: Stamps and Other Residure 1970-1979. Spirsal bound Cat.:<br />
Letter, phc., 76 p., 1995<br />
^J. H. Kocman. Works: 1970-1979. (Brochure with essay by T. → Purves,<br />
P. Gaglione, G. → <strong>Perneczky</strong>. Digest size, 10 p. + 8 postcards) 20 p., 1995<br />
^J H Kocman. Autorské Knihy a Papíru / Artists' Books and Papers.<br />
Cat.: 28x21 cm., offset (colour), 48 p. (Introduction by Jiri → Valoch, Czech /<br />
English. With a large philological part: List of works /125 exponats; Exhibition<br />
and publication list / ~ 200 items; Works in collections; Biography; etc.)<br />
Galeria Rudolfinum. Praha. March 12- June 23, 1997<br />
J H Kocman's self-published writings (on the basic of the Cat.: Autorské Knihy a<br />
Papíru, 1997:<br />
O papíru - About Paper Sensibility, 1976<br />
Mramovováni na karagenovém mechu, 1977<br />
Interview resp. monolog o knize. 1978<br />
English Bookbinding terms (review of an book edition from 1979), 1985<br />
Cajové minimum, 1981<br />
Interview pro Jazzbulletin (s K. Srpem, jr.), 1982<br />
Josef Váchal – knihvazac (monography), 1979-83<br />
27 Rp (27 seceptú z makrobiotiky), 1985-86<br />
Osoby a obsazent (supl. k Hvezdám kvelbu Pavla Reznicka. Horst, Brno, 1991)
Papípenské minimum, 1996<br />
Literature:<br />
Jiri → Valoch: JHK / 1976-80. (Xeroxed publ., 7 leaves) Essay + list of selected<br />
paper and book works & bookbinding works (18 items) by Kocman. S. P. 1980<br />
^JHK TRADE MARK / Jiri H. Kocman (Exh.) Cat.: A/5, phc., 14 p. Text (German):<br />
→ Valoch, Jiri (1980). Galerie für Visuelle Erlebnisse ( → Löbach), Weddel D,<br />
January 1983<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 34, 70-72,<br />
82-83, 104 p.<br />
Kolár, Jiri 4 rue Aubry le Bouchez Paris, F-75004 France 1984<br />
↑ 21 rue Micolon Alfortville, F-94140 France 1981<br />
↑ Za Skalkou 2 Praha 4-Branik, CS-147 00 Czechoslovakia 1977<br />
......................................................................................................................................................<br />
°Poem r. A/4, offset, 12 p. {400}. S. P. Praha, 1965<br />
Revue K (For the promotion of Czech avantgarde art published in Paris. Texts in<br />
French and Czech. 15x23.5 horz., offset. 1981 )<br />
<br />
<br />
Kolasinski, G / Ryba, J. «Kwiecien», ul. Jeczmienna 14/1., Wroclaw, PL 53-509, Poland 1976<br />
Pazdziernik (Very visual alternative mag., edited by students. Later entitled as <br />
Kwieczien or Luty. A/4, phc. 1973-, ir. #1-4?) «Organ Studia Kompozycji<br />
Emocjonalnej»<br />
Kwiecien (with Sztukowski, W.) (Mag. like Pazdziernik. 1976, #1)<br />
Luty (with Sztukowski, W.) (Mag. like Pazdziernik. 1978, #1)<br />
<br />
Koller, Julius Kudlakova 5 / III. P-32 Bratislava, CS-84101 Czechoslovakia 1984<br />
? «Antiflag» with question mark. Conceptual work first in 1968, also correspondence <br />
motive on postcards from 1970.<br />
U.F.O. (Utopie Fakty Otázky ? = Utopies Facts Questions ?). Concepual works and<br />
postcard actions (by graphic, collage, photo) with „UFO“-s from 1970.<br />
<br />
!Konstrictor, Boris! (Boris Akselrod) ? Russia 1979<br />
Transponance (with → Nikonova, → Segay) (Typewritten handmade samizdat mag. <br />
in the Sovietunion with exp. literature, art [also Mail Art] manifests and<br />
theoretical contents. Very few copies only. 1979-86, #1-36)<br />
^Konkret russische visuelle Poesie. Cat.: 11x21 cm., horz., offset, 16 p. Text: Peter <br />
Huckauf. /Galerie am Markt, → Annaberg-Buchholz. Sept.-Oct. '90<br />
Artists: Valeri Afanasjew, Boris Konstrictor, Rea Nikonova (Anna<br />
Tarschis) Lev Scherstjanoi, Sergej Segay (Sigow) Awgust Sigow,<br />
Leonid Tischkov<br />
→ Nikonova, Rea / Literature / Mail Art in the USSR<br />
→ Transfurism<br />
«KonTexts Publ.» → Gibbs, Michael<br />
Koroto, Mark & Angela. (!Fa-Ga-Ga-Ga!) Box 1382 Youngstown, OH-44501 USA 1991<br />
^Detective. Mail Art against International Terrorism. (with the Group → RAFT: Z. + <br />
N. Smirnoff, O. + O. Yudin, E. Shashkin, A. Medvejew, T. Markova,<br />
all in St. Petersburg) Cat.: Cut A/5, offset, 24 p.<br />
Exh.: St Petersburg, September 8-18, 1991<br />
^The Art is on the Mail(ing) – Wexner Center, Columbus OH. Inv.-card, 2000 <br />
Kosberg, Erik 3013 Holmes Av. Minneapolis, MN-55408 USA 1985<br />
^Between the Lines (Digest size magazine, phc., ~30 p. for art, poetry, politics,
music, etc. 1985?-,)<br />
^#5, 5½<br />
Koschitz, Norbert Kunstpostamt. Schwarzenegg, CH-3616 Switzerland 1986<br />
^Ways of Networking. Cat.: A/5, phc., 16 p. Aug 28 - Sep 1, 1986<br />
<br />
^Qnst Post (Mail Post). Information brochure about the acxtivity of the author. <br />
A/5, phc., 12 p. Schwarzenegg, 1986<br />
^Female Heart of Ice-Cream / Digital Networking / Mail Art Manifests. Inv., 1988<br />
Koslow, Ed / Donohue, Bonnie, 153 Westville Street Boston, MA-02122 USA 1979<br />
Mail Etc. Art. Catalogue: 64 p. / University of Colorado, 1979 (Further → Mail Etc.) <br />
Kostelanetz, Richard 141 Wooster St. New York, NY-10012 USA 1990<br />
↑ 358 George St. New Brunswick, NJ-0890 - “ - 1988<br />
↑ 242 Fifth St. New York, NY-10030 - “ - 1977<br />
↑ P. O. Box 1967 Brooklyn, NY-11202 - “ - 1970<br />
.............................................................................................................................................................<br />
°Visual Language (Book, Assembling Press, 1970)<br />
<br />
^Assembling (with Charles Doria) (The magazine that gave the name to the whole <br />
genre, enormous influence, inexhaustible contents. Many alternative<br />
artists and mail artists among its contributors. Assembling in bound<br />
form {1000}. Letter, mix. techn. ~100-200 leaves. 1970-86, #1-12)<br />
^# 8/2, 9, 10<br />
^Text-Sound Texts (Anth. by 100 American authors, 441 p.) W. Morrow, N.Y. 1980 <br />
^March. (Vis. Poetry, Graphic, Half-legal, offset, 28 p.) Essay: Constructivist Fiction <br />
~<br />
Literature:<br />
(from 1974) Generator Press (→ Byrum) / Chapbook S., Mentor, 1990<br />
Assembling Assembling (About the «Assemblings») Assembling Press (Richard<br />
Kostelanetz & Charles Doria), Rutgers Univ. Mason Gross School of Arts,<br />
Visual Dept. New York, 1978<br />
Richard Kostelanetz: Art Autobiography. 1983 (selected pages from this book and<br />
a partial work listing in: Unsound (→Davenport) Vol. 3, N°4. 1986. 32-38 p.<br />
Richard Kostelanetz: Duets (visual works). In: Score, #3. (→ Hill) Letter, offset,<br />
1983-92, #1-12. 23-33 p.<br />
«(Assembling #12) Assembling is progenitor to shelves of zines which take multiple<br />
originals, produced and financed by artists and writers, collate, bind and distribute<br />
the collected results. It's 16 years old and back after a 5 year dormancy. Since the<br />
pressrun is 1000 there's a hefty investment, especially if you are used to making art<br />
with pocket change. Anyway the tick Number 12 is heavily freighted with metro<br />
New York content. Some all-star mail artists, others unknown to this reader. Plus,<br />
the issue has a supplement on Russian samizdat art as put together by ever-productive<br />
→ Gerlovins. It's easy to sail past so much in this visual collection with a<br />
definite literary bent. But then you hit Karl Young's oblitareted signs such as „ARK<br />
IN EAR“ or → Bakhchanyan's collage and rubberstamping and you know you hold<br />
a winner. A wunderful and historic collection of the ofofbeat.»<br />
(Lightworks [→ Burch], Glimmerings [Print review], N° 18, Winter 1986-87, 48 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 45 p.<br />
Richard Kostelanetz: Assembling in the Mail Art Spirit. In: Chuck → Welch (ed.):<br />
Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 177-<br />
179 p.
«Stephen Perkins: I understand that your first exposure to an assembling publication<br />
was when Dick → Higgins showed you Tomas → Niggl's Omnibus<br />
News (1969). I wonder if you can think about your first impressions upon<br />
encountering this publication?<br />
Richard Kostelanetz: What a wondeful way to publish! I think another fact though<br />
would be the Cage „Notations“ book. The non-uniform book. Does Niggl do<br />
alphabetical?... because Cage did alphabetical. Actually I always wondered<br />
about that, because that became a sort of convention that we've kept throughout<br />
but of course it's an unnecessary convention. It interested me because as<br />
I have written, in the conventional magazine, the editors put the good stuff<br />
up front and the bad stuff at the back and I wanted to get away from that<br />
kind of thing. So we hit upon the alphabet as a medium but in retrospect I<br />
think there are other ways to do it. I would probably do reverse alphabet<br />
sometimes and out of the middle of the alphabet some other times. (ed. note:<br />
Kostelanetz is refering here to the alphabetical sequencing of the contributions<br />
in Assembling) (...)<br />
SP: When peoplerevies it some people call it a book, some people call it a<br />
magazine.<br />
RK: But I come out of the tradition of books, as you can see from looking around<br />
the house. I wanted something with a spine, although we didn't mark the first<br />
spine, but then we marked later spines. I think of my life as being mostly<br />
making books... look at Dana → Atchley, was that a book? (...)<br />
SP: Looking at the first couple of issues it obviously arises from a literary<br />
tradition but very quickly it comes as much visual as well as literary. Was<br />
that something that surprised you or was that inevitable?<br />
RK: I concider myself both visual and literary and certainly did at that time and it<br />
didn't surprise me. I may not even have noticed it. I think it also became the<br />
nature of the thing. Karl Young in his wonderful essay pointed out that there<br />
was no cachet in publishing Assembling, for literary people who wanted to<br />
keep dossiers because everything was accepted and so turned off a lot of<br />
people... I think that's a really important principle. (...)<br />
SP: Although you talk about the editorial process being open, new contributors<br />
were invited to send a sample of their work, did that happen? (Yes.) So in<br />
that sense it wasn't totally open...<br />
RK: You had to be invited. But I must say we used to joke at the time that thank<br />
god we don't have any painful editorial meetings of whether or not X or Y<br />
should be invited or dis-invited. We never had any editorial meetings, if it<br />
looked freaky invite them! I'm sure nobody was dis-invited. People might<br />
have been discouraged or encouruaged to dis-invite themselves but I don't<br />
think anyone was ever dis-invited. It's not my character to do that... (About<br />
the 1000 copies:) ...maybe we should have done 500. It became a problem<br />
that I still have to live with, it costs me $50 a month to keep those things<br />
which I hop somebody will eventually buy... (...) I think the bigness of<br />
Assembling pu off some people, that it could be so big. I know it put off the<br />
guys who gave out literary grant moneys, „...you mean you get all these<br />
guys to give you the paper free and you make a book that big...,“ and we said<br />
yeah, and they scratched their heads, they couldn't figure it out! (...)<br />
SP: Wasn't there an issue #13? I remember sending some work in for that and<br />
never getting a copy.<br />
RK: Well at that time Charlie Doria was in charge, and Charlie Doria was not as<br />
good as he should have been about keeping promises. The zthing I have<br />
always emphasized is that as long as I was in charge all promises were kept<br />
and I think that's why people sent so much stuiff and I think that's real<br />
important in this area because you and I can think of guys who don't keep<br />
their promises... (...) I have this whole theory of Cage which is not about<br />
chance, but it's about trust. I will give you a score and trust you not to violate<br />
it. I'm not leaving things to chance I'm trusting you not to violate it. You
might do something I can't expect. I think that's very Cagean.<br />
(Interview with Richard Kostelanetz. In: Stephen → Perkins: Assembling Magazines.<br />
International Networking Collaborations. Cat.: Half-legal, phc., 64 p.<br />
Subspace, Iowa City. 1996 / Print: 1997. 12-14 p.)<br />
Kostolowski, Andrzej Ul. Smielow 1. Zerfow, PL 63-210 Poland 1978<br />
^NET (with J. → Kozlowski) (Network manifest + address list like a magazine.) <br />
The absolute first publication of the network rules at all. May 1972.<br />
A/4, typwritten with carbon paper + rubber stamp, 9 leaves. 1972, #1<br />
^Theses on art, 1970-72. (24x14.5 cm., offset, 18 p. Texts: Polish and English) <br />
/ Galeria Adres, ul. Piotrowska 86, Lódz. 1972<br />
^On directions in art. (A/4 sheet, typwritten, English, a lecture in the Galeria Aku- <br />
mulatory 2, ul. Zwierzyniecka 7, Poznan) 1973<br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 54 p.<br />
Kovács, Zsolt / L. Simon, László / Somogyi, Gyula / Sörés Zsolt,<br />
c/o Magyar Mühely, Pf.: 823 Budapest, H-1463 Hungary 1996<br />
^Magyar Mühely (new series) (Mag. for vis. poetry and exp. art. Also theoretical <br />
writings. 22x19 cm. offset, ~100 p. 1996-, qu., #101-) Magyar Mühely<br />
Alapítvány, Csalogány u. 3/c. Budapest, H-1027<br />
^#1, 2<br />
→ Nagy, Pál / Magyar Mühely, #1-100<br />
Kowalski, Jörg Edition Augenweide. Kirchberg 11 Dobis, D-06198 Germany 1996<br />
↑ Karl-Liebknecht Str 26 Halle, (GDR-4020 → D-06114) Germany 1986<br />
.............................................................................................................................................................<br />
Mein Zahn riesengroß. (The first edition of the Augenweide, «erotic dreams» by <br />
J. Kowalsky, U. Prautsch, H. Schubert, 29 silkscreen illustration<br />
by U. → Tarlatt + 4 photos by J. Franke) {80}, 48 p., 1987<br />
Des Kaisers Bart. (The «last German-German anthology» about emperor Friedrich <br />
Barbarossa and the German unity. Texts by F. Weyh, W. Bartsch, P.<br />
→ Huckauf, J. Kowalski, H. U. Prautsch, T. Böhme, &10 silkscreens<br />
by Frieder Heinze, K. Süß, U. → Tarlatt.) {150}, over size, 1990<br />
^wortBILD – Visuelle Poesie in der DDR. (Anth. with → Deisler, G.) 164 p. Leipzig <br />
Further → GDR Visual & Experimental Poetry<br />
^Para Guillermo - nuestro amigo (with U. → Warnke) Augenweide, Ed. N° 21<br />
(Orig. works by 58 artists devoted to their friend, G. → Deisler. The<br />
book looks like to a bound assembling publ. {60}. A/4, ~ 65 leaves)<br />
1995<br />
→ Augenweide, Edition (since 1987)<br />
~<br />
Literature:<br />
<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 321 p.<br />
Kozlowski, Jaroslaw, Matejki 68 m. 3a. Poznan Poland 1972<br />
First manifest of NET (supposed by artists and free authors organized in the polish<br />
«authors' galleries» ) (with → Kostolowski), 1971<br />
^A, B (Conceptual publ. – 15x30 cm. horz., offset, 36 p.) Edition «NET zpap ro <br />
poznantu». Kozlowski, Poznan. 1971<br />
^NET (with → Kostolowski) (Network manifest + address list like a magazine. The <br />
absolute first publication of the network rules at all from May 1972.<br />
A/4, typwritten with carbon paper + rubber stamp, 9 leaves. 1972, #1)<br />
^metaphysics. (A/4, offset, 4 p. / Image of lodgings, + text, English) Galeria → Fok- <br />
-sal, Warszawa. 1972<br />
^Language – Jezyk (Experimental lit. – A/4, mimeographic, 46 p. {150}) Exh. and
Publ.: Galeria → Foksal, 1972<br />
^DEKA-LOG. (24x10 cm., offset, 20 p. {200}) S. P. Poznan. 1972<br />
^«Reality» (The punctuation only from Immanual Kant's Kritik der reinen Vernunft,<br />
II/I/II/III. –cut Y/5, offset, 24 p.) S. P., Poznan. 1972<br />
^Grammar – Gramatyka. 23.5x17 cm., offset, 40 p.Text English only / Galeria Akumulatory,<br />
ul. Zwierzyniecka 7, Poznan. 1973<br />
^Physics. (A/4, offset, 8 p.) Galeria → Foksal, Warsawa. 1974<br />
°Lesson. (21.7x16 cm., offset, 100 p.) {400} Beau Geste Pr.,(→ Major) Devon, 1975<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 54 p.<br />
<br />
<br />
<br />
<br />
<br />
Krabbe, Peter<br />
→ Eins von Hundert<br />
«KRASH Verlag» Jülicher Str. 24 A Köln, D-50672 Germany 1991<br />
^Lit-goes art! Art goes lit! Krash Multiple Show. (Org.: Dietmar Pokoyski) <br />
Cat.: A/4, phc., 46 p. Exh.: Ultimate Academy, Köln (→ Pellini)<br />
(Y. Berbesz, R. Bergère, I. Broska, N. Flick, R. Jäger, B. Nislony,<br />
Parzival, P. Pellini, ro.ka.wi, M. Schany, E. Stahl, H-J. Tauchet,<br />
E. Tót, J. Zimmermann)<br />
Kretschmer, Hubert Sandbergerstr. 53. Darmstadt, D-6100 Germany 1988<br />
↑ Postfach 940246 Frankfurt-94, D-6000 - “ - 1982<br />
↑ Produzentengalerie. Adelgundenstr. München - “ - 1981<br />
.............................................................................................................................................................<br />
^Hubert Kretschmer (ed.): Materialien an der Fachhochschule Würzburg, 1981-82, <br />
German translation of the following texts: U. Carrión: Mail art and the<br />
big monster, P. Below: Mail Art, L. Spiegelman: Statement, G. Lloyd:<br />
Judit Hoffberg and the Umbrella, H. Zabala: Art is Prison. A/5, phc.,<br />
22 leaves. Würzburg, 1977.<br />
^Künstlerbücher. Cat.: I-II-III. / Produzentengalerie, Adelgundenstr., München,<br />
1979-80-81 {600}. All volumes in 21x23 cm, offset, 62 / 64 / 60 p. <br />
^konkrete visuelle und konzept. gedichte und anderes und ähnliches – 71 arbeiten.<br />
(Anth. A/5, offset, 156 p.) Isartopplan 3 / 1. München-2, 1979 <br />
^Das Buch als Kunstobjekt. (with Marie-Luise Schaller) Cat.: A/5, offset, 32 p. <br />
Exh.: at the Schweizerische Landesbibliothek, Bern. Organisations<br />
and second exh.: Produzentengallerie, München. July-August 1981<br />
Essay: Das Buch ist tot – es lebe das Buch by M-L. Schaller.<br />
^Instant Media / Instant, #16. (The Instant was an A/3 size offset mag. for exp. art, <br />
1978?-, qu.) Eds: F. Aumüller / T. Feicht, c/o TRUST, Wolfgangstr. 20,<br />
Frankfurt. The issue N° 16 became a special volume for the German<br />
graphzine scene and provided a usuable survey about the German alternative<br />
magazines in the 70s. and early 80s. Kretschmer published this<br />
issue as guest-editor.)<br />
«K-Roll» ? Caen France 1982<br />
°Junglemix. Cat.: A/4, phc., 6 p. / Nouveau Mixage. Caen, 1982<br />
<br />
Kropp, H. J. / Stein, P. ? Bingen Germany 1979<br />
Artfusion (Journal-object, partly hand made, in limited edition. 33x23 cm. [N° 1-2] <br />
and A/4 [° 3-6] offset + phc.? 1979-84, #1-6)<br />
~<br />
Literature: Instant Media (→ Kretschmer), N° 16<br />
Kudla, K. (Fan Club of Nurse with Wound) P. O. Box 161. Pilo, PL 64-920 Poland 1984<br />
Silly talk from behind the iron curtain (An illegal fanzine from Poland about
fanzines in Westen, partly reprints from them. A/5, phc., 20 p.<br />
1984-85? #1-2?)<br />
Kuipers, M. / Lelie, H / Mark, H.v.d.<br />
Kuipers, M. / Stratinghweg 32 Groningen Netherlands 1977<br />
Lelie, H. / 14 Albert Square London, S W 8. United Kingdom 1977<br />
Mark, H. v. d. / Langeniewsstraat 200 Tilburg Netherlands 1977<br />
.............................................................................................................................................................<br />
KLM (An international edited mag. for concepts, vis. poetry and art. A/4 size with <br />
assembling like parts {200}. 1977-, ~ y.)<br />
Kukowski, Stephan. c/o 18 Walmer Gadens London, W13 9TS United Kingdom 1973<br />
Blitzinformation. (An elusive and often humorous quuestion-answering service <br />
realized by type written / photocopied form letters. Favoured person<br />
of this correspondence project was „Klaos Oldanburg“. Statement:<br />
Art can arrive at your home for the price of two postage stamps.) 1973<br />
~<br />
Literataure: Stephan Kukowski: Blitzinformation. In: M. Crane / M. Stofflet (eds.) Correspondence<br />
Art. Contemporary Art Press (→ Loeffler). San Francisco, 1984. 269-270 p.<br />
Kum Nam Baik Dept. of Design, College of Art. Sungkyumkwan Univ. Seul Korea 2000<br />
kumnam@skku.ac.kr<br />
↑ Dept. of Arts, Sung Kyum Kwang Univ. 53. 3ga Myungryundong Chongrogu, Seoul-110<br />
.............................................................................................................................................................<br />
Mail Art organisation activity in South-Korea, since middle of the 1970s<br />
<br />
^The Great Harmony – FAX & Mail Art project for 2001. Inv., 2000<br />
FAX<br />
Kume, Lucio (!Sedicoes Seducoes!). C. P. 2828 A G Central São Paulo, BR-01051 Brasil 1989<br />
↑ r. Tijuca Paulista 137 / c. São Paulo, BR-02020 - “ - 1986<br />
.............................................................................................................................................................<br />
^1 Menos 1. 24.7x22 cm., offset, 14 p. {40 signed copies}. Ed. Omar Guedes, São <br />
Paulo, 1983<br />
^Zig-Zag Post / ZZ Post (Mail Art info zine in a very xeroxed look. 22x16.5 cm., <br />
phc. 1986-)<br />
^#2, #1983 Book.<br />
Kundzins, Maris ? Montreal Canada 1980<br />
^∀LARM. (A neworking / Neoist book – 28.3x11.3 cm., offset, 62 p.) Tokyo Publ. <br />
100 B Western Ave. National BLDG #316. Seattle. n.d. (~1980?)<br />
«Kunst ohne Grenzen» (Art without limits) (Junki Wehrmann, Walter Holzinger, Evelyn Doll & others)<br />
Kupkagasse 4 / 1. Wien, A-1080 Austria 1988<br />
^UM. Kunstzeitung (Mag. with exp. literature and xerography. Div. sizes, also A/4, <br />
phc. + collages. 1988?- squ., #1-8?)<br />
^#6<br />
Küstermann, Peter P. O. Box 2644 Minden D-4950 Germany 1986<br />
^Lyrische Collagen. (Anth. of poems and graphics) A/5, phc., 36 p. Exh.: at the <br />
Heimatmuseum Lippstadt (Germany), June 6 - July 18, 1982<br />
^Mit farbigen Worten. (Anth wit poems and drawings with Barbara Wehking) <br />
A/5, phc., 16 p. Café Treff, Berlin, July 2-7, 1982<br />
^A Visit to Britain, 1982: Writers Forum. Lyrical Collages 3. (Anth. of poems and <br />
images.) A/5, phc., 18 p. Minden. 1982<br />
^Casually Inspecting the World. Lyrical Collage 5. (Anth. of 8 artists, edited with <br />
Barbara Wehking) A/5, phc., 36 p. The artists: L. Maguire, P. Küstermann,<br />
K. Bibby, P. Ross, E. Hawkins, D. Jarvis, A. Basan, B. Wehking.<br />
BEC Poets' Book, N° 5. London, 1982.
^Kein Krieg in meiner Stadt. Cat.: 300 p. / Ed. Peter Rumpf. Bielefeld, 1983 <br />
^Tempo Mail Art. (A project of Friedhelm Küstermann, D-4780 Lippstadt, Germany, <br />
the father of the artist.) Cat.: Horz. 13.5x20.5 cm., phc., 52 leaves.<br />
Lyrische Collagen 11. 1984. ISSN 0721-9083.<br />
^Der große Bruder sieht dich. Mail Art against totalitarism. (Hommage à G. Orwell) <br />
Lyrische collagen 7. Cat.: A/5, phc. 152 p. {100} 1984<br />
Ein Berliner in Pariser (Commonpress #64) Spiral bound, 13x31 cm., phc., 104 p. <br />
Lyrische collagen 9, Minden, 1985<br />
^Mail Art Mekka Minden. Congress: September 19-29, 1986. Lyrische collagen 20. <br />
A/4, phc., 8p. ISSN 0721-9083<br />
Artistamps: Very large number of hand-made stamps in a free composition on ®<br />
pre-perfored sheets of 21 labels. Technic: rubber stamps, collage,<br />
drawing, writing, etc. with div. headlines as First International<br />
MA-Congress 1985/86, Erster dezentralisierter weltweier Mail<br />
Art Kongress 1986, The Congress takes place in First East Frisia,<br />
Mail Art from the Museums, etc. Since ~1985<br />
^Ost-Europa, Accrochage I. Diverse documentations: Poster in A/3 size, Press-echo <br />
in photocopied matter, Free (Mail) Art Exhibition Service in photocopied<br />
borchure, size A/4, 16 p. The artists:<br />
Pavel Adonic, Josef Slepicka (CSSR)<br />
Ryszard Grzyb, Roland Szefferski, Ryszard Wozniak (PL)<br />
Károly Halász, Géza <strong>Perneczky</strong> (H)<br />
Robert & Ruth Rehfeldt, Jürgen Schieferdecker, Lutz Wierszbowski<br />
(GDR)<br />
^Eine Reise der anderen Art. Kulturkanal: Brandenburg-Wolmirstedt – Hannover – <br />
Minden – Braunschweig – Holdensleben – Burg – Brandenburg.<br />
(Küsterman & others) Cat.: A/4, offset, ~100p. / Kulturzentrum BÜZ,<br />
Minden. Action: June 22-30, 1991<br />
^The Mailmen Angela Pähler & Peter Küstermann: Free Personal Deluxe Net Mail <br />
Delivery / Documentary Catalogue. (Maybe the last great surway on the<br />
Mail Art camp edited by insiders were visiting over 200 networkers allover<br />
the world and documented the meeting events during the year 1992.<br />
Large text and photo documentation, many inserts – also collage material<br />
– by the visited networkers and the editers. The book is completed by a<br />
chronological and an alphabetical index of names and addresses [ordered<br />
after countris], further by a list of quoted networking publications – ca.<br />
150 items. A/4, phc. completed by collages, rubber stamps, stickers, orig.<br />
photos and 2 artists postage stamp sheets in each copy, ~300 p. {500}.<br />
Copyprinted in Denmark, England, Germany and Tasmania. Minden,<br />
1992-1993<br />
^Mail Art Book. Lyrische Collagen / Bücher-Bilder-Mail Art (A/4, phc., 18 p.) S. P. <br />
~<br />
Literature: Judith A. →Hoffberg: Interview with Angela Pahler und Peter Küstermann. In:<br />
Umbrella, Vol 16, No 1, 1992. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998,<br />
the Anthology. Santa Monica, 1999. 112-119 p.<br />
→ Kamperelic: Net-Mail (Interview). In: N D, N° 17, 1993 (→ Plunkett), 53-55 p.<br />
(About the Free Personal Deluxe Net Mail Delivery... 1992-93 book): «Think you<br />
are the most active „tourists“ in the mail-art network. Somehow somone must<br />
publish „one big“ book about the year and about the congress including your<br />
complete and wonderful congress-turism diary, because it is a unique and gigantic<br />
networking project never done before.» (From a letter by Guy → Bleus quoted in<br />
the book self, 5 p.)<br />
Artist Profiles. Peter Küstermann & Angela Pahler. In: Artistamp News<br />
(→ Banana), Vol 5, #1, June. 1995. 5 p.
Vittore → Baroni: Peter Küstermann. In: Arte Postale. Guida al network della<br />
corrispondenza creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 182-183 p.<br />
Kusumoto, Misao ? Hyogo Japan 1982<br />
^Japan A. U. Mail Art Book. I. Cat.: A/4, offset, 199 p. 1982<br />
<br />
^Japan A. U. Mail Art Book II. Cat.: A/4, offset, 208 p. / Further → Shimamoto. 1983 <br />
Kutera, Romuald ? Wroclaw Poland 1976<br />
°Seminarium: Poezja Wizualna. (Brochure, 18 p.) / Galeria Sztuki. Wroclaw, 1976 <br />
«Kwiecien» (Student Club) → Kolasinski, G.<br />
Kwietkowski, Gerard / Blum, Jürgen. Laboratorium Sztuki Galeria. ul Linki 6. Elblag, Poland 1972<br />
^Notatnik Robotnika Sztuki (First xeroxed magazine in Poland gived informations<br />
about the Western art scene – original Polish surveys and translated texts.<br />
Cut A/4, phc., ~60 p. 1972-73, #1-5)<br />
^#2 (1972)<br />
Kwieitniewski, Andrzej, c/o → Lódz Kaliska Lódz Poland 1982<br />
Give me a dimension of your favorite... Doc. 1982<br />
Have you headaches? Doc. 1985<br />
Kynce, F / Spitman, E. ? Düsseldorf, D-4000 Germany 1974<br />
Schwarz auf Weiß (Mag. for the Czech avantgarde, each issue devoted to one or more <br />
artists, edited by Czech artists in Düsseldorf, Germany. A/4, offset,<br />
~100 p. 1974-80 #1-6)<br />
#1 F. Kynce; #2 S. Filko, M. Laky; #3 P. Stembera; #4 J. Kotik;<br />
#5 J. Kolár; #6 Czech artists from Western Europe<br />
« La Mirada, Festival of Arts» Community Services, 12900 Blufield Ave. La Mirada, CA 90638. USA 1983<br />
^It’s Grand Old – Mail Art Exhibition. Inv.-card, 1983<br />
<br />
^Summer Smiles, Summer Dreams. Cat.: Half-legal, phc., 8 p. June 1984<br />
<br />
^Life * Art * Celebrate! – 3 rd Annual Mail Art Exh. Inv.-card, 1985<br />
<br />
^Wishyouwerehere! – 4 th Annual Mail Art Exh. Inv.-card, 1986<br />
<br />
^Mailart = Freedom + Love (with Peggy L. Calvert) Doc. Half-legal, phc., 8 p. 198? <br />
« La Mirada, Biola University, Art Dept.» 13800 Biola Avenue, La Mirada, CA-90639 USA 1990<br />
^101. Int. Mail Art Show. (with Leslie → Caldera) Doc. 43x28 cm., one offset sheet <br />
(colour), November 1990<br />
^Searching for the Hidden - Mail Art Show. Inv.-letter, 1994<br />
<br />
<br />
Lacer, Ronald G. 12 Utica St. Lexington, MA-02173 USA 1988<br />
↑ 81 Park Dr. #3 Boston, MA-02215 - “ - 1985<br />
.............................................................................................................................................................<br />
^Euthanasia (Graphzine in punk/expressive styl, zine reviews. Letter size, the 1-2nd<br />
issues in phc., the 3-4th by offset, ~28 p. 1985-, y., #1-4?)<br />
^#4<br />
~<br />
Literature:<br />
«A lively punk graphix 'zine thats packed full of weird, eccentric, naive and<br />
otherwise oddball images from a variety of contributors. Also couple of pages<br />
devoted to tape/record reviews. Lacer, the editor, encourages submissions»<br />
(Stephen → Perkins: Magazines. In: Box of Water, N° 3, 1987)<br />
!Lady J.! 400 Windellwood Cr., Apt. 427, Smyrna, TN-37167 USA 1991<br />
^Quilt – send squares of 11 x 11! Inv.-letter, 1991
^New Quilt. Inv.-card, 1992<br />
^Christmas Memory – ornaments, photos, toys, tales... Inv.-card, 1992<br />
<br />
<br />
Lagautriere, Philippe c/o APAAR 54 rue de la Glaciere Paris, F-75013 France 198?<br />
^Ecole de Suicide (16x11 cm., offset, 48 p.) {100} APAAR, Paris. n.d. (1980s) <br />
Artistamps: ^1977-1987: Les 10 ans de la FM (Bloc of 8 id. stamps, blue & red <br />
print on white paper) Philippe Lagautriere (1987)<br />
^Mr. Aventure, 25 Mars 1987- 25 Juil 1988 (A/5, offset?, 8 p.) {50} Paris. 1988 <br />
Lagounaris, Astrid CP. 432 Succ. Victoria, Westmount, H3Z 2V8 Canada 1983<br />
Revue Numero (Paper + textile works in box of 31x23x5 cm., like assembling {34}, <br />
~10 pieces in one issue. 1983-, qu., #1-6?) Statement: «...C'est un livreobject<br />
réalisé en collectif... En general ils sont issus des ecoles d'art et<br />
ont une practique professionelle diversifée dans le champ de l'art...»<br />
Lamanova, Natalie (Lamana Wooma Post) → Moscow Artistamp Collection<br />
Lambert, Robert J. 7465 palo Vista Dr. Hollywood, CA-90046 USA 1975<br />
Egozin. Living art (Statement: «...presses itself to the mirror of life and strains to <br />
shape a performance...» With texts and photos. Letter. 1975-)<br />
Lambrecht, Karin ? Porto Alegre Brasil 1979<br />
°Multiplique, Mostre, Faça, Divulgue (Assembling in plastic cover, 34x22 cm., 29 <br />
parts. 1979) Porto Alegre BR, 1979<br />
Langautrièr, Philippe 183 bis av. Gambetta Maisons-Alfort, F-94700 France 1984<br />
^Tam-Tam (Partly hand coloured French graphzine. A/4 and A/5, phc. and offset, <br />
+ silkscreen pages, 24-40 p. 1984-, 4-5xy.)<br />
^#5<br />
Langenbacher, Dominik Gryphenhübeliweg 24. Bern CH- 3006 Switzerland 1995<br />
^The Face of the Network. (Art for Archives) Cat.: A/4, phc., 38 p. {73}<br />
FAX<br />
Exhibition: → PTT Museum, Bern. July 1995<br />
^FAX-WORLD-TOURISM. Project with 10 „meetings”, PTT Museum Bern, via FAX: FAX<br />
1) Fax World Tourism, Sep, 1995<br />
2) Fax World Tourism, Mar 1996<br />
3) Eurafrica, Apr, 1996<br />
4) Everything everywhere takes place, Apr-May, 1996<br />
5) Euroamerica, May, 1996<br />
6) Home sweet home, Nov, 1996<br />
7) Global Village, Feb, 1997<br />
8) Bella Italia, Apr, 1997<br />
9) Where are you spending your summer? Aug, 1997<br />
10) Fax World Safari, Apr, 1998<br />
Laporte, Christian Lot Duran N°3. Pouydesseaux, Roquefort, F-40120 France 1987<br />
↑ 4 ave. G. Bizet Mont de Marsan, F-40000 France 1984<br />
.............................................................................................................................................................<br />
^Avant=Futur (Graphzine with French poetry texts & images, A/4, phc., ~46 p. <br />
1983-88, #1-26)<br />
^#25, 26, MØ (Supplement).<br />
OZ-IT (Mail Art compilation by the works of the int. scene. Changed sizes: A/4, A/5, <br />
A/6, phc. 1984-85, #1-9, + one issue as #2½)<br />
^Poque Mahone (Thematic assembling {30}, ~25-30 leaves in a bag of A/5 size. <br />
1987-88? bim. #1-6?)<br />
^#6<br />
^Your Naked Feet. Inv.-flyer, 1989
^Original pictures from women feets. Inv.-flyer, 1991<br />
<br />
~<br />
Literature: (Avant=Futur) «A strong combination of text and images make up this the final<br />
issue of A-F. Edited by Christian Laporte, there is a definite erotic charge to this<br />
issue; I personally counted about 92 breasts and one erect penis, which makes me<br />
wonder why there seems to be more sexual imagery in French mags. than others?»<br />
(Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988)<br />
Lara, Mario 37899. 3rd Ave. San Diego, CA-92103 USA 1985<br />
↑ 4124, 37th St. San Diego, CA-92105 - “ - 1979<br />
.............................................................................................................................................................<br />
Artrat (Mag. + partly assembling with rubber stamps, graphism, Mail Art, visual <br />
poems, etc. Digest size, mixed techn. 1979-)<br />
°Work in Progress. Cat.: 11x14 cm., phc., 44 p. {60}. Artrat, 1979<br />
<br />
°Things to Think about in Space. (Commonpress #37) 18x22 cm., 256 p., 197 parti- <br />
cipants. San Diego, October 1980<br />
^Construct a Situation by: (5 phase sheet of letter size, folded + text + poster in a <br />
plastic cover of 24x16 cm., {100}.<br />
/Edition Pawn Shop, 660 Ninth Ave. San Diego, CA-92101, 1983<br />
Larsen, Lulu / Almonde / Chapiron, Chr. / Sigogneau, P. 2. impasse Lebouis, Paris, F-75014. France 1976<br />
^Bulletin-périodique (Graphic mag. with the works of the group → Bazooka. <br />
46x32 cm., offset / colour offset, ~12 p. 1976-, qu. #1-4?) Paris<br />
^#1, 2, 3, 4<br />
Lastname, Bradley 5240 S. Ingelside Ave. Chicago, IL-60615 USA 1990<br />
↑ 5228 S. Woodlawn Ave. Loft 3E. Chicago, IL-60615 - “ - 1986<br />
↑ 932 W. Oakdale Chicago, IL-60657 - “ - 1978<br />
.............................................................................................................................................................<br />
^Bile (Neo-dada magazine with an great influence by its wonderful image-collages,<br />
the most important product of the post-fluxus graphic scene. The issues<br />
are often signed but never dated or identified by a serial number – nobody<br />
has an accurat survey about the publishing history. «Shadow-picture»,<br />
«Portrait Lastname», «Chemistry», etc. issues, also an «transparent Bile»<br />
on transparent paper. Letter size, offset, ~10-16 p. 1978-82? sm.)<br />
^ 7 div. issues: #1981, #1982, Hadow Pict., Dada-strustra, Portrait Lastname,<br />
Chemistry, Transparent<br />
~<br />
Literature:<br />
<br />
«Bile is a hilarious 'zine from Chicago, published by the No Tickee/No Washee<br />
Enterprises and includes on each cover a flicker eye which obviously represents the<br />
Illuminati. At any rate, it is a suberb magazine – offset from a thousand different<br />
sources for $8.00 for one year...» (New Periodicals. In: Umbrella [→ Hoffberg].<br />
Vol.1, #6. 152 p. Glendale, 1978)<br />
«The recently revived pictorial, Life begat → General Idea's File, which begat<br />
Anna → Banana's Vile and now in turn Bile. All except the first are artists's<br />
publications informed by dadaistic collage and fueled mostly by a network of<br />
contributing mail artists. Lastname's Bile is perhaps the loosest yet. It appears<br />
monthly...» (Lightworks [→ Burch], New Art in Print, N° 11-12, Fall 1979, 60 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 65 p.<br />
Laszlo, Jean-Noël 369 Avenue Marcel Castié Toulon, F-83000 France 1995<br />
↑ 46 rue Castillon Toulon, F-83000 - “ - 1986<br />
.............................................................................................................................................................<br />
^Prison is made of the others. Inv.-card, 1986
^A Quartier of Century. Cat.: A=4, offset, 62 p. + poster / Musée de Salon de la <br />
Cran. Salon de Provence. May-June 1987<br />
^Le Bagne c'est lées autres. Cat.: A/4, offset 48 p. /Toulon, 1987<br />
<br />
^Hommage à Joseph Beuys. Cat.A/5, phc., 40 p. {500}/ France Telecom, 1988 <br />
/ Goethe Institut Marseille, 1989<br />
^T-shirt Art. Inv.-flyer, 1989<br />
<br />
^Timbre d'Artistes. Cat.: A/5, offset, 24 p. + postcards in portfolio. / ESPACE Peiresc, <br />
Rue Corneille, F-83000 Toulon. Association ART-TERRE. May 1990<br />
^Timbres d'artistes. Cat.: A/4, offset, 248 p. / → Musée de la Poste. Paris, 1994 <br />
^The Last Words. Inv.-letter, 1994<br />
<br />
^Mail Art / document pédagogique «Mail Art». Cat.: 22x17 cm., offset, 48 p. + <br />
32 slides. Texts by Michel Motré, Jean-Noël Laszlo, Vittore Baccelli,<br />
Marcel Alocco, Joël Hubaut, Hans Rudi Fricker, Charles François.<br />
C.R.D.P., 31 Blvd. a'Athènes, d'Aix-Marseilles, F-13001. June 1995<br />
^Mail Art Envelopes. Inv.-card, 1995<br />
<br />
^Ray dit mail-L'art... Doc. (15 Postcards + one A/4 text) Espace des arts, Chalon- <br />
sur-Saône F. December 1995<br />
Latitude 53, Edmonton. Sociaty of Artists, 10137, 104 th Street, Edmonton, T5J 0Z9 Canada 1979<br />
Residence of artists’ sociaty with exhibition room in which also Mail Art exhs. have been held<br />
(more about → Stake, Chuck).<br />
^Spontanous Compulsion. Inv. by a newer curator: Cindy Baker, 1998<br />
<br />
Leaman, Michael 12 Dublingstreet Edinburgh, EH1 3PP Scotland, UK 1990<br />
↑ Verlaggalerie Leaman, Aachenerstr. 12. Düsseldorf, D-4000 Germany 1975<br />
.............................................................................................................................................................<br />
^Reaktion (Assembling in looseleaf notebooks {1000}, A/4 matter, very var. technics, <br />
~30 leaves in one issue. An generous publ. of all kind of post-fluxus<br />
visuals collected from the action field between London and Düsseldorf.<br />
Statement: «A new periodical of the arts with a strong leaning towards<br />
visual arts and visual poetry.» 1975-, ~y. #1-7)<br />
^#1, 2, 3, 4<br />
^Zeitungskunst I-II. (Artists' magazines and news-objects, 45 + 93 exponats) <br />
Cats. A/5, phc. 12 p. / 12 p. with orig. photos. 1976 / 1978<br />
^George Brecht: Die Reise nach Amsterdam (with A. Kayser, M. Mölzer<br />
<br />
& A. Thomkins) 39x24,5 cm., offset publ. 2x48 leaves, {1000}, 1977<br />
^Stamp out Stamping (Hand made «news» {100} by rubber stamps only. Tabloid ® <br />
~<br />
Literature:<br />
size of 57x40 cm. 1978, #1)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 39-40, 77 p.<br />
Leblanc, Dominique 3 rue de Couples Strasbourg, F-6700 France 1981<br />
^Peltex / Model-Peltex (Graphics and Mail Art in an exprpessive style, also colour <br />
silkscreen images, and with very diff. edition in 45-1000-60-50-150-<br />
100-150-200-150-? copies. Various sizes, mostly A/4, #2 is a tabloid<br />
of A/3, the #7 in A/5 only. Offset or xerox technic, 1981-90, ~y., #1-10?)<br />
^#2, 3, 5,7, 8, 9<br />
Peltex N° 7: Mail-Art & Copy Art, 100 p. (Canbell, D. Moulinier, Josean, R. Maggi,<br />
G. Bleus, G. Barbot, J. Massa, L. Fierens, P. Aakoun, Ph. Billé, Han Psi,<br />
L. Spiegelman, Ryosuke Cohen, Shozo Shimamoto, G. Strada, O. Huttengrund,<br />
K-P. Fürstenau, P. Lenoir, L. Bellini, F. Duvivier, E. Crouvezier,<br />
D. Leblanc, Zaza, H. D. Esposito, Joselin, Placid, D. Depoutot, Krogold,<br />
B. Charpentier, Cripure, Gazolin, N. Zimmerlin)<br />
Peltex N° 8: Collection of 26 graphic booklets {80-200} in a size of A/6 with colour<br />
silkscreen cover, issues in alphabetical order:<br />
A: Eric Adenot / Arnold Australian; B: Antoine Bernhart; C: Bruno
Charpentier / Joseph Carne; D: Guillaume Decaux / Daniel Depoutot /<br />
Francis Desvois; E: (planned); F: Guy Ferdinande / Françoise Favretto;<br />
G: (planned); H: Julie Doucet; I: Infrarot (D. Herrmann); K: Krabs /<br />
Krogold; L: D. Leblanc (planned); M: Christoph Massé / Harry Morgan;<br />
N: Nice Cutter (M. Jeantieu, planned); O: (planned); P: Placid / Philippe<br />
Pissier / Kris Petou; Q: (planned); R: Roxette / Isabelle Renucci;<br />
S: Schwoerer, Alain; T: Thierry Tillier, / Jérôme Tham; U: (planned);<br />
V: Anne Vanderlinden / Robert Varlez; W: Willem / Eric Watier;<br />
X: Collective issue, entitled «Classé X»; Y: Y5 P5 / Lombardie;<br />
Z: Zaza / D. Leblanc (planned)<br />
^La Langouste (Infomag. A/4, phc., 4-6 p. 1987-, m., ~ 30#)<br />
^#8, 9, 10, 11, 12, 13, 14, 15, 19<br />
^La Langouste, N° 1-19 also as reprint with supplements in: Peltex N°9, A/4, 100 p.<br />
~<br />
Source:<br />
~<br />
Literature:<br />
<br />
<br />
^Catalogue Model Peltex, N° 5, 1990 (Featuring of the Peltex magazine issues,<br />
postage cards and other prods., distribution lists. A/5, 16 p.)<br />
(La Langouste): «When you go into a restaurant and order „une langouste“, you<br />
receive some delicious sea-food, but when you order „La Langouste“ c/o Model<br />
Peltex, at Strasbourg, you receive an interesting newspaper full of good ideas,<br />
opinions about different fanzines, more especially in France. They're interested<br />
about mail-art, too, and you can find some news about different projects in the<br />
world. Ask for „La Langouste“, their sea-food is very refreshing.<br />
(And what about publications? In: Métro Riquet [→ Duvivier], #1. Paris, 1988. n.p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 146 p.<br />
Leblanc, Steve & others, PMS Cafe Press. 107 Brighton Ave. Allston, MA-02134 USA 1990<br />
^Version 90 (Review mag. with theoretical texts about the art + alternative art scene.<br />
19.5x17.5 cm., offset, ~160 p. 1990-, y?, 1-5#?)<br />
^#1<br />
Lechner, Ute & Thurner, Hans Marktplatz 20. Landertsham & Neubeuern, D-83115 Germany 1983<br />
^Kennkarte Mail-Art. Book-project by form cards sent out to the participants. 1983. <br />
Book: Horz. 21x31 cm., offset, 54 p., spiral bound. 500 copies<br />
^Mail Art '83. Cat.: A/4, offset, 70 p. {500} Exh.: at the Galerie im Ganserhaus. <br />
Arbeitskreis 68. Künstlergemeinschaft. Wasserburg/Inn, D-83512.<br />
Nov 19 - Dec 11, 1983<br />
<br />
LeClair, Ishvani (!Radio Free Dada!) 2 St. Est #607. Santa Rosa, CA-95404 USA 1986<br />
↑ 850 A Ware Ave. Santa Rosa, CA-95404 - “ - 1982<br />
↑ 86 FM, Piner Rd. Santa Rosa, CA-95401 - “ - 1981<br />
↑ 1107 E. 1st. St. N-C-, Ca-92050 - “ - 1978<br />
.............................................................................................................................................................<br />
^Joker. Radio Free Dada's First Mail Project. Inv.: «Remove the Joker from any <br />
of cards you have and mail them to Radio Free Dada...» 1981-83<br />
^Inner Vision. Inv. (Archetyped visions, dreams, and psychelelic hallucinations...) <br />
1983<br />
Lefebvre, J. P. 18 Emptinal Emptinne, B-5363 Belgium 1978<br />
Amere•tune (very visual alternative mag. A/5, phc. 1978-, qu.?)<br />
<br />
Lefebvre, Pier 3506 St-Dominique Montreal, H2X 2X4 Canada 1989<br />
↑ 4484 Coloniale Ave. Montreal, H2W 2C7 - “ - 1988<br />
↑ P. O. Box 109, Station C. Montreal, H2L 4J9 - “ - 1986<br />
↑ P. O. Box 41, Station K. Montreal, H1N 3K9 - “ - 1986
.............................................................................................................................................................<br />
^Stamp + Axe (Allround mag. with a visual nature, also assembling issues + audio ® <br />
cassettes. Letter and digest sizes by phc., offset or partly silkscreen<br />
print, also rubber stamp interventions, 50-80 p. At the begin of the 90s<br />
more issues with book-object character. 1986-, squ., altogether #1-12?)<br />
^# Vol.3/1; Vol.4/1; Vol.5/1<br />
~<br />
Literature:<br />
(Stamp Axe Gra-Fix): «A fine and carefully put together packet thet consists of two<br />
parts. 1) A xerox booklet (104 pgs) with a lot of good quality work from 33<br />
contributors. 2) A more personalised envelope full of sundry items that have been<br />
combined altered and collected fromvarious different sources by the editors, Robert<br />
Vigneault & Pier Lefebvre. Inquire about getting one! (Stephen → Perkins: Magazines.<br />
In: Box of Water, N° 3, 1987)<br />
«“Talk and Show“ is a theme in this chatty, positively-energized anthology. Its silkscreened,<br />
rubberstamped and mostly xeroxed pages present a comforotable gathering<br />
point for all sorts of mail art and notations of projects. It's loaded with contacts<br />
and leads and new directions and imagery and this issue includes a color xerox...»<br />
(Lightworks [→ Burch], Glimmerings [Print review], N°19, Winter 1988-89, 48 p.)<br />
«My feeling is that working in this rather semidada mode is highly valid for this<br />
time we occupy & rather than seeing it as a almost nostalgic renaissance of sorts, I<br />
see this tendency as the logical development of the dada movement itself. The<br />
magazine is almost entirely visual (with a few good texts thrown in, too) and the<br />
work is culled from that network of which Pier Lfbr is the center.« ( Lloyd →Dunn:<br />
Mail Review. In: PhotoStatic. N° 28, Jan. 1988, 962 p.)<br />
Legrottaglie, Franco ? Vito dei Normanni Italy 1982<br />
°The Mythical Images. Cat.: 24x17 cm., offset, 24 p. 367 parts. 1982<br />
<br />
Lehmus, Jukka Patent Logos. Stenbocksv. 24. / Noux Esbo, SF-02860 Finland 1995<br />
↑ P. O. Box 8 Kuopio, SF-70151 - “ - 1993<br />
.............................................................................................................................................................<br />
^Aquaflora – submit 40 copies for the Cyanobacteria International! Inv.-flyer, 1993 <br />
^CYANOBACTERIA, conceptual / visual poetry project (Correspondence doc.) <br />
^Cancer.com – the Computer as environmental disease... Inv.-flyer, 1993 <br />
^Lemma pistia / Fractured projections of a Gyrovague Experiment (Mag. ballancing <br />
between Mail Art practice and esoteryc concepts. {100} Cut A/5, offset,<br />
62 p. 1993-, #1 only?)<br />
^Brio Cell (Portfolio assembling with vis. poetry matter like the Cynobacteria project <br />
{20} A/4, ~20 leaves, 1994-, #1=Brio Cell Concrete Body)<br />
^Glossolalia (Mag. for experimental literature, known the online version, also as <br />
ASCII file, 1995? -, ~#1-10, ir.)<br />
# 3-10 (printed from ASCII vers.)<br />
Leigh, Michael & Jones, Hazel. A 1. Waste Paper Comp. Ltd.<br />
33 Shipbrook Road - Rudheath. Northwich - Cheshire, CW9 7EX, United Kingdom 1998<br />
↑ 71. Lambeth Walk (M. Leigh) London SE 11, - “ - 1980<br />
.............................................................................................................................................................<br />
Artistamps mostly by rubber stamps – a very large collection of diverse prints in the ®<br />
1980s, not perforated but with perforation patterns as frame.<br />
^Peace in the World or the World in pieces. Cat.: A/4, phc., 12 p. 1984<br />
<br />
^Curious Thing (Partly handmade mini booklets like mag. Photocopy, rubber stamps, ®<br />
issues not dated, not numbered {200}. A/6. ~8 p. 1985?-, ir. #1-8) 1985<br />
^#?, Art Strike issue<br />
^Rubber Stamp Exchange. Ongoing Mail Art project. Cat.: A/4 booklet with 15 leaves ®<br />
with original rubber prints +1 sheet for participant list. Supplement:
4 original rubbers to stamp. A1 Waste Paper Co Ltd., London. 1986<br />
^Thematic Compilation Tape Exchange – pudding songs, train songs, etc. Inv. n.d. <br />
^Pulling Face. Inv.-letter, 1986<br />
<br />
^Duplicat Documents. (A series of 10x8 cm. ~16 p. publs. with collage, rubbers, etc.) <br />
^#12 (1988)<br />
^Michael Scott – 1935-1988, in memoriam Inv.-letter, 1988<br />
<br />
Weirdorama. A festive side-show of curious objects, gadgets, gew-gaws, mail art, <br />
collage and rubber stamps. Cat.: 12 p. Walsall Museum, Walsall, 1994<br />
^Hand shaped postcards exchange – no envelope! Inv.-flyer, ~1995<br />
<br />
Artistamps: ^Recycled (Sheet of 30 id. rubber stamped artistamp images /bicycle, ®<br />
indigo colour on rose paper, not perforated) n.d. (1988?)<br />
^A.1. MAIL (Sheet of 28 id. stamp images/globe, indigo colour) n.d.<br />
^Michael Scott 1934..1988 (Sheet of 15 id. stamp images/text, indigo<br />
colour) 1988<br />
~<br />
Literature:<br />
Welcome to the Wonderful World of Rubberstamps. (An interview with Michael<br />
Leigh) In: Métro Riquet (→ Duvivier), #8. Paris, 1990. n.p.<br />
«CuriosThing has been my main published work with issues of 200 copies, signed,<br />
numbered and rubber stamped coming out every few months on an irregular basis.<br />
Just lately I have been collaborating with other people who have a similar sense of<br />
humour and they have been called Curios Radio (with → Roger Radio), Curios<br />
Snail (with Snail Art Co.), and The Pipe Flange & Nipple Sentinel (with A Classic<br />
Pair). Other booklets have gone by various names including U-Mak-It Inventors<br />
Manual and Do Wonders Inventors Manual. Around the end of each year I also<br />
make a Christmas Catalogue which is a spoof on all those awful yuppie gift catalogues<br />
that proliferate at that time.»<br />
(Editor's Statement. In: Stephen → Perkins: International Zine Show, 1992, 4 p.)<br />
«...to ask you what your „firm“ A1 Waste Paper Co. Ltd. is all about...<br />
Well, it was soon after I had chanched upon the mail art network in 1980 at<br />
the Artlink International exhibition at the Greenwich Theatre Gallery in London<br />
that I decided I too could have a weird and wonderful nom de plume that many of<br />
my fellow mail artists had contrived for themselves. Also it would be nice to have a<br />
name other than my own attach all my mail art to so as to distinguist it from the<br />
other art I was doing at that time (Landscapes and animals in oil on canvas). I forget<br />
just how many names I'd thought up at the beginning but two I remember were Art<br />
Aches Repository and the Bad Art Delivery Service. Both remeined on the back<br />
burner until I chanched upon a couple of battered rubber stamps at a flea market in<br />
London's East End – both were the address stamps for a defunct recycling firm<br />
called the A. 1. Waste Paper Company Ltd. I couldn't belive my luck – just the<br />
name I had been looking for! Not only did it sound good but could also be<br />
shortened to A. 1. and covered all aspects of the recycling ethic I had seen as a key<br />
element in the future. (...)<br />
I think most sensible people realize that RECYCLING in everyday life is<br />
very important... In art too this has become more and more important – not only<br />
from an ecological point of view but as a way of saving valuable time and money.<br />
My „archive“ consists mainly of dozens of cardboard boxes from the supermarket<br />
which are stuffed full of old mail in no particular order or design. (...)<br />
Mail is just as relaxing and therapeutic I think as sleeping, but unlike sleep I<br />
have something to show for it at the end of the day! We just had a 2 days mail strike<br />
here in London and I realized how much I missed the post when it didn't arrive –<br />
I started to get withdrawal symptons! Yes, Mail Art is a drug! (...)<br />
I like anything to do with postage stamps and rubber stamps. So it seemed<br />
natural for me to combine the two. They are quick to apply to envelopes and one<br />
can knock out sheets for projects and such like quite easily without having to spend<br />
ages fidding around with a xerox machine. Also you can use those tiny collage
elements that don't fit into any other format. I seem to collect hundreds of these and<br />
so that 's why I have so many design for rubber-stamps and postage stamps that<br />
have as yet to be turned into rubber dies...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Michael Leigh. A/5, 12 p. TAM<br />
Publs.: TAM-950065. Tilburg, 1994)<br />
John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 32-33, 116-117 p.<br />
Lelie, Herman C. 1 / klm 23. Marylands Rd. London, W9 2 DN United Kingd. 1988<br />
^Part Time. (11x11 cm, rubber stamps, 6 p. in envelope) 1984<br />
® <br />
→ Kuipers, K. / KLM<br />
Lengyel, András Derék u. 14. Budapest, H-1016 Hungary 1996<br />
^Cloud Museum (Mail Art project and large correspondence material with div. ® <br />
rubber stamps and postage stamps) 1982<br />
^Triangulum / Postcards. Doc. / Stúdió Galéria, Bajcsy Zs. u., Budapest, 1982 <br />
^Natur-Geometry-Esoteric. Mail Art Pr. with small doc. / Mini Gal., Budapest, '82 <br />
Lenoir, Pascal (Mani Art) 11 ruelle de Champagne Grandfresnoy, F-60680 France 1992<br />
↑ 37 rue de Chevrierès Grandfresnoy, F-60680 - “ - 1989<br />
↑ 1. rue G. Petit Andeville, F-60570 - “ - 1985<br />
......................................................................................................................................................<br />
^Mani Text / Speed Text (Early forms of Mani Art {30}, A/5, phc. 1980-1984) <br />
Speed Text (graphzin without text, A/5, phc. 1980-84, + 87, #1-10)<br />
<br />
^Clichiés – Dessins et Collages. Horz. 10.5x11.5 cm., phc., 38 leaves. {50 numbered <br />
copies} Édition Speed text, 1983<br />
^Mani Art (One of the best known Mail Art publ. from France, texts English. At <br />
the starting as an A/5 xeroxed zine, later unbound A/5 size assembling<br />
in envelope {60-100}. 1984-, squ., over 120#...!)<br />
^#1-2, 4, 6, 8, 9, 10, 15, 14, 17, 25, 27, 32, 33, 45, 46, 47, 48, 67, 68,<br />
69, 70<br />
^Mani Art Mail Art. Doc. Poster of 60x42 cm., phc., + rubber stamps. Dec. 1985 ® <br />
^Ready Mail (One page Mail Art infomag, A/4 and A/5, phc. 1985?-, #1-20?) <br />
^I Am a XX. Century Artist! Cat.: A/5, phc., 16 p. in: Mani Art #8, Febr. 1986 <br />
^The Secret Life of Marcel Duchamp. (Endless project from 1990) Many docs. <br />
N°1=10 A/5 sheets, phc., in cover {120}<br />
^Rrose Sélavy – send material for the next issue of Mani Art. Inv.: A&5 form, 1992 <br />
^Rose / Eros. Inv.-flyer, n.d. ~1992<br />
<br />
^Marcel Duchamp 1889-1987 / 1997. Inv.-flyer on envelope, 1997<br />
~<br />
Literature:<br />
(Mani Art): «Assembled prolifically... these issues combine interesting stuff from<br />
an international roster of contributors. My personal favorite is the issue devoted to<br />
M. Duchamp's 100th birthday. This issue is focused and has a very definite point<br />
to it, something one could fault many compilation magazines for not having.»<br />
(Stephen → Perkins: Compilations. In: Box of Water, N° 4, 1988)<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 349 p.<br />
«Leopold Bloom» (Abajkovics Péter, Bartók Balázs, Bonyhádi Károly, Dallos László, Székely Ákos & others)<br />
Leopold Bloom. PF. 297 Szombathely, H-97001 Hungary 1996<br />
↑ Leopold Bloom, Váci M. u. 4. I. 8., Szombathely, H-9700. - “ - 1995<br />
.............................................................................................................................................................<br />
^Leopold Bloom (A/5 size assembling {75} in portfolio with very good collected vis. <br />
poetry and graphic materials from the int. field, ~30 leaves in one publ.<br />
Thematic issues e.g.: «XY», «End station», «Negative», «Turkish bath /
~<br />
Literature:<br />
Mill-lake» etc., issues publshed also after the year 2000! 1995-, squ. ~20#)<br />
^#1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20<br />
«Our periodical has been named after the hero of Ulysses, James Joyce's famous<br />
bestseller, whose grandfather-according to the book was citizen of Szombathely<br />
(Hungary). Our journal grew out of the spiritual life of this city, and wants to<br />
incorporate into the universality represented almost mythologycally by Joyce's<br />
name... Only our authors and sponsors, who represent the central or marginal<br />
workshops, publishers and professionals of experimental poetry, can obtain a copy.<br />
Our periodical is also an experiment to investigate if there is still existing actual<br />
exchange between artists and thinkers as intellectual honorarium and relation. The<br />
publication is a festive occasion, when the collected material will be presented in<br />
the form of an exhibition or an author's night and will be available to the public as<br />
well. Anyway one issue each year will be dedicated to 16th June and published on<br />
Bloomsday in Szombathely...»<br />
(Leopold Bloom, Editor's Statement. In: Stephen → Perkins: Assembling Magazines.<br />
International Networking Collaborations. Cat.: Half-legal, phc., 64 p.<br />
Subspace, Iowa City. 1996 / Print: 1997. 25 p.)<br />
Léopold, Pierre (?) c/o Edition Dao Badao Lausanne, CH Shwitzerland 1984<br />
^Timbres pour le Karenni. (Curious para-philatelic publications about the young state <br />
„Karenni“. The postage stamps have been made by mail artists on the<br />
way of a Mail Art project. Mail Art invitations also by Jean-Marc<br />
→ Rastorfer) Two publications:<br />
1) Karenni: des artistes et des timbres. (200 mail artists create postage<br />
stamps.) Ed. Dao Badao, Lausanne. A/5, colour phc. for the artists'<br />
stamps, 44 p. 1990<br />
2) Pierre Léopold: Karenni and the World. From Missionaries to Mail Art.<br />
Ed. Ilis Day. Ministry of Post and Mail Art, Karenni. A/5, colour phc.<br />
40 p. 1996<br />
Leroy-Cruce Slotsgade 25, Haderslev, DK-6100 Danemark 1984<br />
^Frygten Skaber et Bgraenset Paradies. (Photocollages) Self edition, A/5, offset, <br />
8 p. 1984<br />
^Provinsens, Gyldne, Palmer. (Drawings) Self ed. 19.5x14 cm., offset, 32 p. 1984 <br />
^Emotions. (Drawings) Self. ed. 21x14,5 cm., phc (by blue colour), 32 p. 1985 <br />
Lévai, Jenö Rudanszky u 12/b Budapest, H-1182 Hungary 1986<br />
→ Xertox<br />
Levi, Lea Studio Levi, ? Madrid Spain 1977<br />
°Mail Art Exh. Inv. / Atelier Bonanova . 1977<br />
<br />
Lévy, Olivier 32 rue des Martyrs Paris, F-75009 France 1980<br />
Palpable (Graphzine with handmade interventions and with special themes such as ® <br />
television, horse, etc. A/5, phc. + rubber stamps and photos. 1980?-, ~y.)<br />
~<br />
Literature: Ljmite (→ Billé), N°28<br />
«Liget-Galéria»<br />
→ Várnagy, Tibor<br />
Linden, Ann van der & Costes 1 rue P. et A. Fumouze L'Ile Saint Denis, F-93450 France 1990<br />
↑ 13 rue de la Pierre Levée Paris, F-75011 - “ - 1986<br />
.............................................................................................................................................................<br />
^La Vache Bigarrée (Voluminous manufactured magazine with a lot of handwritten <br />
text pages and any drawings or impressive «hairy» scribblings, too.<br />
An example of the teenager [?] underground {30}. A/4, colour mimeo-
~<br />
Literature:<br />
graphy, ~50 p. 1986-90?, 2-3xy., #1-9?)<br />
^#3, 4, 5, 6<br />
(La Vache Bigarrée, #9): «Nothing can stop guys who want print themselves their<br />
work. La Vache Bigarrée is a printed 'zine with a duplicating machine (alcohol<br />
stencil) and features a lot of people in the network and the French and independent<br />
scene as Costes, Il Zozo (Frank → Garcia), F. Poincelet, and many others. La<br />
Vache Bigarrée is another kind of artist book, not clean, not conceptual, but mostly<br />
untidy childish and mischievous.»<br />
(Publication Reviews. In: Métro Riquet [→ Duvivier], #8. Paris, 1990. n. p.)<br />
!Lion Lazer!<br />
→ Pilon, Raymond<br />
Lipinsky, Georg (“Edgar”) An der Heide, 28 Uelzen, D-3110 Germany 1987<br />
Edgar postcards (ongoing project for intervening and completing postcards sent out) <br />
^A look in the mirror – reflections. Inv.-flyer with a form-sheet, 1987<br />
<br />
^Gnomes – Zwerge. Inv.-letter, 1993<br />
<br />
^Das Goldene Schiff, Uelzen 1995. Cat.: in: Allgemeine Zeitung Uelzen, 10. 6. 95. <br />
+ an offset suppl. booklet (by → Mittendorf): 26.5x20.5 cm., 88 p. 1995<br />
^Dada lebt! Inv.-letter, exhibition at the K. Schwitters Gymnasium, Hannover, 1997 <br />
Lipman, Joel 32 Scott House, University of Toledo Toledo, OH-43606 USA 1989<br />
Poemvelope-action (Rubberstamped envelopes as visual poetry), 1980s<br />
® <br />
^Reprint, Original, Reprint. (Xerographical work. Digest, phc., 12 p.) → Xexoxial,'84 <br />
11x30 (Mag. 30x11“ / 112x76 cm. size, offset, 1 p. 1989- ) «Poetry, Fiction, Articles, <br />
Literary News & Gossip» (from the statement) «An orderly graphic<br />
approach and good production pull it all together. Hang this on your<br />
wall» (Lloyd → Dunn: PhotoStatic, N°37, 1393 p.)<br />
Lisboa, Unhandeijara rua Senador João Lira 777. João Pessoa Paraiba, BR-58000, Brasil 1978<br />
^Karimbada. Arte en Carimbo – Tenkoku – Rubber Stamp (Maybe the only rubber ® <br />
assembling in the history of the Mail Art {150}. ~20 rubber stamped<br />
leaves in an envelope of 25x17,5 or 28x20 cm. size. 1978-79, #1-3?)<br />
^#1, 2, 3<br />
°Furo. Bookwork with cut and perforated pages, alu paper. 19.5x17.5 cm., 120 p. <br />
Villa 777. Paraiba, 1979<br />
°Book Xerox. Exercicios. 21x16 cm., phc., 14 p., spiral bound. {21}. Recife, 1981 <br />
Lista, Giovanni ? Paris France 1979<br />
°L'art postal futuriste. (24.5x18.5 cm., offset colour, 78 p.) J. M. Place, Paris, 1979 <br />
Liuzzi, Oronzo Via Mercato 20, Corato (BA) I-70033 Italy 1985<br />
↑ Via Notar Domenico 34 Corato (BA) I-70033 - “ - 1983<br />
...........................................................................................................................................................<br />
^Chiusuralampo. (Concrete poetry) S.E. 19.5x15 cm., hand written pages?, 4 leaves, <br />
180 signed and numbered copies.<br />
^Quattro poesie. (Experimental poetry) S.E. 21.7x10.5 cm., phc., accordion (3x), 1985 <br />
^Scrittogrammi. (Concrete poetry) S.E. 21.7x10.5 cm., phc., accordion (4x), 1985 <br />
Lloyd, Ginny Lloyd Prods. / Ed. Gina Lotta Post P. O. Box 1343, San Francisco, CA-94101, USA 1980<br />
°Copy Art Exhibition. Cat.: Letter, phc., 56 p. with plastic cover. {300} 16 orig. pho- <br />
tocopies, among them 6 pages by colour xerox (S. Lust, M. Lara, Buster<br />
Cleveland). Introduction by G. Lloyd, biographical notes. Exhibition in<br />
The Carbon Alternative, La Mamelle (→ Loeffler), June 12 - July 18.<br />
San Francisco, 1980<br />
°A day at the races. Digest, phc., 14 p. {123}. Lloyd Prods. San Francisco, 1980 <br />
^The Monthly (News) / (Mag. Letter, offset, ~30 p. 1980- #1-4) Fem. mail art
^#1, 2, 3, 4<br />
Project React. Exhibition and publication at the Kunoldstr. 34, Kassel D, → Olbrich. <br />
Photocopied A/5 booklet, 16 p., with the reactions of the visitors to the<br />
exhibited 25 selfportrait images of the author. {60} Edition Artspace<br />
Kunoldstr. 34. Kassel. October 2 - 28, 1981<br />
^Blitzkunst. 54 Künstler von heute portraitiert und befragt (A/4, offset, 128 p.) <br />
Ed. Kretschmer& Großmann, Frankfurt, 1983<br />
^The STOREFRONT / a living art project December through November. <br />
(12 shows in 1982-83. Letter, offset, 36 p. {500}) Lloyd Prods., 1984<br />
^Inter Dada '84. Letter size offset print brochure, 8 p. (first one perforated) + colour <br />
offset poster of 58x43 cm. Essays:<br />
Terrence McMahon: Insufficient Dada,<br />
Ginny Lloyd: Who needs the MX when there's INTERDADA?<br />
Eited by → Lloyd Prods. / The Fault Press, San Francisco, 1984<br />
^Gina Lotta Post. (Book publ. of artistamps, photos, rubber stamps. 20.7x15.2 cm., ®<br />
colour offset on the basic of colour computer prints and collages,<br />
16 p.) Lloyd Prods. San Francisco, 1986<br />
^Gina Lotta Post (4 postcards, each a block of 4 stamp images, colour offset after <br />
computer printed or collaged originals, perforations as print only)<br />
From the book Gina Lotta Post, 1986 Ginny Lloyd: Self Portrait Issue<br />
/ Utterly Reveling Photos / Legs and Lips Issue / Erotic Rubbers Issue<br />
Artistamps: Gravitonics Stamps 1. (Sheet of diff. stamps, colour phc.) 1982 <br />
Gravitonics Stamps 2. Marilyn Issue (Sheet of diff. stamps / Marilyn's<br />
portrait computer animated, colour phc.) 1982<br />
^Cooperation (With G. →Galántai. Sheet of 35 diff. stamps, colour<br />
xerox) Printed in Hungary © 1982 G. Galántai Ginny Lloyd<br />
^Budapest Issue (With G. → Galántai. Sheet of 25 diff. stamps, colour<br />
xerox) © 1982 G. Galántai Ginny Lloyd<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 130 p.<br />
(The Storefront): «...this is a „living art project“ documenting the editor's living /<br />
studio / gallery space in San Francisco's South of Markekt area from December<br />
1982 to November 1983. The activities at the Storefront included an exhibition of<br />
artist postage stamps, a performance with Lloyd and Anna → Banana, a mail art<br />
exhibition, performanec by → Gaglione and Rockola, an exhibition by Eva Lake,<br />
a „blood campaign“ by Monty“ István → Kántor“ Cantsin, a Rubber Stamp Footprints<br />
performance by Gaglione, and a display of paintings by Buster → Cleveland.<br />
Nicely documented with an inventive graphic and text layout. Llyoyd's activities<br />
with the Storefront closely paralleled New York's East Village gellery scene of the<br />
early eighties.» (John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated<br />
Bibliography of Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery<br />
[→ Gaglione]. San Francisco, 1997)<br />
The Monthly will be including articles of relevance to the issue fe-mail artists face.<br />
These articles and information will not be restricted to women contributors only,<br />
but The Monthly will restrict itself to reproducing those images submitted by<br />
women. (Ginny Lloyd: The Monthly, Vol. 2, N°1)<br />
Ginny Lloyd: The Mail Art Community in Europe: a Firsthand View. (Concerning<br />
a three months long Europe tour in 1981, she met among others Ulises Carrión and<br />
Aart van Barnevel in Amsterdam, Rod Summers and Tom Winter in Maastricht,<br />
Jürgen Olbricht in Kassel, Ruth and Robert Rehfeldt in Berlin, Angelica Schmidt in<br />
Stuttgart, Michel Giroud in Paris, Vittore Baroni, Emilio Morandi and Cavellini in<br />
Italy, Pavel Petasz in Poland, Johan van Geluwe and Guy Schraenen in Belgium)<br />
In: Umbrella [→ Hoffberg]. Vol. 5, #1-5 p. 1982
Ginny Llyod: Copy Art. In: Art/Communication. Vol. 4, #4. San Francisco, 1982<br />
(Gina Lotta Post): «A collection of Ginny's stamp-related art, printed multi-color<br />
with plenty of flash and day-glo. Her postal-type issues relate to various of her other<br />
projects, the artist's rocket launch in '84, and inter-dada festivals as well as a computer-drawn<br />
Marilyn and „Erotic Rubbers“ commemorative. Fun, fun, fun.»<br />
(Lightworks [→ Burch], Glimmerings [Print review], N°18, Winter 1986-87, 49 p.)<br />
Gina Lotta Post. In: Umbrella [→ Hoffberg]. Vol. 9, #2. 34 p. 1986)<br />
Llys Dana Mail Art<br />
(A co-operative circle of mail artists & their publications living wide spread in France, Belgium<br />
and Germany):<br />
!Astarté! = → ?<br />
!Horus! = → Mounier, Patrick – Beaugency / Aureille, France<br />
!Pégase! = → ?<br />
!Râ! = → Juin, Jaques – Syke / Riede / Bremen / Gorxheimertal, Germany<br />
Tillier, Thierry = → Tillier, Charleroi, Belgium<br />
~<br />
Seurce: ^Llys Dana Mail Art. Cat.: / Book, 19.5x20.5 cm., offset, 72 p. Texts: French /<br />
German. This anonym published anthology is the only seurce book for this artist<br />
group. Published on the account of an exhibition? Bremen, n.d. (~1975)<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 66-67 p.<br />
Löbach, Bern (Hinweiser) (Designbuchverlag) Nordstr. 31. Cremlingen, D-38162 Germany 1994<br />
^Umwelterkenntnisse. (21x22 cm., offset, 160 p., horz. size) Buche Verlag, <br />
Bielefeld, 1972<br />
^Umweltkritische Kunst. =Das Museum für Wegwerfkultur auf Reisen). S. E. <br />
20x21.5 cm., offset, 72 p. Cremlingen-Weddel, 1985<br />
^Original Body-Prints. Inv.-letter, 1985<br />
<br />
International Artists' Postage Stamps Exhibition Weddel 1985. Essay (Bern Löbach): <br />
Briefmarken als Medium für bildnerische Aussagen von Künstlern.<br />
20x15 cm., photocopy, 240 leaves (all artists with 1-1- page artists'<br />
stamp works). Designbuchverlag, Cremlingen, 1985.<br />
The artists:<br />
M. Acosta (USA), H. Alvesen (D), V. Anding (D), L. Asche (USA),<br />
V. Baccelli (I), A. Banana (CDN), V. Baroni (I), K. Bates (UK),<br />
Badeschi & Ponzi (I), P. Beilman (USA), P. Below (D), J. M. Bennett<br />
(USA), G. Bleus (B), M. Block (USA), M. Bidner (CDN), N. Bogdanovic<br />
(YU), B. Baumans (NL), A. César-Brando (BR), K. P. Brehmer (D),<br />
S. Brehmer (D), C. Burch (USA), R. Buttler (USA), H. Bzdok (PL).<br />
L. L. Carravito (I), U. Carrión (NL), G. A. Cavellini (I), B. Charpentier<br />
(F), C.T. Chew (USA), B. Chiarlone (I), R. Cohen (J), S. Colby (USA),<br />
D. Cole (USA), M. Corfu (F), Creative Thing (USA), Crackerjack Kid<br />
(USA), R. Crozier (UK), B. Curmano (USA), Albrecht/d. (D), E. Devolder<br />
(B), M. Dicey (CDN), M. Diotallevi (I), Dogfish (USA), L.F. Duch<br />
(BR), A. Dudek-Dürer (PL), W. Elébrecht (D), M. Escobar (B), C. Espinoza<br />
(MEX), P. Esting (DK), A. G. Fallico (USA), J. W. Felter (CDN),<br />
Filimir (YU), P. Fish (USA), H. Fox (USA), C. Francois (B), N. Frangione<br />
(I), C. Franke (NL), H-R. Fricker (CH), K. Friedman (USA), Gy.<br />
Galántai (H), J. v. Geluwe (B), U. Giacomucci (I), G. Gini (I), R. Glasmaier<br />
(D), K. Groh (D), M. Groschopp (GDR), K. Hankell-Person (S),<br />
Harley (USA), W. Hölzer (D), J. W. Huber (GDR), A. Igloo (USA),<br />
F. Immoos (NL), S. Jacob (GDR), R. <strong>Janssen</strong> (NL), D. J. Jarvis (UK),
B. Jesch (GDR), K.d. Jonge (NL), G.X. Juppiter-Larsen (CDN), Citizen<br />
Kafka, D. Kamperelic (YU), D. Kampis (GDR), K. Kato (J), J. Keguenne<br />
(B), E. Kent (USA), F. Kerler (D), G. Kiefer (D), B. Kirkman (USA),<br />
J. Klaffki (D), Dislokate Klammer (USA), J. Know (USA), H. Kretzschmar<br />
(D), B. P. Kovács (H), P. Küszermann (D), A. Kutschker (D),<br />
K. Kux (GDR), N. Lannoo (B), G. Laughter (USA), H. W. Lee (D),<br />
P. Lee (D), M. Leigh (UK), G. Löbach (D), B. Löbach (D), R. Maggi (I),<br />
M. Avau (B), Midnight (USA), Minby (USA), D. Mojovic (YU),<br />
E. Molkow (D), E. Moroandi (I), J-A.. Echevaria Myers (USA),<br />
P. Nicholson (UK), A. de Wilze (BR), A. Ohlmann (D), B. Olbrich (D),<br />
J. O. Olbrich (D), D. Crestis (GR), J. Orta (AR), C. Padín (U), M. Pawson<br />
(UK), T. Pereira (USA), M. Perfetti (I), J. peshke (CDN), P. Petasz<br />
(PL), J. M. de la Pezula (E), C. Pittore (USA), B. Porter (USA), J. Rabascall<br />
(F), Radio Free Dada (USA), S. Random (USA), S. M. Rasmussen<br />
(DK), R. Rockola (USA), S. Rohland (GDR), S. Roman (USA), P. Roncoroni<br />
(I), M. R. Rosenberg (USA), D. Rot (CH), Rudolph (USA), W.<br />
Scholte (NL), G. Schraenen (B), E. Serfried (D), A. Sharp (USA), E. Siff<br />
(USA), L. D. Smith (USA), A. Souza (USA), L. Spiegelman (USA), The<br />
Spitter (USA), B. Sprute (D), C. Stake (CDN), J. Stange (GDR), E. Hermanns<br />
(B), R. Stettler (CH), G. Stuckens (B), J. Supek (YU), R. Szefferski<br />
(PL), Patrick T. (USA), B. Talpo (I), L. N. Tammam (F), P. Tavenner<br />
(USA), T. Tillier (B), B. Tisa (USA), A. Tisma (YU), M. Todorovic<br />
(YU), E. Tót (H/D), Á. Fenyvesi Tóth (H), H. Tress (D), G. Trommer (D,<br />
E. Varney (CDN), E-A. Vigo (AR), Victor Vicente of America (USA),<br />
L. Vilks (S), E. Walsch (USA), R. Watts (USA), R. Wilderjans (NL)<br />
^Artists’ Postage Stamps – part 2. Inv.-flyer with rubber stamp, 1986<br />
<br />
^Künstlerbanknoten. (Artists' money – First effort) Cat.: A/4, phc., 25 p. 1986 <br />
^Museum für Wegwerfkultur. Cat.: 36 p., horz. size. Designbuch Verlag, Cremlingen <br />
Text: Bernd Löbach, German Exh.: Deutsche Hygiene-Museum,<br />
Dresden, 1993 / Kunsthalle Giessen, 1994.<br />
^Artists’ Banknote Works – Künslerbanknoten. (The large catalogue from 2000.) <br />
~<br />
Source:<br />
Cat.: A/5, digital repro, also with many colour images, ~600 pages (!).<br />
Introduction by Bernd Löbach. Exh. in Weddel: June-July, 2000<br />
^Klaus-Jürgen Lebus: Umwelt, Ökologie, Ästhetische Aspekte im Werk von Bern<br />
Löbach-Hinweiser / Designbuch Verlag, Cremlingen, 1993<br />
^Löbach / Lebus: Löbach-Hinweiser, Kunst + Ökologie. (Offset, 36 p.) Designbuch<br />
Verlag, Cremlingen, 1995<br />
^Verlagsverzeichnis Designbuch Verlag 1976 - 1996. (Publication list by Löbach)<br />
A/5, phc., 8 p. Cremlingen, 1996. Some titles (mostly A/5 size, phc.):<br />
Jiri H. Kocman - ein aktueller Künstler aus der Tschechoslowakei. 1983<br />
Henryk Bzdok - ein aktueller Stempel-, Postkarten- und Brieifmarkenkünstler<br />
aus Polen. 1983<br />
Endre Tót -From Cologne some Jecke Dinge to you, everybody and nobody.<br />
1983<br />
Waclaw Ropiecki - Kunst als ein Weg der Selbsttherapie. 1983<br />
Bernd Löbach: Mail Art, Rubber Stamp Art. 1985<br />
Albrecht/d - Collage, Geklebtes, Mix 1975-1985. 1986<br />
H. R. Fricker - Networkingmaterial. 1986<br />
H. R. Fricker - Mail Art is not fine Art. 1987<br />
H. R. Fricker - Ort der Orte. 1995<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 156-159 p.<br />
^Löbach? Bern: Collection Artists' Money – Museum für Moderne Kunst Weddel.<br />
Catalogue update: January 2000. A/5, phc., 12 p.
«Lódz Kaliska, Group» (Andrzej Kwietniewski / Marek Janiak / Adam Rzepecki / Andrzej Swietlik / Kedziora /<br />
Snopkiewicz & others)<br />
J. Marek: Okrzei 26 / 28, m. 29., Lódz, PL 91-075, Poland 1979<br />
Forming the group in 1979 by 4 performance and actionist artists: Janiak, Kwietniewski, Rzepecki<br />
& Swietlik. First exhibition at the Mala Galeria, Warszawa: Das Sehen beschränkt die Kunst,<br />
1980 Performance Activity for photo documentation at the Art Forum, Lódz & Galeria Jaszczury,<br />
Kraków, 1981. Connections to the international scene: Lieux de Relation „Lódz Kaliska g. t.“ in<br />
Lyon and by the magazine Tango, which publication became known also in the Mail Art scene.<br />
A great number of art works and diverse documantations about the group have been made known<br />
around of the European alternative circles by Joseph → Robakowski.<br />
^Lódz Kaliska (Actionistic magazine by photos. A/4, offset, ~10 p. 1981-, ir.) <br />
^# June 1981,<br />
Tango (One of the most suggestive hand made magazine with nonsense and graphical <br />
actionism in neo-dadaistic style in certainly limited edition {~30}.<br />
A/4, mixed technic with many collages, ~8-12 p. 1982-86, #1-9)<br />
~<br />
Source: Performance for Film. Film, 90'. 1980-1983.<br />
Die Kunst machen. Film, 40'. 1984-1985.<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 18-19, 147 p.<br />
Loeffler, Carl E. / Stofflet, Mary, Contemporary Arts Press<br />
P.O. Box 3123. Rincon An. San Francisco, CA-94119 USA 1975<br />
Art Contemporary / La Mamelle Magazine (Voluminous multimedia magazine <br />
«produced by artists for artists», with reports, features, reviews, catalogues,<br />
etc. Letter and tabloid size, offset. 1975-78, m., #1-13)<br />
Front (Magazine in tabloid size, 44.5x29 cm. offset, 12 p. 1976-, m.) <br />
Front, special edition: Int. Rubber Stamp Exhibition, Vol. 1 #4. San Francisco, 1976 <br />
^Imagezine (Object «magazine» in form of stamping rubbers, each «issue»/rubber ® <br />
was devoted to a good known persone of the alternative art scene.<br />
1977-78, #1-4)<br />
°Performance Anthology (with Darlene Tong). Introductions by Tom Marioni & <br />
Allan Kaprow, essays by C. E. Loeoffler, L. F. Burnham, J. Barry &<br />
M. Roth. Digest, offset, 500 p. Contemporary Art Press. S. F., 1980<br />
~<br />
Literature:<br />
Darlene Tong: Profile: La Mamelle Inc., San Francisco. (History, publications,<br />
video & performance, archives, the future) In: Umbrella (→ Hoffberg). Vol. 2, #4.<br />
82 p. Glendale, 1979<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 77 p.<br />
Lomholt, Niels Bromaj 3 Søby, DK-5985 Denmark 1997<br />
↑ Lomholt Formular Press. Åkaervej 49 - Falling. Odder, DK-8300 - “ - 1982<br />
(Highschool:) Egmont Højskolen, Hou Odder, DK-8300 - “ - 1982<br />
.............................................................................................................................................................<br />
°Exchangeable photo. A/4, offset, 8 leaves. Lomholt Formular Press. Ørting, 1977 <br />
^Mr. Klein. (Mailed out formular project in co-operation with Tom Elling about „Mr. <br />
Klein's“ background, personality, etc., maybe the most known art action<br />
of Lomholt in the 70s.) Cat.: Horz. A/4, offset, 116 p. 24 participants<br />
from the post-fluxus and Mail Art scene. (There exist also smaller publs.<br />
with A/4 size, 26 p.) Lomholt Formular Press, Hou. Odder DK, 1977<br />
^Prison. (A second formular project) Cat.: A/4, offset, 80p. + yellow cover with red <br />
print. 27 participants. Exhibition: Kunstbygning, Arhus DK, April 19 -<br />
May 5, 1978<br />
Rubber Stamp Books (Curator: U. → Carrión). A/4, offset colour, 24 p. Egmont High- ®
school, Hou. Odder, February 1979<br />
«To my knowledge this is the first exhibition of rubberstamp books ever<br />
held. I want to thank Niels Lomholt for giving me the opportunity to<br />
realize this project... Many of the included items were lent by Aart van<br />
→ Barneveld from the Stempelplaats in Amsterdam.» (U. Carrión)<br />
^Sydney's Concealment. (David is still lovable) I-II. (Texts and questionaries to <br />
complete and return to Lom holt Formular Press – search of a critical<br />
sociology. ) «The use of marginal and little used questions („If you<br />
were to be an animal, which one would you shoos?“ or „What does red<br />
evoke for you?“...) shows that provoked answers can be classified. In<br />
spite of the opening of the question and the „liberty“ of the answer some<br />
categories appear.» A/4 size, red and blue offset with some black pages,<br />
I-II volums, each ~100-120 p. 1978-1979<br />
^Kunst og Kunstnere. Cat. and anthology with introduction, image contributions,<br />
texts and biographies by 6 artists, who were invited to a workshop and<br />
to exhibit into the Egmont Højskolen, Hou, Odder in Denmark:<br />
January 8 - 28, 1979: G. A. Cavellini,<br />
February 5 - 11, 1979: U. Carrión (exh.: Rubber Stamp Books),<br />
February 13 - 25, 1979: H. Zabala (exh.: Today Art is Prison),<br />
February 19 - March 25., 1979: David Zack,<br />
March 26 - April 10, 1979: Robin Crozier,<br />
April 30 - May 25, 1979: D. D. Hompson.<br />
Each part of the book about the single artists was published earlier as<br />
separate brochure – the assembled work is perhaps the most interesting<br />
publ. by the Lomholt Formular Press. A/4, offset colour, 190 p. Printed<br />
at the art highschool «Egmont» (Texts: English / Danish). Hou, 1979<br />
^Hjørring Annual Film Festival '82 (with → Schmidt-Olsen, → Rasmussen) Film <br />
Cat.: 21x20 cm., offset, 132 p. / Hjørring Kunstmuseum, March 1982<br />
^Bookart - Bookworks - Bookobjects. Cat.: 26.8x20.3 cm., offset, 116 p. (~250 artists). <br />
Lonholt Formular Press, Odder DK. 1983-84<br />
^In another trans / quit dressing room no. + 0. Project after the earlier specimen of<br />
questionaries to send out and collect back from artists by Lomholt.<br />
A/4,phc., 22 p. Lomholt Formular Press, 1999<br />
~<br />
Literature:<br />
<br />
<br />
«This is an invitation, you can participate in two ways:<br />
a) Fill in the formula and return. All returned material will be part of a print<br />
/show series.<br />
b) Fill in the formula + (video) tape. The base of this work is a series of<br />
video- programs, produced by participating artists. The only condition: The tape<br />
must be done in a hotelroom. If you want to participate, contact us, we will pay for<br />
the hotel-room. All videotapes will be returned.»<br />
(N. Lomholt: Invitation text to the Mr. Klein project. In: Mr. Klein. Odder, 1977)<br />
Lond, Harley c/o Intermedia P. O. Box 31464 San Francisco, CA-94131 USA 1974<br />
^Intermedia (Literary, artistic and education mag. Letter size and tabloid issues <br />
with special themes / N°6 in box = visual matter & texts. 1974-, ~2xy.)<br />
Edition Century City Arts Project, San Francisco<br />
^#5 (Entropy)<br />
Luigetti, Serse Via Oberdan, 52. Perugia, I-06121 Italy 1994<br />
↑ Via Ulisse Rocchi 3. Perugia, I-06100 - “ - 1980<br />
.............................................................................................................................................................<br />
^Paper (One-sheet xerographical leaflet with characteristic graphism in neo-dada <br />
style, a long running Mail Art periodical. A/4 or A/5, also reduced into<br />
postcard size. Phc. & offset. Issues not dated & numbered. 1980-, ~ 50#)<br />
^13 Postcards made in Italy. (Offset / glassy with Paper & other graphics)<br />
<br />
Giorgio Sestli Editore. n.d.
Post-scriptum (One-page periodic, a sister of the Paper, a few issues only. 198?- ) <br />
°Collage City. Cat.: 21.5x32.5 cm. phc., 20 p. 180 parts. 1982<br />
<br />
Artistamps: °(withou title) (Sheet of 20 diff. stamps, black phc. on rose paper, not <br />
perforated, in cooperation with C. → Stetser) Post Post Stamps,<br />
Perugia, 1985<br />
^Stamps 1-2-3-4. („add to and return“ type artists' postage stamp action)<br />
<br />
Cat.: A/4, phc., 11 p. 1985<br />
^Sea. Inv.-letter, 1985<br />
<br />
^Signpost (Unbound assembling matter in envelope of 36x26 cm. {100}, ~30 leaves <br />
per issue. Statement: «Materiali/immagini – Busta contenitore di<br />
materiali visivi e sonori.» 1985-87, #1-4)<br />
^#4<br />
Smile (One-sheet Paper edition with graphics responding to the Smile mania, 1985?) <br />
~<br />
Literature: (Stamp): «A Mail Art collection of artists' stamps, blank sheets are made up, sent<br />
out like chain letters each person having the choice of what to collage over & what<br />
to keep. Serse has collected some of the results in a small pamphlet, itself being<br />
ready to add to or paste up on your mail. We gotta get better copy machines to those<br />
Europeans, tho, it's hard on my eyes.»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 15 p.)<br />
Luis. Box 179, Bruque–SC., BR-88350 Brasil 1984<br />
Mail Art activity – well konwn person in the international Network.<br />
<br />
Lumb, Michael (Energyman) 39 Alexandra Road Ipswich, IP4 2RL United Kindgom 1998<br />
↑ Flat 1, 78 Orford Street Ipswich, IP4 2PN - “ - 1979<br />
.............................................................................................................................................................<br />
^Henley project. Conceptual works in form of photographs and drawings published <br />
in an undefined series of offset printed mini-booklets (ca. 15x 11 cm.)<br />
{200, the first 20 signed}. Suffolk, 1979<br />
Nothing to Declare (A/5 envelope action, «artwork on the customs...», a conceptual <br />
and mail art like attemp {7}, returned works were exhibited.) 1980<br />
275 Second Class Letters. (Mail action to the same address by permutation of postage <br />
stamps, also an exhibition with the returned items.) 1981<br />
Artistamp activity since 1988 on diff. paper by various technic. Margaret Teatcher, <br />
1988 / Family, 1991 / Femail Firstpost, 1993 / Femail Firstpost<br />
Variations, 1993 / 1955 – 1995 Mail Art, 1995 / Energyman Post, 1997 /<br />
1 Fellatio (Monika Lewinsky), 1998, etc.<br />
Is Freedom, 1988 - 1989. (100 packages sent to mail artists with the request to pass <br />
on and return them... with a postcard stating who sent on to...) Exh.:<br />
Christchurch Mansion / Ipswich and Maidstone Library, Kent. 1990<br />
Doc.: A/4, phc., formed as envelope. Ipswich, 1991<br />
Artists' book activity since 1990 by small publications on coloured or cream paper <br />
with ca. 4-18 pages. Technic: phc., silkscreen, inkjet print. Computer<br />
generated texts, often photos (commercial and documentary) or other<br />
images, bound with string or paper band, sometimes cards only or in<br />
form of accordion. More publications are doc. of performances.<br />
Sh! these walls have ears {20}, 1989 / Dear Boy {100}, 1990 / Concerning<br />
Men's Hairstyles {100}, 1990 / British Justice, 1991 / Speaking<br />
in Tongues {100}, 1991 / Kalispera {40}, 1993 / Ambition, 1994 /<br />
Wedge, 1995 / Lest we Forget {25}, 1995 / I Mediate, 1996 / Wednesday<br />
March 13th 1996 {16+1}, 1996 / One Month in Poland, 1996 /<br />
Book about Book, 1997 /Found Stamps and 6 Edges, 1997 / The Law<br />
of Diminishing returns, 1998 / That's Life, 1998 / Other Echoes, 1998...<br />
The Archive of Offensive Areas, 1988-1990. (Sent out and returned sticker action) <br />
^Is Freedom... Inv.-flyer, 1990<br />
<br />
^Invitation for an archive of mail artists’ archives. Inv.-letter, ~1990
Families. Doc.: A/4 sheet (green), phc. + rubber stamps, folded to 3 vertical. <br />
Exh.: University College. Suffolk, 1991<br />
The Sensitive Heterosexual Male. Doc.: A/4 sheet, phc., folded into 4, with images. <br />
Exh.: The Forefront, University College, Suffolk, 1991<br />
Decay. Doc.: A/4, phc., folded into 3.<br />
<br />
Madonna and Child. (A call for images. Each participant received the image with <br />
the adult head of the artist in place of the child.) Exh.: The Forefront,<br />
University College. Suffolk, 1993<br />
Postcard activity since 1994, produced commercially or made by phc. on card stock. <br />
Energy – The mailart journal of thoughts and ideas (One sheet magazine in form<br />
«contribute and pass-on and eventually back to editor...» A/4 folded,<br />
altogether 91 issues between 16th February and 30th November 1998)<br />
~<br />
Source: Lane, Brian: The Artist Publisher. Craft Council of Great Britain. 1986<br />
<br />
Mail Art by Michael Lumb (Energyman). Selfpublished list of actions and<br />
publications with very detailed data about: Pre-Networking Mailart Works /<br />
Generated Mailart Projects / Map Documentation / Artistbooks / Zines / Artistpostcards<br />
/ Artistamps / Artistmoney / Audiotapes / 1 off Multiple Artworks /<br />
Photocopy Sheets / Add Tos and Pass Ons / Collaborations / Miscellaneous /<br />
Mailart Bibliography / Published Writings. A/4, computer print, 5 sheets.<br />
^Michael Lumb: Mailart 1955 to 1995. Democratic Art as Social Sculpture.<br />
After an Internet contribution (www.fortunecity.com/victorian/palace/62/) published<br />
in: Other Voices, - Electronic Journal of cultural criticism. University of Pennsylvania,<br />
USA. 1999<br />
^<strong>Ruud</strong> <strong>Janssen</strong>: Mail-Interview with Michael Lumb (England). TAM 950079.<br />
Published 2 June 1995. A/5, phc., 22 p.<br />
Michael Lumb: Artists' Books in Great Britain. In: Bookarts, Academy of Fine Art,<br />
Poznan, Poland. 1996<br />
^John Bentley & Tanya Peixoto: Artists' Book Yearbook 1998-99. Magpie Press.<br />
Clamp Hill, Stanmore, UK. 107 p.<br />
Lund / artists, (Mats B.) St. Tomeg 22:355 Lund, S-22351 Sweden 1974<br />
Grisalda (Magazine with concept art, Mail Art, experimental art in texts and photos. <br />
Edited by A. Schweizer. Works by Attalai, Baldesari, Buren, Friedman,<br />
Gilbert & George, etc. A/3 size tabloid, offset. 1974-, ir.)<br />
Luschei, Glenna Solo Press, 1209 Drake Circle San Luis Obispo, CA-93401, USA 1977<br />
Cafe Solo (Mag. for vis. poetry and exp. art. Letter size. 1977-, qu.)<br />
<br />
Lust, Scarletina Box 400 Old Chelsea Sta. New York, NY-10113 USA 1982<br />
Smegma (with → Igloo, Alex Torridzone) (Neo-dada magazine with Mail Art, an <br />
accumulation of images and texts, sometimes with disk-suppl. Letter<br />
and half-legal, offset. 1978-, y.)<br />
Calendar 80. 35.5x21.8 cm., offset, 15 leaves. {500} Fallout Smegma, 1979 <br />
°Calendar 1982. (with → Igloo, AlexTorridzone) 13x10.3 cm., phc., 24 p. S. P. 1981 <br />
^T-shirt for Everybody. Doc. Letter, offset, 4 p. (about 100 «T-shirt artists») <br />
/ Chevron Gallery, 555 Market St. San Francisco. July-Sept. 1982<br />
^About Face. (Sequence of photobooth machine / photos from N.Y.) Half-legal, <br />
offset, 16 p. {250}<br />
Artistamps: °No/Vice Post (Sheet of 20 id. stamps, phc. on rose paper) Special for <br />
an issue of the Pardon My Mirth Marks magazine of the artist.<br />
PMMM Edition. New York,1982
Lyons, Nathan Director of the Visual Studies Workshop, 31 Prince St. Rochester, NY-14607. USA 1985<br />
Afterimage (A monthly for visual arts, 1973-) Vol. 12, #6, 1985: «Artists' Books» <br />
~<br />
Literature: Judith A. Hoffberg: Alternative Art Publishing Conference. A journal about the<br />
New York scene and the conference in the Visual Studies Workshop, Nov. 5-6,<br />
1979, Rochester. Among the featured publishers and institutions Nathan Lyons,<br />
Richard Minsky (Center for Book Arts, London), Ulises Carrión (Other Books &<br />
So), Tom Ockerse (Rhode Island School of Design), David Buchan (Art Metropole,<br />
Toronto), Dick Higgins (Something Else Press), Clive Philpott (MOMA), Martha<br />
Wilson (Franklin Furnace), Felipe Ehrenberg (Beau Geste Press, Devon), Chuck<br />
Hagen (Magazine Afterimage), Judit Hoffberg (Umbrella), the problems of art<br />
magazines, the book distribution, criticism, exhibitions...<br />
(In: Umbrella, Vol. 2, #6, 125-131 p. Glendale, November 1979)<br />
Lyons, Joan Visual Studies Workshop. 31. Prince St. Rochester, NY-14607 USA 1985<br />
°Spine. (with Phil Zimmermann) 45.5x31.5 cm., offset colour, 1 sheet {400}V. S. W. <br />
Rochester, 1979<br />
^Artist' Books. A Critical Anthology and Sourcebook. Intruduction by D. → Higgins, <br />
texts by U.→ Carrión, L. Lippard, C. → Phillpot & others. Biographies<br />
& bibliography. 23x15 cm., offset, 263 p. Visual Studies Workshop.<br />
Rochester NY, 1985<br />
Mabie, Don /<br />
→ Stake, Chuck<br />
Machert, Christoph (!Machart!) Oberstr. 14 Bochum-7. D-4630 Germany 1988<br />
↑ Witten - “ - 1981<br />
.............................................................................................................................................................<br />
°Machart. Cat.: Cut A/5, offset, 32 p. Ed. Knöterich. Witten D, 1979<br />
<br />
Homosexuality (Commonpress #39) 32x23 cm., 38 p., ~150 participants. Febr. 1981 <br />
^Merlin Machart – Mail Art / Theater in Lünen D-4670. Inv.-letter, 1986 <br />
MacLeod, Scott 2261 Market Street #307. San Francisco, CA-94114-1693. USA 1996<br />
Art Strike. Karen Eliot Interviewed by Scott MacLeod (1989). In: PhotoStatic <br />
(→ Dunn), N° 35. April, 1989. 1279-1284 p.<br />
The Imagined Gallery. «...is an alternative space-time continuum dedicated to<br />
presenting and supporting for conceptual, impossible, implausible,<br />
impractical, unlikely and unwanted art. (...) The Imagined Gallery:<br />
profit without profiteering.» (Statement from 1997)<br />
Macotela, Gabriel ? Mexico DF Mexico 1980<br />
°Paso de Peatones (Assembling like brochure {350}, ~A/5 matter, mimeographics, <br />
rubbers, Collages, etc. by 88 contributors: J. Guinovart, Y. Pecanins,<br />
M. Try, M. Lara, A. Caro, M. Marin, R. Casamada & others)<br />
La Cocina. Mexico DF, 1980<br />
<br />
!Madame X! 3747 Roberta St. Los Angeles, CA-90031 USA 1988<br />
↑ c/o Newspace Gallery, 5241 Melrose Ave. Los Angeles, CA-90038 - “ - 1975<br />
.............................................................................................................................................................<br />
^Madame X's Gazet (Mini size neo-dada graph. mag. with «cosmic humor of man- <br />
kind amok.» 14x9 and 17x11 cm. phc. and offset, 2-4 p. 1975-, ~ 30#)<br />
^#11, 12, 13, 14, 16, 17, 18, 19, 20, 25, 26, 27<br />
Madame X's Time Magazine (Offset booklet, 19x13.5 cm.1982)<br />
<br />
Madame X's True Love Magazine (Mini size mag. 198?-, #1-2?)<br />
~<br />
Literature:<br />
<br />
«...As many mail artists know, the only address for Madame X is c/o her gallery<br />
Newspace in Los Angeles.<br />
Is there really a Madame X and who is she? In the search for her, I failed in
finding out who she is, but I know she is real, she is funny, she is ironic, she is<br />
biting, and she is fair. Madame X is a woman who lives in Southern California, who<br />
appeared on the scene in 1975 by sending work through the mails to Joni Gordon,<br />
who at that time was selling artists' books and collecting art. She recognized the<br />
urban humor, the appeal, the strong philosophy of life, the irreverence in this<br />
woman's art. Art appeared in the mailbox, sometimes small books with folded<br />
paintings, sometimes Xertox books, sometimes postcards... She uses the layout of<br />
the comic book and its tradition in her paintings, her objects and her book has the<br />
elevated satire of a Jonathan Swift. She poses as a deus ex macchina, drawing to the<br />
hilt with word and line. Sometimes the laughter evokes burts of rancor, but she is<br />
very forgiving...»<br />
(The Elusive Madame X. In: Umbrella [→ Hoffberg], Vol.3, #1, 14 p. 1980)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 14, 65 p.<br />
Maelen, Francis van (Redfoxpress / Fan Mail) CO Mayo. Cashel-Foxford Ireland 2000<br />
(Edition Phi) Box 66 Echternach, L-6401 Luxemburg 1995<br />
.............................................................................................................................................................<br />
^Künstler sehen Luxemburg. Inv.-letter, 1995<br />
<br />
^Stamps & Stories, Mail Art '95. Cat.: 23x17 cm., offset (colour), 112 p. (Germ. / <br />
Engl.) 1. Auflage: March 1995<br />
^Gutenberg Mail Art. Cat.: Online: – http://www.phi.lu (with call for entries, <br />
gallery of entries, list of participants, ca. 30 p.) 1997-1998<br />
^Ireland Today. Inv.-flyer, 1999. Cat. ?<br />
<br />
^Anything about the (red) fox. Cat.: A/5, phc. on brown paper, 20 p. (participant list <br />
+ image material) Additionally: Postcard edition (2O cards, colour offset<br />
print, a selection from the project material edited by the “Refoxpress”,<br />
Foxford). 2000<br />
^Cult – Hero, Star, Icon, Diva... Cat.: A/5 on grey paper, phc., 24 p. «...313 artists <br />
from 35 countries have sent about 400 postcards to the theme CULT.<br />
Since las year the postcards have been shown in bookfairs in Paris, Brussels,<br />
Mainz, Frankfurt and Ghent...»<br />
«Maerz, Galerie» Landstr. 7. Linz, A-4010 Austria 1990<br />
^Kopiegraphie. Eine Belichtung Österreichweit. Cat.: A/4, offset, 36 p. May 1990 <br />
^Peter → Huemer: Kopigraphie / Mischtechnik, 1987-1990. Cat.: A/4, offset, 42 p. <br />
1990<br />
^Erlesenes. (M. Rutt, Christian Steinbacher, Hansjörg → Zauner) Cat.: 21x21 cm., <br />
offset, 24 p. / Galerie Maerz, Linz. March-April 1991<br />
Maggi, Ruggero C. SO. Sempione 67 Milano, I-20149 Italy 1985<br />
^Ruggero Maggi's Old Works. (Book- and paper works) Texts by R. Maggi and <br />
Domenico Cara. 24.5x18.5 cm., col. offset, 16 p. No editor, n.d.<br />
^Amazonic Trip. Invitation sheet in legal size. Cat.: 32.5x21.5 cm. offset, 6 p. <br />
Organisation and exhixbition by the Pontificia Universidad Catolica,<br />
Lima, Peru, 1981. (Dedicated to Palomo-Abel Luis, the carried off son<br />
of A-E. Vigo). The project was exhibited also at the XVI. Biennal of<br />
San Paulo, 1981<br />
^Bombardarte – tearint the in pieces! (wih additive paper-planes). Inv.-letter, 1981 <br />
°Recycled Rite. Cat.: on A/4 sheet, phc. /Perugia, Italy, 1982<br />
<br />
°Some Amazonic Indians. (Selfportraits of mail artists) Doc. A/4 sheet, phc. with <br />
a list of ~200 parts. 1982. Exhibited at the Artestudio at Ponte Nossa<br />
(→ Morandi) and the same year in Belgium, Mexico and Australia.<br />
^United for the Peace (Solidarity with Poland – Mail Art project). Doc.: A/3 size <br />
participant list, phc. Show at the “arteStudio” by → Morandi in Ponte<br />
Nossa, 1982
Artistamps: ^Amazon (Sheet of diff. stamps in size of 8x8.5 and 8x9.5 cm., red <br />
offset print on white paper) Amazon. Ruggero Maggi. n.d.<br />
°Holography (Sheet of 6 diff. stamps, colour offset) n.d.<br />
^Minimal Books. A series of very small book objects with hand written and/or rubber <br />
stamped and collaged text/imagen completing. Sent out as gift to<br />
network friends. 3.5x2.5 cm., colourful covers. ~1985<br />
^Taccuino Apogrofo / Also as → TRAX 1285 (Assembling for xerography in port- <br />
folio, A/4, phc., 1985-, 1-15#, the most issues not as TRAX product!)<br />
^#13<br />
^Shadow Project. Newspaper as doc. A/4, phc., 20 p. {150} /Centro Cultura <br />
„Le Serre“, Citta di Grugliasco. November 1985. Further exhs. in<br />
Italy, Germany, Japan, etc.<br />
^Progetto Internazionale Sulla Pace (Anthology for the Shadow Project, 1985-86) <br />
More exhs.: Villa de Serio, org. by E. Baj / BÜZ, Minden, org. by Peter<br />
Küster mann / Progetto Ombra, at the Laboratorio dipoesia e arti visive,<br />
Cosenza, by R. Maggi. Publ: 30.5x21.5 cm., offset, 28 p.<br />
Texts: S. Anelli: Uniti par la pace<br />
G. Pedicini: Per un progetto internacionale sulla pace<br />
Anelli & Grabafel: Letter about War, Peace and Something Else<br />
T. Montranari: Le ombre della memoria<br />
P. Küstermann: Hiroshima Schatten Projekt<br />
U. Peters: Lettre to the Museo Italo in San Francisco<br />
^Shadow Project – Minden '86. (R. Maggi, P. Küstermann, Joki, G. Barbot, W. Met- <br />
ting, M. Stüssi, M. Schild, D. Gorny. The project was a part of the Mail<br />
Art Congress, Minden, september 29, 1986) Cat.: A/4, phc., 24 leaves,<br />
50 copies, signed by R. Maggi.<br />
^Not Only Books – Artists' Books & Mail Art Reviews (with Liliana Antoni). <br />
Doc.: 35x50 cm poster, offset. Exh.: Milan Art Center, May 1989<br />
^Bookshop „Utopia“ 2. / Rassegna int. di libri d'artista e d'arte postale. Exhibition of <br />
Mail Art and books by R. Maggi and Liliana Artoni. A/4 participant list,<br />
phc. Milan Art Center, May 11-31, 1989<br />
^Non solo libri. Cat.: 11.5x11.5 cm., offset, 24 p. / CE.S. A. COO. P. & Gall. Teatro <br />
Curci, Barletta, I-70051. August 1991<br />
^Ruggero Maggi. Bookworks, cassettas. Cat.: 11x12 cm, offset, 20 p. Text: P. → Res- <br />
tany (Italian + English). Exh.: Banca Mercantile It., Milano. Febr. 1992<br />
^FAX project by the visual poetry “Shut” (?). Inv.-letter, 1994<br />
FAX<br />
Caos Italiano. Books collected via Mail Art, exhibited at the Milan Art Center, 1998 <br />
^CHAOS – Villagio Globale. Exh.: Officina Culturale - Latisana. Project: Milan Art <br />
Center - Milano. texts: R. Maggi, G. Bleus, J. Held Jr., V. Baccelli<br />
(Italian & English). Cat.: 21x21 cm., col. offset, 12 p. + inv.-card. 1999<br />
^Amazonic Love. Small periodic (?) publ. (also with Keiichi Nakamura), A/5. Phc. 8 p. <br />
1990s-2000<br />
^ #5 (2000, erotic graphic)<br />
~<br />
Literature: Interview with R. Maggi. In: N D, N° 10, Austin, 1988 (→ Plunkett), 5-7 p.<br />
«Almost one year was spent from when I spoke with some Japanese friends and<br />
artists: Fukushi Ito, and Masataka Kubota of the froup SOU about my idea to realize<br />
the shadow project in the same town of Hiroshima. (...) Finally I received the first of<br />
a series of letters of various Japanese artistic/pacifist organizations. In these letters<br />
we began to determine the necessery arrangements for the project. Shozo → Shimamoto...<br />
put me in contact with the group Art Week of Hiroshima. I met the director<br />
of this group Ishimaru Yoshumici in Hiroshima at the 1st of August for an International<br />
Mail Art Symposium to which I participed and with him I discussed the<br />
last details. (...) One of the motivations for the eventual denail was the fact that, for<br />
them, the Hiroshima people wanted to forget what happened 43 years ago. Same<br />
times to sink into oblivion, especially if they dramatic memories, is almost neces-
sary, but unfortunately it can become also dangerous. (...) However, at the end, the<br />
Hiroshima Authorities conceded the permission giving some time limits (we could<br />
work from 8:30 to 11:30 only 3 hours which however were enough!) and fixing the<br />
place of the actions in a place near the Atomic Dome, dramatic symbol of the<br />
nuclear holocaust of the town. (...) At the end of the work we want to burn all the<br />
silhouettes like a sort of post-atomic purifier rite...»<br />
(Ruggero Maggi: The Hiroshima Shadow Project, 1988. In: Metro Riquet, N° 6,<br />
Paris, Jan. 1989 [→ Duvivier], 13-15 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 174 p.<br />
John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 32-33, 118-119 p.<br />
«Magyar Mühely» → Nagy, Pál / Magyar Mühely, N°1-100<br />
→ Kovács, Zsolt / Magyar Mühely, N° 101-<br />
^Visual Poetry 1985-1995. Exh. at the Balaton Múzeum, Keszthely H. Inv.-card,<br />
Summer, 1995<br />
<br />
Mail Art Congress, 1986 (Alphabetical):<br />
^→ Ackerman, Al: Leboeufism, mailart, congress, symposiums spark „New Audiencelessness“<br />
(with a nearly complete listing of mail art congress sections in 1986 compiled by<br />
the editor). In: Spiegelman's mailart rag (→ Spiegelman). Vol. 1, #4. December<br />
1985. 10-11 p.)<br />
Berlin Congress '86. Poster with original rubber stamps, 49x30.5 cm., grey paper.<br />
^→ Burch, Charlton: Glimmerings (Print review) / CLINCH. In: Lightworks, N° 18, Winter 1986-<br />
1987, 49 p.<br />
^→ Burch, Charlton: Postscript (About the activity of H-R. Fricker and G. Ruch in the Mail Art<br />
Congress, 1986) In: Lightworks, N° 20-21, 1990. 69 p.<br />
^→ Franke, Korneliusz: Image. Info sheet about<br />
1) Mail Art Congress, Eeklo, August 30, 1986<br />
2) Mail Art Congress, Berlin/GDR, September 20, 1986<br />
^→ Fricker, Hans-Rudi: Tourism Review (A Mail Art mag. on Fricker's «tourism» idea – developted<br />
as the completion of the Congress – with the protocol of the so called<br />
«malicious tours»: the network as reciprocal visits of mail artists. A/5. offset +<br />
rubber stamps, 24 p. 1985, #1) Trogen, 1985<br />
^→ Haufen, Graf: Mail Art Workshop / Artcore Gallery '86. (Assembling like broch., A/5, mix.<br />
techn. handmade, 20 p. {100 numbered copies}). Artcore Ed., ACE-12. (Also as<br />
Congress '86 material) Berlin. August, 1986<br />
^→ Kattenstroth, U.: Imaginärer Mail Art Kongress, West-Berlin 1986. (Also entitled: Tag des<br />
Mülls) Invitation and manifesto in a form of an A/4 leaflet, phc., 13 leaves, from<br />
the «Juxbox Headquartier Berlin» to a meeting and in 1 May 1986. Slogen: Waste<br />
is Mail, Mail is Waste. Also a workshop to work over the dirt has been announced.<br />
10 parts., who didn't take part. 1986<br />
^→ Küstermann, Peter: Mail Art Mekka Minden. Congress: September 19-29, 1986.<br />
„Lyrische Collagen 20“. A/4, phc., 8p. ISSN 0721-9083<br />
^→ Maggi, Ruggero: Villorba (Treviso) et Villa Fana, August 12-15, 1986. Documents in form of<br />
a brochure, A/5, phc., 44 p. + hand interventions.<br />
^→ Boever, Jan de: Mail Art Congress 30. August '86. De Media. A/4, phc., 13 leaves +<br />
3 document photos<br />
^Mol, Gerry de: Zak in, zak ouit: mail-art. In: De Morgen, (daily news) Amsterdam. Aug 30,<br />
1986, 14-15 p. (About the „decentralized mail-art world congress“ at De Media,<br />
Eeklo.)<br />
^→ Ruch, Günther: CLINCH, N°7. Decentralized Worldwide Mail Art Congress. (A/5, phc., &<br />
collages. 1986.) From the content:
G. Ruch: It's time to meet<br />
V. → Baroni: Then Brothers & the Network Connection<br />
F. Eipok: Mail Art Performance Party<br />
CLINCH, N° 8. Sightseeing. (Texts and images from the MA Congress 1986. A/5,<br />
phc., 1986) From the content:<br />
G. → Bleus: Mail-Art Sociology<br />
G. Ruch: Editor's Crisis (Mail Art contra Tourism)<br />
^→ Pawson, Mark: SMILE CONGRESS (Smile mutant, A/4, 8 p. Docs. of London Mail Art<br />
Congress. 1986)<br />
^→ Rehfeldt, Robert: Erster Decentraler Mail Art Congress. (Planned for the studio «Palette<br />
Nord» but banned. Realized in the home-workshop of Robert Rehfeldt.) Berlin-<br />
Pankow, 1986<br />
^→ Ruch, G.: Mail Art Congress 86. (Xeroxed documentation, material & sources, A/5, phc.,<br />
160 p.) Out-Press / G. Ruch, Genève, 1987<br />
^→ Ruch, Günther: Everybody speaks from Communication and nobody do it (Xeroxed pamphlet<br />
about Mail Art Congress, Tourism, etc., A/5, phc., 14 p.) Edition «B(oring) ART<br />
theory», Genève, n.d. (1987?)<br />
^→ Welch, Chuck: Corresponding Worlds: Debate and Dialogue. In: C. Welch (ed.): Eternal<br />
Network. A Mail Art Anthology. University of Calgary Press, 1995. 187-197 p.<br />
^→ Wilderjans, Rudi: Special Pictures Black & White (Report photos about De Media Congress,<br />
August 30, 1986.) A/4, phc.,, 14 leaves.<br />
Mail Art Congress / Decentralized World-Wide Networker Congress, 1992 (alphabetical):<br />
«Where two or more artists-networkers meet during the congress of 1992, there<br />
a congress will take place»<br />
^→ Baroni, Vittore: Which way to the infantile utopia? (Xeroxed postcard with this text on the<br />
back side. On the front page: «Networker Congress» direction signs into the four<br />
cardinal points. Under the signs four persons, among them also → Fricker and →<br />
Pawson, are looking for the right direction.)<br />
^→ Bleus, Guy: Statement: The Roles of the Networkers / + Invitation to the Peripatic Congress<br />
in the Zoo of Antwerpen, 23 August, 1992 – «walking in the Zoo, talking to the<br />
elephants.» (A/4 flyer, recto/verso, phc. with a 18 paragraphys text. The last<br />
paragraph: /18/ The Network is the medium, the Networker is the message.)<br />
Ceccotto, Alessandro: New Bulletin, #24. Congress issue (Mail Art and Congress news, the publ.<br />
by Ceccotto was announced in The face of the Congress, #4. Address: Via Scarpari<br />
1/L. Adria (RO), I-45011<br />
^Crackerjack Kid (Chuck →Welch): NC92° Spirit Netlink Performance / Form to keep records<br />
of «Phenomenological Spirit Experiences» as part of the Decentralized World-Wide<br />
Networker Congress 1992 (A/4 sheet, recto/verso, phy.)<br />
^Crackerjack Kid: Netshaker (→ Welch) Mag. with themes relating to the Decentralized World-<br />
Wide Networker Congress. Digest and hald-legal, phc., ~32 p. 1992-94, qu.<br />
~10 issues?)<br />
^# Vol. 1/1; Vol. 2/1, 2; Vol. 3/1<br />
^→ Fa Ga Ga Ga (Mark Corroto): The face of the Congress /A portrait zine of the 1992 Decentralized<br />
World-Wide Networker Congress. (Mag. Digest, phc., ~20 p. 1992- #1-7?)<br />
N° 7 = Face Femail. Youngstown OH, 1992 From the invitation flyer: «We ask<br />
each Congress participant to photograph, sketch, sculpt, rubberstamp, collage, etc.<br />
a portrait of their fellow Networker during or after each Congress»<br />
^#3, 4<br />
^→ Fricker, H. Rudi:/ Mail Art – a Process of Detachment / Mail-Art – ein Ablösungsprozess.<br />
(About → Art Strike and the necessity of a Decentralized Mail Art Congress to<br />
clearing the role of the Networker. A/5, phc., English / German. 8 p.) Trogen,<br />
«The 72nd day of the Art Strike» (March 13, 1990)<br />
^→ Fricker, H. Rudi, → Crackerjack Kid & Kaufmann, Peter (Bergwissenstr. 11, Ebmatingen,<br />
CH-8123, Switzerland): Decentralized World-Wide Networker Congress 1992.<br />
(Letter size flyer with an appeal to congress, coordination and documentation<br />
questions, with the list of confirmed and planned congresses, as addendum also a
Netlink Congress and Networker Databank Congress will be announced)<br />
(Lebanon NH, USA?) n.d. (1991?)<br />
^Kaufmann, Peter : Decentralized World-Wide Networker Congress 1992. / Form to keep<br />
information on planned congress sessions. (A/4 sheet, phc.)<br />
^The Mailmen Angela Pähler & Peter → Küstermann: Free Personal Deluxe Net Mail Delivery /<br />
Documentary Catalogue. (Maybe the last great surway on the Mail Art camp edited<br />
by insiders were visiting over 200 networkers all-over the world and documented<br />
the meeting events during the year 1992. Large text and photo documentation, many<br />
inserts – also collage material – by the visited networkers and the editers. The book<br />
is completed by a chronological and an alphabetical index of names and addresses<br />
[ordered after countris], further by a list of quoted networking publications – ca.<br />
150 items. A/4, phc. completed by collages, rubber stamps, stickers, orig. photos<br />
and some artists postage stamp sheets in each copy, ~300 p. {500}. Copyprinted in<br />
Denmark, England, Germany and Tasmania. S.P. Minden, 1992-1993<br />
^→ Lenoir, Pascal: The Secret Life of Marcel Duchamp / Welcome to the Decentralized World-<br />
Wide networker Congress, Mr Duchamp! Inv. (A/6 flyer) Grandfresnoy, France,<br />
15 July 1992<br />
^→ Morandi, Emilio (with P-M. → Ciani, Hans R. → Fricker, G. → Strada): Networker<br />
Congress, 1992. (Realized 9-10 May. 1992. / 13 loose sheets, A/4, phc. matter<br />
with apppeal-flyers, program-text, graphics, etc.)<br />
^→ Padín, C.: El Networker Latinamericano. (Newsletter with information about the Decentralized<br />
World-Wide Networker Congress 1992 in Latinamerica. 22.5x17.7 cm., phc.<br />
1992. 1-2#?)<br />
^→ Wohlrab, Lutz & Sabine: Post-DDR Mail Art Congress in der Sonderbar (ehemaligen Art<br />
Strike Café) Niederkirchner Str. 34, 1055 (D-10704) Berlin-12. September 12,<br />
1992. Exhibition and cat. for the project: A/5, phc., 24 p.<br />
~<br />
Source:<br />
The Agressive School of Cultural Workers, Iowa Chapter ( → Dunn /→ Perkins):<br />
Networker Congress / Statements. (Digest, phc., 16 p.) The Drawing Legion /<br />
ASCW. Box 227, IA-52244, Iowa City, 1992.<br />
Statements by: Rev. Paul Alchemist, Baltimore MD / Reed Altemus, Syracuse NY /<br />
Gerard Barbot, Brooklyn, NY / Vittore Baroni, Viareggio I / Keith Bates, Manchester<br />
UK / Guy Bleus, Wellen B / Hans Braumüller, Santiago – Chile / Gianni Broi,<br />
Firenze I / Warren Burt, St. Kilda, Australia / Albert Camus, F / Bruno Chiarlone,<br />
Cairo Montenotte I / Piermario Ciani, Bertiolo (UD) I / David Cole. Brooklyn NY /<br />
Mark Corroto (→ FaGaGaGa), Youngstown OH / Anna Couey, San Francisco CA /<br />
Crackerjack Kid, Lebanon NH / Daniel Daligand, Levallois F / Wayne Draznin,<br />
Cleveland OH / Lloyd Dunn, Iowa City IA / Eliot Cantsin, Philadelphia PA / Ever<br />
Arts, Noordgouwe NL / Luc Fierens, Hombeek B / César Figueiredo, Porto P / Bob<br />
Gale, USA / Marco Dimas Gubitoso, Brasil / Krisitof d'Haeseleer, Gijzegem B /<br />
John Held Jr., Dallas TX / Byron Grush, Dekalb IL / Giuseppe Iannicelli, Alessandria<br />
I / Dobrica Kamperelic, Beograd YU / Jim Klingbeil, Milwaukee WI /<br />
Peter Küstermann, Minden D / Carl Loeffler, San Francisco CA / Ruggiero Maggi,<br />
Milano I / Graciela Marx, La Plata GA / Keith De Mendonca, Hove UK / Mit Mitropolus,<br />
Athens GR / Robert Morgan, New York NY / Franz Müller, Luzern CH /<br />
Harry Musgrave, London UK / Clemente Padín, Montevideo U / Julee Peezlee,<br />
Boulder CO / Stephen Perkins, Iowa City IA / Carlo Pittore, New York NY / Harry<br />
Polkin horn, San Diego CA / Bill Ray, Oxford NY / Maxie Snell, Oak Park MI<br />
/ Th. Benett / C.E.W.A.F.S., Oslo N / Andrej Tisma, Novi Sad YU / Lawrence<br />
Upon, Sutton – Surrey UK / Pomona Valero, Pittsburg PA / Lillian Ward, UK /<br />
Bill Whorrall, Shoals IN / Harald Ziegler, Köln D<br />
(Two of the 53 statements:)<br />
«The alliance of networkers is more momentous than the structure of the network. It<br />
is not the art that is important, it is the artist. The man or woman behind the work,<br />
that has precedence. The art is not the aim, it is the consequence of certain communication<br />
processes. That's all. (Guy Bleus)»<br />
«I hope that the talking about mail-art is not going to be the the most important
~<br />
Literature:<br />
thing in the Network. (Ever Art)»<br />
«DECENTRALIZED PROCESS<br />
What follows this grap created by the art Strike? Was the International Mail<br />
Art Network just a shoortlived therapeutic community, enabling its members to do<br />
the work of mourning?<br />
The Decentralized International Mail Art Congress, initiated in 1986 by Günther<br />
Ruch and myself, turned out ot be the cradle of the new artist: the Networker.<br />
More than 80 Networkers had organized their own congress sessions and over 500<br />
like-minded visitors had attended the events which were planned according to the<br />
respective necessities and possibilities. They all shared the intention to conceive<br />
communication- and organisation systems as well as the willingness to participate at<br />
the projects of the others.<br />
The Network of the eighties in particular, formed the sheltered setting for the<br />
process of liberation and development from the dependent to the independet Networker,<br />
who yet co-operates with like-minded Networkers.<br />
NEW AREAS OF ACTIVITY<br />
The networker does not move in the traditional „art spaces“ (galleries, museums,<br />
etc.). His field are the spaces between people, for Mail Art and Tourism create<br />
spaces between partners, in addition every Networker constitutes a measuring-point<br />
for the „space-system“ of the other. The Networker does not merely construct these<br />
spaces (hello, Charles François, also by means of computer connections!), he<br />
defines them, he exploits them, and establishes relationship within theses „spacesystems“.<br />
ABOUT DEFINING THE NETWORKER'S ROLE<br />
Let's use the time and energy the Art Strike has released to prepare the<br />
World-Wide Decentralized Networker Congress 1992. The collaboration with the<br />
new generation of artists outside the Mail Art Network has to be found...»<br />
(H. Rudi → Fricker: Mail Art – a Process of Detachment /5-6-7th paragraphs.<br />
Trogen, March 1990)<br />
«...Es gibt eine junge Künstlergeneration, welche auch das traditionale Kunstsystem<br />
verlässt, ohne in das Mail Art Netz involviert gewesen zu sein. Wir müssen die<br />
Zusammenarbeit mit diesen suchen, insbesondere wenn es gilt die Rolle und das<br />
Feld des neuen Künstlers, nennen wir ihn Networker, zu definieren. Deshalb proklamiere<br />
ich den nächsten weltweiten-dezentralisieirten Kongress als Networker-<br />
Kongress 1992. Das Thema ist: „Rollendefinition“. ich werde ein Papier zusammenstellen,<br />
welches den Networker Anstazweise definirt, damit klar wird, wer damit<br />
angesprochen sein könnte (nicht nur Mail-Artisten). Eine Gegenübebrstellung der<br />
Rollen-Paradigmen „der Künstler ↔ der Networker“. Ich werde einige Kollegen<br />
bitten, mir ihre Gegenüberstellung zu senden. Die Zusammenstellung verwende ich<br />
dann für den Kongress-Aufruf. Was meinst du dazu?» (H. R. → Fricker: Letter zu<br />
Géza <strong>Perneczky</strong>, March 28, 1990)<br />
(The Face of the Congress, #3 / From our Mailbox): (...) «You can mail to some<br />
of the people all of the time, and you can mail to all of the people some of the time,<br />
but you can't mail to all of the people all of the time. Jacques → Massa, France.»<br />
«Am I congressing? Yes. I would like but no money for travelling to meet<br />
somebody else from Mail Art Network! Sad but true! But, who knows? Anyway, all<br />
the best! Piotr Piatek, Poland.»<br />
«Yes I am in the Congress Fever... We are all crazy and it's good. Baudhuin<br />
Simon, Belgium»<br />
«Congress Yourself. A sticker by Piermario → Ciani, Italy»<br />
«...I don't agree with Mrs. Rea → Nikonova's statement „we don't understand<br />
people from the West, you don't understand our problems“. Everybody has (their)<br />
own problems and it doesn't depend on a country where you live... I'm sure people<br />
are able to understand each other if they want to do it... So DNC is a means for
«Mail Art & Network Theories» → Appendix<br />
understanding. Eugene Shashkin, Russia.»<br />
«...Computer and the other technological means give many more great possibilities<br />
but MAIL ART IS THE NETWORK! Ruggero → Maggi, Italy»<br />
«...Sexist Bastard... What makes you think Networking is a „Man's Game“?<br />
Eh? More than 50% of my correspondents, both here and abroad, are women.<br />
Maybe you just don“t live right... The elitist little group of international Mail-<br />
Artists that make the most noise are all men, but mostly by choice. So THERE!<br />
Your politically-corract mail buddy, Rudi → Rubberoid, USA»<br />
(The Face of the Congress, #4 / From our Mailbox): «Having just from Europe to<br />
find that my name has changed. I wish to let you know that for the past 58 years<br />
and years to come, my family name (is) HOFFBERG, not Hoffman... Judith →<br />
Hoffberg, USA. / Sorry Judith, we have not editor. Can you lend us an umbrella?»<br />
«No, besides the fact now we're in a fucking blockade – „as guilty people“ –<br />
until 6th US Army float in Adriatic Sea, we'll stay open & OPEN WORLD will<br />
start soon again!... Dobrica → Kamperelic, Yugoslavia»<br />
«My friends wrote me that our postal service returned them their letters to<br />
us... It is postal terror... Probably you think about „mail-art heroes“ with smile, but<br />
now the smile is thing from not our wardrobe. Please smile instead of us. We invest<br />
our smiles to your bank, for far future... Rea → Nikonova, Russia.»<br />
«We are sad to learn about Nantucket. Our brief introduction meeting was<br />
pleasant & good spirited. I want to thank you, or Nantucket,... Richar C., USA.<br />
Editor's note: In early July our dog, Nantucket, traveled to North Carolina to participate<br />
in a Networker Congress with Richard C., King Alexander of Edelweiss, Don<br />
Morgan & his dog.»<br />
«Mail, Etc., Art: A Travelling Correspondence Art Exhibition.» Univ. of Colorado. Boulder, CO. USA 1979<br />
°Mail, etc., Art. (Exhibitions in 1979-80) Cat.: (Edited by Bonnie Donahue, Ed <br />
→ Koslow, Michael Becotte & Robert Fichter) 20x23 cm., col. offset,<br />
n. p. (64 p.) 464 parts. Reproductions and more essays about Mail Art<br />
in 3 sections of the catalogue. Published by the University of Colorado,<br />
the Tyler School of Art, & Florida State University. Boulder CO, 1980<br />
~<br />
Literature:<br />
«Mail etc., Art is an intriguing publication. Conceptually challenging, it is in many<br />
ways executed well and in as many ways severely flawed. It demonstrates the<br />
opportunities and problems inherent in the exhibition and study of mail art, and in<br />
those publications which attempt to discuss and to present an art form which over<br />
the last few decades has groown from a small underground network to a major<br />
international art movement. (...)<br />
The catalogue grew from a valuable basic idea. The University of Colorado<br />
launched a mail art show in January of 1979 at its Fine Arts Gallery. The show,<br />
over the next year, travelled from the Colorado campus at Boulder to the University<br />
of Southern Illionis, Edwardsville; Tyler School of Art, Elins Park, Pennsylvania;<br />
Florida States University in Tallahassee and back to Boulder again. It is now<br />
on a new round of travels. Participants have been welcome to send work to any and<br />
all stops of the exhibxitions.<br />
Each of the exhibiting institutions was to help with the publication of the<br />
catalogue, preparing and printing their own section... Each of the sections of the<br />
catalogue has a distinctly different look. (...) The scholarly content of the catalogue<br />
deserves attention... Ron Gasowski interviews himself in the guise of his alter ego,<br />
Marc D'Chump... R. Pieper interviews Ray → Johnson in a text which is somewhat<br />
informative (about New York Correspondence School, the major Mail Art show in<br />
Paris 1971, and the shows in Oakland, Seattle and Omaha in 1872 and 1973, etc. –<br />
Ed. note)... Jim Field's introduction... discusses the show... The final piece is a<br />
personal collection of thoughts on mail art by Barbara Jo Revelle...»
(Kenneth S. Friedman: Post Haste: Reflections on Mail Art. In: Umbrella<br />
[→ Hoffberg], Vol. 3, #3, 56-58 p. May 1980)<br />
«Mail Art... Of recent exhibitions, certainly the most widely circulated and perhaps<br />
the largest is the Mail Etc. Art Show. organized... at the University of Colorado, it<br />
was first presented there in January of 1979. Since the the exhibition has travelled<br />
to and been reinstalled at a half dozen universities and art schools across the United<br />
States. It's still moving around, too. At each stop, mail artists were invited to again<br />
contribute their work. Well over 700 artists are now represented with several<br />
thousand pieces in the total show. Out of this monumental exhibition has come a<br />
beautiful catalog. While somewhat scant in good critical essays on mail art... this<br />
document in nevertheless lush and rich with fullcolour reproductions.»<br />
(Lightworks [→ Burch], Correspondence, N° 13, Fall 1980, 61 p.)<br />
!Maillard, Colin! c/o Fricke Verlag Frankfurt am Main Germany 1982<br />
^Carte Postale / Post für gute Freunde. (Collective Mail Art action ~1979-1981 by <br />
cards, objects, collages and other kind of applications. „Colin Maillard“<br />
is: Francis David, Annick Randija, Pierre-Oliver Parmentier, Françoise<br />
David, Pierre Peyraube, Renée Palumbo, Patrick Sendrot and Marc<br />
Jeanneteau.) 20.5x20.5 cm., col. offset, 84 p. Frankfurt, 1982?<br />
Maillet, Daniel ? Noumea New Caledonia 1980<br />
°Dixie Postal Art Show. Inv.on A/4 sheet, offset. Noumea, 1980<br />
<br />
!Mail Queen!<br />
→ Tavenner, Patricia<br />
«MAKKOM, Stichting» Haarlemmerdijk 39. Amsterdam, NL-1013, KA Netherlands 1984<br />
^Super 8 mm Filmfestival. Cat.: A/4, phc., 88 p. (Films, docs., Mail Art) 1984<br />
<br />
^To get close human contact (11 Polish artists with works and performances in the <br />
style of the underground). Cat.: 19x20 cm., offset, 48 p. Oct-Nov 1984.<br />
The artists: J. Baldyga, L. Brogowski, A. Dudek-Dürer, H. Gajewski, P.<br />
Kwiek, A. Knietniewski (Tango), A. Mikolajczyk, R. Piegza, P. Rypson,<br />
W. Ropiecki, R. Wasko<br />
^Voices through 1984 (with Hedie Meyling & Joseph → Semah). Cat.: A/5, phc., <br />
100 p. A «marathon reading»: June 25, 1984 (Orwell's birthday)<br />
^Language and Silence (Commonpress #54) A/4, phc., 46 p. 44 participants. <br />
Ed. → Semah, Joseph. Makkom, 1984<br />
Makkom. Interdisciplinary investigation into Art (A/4 size offset mag. with alter- <br />
native and Mail Art from the Makkom Stichting. 1985- 2xy?)<br />
Ed.: → Semah, Joseph / Symons, Jerome.<br />
Malanga, Denis 4 Av. George Bizet Mont de Marsan, F-40000 France 1985<br />
^Strange Daze (One-sheet info rag with Mail Art news. A/4, phc. 1985-, ir.) <br />
Also information booklets in A/5 and A/6 sizes with 12-22 leaves<br />
published in 1985-86.<br />
Supplement: Les saignées amnésique, A/5, phc., 18 leaves.<br />
^ News: #1, 3, 4, Last... ; Booklets: #2, 4; Suppl.: Les saignées...<br />
^Universal Tribut to Jim Morrison. “Absolutely live and realised by Denis Malanga <br />
with universal participations”. Cat.: Horz. A/4, phc., 20 leaves. 1985<br />
!Malatesta, Morgana! → Feh! Press<br />
Malmö / artists c/o Wadstein, Rönnenholmeswegen 6 B, Malmö, S-21147 Sweden 1969<br />
New Eter (A very early assembling publ., the new edition of the earlier magazine <br />
from Paris-Malmö, „Eter“. A/4 vis. poetry and concept matter in<br />
envelope. 1969-73, ~ 2xy, #1-6.)<br />
→ Gette, P. A. (Eter)
«Mamelle, La» (Edition) Contemporary Arts Press, Box 3123, Rincon Annex. San Francisco, CA-94119 1985<br />
→ Loeffler, Carl E.<br />
Manchester mail artists c/o 34 Goulden Road, Manchester. M20 9ZF. UK 1985<br />
^Elements. 1985. 1 (Language, with Stewart Fergus) Cat.: A/5, phc., 8 p. <br />
2 (Visual) Cat.: A/5, blue phc., 8 p. <br />
3 (Audio) Cat.: ? <br />
Joseph Easthem High School. Hilton Lane,<br />
Worsley, Manchester. M28 5SY<br />
^The Heart of the Computer – International Mail Art Show. Inv.-flyer, 1991<br />
<br />
Mancini, Enzo Via Castagneto 14. Castellivi (FR) I-03030 Italy 1981<br />
Sorbo Rosso. Trimestrale d'arte & cultura alternativa (Offset mag. for intermedia art, <br />
vis. poetry, and theoretical writings. 24.5x17 cm. 1980-82, qu., #0-8?)<br />
Mancusi, Tim 153 Verde Court, Rohnert Park, CA-94928-2071 USA 1996<br />
NYCS Weekly Breeder. Vol. 2. N° 10 (#1) Ed. by Tim Mancusi. Letter, ip., 2 p. <br />
May 1972<br />
- “ - - “ - Vol. 3, N° 2 (#2) Ed. by Tim Mancusi. Letter, ip., 7 p.<br />
June 1972<br />
- “ - - “ - Vol. 3, N° 3 (#3) Ed. by Tim Mancusi. Letter, ip., 10 p.<br />
Christmas 1972<br />
The NYCS Weekly Breeder. Vol. 3. N° 5 (#5) Ed. by Tim Mancusi. Letter, ip., 15 p.<br />
1973 (announced as May 1953!)<br />
- “ - - “ - - “ - Vol. 3. N° 6 (#6) Ed. by Tim Mancusi. Letter, ip., 34 p.<br />
1973<br />
The Very Last NYCS Weekly Breedeer. Vol. 3, N° 7 (#7) Ed. by Tim Mancusi.<br />
Letter, ip., 17 p. Autumn 1974<br />
~<br />
Sin City. (Magazine in mini size, instant print)<br />
#1: «Sex-Murder-Dope“ comic, a roommate of B. Griffith's works. 8 p. <br />
#2: «Adults only» comic featuring the work of the editor & Bill Griffith.<br />
Some of the comics are reprinted from The NYCS Weekly<br />
Breeder San Francisco, 1972-73.<br />
°Bulletin #1. By the Nu-Art Collectif: T. Mancusi, B. Gaglione, M. Cazazza, Anna <br />
Banana and others. 14x10.5 cm., offset, 20 p. Edited by the Markin Art<br />
Club, San Francisco. 1976<br />
The New York Correspondence School WEEKLY BREEDER. Vol. III, 1981. Letter, <br />
phc. 200 p. Ed. Tim Mancusi and the Bay Area Dadaists. (A complete<br />
compilation of the seven issues of the NYCS Weekly Breeder edited<br />
by the members of the Bay Area Dada group. Also reprints an article<br />
from The Prints Collector's Newsletter (Sept-Oct. 1977); Howerdena<br />
Pindell: Artists' Periodicals.)<br />
^Streching the Rubber – exh. at the → Heindesign, Hagen D. Inv.-sticker, 1994 ® <br />
~<br />
Literature: «In the early 1970s The → Bay Area Dadaists were influential in solidifying the<br />
dadazine as a legitimate form. The dadazine was a collection of „Kwikcopy“<br />
printed pieces (printed with paper plates on small presses) with a run of about 200<br />
copies. The dadazine evolved out of our earlier single sheet mailings. Basically we<br />
just held back on the mailings until we had enough to staple together behind a<br />
cover. The covers were the best part. Examples of Bay Area Dadazines include<br />
The West Bay Dadaist, QUOZ, Dadazine, and The NYCS Weekly Breeder which<br />
I was editor of from May of 1972 until Fall of 1974.<br />
Printing and assembling Vol. III of the NYCS Weekly Breeder was always a<br />
high. We could pick up the pages from PIP-200 copies per page packed in cardboard<br />
boxes. We'd take them home to the Goodman Bldg., and lay out the stacked<br />
pages on a table. Walking around the table until all the pages were gone we would
Mandic, Miroslav → Bogdanovic, Slavko / L. H. O. O. Q.<br />
collate an issue.<br />
On the evening of Dec. 21, 1974 I was on my way to Charles → Chickadel's<br />
apartment to help put together an issue of QUOZ when I was sopped by the SF<br />
Police Dept. and searched on the street. In my coat pocket they found a stapler and<br />
1 ounce of marijuana. They confiscated both and I missed assembling that issue.<br />
I'm sure the stapler is still on some officer's desk.»<br />
(Tim Mancusi: On Assembling Dadazines (1996). In: Stephen → Perkins:<br />
Assembling Magazines. International Networking Collaborations [2nd enlarged<br />
edition] Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 /Print: 1997. 59 p.)<br />
How did you get involved with rubber stamps?<br />
Once again, I can trace my interest in rubber stamps to Ray Johnson. He<br />
would often add to his mailings with a stamped expression, usually a one line pun<br />
referring to someone he knew in the art world. These stamps were typeset (almost<br />
always in 12pt. Helvetica) and stamped in red, blue or purple. What I liked about<br />
them was that „stamped“ look – uneven coverage, a little blurry, perfectly imperfect.<br />
After I moved from Levittown, N.Y. to San Francisco, I worked with my<br />
cousin, Bill Gaglione in an art supply store. Across the street was Patrick's Office<br />
Supply store. It was there, that Bill and I had our first rubber stamps made. (The<br />
stamp division at Patrick's was run by Bob Grimes, who years later, would be made<br />
famous by Leavenworth Jackson). In June 1970, I had Patrick's make 3 different<br />
images of clouds I had drawn into rubber stamps. Soon after I drew 2 more, the man<br />
on the moon and the planet Saturn for Hervé Fischer's early anthology of international<br />
stamp art. It was a precursor of an industry yet to come.<br />
In 1979 a friend, Joel Rossman, bought a small vulcanizer and we all started<br />
making stamps like crazy. This collaboration among Joel, Bill and myself led to the<br />
publication of STAMP ART which was a compilation of rubber stamped artwork<br />
mailed to contributors. The legacy of STAMP ART is that it led directly to the<br />
formation of 2 of the world's most successful rubber stamp manufacturers – Gaglione's<br />
Stamp Francisco, and the company I work for, Rossman's Personal Stamp<br />
Exchange.<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Tim Mancusi. A/5, phc., ?? p.<br />
TAM Publs.: TAM-970180, Tilburg, 1995)<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 76-77 p.<br />
Mann, Ernest 2714, 1st Ave. Minneapolis, MN-55408 USA 1988<br />
↑ 715 E. 14th Street Minneapolis, MN-55404 - “ - 1976<br />
.............................................................................................................................................................<br />
Little Free Press (Mag. for exp. literature and theory. 35.5x21 cm. offset leaves, <br />
folded. 1976-80, #1-30)<br />
Manuel, Jesus c/o Centro Cultural La General / Acera del Casino. Granada Spain 1990<br />
^A Federico Garcia Lorca (with Francisco Morales & Rafael Alberti) Cat.: <br />
27x18.5 cm., offset (colour), 146 p. September 15-30 1990<br />
Março, Group<br />
(Gilda Castilloo, Mauricio Guerrero, Manuel → Marin, Sebastian & others)<br />
104 San Andreas, Coyoacán Mexico D.F. Mexico 1980<br />
↑ c/o Manuel → Marin, California 19-A. 104. Mexico-21 D.F. Mexico <br />
.............................................................................................................................................................<br />
^Março / I Aniversario (Poster size Mail Art magazine with changed title, also large <br />
catalogue parts. 93x62 cm. folded to 8, offset. 1979-81?, #1-5?)<br />
Group Março, Mexico<br />
°Polaroid SX-70 en Mexico. Cat.: 20x20 cm., offset, 12 p. spiral bound.La Chinche.
Mexico DF, 1979<br />
^#4-5<br />
^Mail Art Exh. (Org.: Manuel Marin) Cat.: in: Março #4-5. Nov. 1980<br />
<br />
Marioni, Tom Crown Point Press, 1555 San Pablo Av. Oakland, CA-94612 USA 1975<br />
Vision (Concept art + actionism collected from East and West, a very informative <br />
publ. in the 80s. Special issues: #1: California, #2: Eastern Europe,<br />
#3: New York City. 34x20.5 cm., offset. 1975)<br />
Marin, Javier Rua Timbiras 242. Apto. 24. São Paulo Brasil 1975<br />
On / Off (Assembling for Mail Art matter in div. sizes: A/4, A/5, loose sheets and <br />
postcards in envnelope. 1975, #1-3)<br />
Marin, Manuel Calzada de la Viga, 1416, edif. i-17 Mexico D.F. Mexico 1982<br />
↑ California 19-A-104, Coyoacan 04000, Mexico 21 D.F. - “ - 1981<br />
.............................................................................................................................................................<br />
^Março / I Aniversario (Poster size Mail Art magazine with changed title, also large <br />
catalogue parts. 93x62 cm. folded to 8, offset. 1979-81?, #1-5?)<br />
Group → Março, Mexico<br />
^#4-5<br />
^Algo Pasa (Mail Art assembling in envelope of 24x18 and 33.5x24 cm. 1981-, <br />
#1-12?) Group Arte Correo, Mexico<br />
^#9, 12<br />
°Ficcion. 18.5x12 cm., rubber stamps, 12 p. {100}. Self Edition. n.d.<br />
® <br />
°En Espera. 24x16.5 cm., rubber stamps, 16 leaves. {35}. Self Edition. n.d. ® <br />
°El Desmebrado. 15.7x12.2 cm., rubber stamps, 24 leaves. {10}. Self Edition. n.d. ® <br />
°El Cuento Fantastico. (10 artists' stamps mounted on a sheet of 14.5x11.5 cm.) n.d. <br />
^Arte Correo, Series antologica, 1. (with J. de → Santiago) Cat.: 21x19 cm., offset ®<br />
+ rubber, 40 p. 36 parts. / Universidad Nacional Autonoma de Mexico /<br />
ENAP, UNAM. May 1981<br />
^Aquí I. – alternative graphic project via Mail Art Inv.-letter, 1981<br />
<br />
^Aquí II. – rubber action. Doc.: One sheet of 36x20 cm., offset. / Galeria Juan Martin, ® <br />
Amberes 17, 06600 Mexico D. F. 1982<br />
^Aquí II. Doc.: 34x21.5 cm., phc., 4 p. / Arte Alternativo. In: Centro de Investigacion ® <br />
Sobre Fijacion de Nitrogeno. September 23, 1982<br />
^Aquí 1, 2 y 3. Cat.: 22.5x20.5 cm, offset, 8 p. /Universad Nacional Automia de<br />
Mexico. 1982<br />
^Aquí (100 postcards with orig. rubber stamps, doc. of the whole project) 1982<br />
^Artistamps: (Without title) (Sheet of 32 diff. stamps/drawings, b/w phc.) n.d.<br />
~<br />
Literature:<br />
®<br />
® <br />
<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 81-82 p.<br />
Mark, Angela / Shores, Michael, P. O. Box 901. Allston, MA-02134 USA 1982<br />
^American Living (A very visual edited mag. for xeroxed images and collages only, <br />
partly colour xerox covers. Digest, phc., 32 p. 1982-88, qu., #1-25)<br />
^#1, 3, 6, 7, 9, 18, 19, 20, 22, 23, 24<br />
~<br />
Literature:<br />
«Both of these examples of American Living (#19, #20) are literally edge to edge<br />
with collage imagery, with source material coming from elementary science books,<br />
steelpoint engravings, drawings, etc. Rather similar to Cansas College of Collage<br />
stuff. Sort of Max Ernst meets the Marx Brothers but it doeosn't make that much<br />
sense. They kind of strike me like those Slacko Vorkapich montages from hollywood<br />
movies where they let him crossfade between several different picture sources<br />
to create an a syntactic mélange of loaded juxtaposition & the effect, sans context<br />
as here, is dreamlike.» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 23, April<br />
1987, 741 p.)
«Markt, Galerie am / Annaberg-Buchholz» → Milde<br />
Marlow, Jack Fehrfeld 61 / 64. Bremen-64, D-2800 Germany 1979<br />
Kryptogame (Alternative lit., Mail Art and graphism. A/4, offset, 48 p. 1979-) <br />
Marquant, Axel / Decke, Thomas c/o Westfälischer Kunstverein, Münster, D Germany 1979<br />
°Sprachen: Jenseits von Dichtung. Cat.: 213 p. (72 parts.) Testx by J. Adler, <br />
B. Cobbing, A. Marquant, S. J. Schmidt & K. P. Dencker. 1979<br />
Marras, Amerigo Kensington Arts Ass. 4 Kensington Av. Toronto, M5T 2J7 Canada 1975<br />
Super-Vision (Marginal art, Mail Art, very visual outfit, also as catalogue for a Mail <br />
Art project. 22.5x22.5 cm., offset. 1975, #1 only?)<br />
Marroquin, Raul P. O. Box 1196 Maastricht Netherlands 1974<br />
^Fandangos («Fandangos isn't an art paper but an art piece...[N°5]», mag. for post- <br />
fluxus, concept and performance matter in a very visual edition. Var.<br />
sizes from A/2 to A/4, newsprint and offset, 1-64 p., not dated and not<br />
numbered issues. 1973-81, 11 issues)<br />
^ #Stereo Fandangos<br />
°Phonomic Performances (1974-1975). (22x14 cm., offset, 20 p. Mad Enterprizes <br />
Inc., Maastricht, 1975<br />
Installation Pieces – Peformances. No catalogue. Exhibition & performances: Ecart <br />
Gallery (→ Armleder), Geneva. March - April, 1976<br />
~<br />
Literature: «Fandangos grew from the International Meeting of artists held in Maastricht last<br />
year. The meeting now continues in newspaper form, edited by Raul Marroquin and<br />
Marjo Schumans. Issue 4 (titled Vandangos, by Klaus → Groh) heralds a change<br />
from silkscreen to offset production, and an improvement in the layout... Issue 5<br />
(titled Fun-dangos, by Michael → Gibbs) is pinted on blue paper, which happens to<br />
be the colour of the eyes of the interviewer of Tony Pegotti (a. k. a. Anton Verhoeven)<br />
to whom 4 pages are devoted. (...) have also a few books, produced by silkscreen,<br />
mimeo or litho methods. Titles include „The Adventure of Captain Morgan“,<br />
„Outlines“, How?“, „Body Monuments Inc.“ (a documentation of Marroquin's<br />
aborted attempt to perform living sculpture at the Stedelijk Museum), and „Changing<br />
Personalities“. The last-named is perhaps the best of the bunch, the others being<br />
rather sliht...»<br />
(News and Reviews. In: Kontexts, #6-7 [→ Gibbs]. Amsterdam, 1975. n. p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 35-36 p.<br />
Mars, Diana c/o Ed. of Intermedia Research, Maps & Games, 3625, 23nd St. San Francisco, CA-94110 1995<br />
Bookworks. Colaboraton with the Rubber Stamp Gallery by → Gaglione, 1990s ®<br />
^Spin Traces #1-4, Key, #1. (5 cards by original rubber stamps in envelope) ®<br />
50 signed and numbered copies. San Francisco, 1995<br />
Marsily, Anne → Schraenen, Guy / A. S. P. C.<br />
Martin, Manfred Schnoorstr. 27 Leipzig, (GDR-7031→) D-04229 1984<br />
Nonsense Objekte – Mail Art Patente. Invitation. Leipzig, 1984<br />
<br />
^The Book of Stamps. („Nur für Dienstgebrauch“). Artists' book by original rubber ®<br />
stamps on white felt sheets, bound to book. A/6 size, ~10 leaves.<br />
A few copies only. 1985<br />
Martinou, Sophia Tersphioris 9. / Holargos Athens, GR-15562 Greece 1982<br />
Create / Indicate a Street Art Expression... Invitation. 1981<br />
<br />
^Environnement mediterranéen. Poster with participant list, 50x35 cm., offset.
Universitat de Barcelona, Spain. July 1982<br />
^Maskes. Doc.: Poster of 58x42 cm., offset. Athens. March 1988<br />
Mail performance: Punctuations. (17 artists' minimal performances) Athens, 1992<br />
^Mail Art: Scenarios for possible future. (Essays and answers to the questions<br />
considering the invasion of new communication and informationn<br />
technologies by 95 artists. E.g.: «The utopian idiot in us will never<br />
die» by V. → Baroni.) Cat.: A/4, phc., 130 p. Athens, 1997<br />
<br />
<br />
<br />
Marx, Graciela Gutierrez, Calle 8. N°332. CP: / Cas. de Cor. 266., La Plata, AR-1900. Argentina 1991<br />
↑ Cas. de Cor. 749 La Plata, AR-1900 - “ - 1985<br />
.............................................................................................................................................................<br />
Artistamps: °(Without title) (Sheet of 4 diff stamps, each 3.5x4 cm., oicher & sepia <br />
on white) Marx Vigo's Stamps. La Plata, ~1978<br />
Pigeons of Freedom (with → Vigo, E. A.) (Commonpress #19) 19.5x13 cm., 25 p., <br />
24 participants. La PLata, 1979<br />
Los codices marginales de / The marginal codices of / Ma Ma BLAnCa. («Family <br />
group assembling a myth. N° 1.») Portfolio publ. of 19x25x1 cm. with<br />
50 photocopied leaves (compilation of texts, images, letters, photos,<br />
etc. by the «family members») + 4 sheets participant list (138 names).<br />
Confusion (ED) post año 1 – libro 1. Marginal post poetry – asociaciòn<br />
aleatoria. March 19. La Plata, 1980<br />
Send a paper-flower to Soledad. («Changing-Chance project») Publication of letter <br />
fragments and texts to/about Soledad (the lonely), was it a project?<br />
Con-fusion (ed.) Marginal Mailable Editions. 1980<br />
Mamablanca's Treasure. («You can send your marginal gifts to Mamablanca when- <br />
ever you want...») Cat.: 53x36.5 cm. poster, offset recto/verso,<br />
with graphics, photos and part. list (128 artists), + Spanish/English text<br />
suppl. of 34x22 cm., phc. {200}. Project: 1981. Edition: April 1982<br />
^Fusion Post Archive – request for send in Mail Art archive materials. Inv., 1985 <br />
^Hoje-hoja-hoy (Politic, theory, poetic and communication, often with beautiful <br />
graphic supplements as folded to two or to four handmade applications.<br />
A/4 and 24.5x20 cm. size sheets, offset, phc., and rubber / wood prints.<br />
1985-92?, #1-7?) Asociación Latinoamericana y del Caribe de Artistascorreo<br />
/ Mamablanca<br />
^#Vol.1/1, 2, 3, 4; Vol.2/5; #1990 (March), #1992 (#7)<br />
^Grupo de Familia / circuito int. de Arte Correo (Mag., partly assembling, ~30x22 <br />
cm., phc., ~20 leaves. 1991-, #1 only? ) Edited by G. G. Marx & Martin<br />
Eckmeyer / Volker → Hamann / Silvia Lalli / Susana G. Lombardo /<br />
Clemente →Padín / Graciela A. Falbo.<br />
^Pensée Abductive, Pensée Creative... Travail rapporté an Séminaire de Sémiotique <br />
et Pragmatique du Prof. Hermann Parret, faculté des Humanités de La<br />
Plata. (A/4, phc., 5 sheets) 1994<br />
^Las Puwertas de la Trapalanda... (with Jorge Ramaller). Inv.-1997<br />
<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 82 p.<br />
Graciela Guttiérrez Marx: A Folk Art Without Artists. In: Chuck Welch (ed.):<br />
Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995.<br />
Vittore → Baroni: Edgardo-Antonio Vigo e Graciela Gutierrez Marx. In: Arte<br />
Postale. Guida al network della corrispondenza creativa. (Text: Italian) AAA Ed.<br />
Bertiolo, 1997. 112-114 p.<br />
Marzidovsek, Mario. Titova 39, Slov. Bistrica, YU-62310 Yugoslavia 1985<br />
^Laboratorium (Mail-Art, Book-Art, 1985) Xerographied documents. A/4, phc., 24 p.
Masic, Radomir M. Tita 266-B Kula, YU-25230 Yugoslavia 1983<br />
Art Ipso Facto (Art in the consequence of act) (with → Zagoricnik, F.) Doc. <br />
^Invitation: 1984, exhibition: Kranj, Ljubljana, 1984<br />
Mason, Rainer M. c/o Cabinet des Estampes Genève Switzerland 1976<br />
°Timbres et tampons d'artistes. Cat.: 79 p. / Cabinet des Estampes, Genève, 1976 <br />
Massa, Jacques 3 rue Clemence Royer Nantes, F-44100 France 1992<br />
↑ 75 rue de l'Oureg Paris, F-75019 - “ - 1986<br />
.............................................................................................................................................................<br />
^A mail art surprise. (Planned as an exhibition Mail Art Power / Offensive Art Postal <br />
for the „Diagonal / Espace Critique“ Paris, and the „Alternativa 4“,<br />
Cascaix, Portugal. A cooperation project with Egidio Alvaro and E.<br />
Pottier, as exhibition curator) Cat.: A/5, offset, 40 p. Also poster<br />
with part. list: 58x40 cm., 2 colours offset. Exhibitions:<br />
Palacio d'Abraxas – Noisy le Grand, March 8-22, 1986<br />
L'espace critique – Diagonale, Paris, June 1986<br />
Matamaros, Fernando: Apartado 295 San Sebastian Spain 1984<br />
^Elementos de quedispone. (Concrete poetry) Self edition. A/5, phc., 1984<br />
<br />
^Und so weiter. Estampas donostiarras, 1. (Graphic works) S. E. 11x8,5 cm., phc., <br />
long accoordion size booklet (21x). ~1984<br />
^Servicio de Socorro (help service). Mini accordion book with portraits and data of <br />
disappeared persones (polit art). 8.7x5 cm, phc., 8 p. (recto-verso). n.d.<br />
(~1985)<br />
Máté Gyula Alkotmány út 39 Bonyhád, H-7150 Hungary 1996<br />
^13 Electrographics 1971-1991. (Phcs on the basic of electromicroscope images) <br />
Cat.: Accordion like small publ. with two sheets of 15x42 cm. r/v,<br />
phc., folded to 4. Exh.: Hospital in Bonyhád H, 1991<br />
^Enamelled Pictures, Electrographics – Tüzzománcképek, elektrografikák.<br />
<br />
Cat.: (Text: Engl., French, German, Spanish, Hungarian) A/5, phc., 28 p.<br />
Szombathelyi Képtár, Szombathely H-9700, 1993<br />
^Wire Brush Art. (Drótkefe müvészet, elektrografikai alkotások) A/4, phc., 64 p. <br />
Anthology of electrographics and texts (Hungarian). S. P. 1969-1994.<br />
^The Hundred Year Anniversary of László Moholy-Nagy. (Org.: Máté. Photos only) <br />
Doc.: Two A/4 sheet with participants list and diplom. / Museum of<br />
Photography. Katona J. tér 12. Kecskemét, H-6000. 1995<br />
^Speckled Cow. Inv.-card, 2000<br />
<br />
~<br />
Literature: Gyula Máté: Wire Brush Electrographic Art. In: Leonardo, Vol. 28, N°2, 155 p.<br />
1995<br />
Gyula Máté: Grafi®kák. (Monographical anthology of electrographic works with<br />
texts, quots and many images) A/4, offset (also colours), 84 p. Ed. Babits, Szekszárd<br />
(Hungary), 1999<br />
Mather, Mick 1014 Willis Ave. Syrakuse, NY-13204 Italy 1984<br />
4-U-2 Post Magazine (One-sheet magazine with images like cartoons. Folded, inside <br />
page empty for personaly message. Letter size, phc., 1984-, ir.)<br />
Mathes, Karsten Schloss Strasse 1, Box 152 Rochsburg, GDR-9291 Germany 1985<br />
^Castle Peace Project. Inv.-card + invitation to vernisage (original photos), 1985 <br />
Matkovic, Slavko Group Bosch & Bosch. Stipe Gryca 32 Subotica, YU-24000 Yugoslavia 1972<br />
Sove Vukovica 18 Novi Sad, YU-21000 - “ - 1972<br />
.............................................................................................................................................................
^Kontaktor (with → Szombathy, Bálint) (An early assembling in envelope of 23x35 <br />
cm., with ~20 leaves each issue, vis. and exp. poetry and image matter.<br />
1972-73, #1-2) Edition Group Bosch + Bosch<br />
Permanent exhibitions on Mail Art, Subotica, 1973-75. . 1973<br />
<br />
^WOW (with → Szombathy) (Mag. partly rubber-assembl. 1974-80, #1-6) ®<br />
N°1, A4 size magazine {45}, 1974<br />
N°2, 30x41.5 cm, four colour silk screen {150}, 1974<br />
N°3, 50x18 cm, folded, offset {210}, 1975<br />
N°4, 30,5x45 cm, offset, info, Yug. & Hung. altern. art scene, 1975<br />
N°5, 50x18 cm, 4 sheets r/v., int. issue, Würzburg {300}, 1976<br />
N°6, 2 oversize sheets with orig. rubber stamps {120}, 1980<br />
^#1, 3, 4, 5, 6<br />
Special / Unusual / Strange Material. Doc. 1985<br />
<br />
^Ragasztószalag szövegek. 19x21.5 cm., offset, 50 p. Új Symposion Füzetek, <br />
Novi Sad YU. 1989<br />
November 2, 1994 1994<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 35 p.<br />
B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the<br />
1970s. In: Stephen → Perkins: Assembling Magazines. International Networking<br />
Collaborations (2nd enlarged edition) Cat.: Half-legal, phc., 64 p. Subspace,<br />
Iowa City. 1996 (Print: 1997). 52-54 p.<br />
Maue, Kenneth P. O. Box 5001 Mill Valley, CA-94942 USA 1986<br />
^Rollmag (Magazine with contact texts only. Letter, offset. 1986?- ~ 20#)<br />
<br />
^#1987, #14, 15<br />
^This is not art. (11 cards with visual poetry in envelope) n.d.<br />
<br />
Maurer, Dóra Stefánia u. 18 Budapest, H-1143 Hungary 1996<br />
↑ Káplár u. 10/b. Budapest, H-1024 - “ - 1978<br />
↑ Szász Károly utca 2 Budapest, H-1024 - “ - 1968<br />
.............................................................................................................................................................<br />
↑ Glockengasse 22 Wien, A-1020 Austria 1986<br />
↑ Artillerie Platz 1/3. Wien, A-1140 - “ - 1968<br />
.............................................................................................................................................................<br />
^Szövegek / Texts. Doc. Poster. Exh.: (forbitten): Chapel-Gallery, Balatonboglár H, <br />
1972<br />
~<br />
Source: ^Künstler aus Ungarn. Cat.: A/4, offset, 100 p. Kunsthalle Wilhelmshaven.<br />
August-<br />
September 1980. Org.: Dora → Maurer & Joachim Diederichs. Introdution texts by<br />
István Hajdu & Jürgen Weichardt. Artists: A Mengyán; T. → Gáyor; D. Maurer;<br />
P. Türk; Zs. Károlyi; J. Megyik; Gy. Jovanovics; K. Halász; A. Baranyay; T. Szentjóby;<br />
M. → Erdély; The Studio of New Music, Budapest. Also the chronology of<br />
the progressive art movements in Hungary 1966-1980 (Author: Dóra Maurer).<br />
Mayor, David Beau Geste Press, Langfourt Court South Cullompton, Devon, United Kingd. 1972<br />
Beau Geste Press Publs. (with Felipe & Martha Ehrenberg) by artists from the post- <br />
fluxus scene. Mostly mimeographed A/4 or A/5 booklets in an edition<br />
of 100-250 copies. First half of the 70s. Some items:<br />
David Mayor: Auto book. 10.7x15 cm., mimeogr. 26 p. {50}. 1971<br />
David Mayor: Extra: Some words and visions. A/4, mimeogr. 38 p.<br />
{100}. 1971<br />
Mick Weaver: Dreck. (Assembling like publ.) ~A/4, ~1971<br />
Allen Fischer: Spaces for Winter Solstice. Mini size, 20 p. 1972
Yukio Tsuchiya: Works in Progress 1972-73. A/5, in more editions.<br />
Helen Chadwick / D. Mayor: Door to door. ~A/5, 32 p. {250}. 1973<br />
Allen Fischer: Taken the Days... 18.5x13 cm, offset colour. 16 p.<br />
{450} 1974<br />
Raul → Marroquin: How? 20.5x17.5 cm, mimeogr. 28 p. 1974<br />
Klaus → Groh: Art-Impressions. 18x13.5 cm., offset, 24 p. 1975<br />
Jaroslaw → Kozlowski: Lesson. 22x16 cm., offset, 100 p, {400}.<br />
1975<br />
Ben Vautier: Me Ben I sign. A/5, offset, 34 p. {400}. 1975<br />
^Schmuck (with Felipe Ehrenberg) Perhaps the most important European magazine<br />
publication in the first years of post-conceptual age, an example<br />
of the new independent mags. A very rich document about the time of<br />
birth of the underground arts – and also of the Mail Art mouvements.<br />
Edited and entitled after countries:<br />
#1) ? Schmuck, 1972<br />
#2) Icelandic Schmuck, July 1972<br />
#3) Hungarian Schmuck, Apryl 1973<br />
#4) Czechoslovakian Schmuck, January 1974<br />
#5) General Schmuck, Summer 1974<br />
#6) French Schmuck, November 1975<br />
#7) Teutonic Schmuck, December 1975<br />
#8) Japanese Schmuck, Spring 1976<br />
Sometimes with collage technic, all issues manufactured partly by hand.<br />
Cut A/4 sizes, offset and mimeogr. ~80 p. {~ 500}. 1972-76, #1-8<br />
^#Czechoslovakian, #Hungarian Schmuck<br />
<br />
^Fluxshoe. (with → K. Friedman, & M. Weawer) Cat.:, anth. A/4, offset, 144 p. <br />
(with 88 participants.) Beau Geste Press, 1972.<br />
One of the most important doc. about the taking shap of the international<br />
network. The exh. was originally conceived as a travelling show «...with<br />
the intention of exhibiting the published work of the many artists, nonartists,<br />
and an-artists who have published or performed with Fluxus...»<br />
(Introduction). In retrospect it can be proved that also representatives<br />
of the Fluxus as well as the pioneers of the Mail Art and the other alternative<br />
trends have been exhibited in the Fluxshow. Among the artists:<br />
Fluxus: J. Beuys, G. Brecht, R. Fillliou, H. Flint, D. Higgins, G. Maciunas,<br />
B. Vautier, E. Watts... etc.<br />
Pioneers of the network: D. Atchley, R. Crozier, K. Friedman, B. Gaglione,<br />
K. Groh, D. Maurer, P. L. Nations, E. Tót... etc.<br />
Vis. Poetry: H. Chopin, M. Diacono, M. Gibbs, M. Nannucci... etc.<br />
Alternative art: J. Lennon, Y. Ono,.. etc.<br />
°Framed Pieces. (Bookwork, 20.5x17 cm., mimeogr., collage, 28 p.) Beau Gest Press, <br />
Devon, n.d.<br />
~<br />
Seurce:<br />
^Beau Geste Press. A community of duplicators and printers doing discovering<br />
and disseminating... (One sheet leaflet of 33x20.5 cm., offset, n.d. ~1971) Some<br />
publications:<br />
O. L. → Nations / F. Ehrenberg: The Man Who Entered Pictures. Mimeogr.<br />
{150 + 30 special copies}<br />
O. L. Nations: Banners Death. «A boomerang cut from a slice of cured<br />
bacon». Wirh original stancil images. {60 + 30}<br />
Carolee Schneemann: Parts of a Body House Book. (Low-cost facsimile of<br />
the limited edition) Mimeogr.<br />
Felipe Ehrenberg: Cantata Dominical. (Hand-colored and hand-bound)<br />
Mimeogr. {50}
~<br />
Literature:<br />
Sitting Dog & Co.: Manifesto Pamphlet. (With diagrams on biotechnic<br />
power production) Mimeogr.<br />
(Schmuck, #5 – „general“ anthological issue...) News and Reviews. In: Kontexts,<br />
#6-7 (→ Gibbs). Amsterdam, 1975. n. p.<br />
(Teutonic Schmuck / French Schmuck / Japanese Schmuck) News and Reviews.<br />
In: Kontexts, #9-10 (→ Gibbs). Amsterdam, 1977. n. p.<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 36, 60 p.<br />
McCharty, John 1459 W. Cortez St. Chicago, IL-60622 USA 1989<br />
↑ 304 S. Summit, #102 Iowa City. IA-52240 - “ - 1987<br />
.............................................................................................................................................................<br />
^Nada (A one-man mag. on «dada», thematic issues. Letter, phc., ~40 p. 1987-, squ.) <br />
~<br />
Literature:<br />
^#1/5, 7, 10; 2/1, 2, 7, 9; 3/1, 2, 3, 6,<br />
(Nada, #2): «The title has to do with the idea that our culture is not in any way<br />
immune to the things going on in other countries, and the theme only manages to be<br />
struck in glancing blows. All the work in here is by the editor. Certainly John is a<br />
inheritor of dada, in that his works free-associate from line drawings in owner's<br />
manuals, something like the debris of Schwitters' Merz in booklet form.»<br />
(Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 29, March 1988, 994 p.)<br />
McCarthy, Paul P. O. Box 2022. Boulder, CO-80306 USA 1988<br />
↑ P. O. Box 41487. Los Angeles, CA-90041 - “ - 1976<br />
.............................................................................................................................................................<br />
Criss Cross (with R. Kallweit, C. Pichert, F. Worden, C. Dijulio) (Anthological re- <br />
view for exp. art, actionism, performance and exp. literature. Tabloid<br />
of 40x29 cm. with newsprint, or 20x22 cm., horz. offset size, also in<br />
colours. ~60 p. 1976-, qu.)<br />
McConnel, White Modern Myths Prod. 55353 Bryabt St. Oakland, CA-94618 USA 1978<br />
Stop Looking (A Mail Art mag. also assembling issues. Letter, offset. 1978-, bim.) <br />
McInnis, Mic P. O. Box 278, Cambridge, MA-02141 USA 1987<br />
Nightmares of Reason (Collections of prose, poetry and xerox-type collage graphics. <br />
Offset, var. size, ~40 p. 1987-, sm.) Assosiated with The Primal Plunge,<br />
bookstore of small press works, 107 Brighton Ave. Allston, MA-02134.<br />
McKinnon, Patrick & Andrea / Backen, Bud. 1619 Jefferson, Duluth, MN-55812 USA 1992<br />
↑ Suburban Wilderness Press, 430 S. 21st Ave. Duluth, MN-55812 - “ - 1985<br />
.............................................................................................................................................................<br />
^Poetry Motel (Mag. with entertaining collection of poetry, prose and xerographics.<br />
Half-legal, phc., ~40 p. 1985-, squ. /«is born every 260 days», ~ 20#<br />
^#10 (1987), #18 (1992)<br />
~<br />
Literature:<br />
<br />
«Duluth's snowdrifts & subzero weather haven't kept Patrick McKinnon (& Co.)<br />
from getting this publication or his own fast funny satire out into the small mag/mail<br />
art/networking world. There's a lot to read here, typed, cut & pasted over various<br />
painted/xeroxed beackgrounds. I might have called this experimental writing back<br />
in the 60s or early 70s. One of the longer pieces in issue 9 is a eulogy for Lyn<br />
Lifshin & Charles Bukowski (!), & those who like Bukowski will probably go for<br />
much of the writing in this magazine.»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.)
«Excellent issue (#12) features prose, poetry, and the sloppy graphics we've come<br />
expect from Poetry Motel. There is a wonderful essay by Kathy Brady called „Up<br />
the Pop Charts“ which ruminates on the essential cycle of popular taste and deals<br />
with the issues of this head-on. Really and truly, this issue is worth the price...»<br />
( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 29, March 1988, 999 p.)<br />
McMahon,Terence / Teuty, Jan, 33513. 6th Street Union City, CA-9457 USA 1971<br />
The Fault (Very visual mag., a lot of MailArt. 24.5x17.5 cm., newsprint. 1971-, ir.) <br />
The Punk/Dada issue of Fault, edited with the Casual Abuse, contains exh. matter<br />
with collages and free contributions + a disk. Size: 33x21.5 cm. 1981<br />
→ Interdada '84<br />
<br />
McNulty, Dan 4040 Grand View Blvd. - Ste 67. Los Angeles, CA-90066 USA 1989<br />
^The Rubber Stamp Folio (A generous edited colour offset magazine, but in a ex- ® <br />
cessively late time for such a kind of rubber stamp art – the publication<br />
was stoped after two issues. Letter size, offset, 12 p. 1989-, qu. #1-2)<br />
^#1, 2<br />
Meade, Richard 2241 Ewing St. N°1. Los Angeles, CA-90039 USA 1980<br />
°First Erotic Mail Art Show. Cat.: Digest, offset, 18 p. ~200 parts. Zero Gene- <br />
ration. 1980<br />
°Show for the Eyes (with Terry Cannon). International Mail Art/Film Project. <br />
Cat.: Offset brochure of 10.5x7 cm., with an 11x7.5x 4 cm. suppl.,<br />
73 parts. Show and edition at the Filmforum, Pasadena CA. 1982<br />
^2nd Los Angeles Erotic Mail Art Show. Inv. (The sexual olympics... Erotic <br />
Athletics... etc.) 1984<br />
^Data File (Assembling, digest size {150} with thematic issues published in <br />
alphabetical order: Animals, Baggage, Couple, Death, Erotic, Face,<br />
God, Horror, Idol, Joke, Kitsch, Los Angeles, Militarism, Nude,<br />
Open, Pain / Pleasure, Quotes, Rubberstamps, Stamp, Time, Ugly,<br />
Vehicle, Wiered, XX, Yourself, Zero. 1983-90, squ. #1-26)<br />
^#1-26<br />
Artistamps: ^Data (Sheet of 56 id. stamps, phc. on yellow paper) n.d. (1985?) <br />
^Visual Data (40 offset images, 6x6 cm., + text in a plastic box {30}) 1986<br />
<br />
^Visual Data (32 offset pieces + xeroxed text sheet in a mini box{60}) 1987 <br />
→ Olbrich, Jürgen O. / Actions and Exibitions at the Artspace Kunoldstr. 34, Kassel<br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 26, 48 p.<br />
Medeiros, J. Rua Artur Bernardes 761. Alecrim, Natal RN., BR-59000 Brasil 1975<br />
Projeto. Poemas / procoesso & poemas experimentas. (with → Samaral)<br />
<br />
(A/5 assembling in envelope of 18x25 cm. 1975?)<br />
°Expoetika 77. (with Falves → Silva) Inv. on postcard, offset. Natal, 1977<br />
<br />
Letreio (with Falves → Silva) (Mimeographed mag. for experimental poetry and <br />
texts. Eessays about new art. 32x10.7 / 21.5 cm. 1977-, #1-4?)<br />
°Povis (A/5 assembling for vis. poetry and Mail Art in envelope of 16x21 cm. {200}. <br />
~30 contributors in each issue; F. A. Bitta, C. Piovani, L. F.. Duch, P. J.<br />
Ribeiro, J. Branco, C. Padín, L. Yurkovich, A. Spatola, G. Nicolai, P.<br />
Bruscky, S. Hanson, J. Medeiros, & others. 1977-, #1-5?) Alecrim<br />
°Arte Correio. Doc. 21..5x31.5 cm. sheet, phc. with the list of 50 parts. 1978 <br />
°The First Int. Exh. of Mail Art. (with G. Padua) Doc. 32.5x23 cm., phc., rubber <br />
stamp. 111 parts.. Alecrim BR, 1978<br />
«Media, De» (Club & Gallery) Molenstraat 165. Eeklo Belgium 1986<br />
→ Boever, J. de
«Medium Mangels Masse» (German mail/copy artists.) Germany 1983<br />
Medium Mangels Masse (A/4 assembling about xerography {30} by div. editors <br />
from Germany, 1983-85, #1-4)<br />
#1. Na, Alter, alles klar? / Bernd Philippi, Saarland, 1983<br />
#2. Warte nur, balde... / Rosvitha → Rydl, 1983<br />
#3. Alles so schön bunt hier. / D. Bubel & G. Feld, 1984<br />
#4. Amerikafahrt. / Peter Beicken, 1985<br />
Mednick, Scott A. ? Providence, RI USA 1978<br />
°P.O.T.V. Mail Art Exh. Inv. 41.5x21.5 cm., to fold, phc. providence, 1978 <br />
Mela, E.<br />
Dada-Relief Front<br />
Melbourne / artists. 201 Brunswick St. Fitzroy, AU-3065 Australia 1983<br />
Fringe Network (By a coalition of non mainstream artists in Victoria. 1983?-?) <br />
~<br />
Literature: «Fringe Network... publishes a fascinating newsletter which gives you insight into<br />
what is really happening in Melbourne, has a lobbying service, creates minifestivals,<br />
and does a big Art Festival annually...<br />
(Umbrella (→ Hoffberg), Vol. 6, #1, 31 p. 1984)<br />
«Melkweg» (Underground Club & Gallery) Lijnbaansgracht 234 A. Amsterdam, Netherlands 1985<br />
^TAM was here. (by <strong>Ruud</strong> → <strong>Janssen</strong>) Doc.<br />
<br />
Melnikov-Starquist, Willi R. 12/2-3-56 Ul. Svernika, Moscow, 117449 Russia 1996<br />
IntellectuAll-the-Photoemotiations & Hyerogliphotopoetry Show<br />
Photo<br />
(Slide-theater). Doc. 1995<br />
Memoria Pulp (Andre Schuler / Oliver Ruts). Bachgasse 1, Meersburg, D-88709 Germany 1992<br />
Censorship Invitation, 1992<br />
<br />
Memorial Group, The (→ Monty Cantsin, Nat. Slovikoski, Björn Balcke, → M. Bloch, Oliver 1992<br />
Gassner, G. → Haufen, S.→ Home, Helix Lott, Jena Parson, Berit Shuck) Berlin?<br />
.............................................................................................................................................................<br />
^Smile / The Anatomy of Neoism. (A late appeared & collective edited issue about <br />
Neoism entitled with a hint to the Smile mania. A/4 horz. size, phc.<br />
28 p. 1992, #1)<br />
«Memory Bank, The» → Truck, Fred<br />
Mena, Abelardo<br />
Curator for Foreign Art at the Museo Nacional Palacio de Bellas Artes, Habana Vieja.<br />
19# 1164 Apt. 5 Vdo Habana, 4 – 10400 Cuba 1995<br />
Privat: 19# 1362 Apto 15 % 24 y 26. Vedado C. Habana CP 10400 Cuba 1994<br />
.............................................................................................................................................................<br />
Banco de Ideas Z. A Cuban variant of the Image Bank (→ Western Front) to collect <br />
artists' work on alternative basic. Curator: Abelando Mena (From 1994)<br />
^Havanna '95 International Mail Art Show in Memory of Ray Johnson.<br />
<br />
Cat.: 21x16 cm., offset, 60 p. (Texts: A. Mena & John → Held)<br />
Museo Nacional, Habana Vieja, Cuba. February 26 - March 15, 1995<br />
Mendes, A. / Qzevedo, S / Diko, J. Porto Portugal 1980<br />
°La Carte Postale. Inv. on A/4 sheet, mimeogr., rubber stamps. / Gruppo Puzzle. ®<br />
Porto P, 1980<br />
Menezes. Philadelpho. c/o Centro Cultural São Paulo<br />
Rua Vergueiro 1000. Paraiso – São Paulo – SP. CEP 01504, Basil 1986<br />
^International Exhibition of Visual Poetics – Mostra International de Poéticas
Visualés. Cat.: 18.5x20 cm., offset, accordion (3x). Text by Philadelpho<br />
Menenes. Exh.: Museu de Arte Contemporanea de America (MACA)<br />
Sâo Paulo. Apr 19 - May 26, 1988.<br />
^I. International. Exhibition of Visual Poetry of São Paulo. Cat.: 27.5x16 cm., offset, <br />
174 p. / Centro Cultural São Paulo. 1988<br />
^Int. Exhibition of Visual Poetics = Mostra Int. de Poéticas Visuals. Doc. (accordion, <br />
18.5x20 cm. 3 parts) / Museu de Arte Cont. de Americana. São Paulo,<br />
CEP BR-18470 S.P. 1991<br />
«Mercer Gallery» / Monroe Community College. 1000 E. Henrietta Rd. Rochester, NY-14623-5780. USA. 1988<br />
^First International Mail Art Exh. 1988. Invitation leaflet. The exhibition has been <br />
repeated in the following years (1988-1996, too. Letter size photocopied<br />
catalogues done. The most important event in this exhibition series:<br />
^Montage ’93 – Festival of the Images (not only collages – with electro- and computer <br />
graphic, etc.). In co-operation with the Visual Study Workshop, Rochester.<br />
Inv.-card, 1993<br />
Mercer, Trudy emPo Publications, 602, 15th Ave., E. Seattle, WA-98112 USA 1986<br />
^Red Line Magazine (Mag. Diverse sizes, phc., 32-40 p.1986-88, ~ 9#) «...mostly <br />
poetry/prose, with a smattering of graphics/word play and a leaning<br />
towards visual poetry experimentations.» (Box of Water, #4 → Perkins)<br />
^#7, 16<br />
~<br />
Literature:<br />
«Hopefully there are some back issues in stock somewhere, because this fine<br />
experimental mag is just a 9-issue project, & #8 is just about out. A carefully<br />
selected number of mostly concrete & experimentale poems are presented in a<br />
different format each issue. A majority of contributors are in more than one of the<br />
past issues, a point which is no complaint. Each publication in this nebulous network<br />
seems to draw a particular wavering circle of artists within it. The issue before<br />
me (#7) is 4½ wide by 17“ long! w/some shorter size pgs inside. Editor Thrudy<br />
Mercer has selected more of her own pieces for #7 than anyone else's, & tho this<br />
might not be very democratic, it does make for an exciting & strong publication.»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.)<br />
!Merlin! (Ivan Jelincic) Müggenkampstr. 1, Hamburg, D-20257 Germany 1998<br />
↑ Klenovacak 23, Zagreb, YU-41090 Yugoslavia 1985<br />
.............................................................................................................................................................<br />
^Elbart 98 – the Harbor of Hamburg – Mail Art Show (with H. → Baumüller) Inv. <br />
!Merz Mail! Pere Sousa. Apdo 9326 Barcelona, E-08080 Spain 1994<br />
^P. O. Box. (Mag. for Mail Art, visual poetry and relative matter, A/5, phc., ~40 p. <br />
1989? – 1999, qu. #1-36) Merz Mail, Barcelona<br />
^#35, 36<br />
^Homage a K. Schwitters. A/4, offset, 72 p. (Spain / Engl.) l'Ass. de Performers, <br />
Artistas i Poetes. Apdo 9554, Barcelona. Sept. 30 - Oct. 27, '94<br />
^La tarjeta postal en el Mail Art. Cat.: A/5, offset, 8 p. c/Rec, 22, Barcelona. <br />
September 26 - October 13, 1995<br />
^A cargo de Alberto Biote. Cat.: / Gal. 23 Y 12, Calle 23, N° 518 e. Habana, 1995 <br />
Texts: P. J. Gutiérrez: La democracia absoluta<br />
A. A. Biote: Así ocurrió<br />
C. Padín: El network en Latino-america<br />
E-A. Vigo: Mi manera de «armar» a Damaso Ogaz<br />
^Radio Pica, 96.5 FM – send audio-tapes about Mail Art! Inv.-flyer, 1996 <br />
^Own Copy Mail – project on artistic appropiation in Mail Art. Inv.-letter, 1998 <br />
Mesciulam, Plinio !Mohammed! Corso Montegrappa 23/13. Genova, I-16137 Italy 1975<br />
Centro de Comunicazione Ristreta, 1975-81 (Further it in the literature below)
°Mohammed. Invs. / Docs. In Ulises Carrión's archive: Concept of the project on <br />
three A/4 xeroxed sheets, 1 sheet colour xerox copy («convovcation»),<br />
+ 15 «convocations» by John Held Jr., + 45 «convocations» for Carrión<br />
by div. senders.<br />
Mohammed / Yearbook of the restricted Comm. Centre (with the gallerist Rinaldo <br />
Rotta) Three editions in the years 1978-80<br />
~<br />
Literature: «...Born of a Turkish father and a Genovese mother, we find a rather striking man,<br />
energetic, vital and full of life. What he has devised is a network, a system whereby<br />
as he says, „Mohammed goes to the mountain, rather than vica-versa. Mohammed<br />
goes to you.“<br />
Starting in 1976, he set up his Centro di communicazione ristretta (Center of<br />
restricted communication)... now he has gone far beyond 1,000 „unità“... Each<br />
„unità“ is completed in iteself; but some can be connected with others, and so the<br />
network continues. According to Mohammed, „the history of art is finisehd, but art<br />
is not finished.“(...)<br />
There is a spiritual content to this operation. As Mohammed says, „unità“<br />
means unit, which to him means harmony. This leads to a creation of a world, if not<br />
the world. Someone once said to him: „You are not Mohammed, you are Allah.“ He<br />
is not trying to play God, But only serve as a medium, an intermediary between an<br />
author-artists and 12 recipients...»<br />
(J. A. Hoffberg: Profile: Mohammed, Genova. In: Umbrella [→ Hoffberg],<br />
Vol. 4, #1, 1-2 p. 1981)<br />
«When Mohammed writes that he is only going to get out 10 or 20 piece of mail art<br />
each month in comparison to 40 or 50, there is a problem. He feels tjat mail art now<br />
creates the need for selection because he feels that „Mail art has ended in stupidity<br />
and in vulgarity. There are things that arrive here that I cannot print...»<br />
( jah: Mail Art: Crisis & Concern. In: Umbrella [→Hoffberg], 4 / #2, 35 p.)<br />
«Within the mail art cosmos, Mohammed is one fascinating, enigmatic subsystem.<br />
As a „center of restricted communication“ Mohammed acts as a transmitter of<br />
information and art – a kind of switchboard for images predicated upon a presribed<br />
set of rules.<br />
Here's how it works: An artist might have a message or an image s/he wishes<br />
to dispatch. In order to do so via Mohammed, the creator sends an original with the<br />
printed Mohammed masthead on it to the Center. Along with it must come the<br />
names and addresses of 12 people who are to receive a reproduction copy of the<br />
original (usually made by color xerography). Then the Center selects particular<br />
images from all received and reproductions go out to the 12 named by the artist.<br />
As well archival copies are made, two stay at the Center, another is sent to the Jean<br />
Brown Archive in Massachusetts. Each message or image is numbered and labelled<br />
as a „Unità“ by Mohammed. „Unità“ or unity in English is the manner in which this<br />
message reaches all those involved by the artist's wish. It is thought of as a small<br />
but discrete bit of harmony for participants to the process. Perhaps, too, Mohammed<br />
(the name of the Islamic deity) gets to „play god“. That is the artist creates and<br />
names disciplels or followers, but it is all orchestred via Mohammed. The Center<br />
„pulls the strings“ and makes the process complete.<br />
Well over a thousand origional messages have been sent via Mohammed<br />
over a three year period. Exactly who created the images and where they have been<br />
directed is scupulously recorded and published in a yearbook that one senses the<br />
depth and commitment of the Center...<br />
Mohammed, as a process, rages against depersonalization in communication<br />
and alludes to an essence and sensitivity as to he ways in which what we send<br />
becomes known to its receivers. Mesciulam, in one yearboook, refers to Noah, the<br />
makers of the Ark. In that context he sees Mohammed as a builder of lifeboats that<br />
float upon a flood of mass communication.»
(Lightworks [→ Burch], Correspondence. N° 14-15, Winter 1981-82. 64 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 120-121 p.<br />
Vittore → Baroni: Sistemi. Di piccioni e vampiri viaggiatori. (About the Mohammed<br />
project of P. Mesciulam) In: Arte Postale. Guida al network della corrispondenza<br />
creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 197-198 p.<br />
!Metallic Avau!<br />
→ Avau, Roger<br />
«Metrònom» Centre de Doc. d'Art Actual. Carrer de la Fussina 9. Barlecona, E-08003. Spain 1988<br />
↑ Berlinès 9 – 11 Barcelona-22 Spain 1980<br />
.............................................................................................................................................................<br />
Directors: Rafael Tous & Isabel de Pedro<br />
^Mail Art Exh. / Exposició de Tramesa Postal. Cat.: 30x21.5 cm., offset, 78 p. <br />
469 parts. Org.: Gloria Picazo. Barcelona, October-November, 1980<br />
^Artists' Books / Llibres d'artista / A. B. Cat.: A/4, 200 p. (~2000 books by 737 artists) <br />
Org.: Rafael Tous. Texts (Engl. / Catalan) by → U. Carrión, J. L. Mata,<br />
→ H. Kretschmer, + Bibliography. Barcelona, 1981<br />
Metrònom (A/4 assembling in bound form {200}. 1982, #1 only?)<br />
<br />
^Metrònom (Magazine also as Mail Art or artists' books catalogue issues. Tabloid of <br />
41x29 cm. with 32 p., and A/4 brochures, offset. 1982-86, #1-6?)<br />
Editor: Rafael Tous. Texts: Catalan / English<br />
^#1982<br />
Mail Art Exh. /Exp. de Tramesa Postal Cat. 1986<br />
<br />
Mew, Tommy ? Mt. Berry, GA USA 1978<br />
°Diary Pages (Commonpress #11) A/5, phc., 34 p., 31 participants. December 1978 <br />
Meyer, Peter R. Värtavägen 23. Stockholm, S-115 53 Sweden 1994<br />
↑ Artillerigatan 56 Stockholm, S-114 45 - “ - 1984<br />
.............................................................................................................................................................<br />
Night Exercise (As a professional radio and television director Peter Meyer had <br />
possibilities in Sweden to create a series of programs with multimedia<br />
projects for the „Sveriges Radio“. Among 300 video artists he witnessed<br />
appearance by mail artists such as C. Schmidt Olsen, P. Below, Carlo<br />
Pittore, R. Johnson, G. A. Cavellini, G. Jupitter-Larsen, E. Higgins III.,<br />
A. Banana, B. Cleveland, B. Gaglione, J. M. Bennett, G. Bleus, J. Held<br />
Jr., T. LeClair. J. Hoffberg, V. Trasov, R. Summers and many others.<br />
The Nichtexercise programs ran from 1982-1987 and the audio/video<br />
tapes of the participants were shown at the modern Art Museum in<br />
Stockholm in 1983 and in Malmö in 1984. The best documentation<br />
about this matter has been published in the Nicht-Exercise Catalogue<br />
by the New York State Council on the Arts & The Swedish Information<br />
Service at the Franklin Furnace, New York, April 1985)<br />
Audi-Art Exhibition at the Moderna Museet in Stockholm. Org.: P. R. Meyer, 1983 <br />
^Audio-Mail Art. «Ljudkonst med Peter R. Meyer och radioprogrammet Nattövning, <br />
Malmö - Konsthall». Dec 17, 1983 - Jan 22, 1984.<br />
Catalogue: 24x16.5 cm., offset, 52 p.<br />
^(Mail Art +) Video. (Curator: Peter Meyer) Cat.: 24x16.5 cm., offset, 20 p. <br />
Bild- & Lynkverstadens Annex, Södertölje. March-April, 1984<br />
^Mailartists favorit mailartists. „Tell me who your friend is, and I will tell you, who <br />
you are.” Inv. with a list of selected artists invited only for this<br />
exclusive Mail Art project: Vigo, Baroni, Pittore, Cavellini, Ray Johnson,<br />
Ivan Prajzler, Groh, Eriksson, Bleus, Spiegelman, Wirth, Dudek-Dürer,<br />
M. O. Nielsen, Rod Summers, Ruch, Schmidt-Olsen, Hoffberg, Maggi,
Mark Bloch, Mittendorf, Schraenen, U. Carrión, Crozier, Rehfeldt,<br />
L. F. Duch, A. Banana, Bruscky, Le Clair, Quinlan, Rasmussen, J. Huber,<br />
Frangione, Graf Haufen. ... If you were supposed to mention only 4<br />
important mailartists, who would you chose? You can also add 4 other<br />
names or strike names off the list.” – Exhibition planned (but not<br />
realized) for 1985<br />
^Mailed Art in Uppsala. (Planned to be a co-operation with the Postmuseum in<br />
Stockholm. Invitations were sent out 1984-85, but the exh. occured<br />
June-September 1994 in Uppsala only.) Cat.:24x16.5 cm., offset<br />
(also colour), 128 p. 1994<br />
Texts: P. R. Meyer: Preface<br />
Leif Eriksson: Mailed Art in Sweden (History)<br />
Gummar M. Aronsson: Mailed Art (Project)<br />
The Top 20 of Mail Art (Featurings – the result of the “Mailartists favorit...”<br />
project from 1985?): R. Johnson, V. Baroni, G. Bleus, E-A. Vigo,<br />
C. Pittore, R. Crozier, G. Cavellini, A. Banana, L. Spiegelman, K Groh,<br />
U. Carrión, R. Maggi, R. Cohen, R. Rehfeldt, H. Mittendorf, D. Zack,<br />
C. Welch, Al Ackerman, G. Deisler, R. Summers<br />
~<br />
Literature:<br />
<br />
«Working many years with Audioart Peter R. Meyer started in 1980 the Nightexercise-project<br />
in Sweden. First it was a radioprogram based upon Audioart sent<br />
to him from 500 artists in 40 countries. He mixed it all to a series of 10 soundscapes,<br />
broadcast all over the world. 1984 he started to produce Nightexercise for<br />
TV, based upon Videoart. Many of the participating artists were also connected to<br />
the mailart network... He got interested, and when in 1983 organised the first<br />
Audioart exhibition at Moderna Museet in Stockholm, he also showed all the<br />
mailed art, i.e. pictures, objects etc. sent to him together with the tapes. Later he<br />
found it logical to develop the touring exhibition to a combined Video & Audio<br />
Mailart-show. He is now editing a book about Mailart... It will be a guide of<br />
Mailart today, with portraits of the leading and most active mailartists, presenting<br />
examples of all the different styles of Mailart...»<br />
^(Leif → Eriksson: Mailed Art. Text to the invitation from 1984.)<br />
Peter R. Meyer: Mail Art in Commercial Radio and Television. In: C. → Welch<br />
(ed.): Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995.<br />
167-170 p.<br />
Mici, Miz<br />
→ Holmes, Mimi<br />
Miccini, Eugenio Piazza Madonna Aldobrandini 8 Firenze Italy 1989<br />
↑ Via Giovanni Caselli 1 Firenze, I-50131 - “ - 1977<br />
↑ Via dei Neri 4. Firenze, I-50123 - “ - 1967<br />
.............................................................................................................................................................<br />
Techne (Mag., large collection of literary and art texts, from 1969 also as assembling. <br />
A/4 offset, the assemblings in envelope of 33x21.5 cm. 1967-, qu.)<br />
°Ex Rebus. (11x8 cm., offset, 47 p.) Ed. Techne, Firienze, 1970<br />
<br />
°Estetica Critica Semiotica. (Offset, 208 p.) Quaderni di Techne, #45, Firenze, 1977 <br />
«Microfiche» + Mail Art<br />
→ Bleus, G.: Are you Expeprienced? Wellen B, 1981<br />
→ Bleus, G.: Commonpress 56: Aerogrammes, 1984<br />
→ Postal Collective Depot (Mag.) Glebe AUS, 1984<br />
→ Kasher, B. Images of Global Peace, Springfield USA, 1990<br />
<br />
<br />
<br />
<br />
Mignani, Rolando Vai Comun 16 Mele-Genova Italy 1981<br />
Res Ghen Ligu (Xerox? tabloid with exp. art, actionism & vis. poetry. 1981, #1 only?)
Mikolowski, Ken 3090 Copeland Road Grindstone City MI-48467. USA 1980<br />
The Alternative Press (Letter size assembling in envelope, ~1980-, #1-10?)<br />
<br />
Milde, Brigitta Edition Ljub. Adelsbergstr. 10 Chemnitz, D-09126 Germany 1996<br />
↑ Galerie am Markt. Große Kirchgasse 1. Annaberg-Buchholz, (GDR-9300→ ) D-09456 1982<br />
(Privat): Kleine Kirchgasse 27-29. Annaberg-Buchholtz (GDR-9300→ ) D-09456 1982<br />
.............................................................................................................................................................<br />
Gallery activity: curator of the Galerie am Markt in Annaberg-Buchholz since 1982 -<br />
1992 (a large program of contemporary art, graphic, visual/concrete<br />
poetry, Mail Art, etc.) Selected exhibitions:<br />
^Postkunst für den Frieden (Postage Art for the Peace). Doc. (Leaflet like lepo- <br />
rello, 3x): 21x10.5 cm., offset, 6 p. Text by J. W.→ Huber: Wer nicht<br />
postet, der rostet. The show was planned for 1985, but it has been suppressed<br />
by the authorities. The exh. ran under an other name in 1986.<br />
^Giullermo → Deisler: Grafik. Doc. (Leaflet like accordion, 3x): 21x10.5 cm., offset, <br />
6 p. Text: Karla Sachse (German). Sept. 12 - 30, 1986<br />
^Carlfriedrich Claus: Sprachblätter. („linguistic drawings“, vis. poetry – exhibited <br />
with Klaus Sobolewski's paintings, graphics and plastic works). Cat.:<br />
19.5x11.5 cm. horz., offset, 24 p. Text: Klaus Werner (German). 1987<br />
^Lev & Valeri → Scherstjanoi (Valsher): Ex Libris, Visuelle Poesie. / Doc. (Leaflet <br />
like accordion, 3x): 21x10.5 cm., offset, 6 p. October 5-30, 1987<br />
^Por Chile y America Latina. International Mail Art. Doc. (Leaflet like paper- <br />
band, 3x): 21x10.5 cm., offset, 6 p. June 1987.<br />
^Feathers... / Federn der ganzen Welt für meinen Flug.by → Deisler, G.<br />
<br />
Leaflet like accordion, 3x: 21x10.5 cm., offset, 6 p. Text: Deisler<br />
(German) Aug. 8 - Sept. 22, 1989<br />
^Bücherprojekte der 80-er Jahre. (Artists' books in the GDR from the 1980s.) <br />
Doc. (Leaflet like accordion, 3x): 21x10.5 cm., offset, 6 p. Text by<br />
B. Milde (German). July 9 - Aug. 17, 1990<br />
^Konkret. Russische visuelle Poesie. Cat.: 11x21 cm., horz., offset, 16 p. Text: Peter <br />
Huckauf. / Sept.-Oct. 1990. Artists: Valeri Afanasjew, Boris Konstrictor,<br />
Rea Nikonova (Anna Tarschis), Pjotr Perewesenzew, Lev Scherstjanoi,<br />
Sergej Segay (Sigow), Awgust Sigow, Leonid Tischkov<br />
^Rechenmaschinen – Rechenhilfen. Objecte und Collagen anläßlich des 500. Geburts- <br />
tages von Adam Ries (Objects, collages, experimental poetry). Doc.<br />
(Leaflet like accordion, 3x): 21x10.5 cm., colour offset, 6 p. July 17 -<br />
Augustus 14, 1992.<br />
^p0es1e / digitale dichtkunst. (Eine Ausstellung computergenerierter Gedichte. <br />
An exhibition of computer generated poems.) Org.: → Vallias, A. &<br />
Block, F.) Cat.: 19x12 cm., offset, 16 p. Sept.-Oct. 1992. (Analdo<br />
Antunes, Friedrich Block, Augusto de Campos, Vilém Flusser, Eduardo<br />
Kac, Richard Kostelanetz, Fritz Lichtenauer, Silvestre Pestana, Jim<br />
Rosenberg, André Vallias)<br />
5 Jahre UNI/vers (;). An art project about visual & experimental poetry international. <br />
Zum 500. Jahrestag der Eroberung Amerikas. Text: B. Milde (German)<br />
With a list of (all?) participants of the UNI/vers issues. A/5, offset, 12 p.<br />
+ 1 original art print. October 10 - November 9, 1992<br />
.............................................................................................................................................................<br />
Activity as the editor of the Edition Ljub, Annaberg-Buchholz/Chemnitz since <br />
1987. (All publications with Mail Art character were initiated by<br />
Hans → Hess in Schwarzenberg as co-editor) Selected publications:<br />
Scribentismen (Speech-poems, 25x17.5 cm. silkscreen book with 22 works, {30})<br />
Ed. Ljub, Annaberg-Buchholz, 1989<br />
Scribentismen N° 2. (21.5x15.5 cm., silkscreen publ. with 25 works. Made in an<br />
edition of 25 copies as book & of 25 ones as portfolio. Also with
an audio-cassette realized by Scherstjanoi: lautisieren.) Ed. Ljub,<br />
Annaberg-Buchholz, 1990<br />
^Alphabet project. / Scriptual Graphic. Cat.: A/4, with 31 silkscreen printed leaves <br />
+ cover, 25 parts. Also a special edition of this catalogue with original<br />
works {70}. Schwarzenberg ( → Hess) / Annaberg-Buchholz, 1992<br />
^Herbarium I-II. ( assembling in portfolio {100}, A/4, ~50 leaves. 1995-96, #1-2)<br />
Exh.: Schlossgalerie Schlettau, Annaberg. Ed. Ljub, Schwarzenberg <br />
( → Hess) / Chemnitz , 1996<br />
^# 1<br />
Spuren. Hommage á Guillermo Deisler. A/4 size book with graphics by E. Koenig, <br />
H. Hess (each 10 pages), texts by Koenig, Hess & B. Milde. {10}<br />
Edition Ljub, Schwarzenberg (→ Hess) / Chemnitz , 1997<br />
edition ljub 1987 - 1997. Assembling like publ. with graphics by A. S. Berndt, <br />
W. Heisig, H. Hess, P. Huckauf, O. Osten, V. Scherstjanoi, J. Seifert.<br />
Introduction by Brigitta Milde. 30.5x23.5 cm., mixed techn. {15}.<br />
Chemnitz, 1997<br />
^Farbäquator – equator of colours. Cat.: A/5, phc. 24 p. + 16 colour paper leaves. <br />
~<br />
Seurce:<br />
Essay by B. Milde (German, English). {100} Edition Ljub. Chemnitz,<br />
1998. Exh.: Kunstkeller Annaberg-Buchholz (→ Seifert), 1999<br />
Galerie am Markt, Annaberg-Buchholz, 1982 - 1992. Part I. (a chronicle) with<br />
art works, graphics and photos by 24 artists collaborated with the gallery {45}.<br />
Book of 30.5x23.5 cm. Edition Ljub. Annaberg-Buchholz, 1992<br />
Galerie am Markt, Annaberg-Buchholz, 1982 - 1992. Part II. (a documentation).<br />
Catalogue contributions, texts and reviews by Brigitta Milde {20}. Book of<br />
30.5x23.5 cm. Edition Ljub. Annaberg-Buchholz, 1993<br />
^Verlagsverzeichnis. A/4 leaflet. Edition Ljub. Chemnitz, D-09126. 1997<br />
Miletic, V. ? Novi Sad Yugoslavia 1989<br />
Witata Art (Mail Art fanzine, 1989, #1-2)<br />
<br />
Milinkovic, R. Iriska 42. Ruma, YU-22400 Yugoslavia 1983<br />
^Necronomicon (Assembling in A/4 size, bound, 30 parts. 30 + 1 laves {100}. <br />
1983-, #1 only?)<br />
Miller, Joni K. / Thompson, Lowry c/o Workman Publishing. 1 West, 39 St. New York, NY-10018, USA 1978<br />
^The Rubber Stamp Album («The first complete guide to the fastest-growing instant ® <br />
art phenomenon. It is for small children, grown-ups, artists, teachers,<br />
rubberstamp freaks and everyone else too...» (Statement). The book published<br />
material from the alternative and the Mail Art scene, too (e.g. →<br />
Leavenworth Jackson, R. E. Gasowski, Al Sousa, → Higgins III., Bill →<br />
Gaglione, Anna → Banana, Irene → Dogmatic, Ray → Johnson, Endre<br />
→Tót, Ken → Fridman, Ray → DiPalma, Robert → Jack and many others),<br />
and gived a short survey of the using of stamps by artists respectively the<br />
rubber stamp news and rubber exhibitions. Letter size, offset, 216 p.)<br />
Workman Publishing, New York, 1978<br />
Milliken, Donald P. (!Don Milliken! / !Uncle Don!) 1306 Alabama Ave. Durham, NC-27705. USA 1993<br />
↑ P. O. Box 411. Sunderland, MA-01375 - “ - 1981<br />
↑ P. O. Box 868. Amherst, MA-01004 - “ - 1976<br />
.............................................................................................................................................................<br />
^OR (One of Mail Art's longest running publs., each issue is different in theme and ®<br />
looks: small booklet format, mixed technic with handmade applications,<br />
beautiful making up. Mostly mini size like A/6, offset, xerox, rubber<br />
stamps, collages, etc. 4-16 p. 1976-, ~ 150#)
~<br />
Literature:<br />
^#19, 20, 40, 47, 52, 54, 63, 73, 102, 106, 108, 109, 110, 113, 121, 129, 160<br />
«You can't knock OR. Besides it's free (at least each current edition). Every issue<br />
presents whatever Uncle Don feels like. Some are correspondence art anthologies,<br />
some are his own art. Take OR #38. It's 4 page created from folding an actual dollar<br />
bill in half and stapling it to cover. Don prefaces the issue saying, „Still think time is<br />
money? Hold onto this book; you'll have a little time on your hands“. Rye, funny<br />
bits of gibberish that somehow make sense. Generally tiny in size, xerographic in<br />
production and potent in satire.» (Lightworks [→ Burch], Art Alternatives in<br />
Print. N° 14-15, Winter 1981-82. 57 p.)<br />
Millon, Alex 37 rue Scoumanne Strepy, E-7060 Spain 1986<br />
^Regart (Mag. for literature, art, photo & film. A/4, offset, 26 p. 1986-, qu.) <br />
^#2, 3, 4, 5<br />
Milman, Estera c/o University of Iowa Museum of Art. Iowa City, IO-52242-1789 USA 1981<br />
She established the departman of Alternative Traditions in the Contemporary Arts <br />
(ATCA) at the University of Iowa Museum of Art (150, North Riverside<br />
Dr. Iowa City) in 1982. Archive collections from Ken Friedman<br />
/ Artists' Television Network, New York / The Crane-Friedman Correspondence<br />
Art Collection / The Electric Bank (artists' computer network)<br />
/ The Albert M. Fine Collection, etc.<br />
^Fluxus and Friends. Selections from the Alternative Traditions in the Cont. Arts <br />
Collections. Cat.: 18x27 cm., offset, 12 p. January-March 1988<br />
^Artifacts of the Eternal Network. Exhibition Cat.: with an introduction by Milman <br />
and an essay by → Perkins. 30.5x22 cm., offset, (accordion, 3x) 6 p.<br />
The University of Iowa Museum of Art. Sept. 6 - Nov. 23, 1997<br />
^Subjugated Knowledges and the Balance of Power. A publication marks the twen- <br />
tieth anniversary of the ATCA and accompanies four exhibitions:<br />
Artifacts of the Eternal Network. Sep 6 - Nov 26, 1997<br />
Alice Hutchins: Arenas for Happenings. Mar 14 - May 10, 1998<br />
Latin American Realities. Mar 19 - Apr 30, 1999<br />
Ken Friedman: Art(net)worker Extra-Ordinaire. Sep 9 - Nov 26 2000<br />
all at The University of Iowa Museum of Art and University Libraries.<br />
Tetxs by E. Milman, Ken Friedman, Stephen Perkins & Owen Smith.<br />
Horz. 25.5x41 cm., BW offset, 112 p., spiral bound.<br />
Minarelli, Enzo ? ? Italy 1983<br />
°Segni & Suoni della Poesia Contemporanea: Visioni Violazioni Vivisezioni. Cat.: <br />
150 p. (69 author statements, It. / Engl.) Comune e Biblotheca, Bondeno<br />
I, 1983<br />
Minkoff, Gérald Leo 85. Bd. Carl Vogz Genève, CH-1205 Switzerland 1986<br />
°La Femme Magique. Cat.: {100} 33.5x24.5 cm., offset, 14 p. Galerie Zodiaque. <br />
Genève, 1966<br />
^The Theory and Praxis of Rubber Stamping. 11x15 cm., offset, 16 p. {500}<br />
In: Ed. «colleXtion» Vol. 13. → Schraenen, Antwerpen, 1976<br />
°Focusing One's Mind On. (A/5, offset, 28 p.) Gallerie Veith Turske, Köln, 1978 <br />
→ Armleder / Groupe Ecart<br />
®<br />
«Minneapolis, Studio Arts Gallery» University of Minnesota.<br />
216. 21 st Avenue, South, Minneapolis, MN-55455 USA 1986<br />
^We won't open your mail. Cat.: Digest, phc., 16 p. (Curators: Gray / Potraz), <br />
Studio Arts Gallery, April-May 1986<br />
^Picture Dictionary. Inv.-card, (curator: Wirth?) 1988
!Minóy, The! (Keith Bowsza) 923 W. 232nd St. Torrance, CA-90502 USA 1984<br />
↑ 206-BS. Guadalupe Redondo Beach, CA-90277 - “ - 1983<br />
.............................................................................................................................................................<br />
The Haint Digest (Compilation mag. on Mail Art with graphics and words, mystic <br />
rattlings. 1984?-,)<br />
^Torment. ...and other diversions (rudely inspired by the evil Ida Fish). (BW photo- <br />
copied publication of collages by texts and images + drawings)<br />
Letter size, phc., 18 p., cover by original drawing. Spiral bound. n.d.<br />
^The Mirror. In memory of Tarkovsky. (14x11 cm., phc., 15 p.) S. P. 1987<br />
<br />
Miskowski, Mike Bomb Shelter Propaganda, Box 12268, Seattle, WA-98102 USA 1988<br />
↑ P. O. Box 1393 Tempe, AZ-85281 - “ - 1981<br />
.............................................................................................................................................................<br />
^Mallife (Xerox art mag. with Mail Art contributions «A merciless bridge between the <br />
readable and the unthinkable». Digest, phc., 60-84 p. 1981-92? ~ 25#)<br />
^#8, 9, 11<br />
~<br />
Source:<br />
Bomb Shelter Propaganda Catalog 4 / 88. Leaflet with the listing of book publs.:<br />
M. Mikowski: Wasteside Development, 1987 – 1988 (2 volumes with graphic and<br />
textual experiments), Burn in the Bachground (Short fictions) / G. R. Beining:<br />
Botola (Graphics) / G. Evason: Codine (100 poems) / L. Dunn: 66199 (Graphic<br />
iconographics) / J. Berry: Idiot Menagerie (Hallucinagens & graphics), The<br />
Pandemonium Spirit (writing & collage) as well as a featuring the isues of the<br />
Mallife magazine. Seattle, 1988<br />
Literature:<br />
«Mallife... usually has 30-40 contributors per issue all squished between 2 covers<br />
and somehow it all makes sense there. Seems to enjoy art which can't stand still<br />
on the xerox glass. Has produced 11 issues to date and who knows where it'll end.<br />
Starting to produce chapbooks as well. Though I sometimes get weary of the onepage-a-person<br />
format (I often crave extended examples rather than glimpses), I<br />
know the dilemma of receiving things from so many contracts that you think are<br />
great and having so little space. Perhaps an occesional issue with fewer people and<br />
more work by each would offset this.»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 13 p.)<br />
«“Since its inception in 1981, MaLLife has evolved from a wry focus on the shopping<br />
center as metaphor for the greed inherent in an object oriented society, to just<br />
about anything that will float on a xeroxed page...“ The magazine and the audio<br />
editions it issues opt for the wide, oblique angles drawing from a familia roster of<br />
mail artists along the lines of → Xexoxial Endarchy. John M. → Bennett, The Tape<br />
Beatles (→ Dunn, L.) among others. Like the previously mentioned, MaLLife is<br />
incredibly prolific: books, tapes, the magazine, even a Mac Hypercard.»<br />
(Lightworks [→ Burch]. Glimmerings [Publication review] N° 20-21, 1990. 65 p.)<br />
Mittendorf, Henning Allendorferstr. 20/b / Postfach 500365. Frankfurt D-60393 Germany 1996<br />
^Von der Faszination bildnerischen Gestaltens. (Manuscript, 3x A/4 sheets) <br />
1981 / A later draft of this manuscript: 25 sheets, n.d.<br />
^If still alive express it to me! Doc. A/3, offset, one sheet / Galerie im Bunker, <br />
Frankfurt-Bornheim. November-December 1985<br />
^Hemis + A. Book. (Self edited book with drawings, stamps, poetry {30} by xerox ®<br />
& rubber stamps, 25x A/4 leaves) Frankfurt, 1985<br />
^Hemis + A. Book / Mail-art – ein Traum von Freiheit und Liebe. (Self ed. book {30} ®<br />
by xerox & rubber stamps, 24x A/4 leaves) Frankfurt, 1985<br />
^Hemis + A. Book / Lachen. (by xerox & rubbers, 18x A/4 leaves {30}) S. P. 1986 ®<br />
^Some words about my work with postage-stamps and rubber-stamps (Manuscript ®<br />
in German & English, 5 + 4 x A/4 leaves) Frankfurt, 1986<br />
^Stampprints. Doc. Two A/4 sheets, phc. / De → Media, Molenstraat. 165, Eeklo,<br />
®
Belgium. March-April 1987<br />
^Hemi's 50th Birthday. Doc.: One A/4 sheet with graphic and part. list + original<br />
rubber stamp work as supplement. 1988<br />
Zwischenbilder. Stamp Art / Mischtechnik / Mail-Art. Cat.: 28 p. Univ. Siegen, 1988<br />
^The Disabled. (with R. D. Fischer) Cat.: A/4, phc., 10 p. / Versorgungsamt<br />
Heilbronn, D-7100. November 1990<br />
^Mail Art. (A/4, phc., 12 sheets, text German + English) Frankfurt. 1991<br />
^Sonderangebot Drucksache. (Stamps & rubber stamps by xerox, Mittendorf's<br />
oeuvre catalogue with images, 65x A/4 leaves) S. P. Frankfurt, 1991<br />
^Communication with Hemi-Sphere (Collected orig. rubber stamps, 48x A/4 leaves)<br />
«He Mi Post» Edition, Frankfurt, n.d. (1991?)<br />
^Who Eats Whom and Why? Cat.: A/4, phc., 32 p. Exh.: Galerie Sinntrotz,<br />
Mainstr 54, Neu-Isenburg D. July 1993<br />
^Happy Birthday Frankfurt.Cat.: A/4, phc., 38 p. / Villa Sinntrotz Galerie, Neu-<br />
Isenburg, D-63263. June 1994<br />
^Altern (Growing Old). Cat.: A/4, phc., 58 p. 333 parts. Texts by H. Mittendorf<br />
~<br />
Literature:<br />
(German, English). Exh.: Historisches Rathaus. Frankfurt, March 7, '98<br />
® <br />
<br />
<br />
® <br />
® <br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 79 p.<br />
«...During this year (1980) I made holidays for four weeks in the months of<br />
July and August together with my wife Angela and our two daughters in the Atelier<br />
Artistique International de Séguret (F). There I got acquainted with various European<br />
artists. One of them, the German artist Aloys Ohlmann, introducted me to<br />
Mail Art. In the meantime we made friends with another; our friendship lasts till<br />
today. What was the reason for you to become a networker? What attracted you in<br />
the place with this thing called Mail Art?<br />
...During my start with „Mail Art“ I only knew this word meaning to me<br />
mailing art itself or ideas about art between artists and other creative persons. As an<br />
isolated creative person, artist, I was very fascinated by the possibilities opening<br />
before my eyes through art-communication and -exchange with other creative<br />
persons. The word „networker“ became accessible for me severalyears later when I<br />
dealt a bit with new sciences (among other with the change of paradigms, systemand<br />
communication-theory). Then I recognized Mail Art as a special alter native<br />
Fine Art's network among all the other networks and altelrnative networks within<br />
the big network called world, cosmos, totality. The I accepted the net of Mail Art as<br />
my spiritual and emotional home and well of life. (...)<br />
In the Mail Art I received from you the beginning of our exchange until<br />
today you always used self-carved stamps. Did you use this media also before you<br />
got involved in Mail Art?...<br />
Before I did Mail Art I used for making art works several different techniques,<br />
espacially drawing, painting,, air-brushing, etching, pure and mixed, except<br />
among other stamping. I started with stamping, mostly using stamps self-carved out<br />
eraers, when I got involved in Mail Art. Martina and Steffen → Giersch, Dresden,<br />
former GDR, introducted me to this medium in 1980... I think self-cut rubber<br />
stamps are very fascinating, appealing, for the following reasons:<br />
They are powerful miniatures... They are as art on a mass basis useful for<br />
real democratic-participative art... They rather are a poor and cheap art form<br />
multiplied to carry their short stylized, standarized up to unpersonal, stereotyped<br />
expressions... Besides that stamps and their prints can be used – and I do so –<br />
„high level art“ too, not least to demonstrate the reciprocal effects between Mail<br />
Art and itself. They effect movement and improve cognitions. The gliding along<br />
stamps prints, that are repeated, put in a row, turned around, fading, interconnected<br />
with other stamp prints or other media etc... They create open (free) interaction and<br />
communication. Rubber stamps want to be printed on different things and materials<br />
like wood, bodies, cloth,, paper (documents, envelops, postcards, artistamps,
ooks, boxes), etc... They contribute to create viable human i.e. ecological and<br />
oecumenical ethics… They contribute to create viability above the abyss of<br />
unperceivable reality...»<br />
(<strong>Ruud</strong> → <strong>Janssen</strong>: The Mail-Interview with Henning Mittendorf. A/5, phc.,<br />
24 p. TAM Publs.: TAM-950085. Tilburg, 1995 )<br />
Henning Mittendorf: Mail Art is Hope. In: Chuck Welch (ed.): Eternal Network.<br />
A Mail Art Anthology. University of Calgary Press, 1995. 238-240 p.<br />
^Mittendorf, H.: Biographische Zwischenbilanz (Interim Biographical Statement:<br />
Bigraphical Data / Theory / Production / Information Exchange / Projects /<br />
Participations / Essays / Diploms & Honours / Archive Activity. Text<br />
German) HeMis A-Book 1997 1 A. A65, phc., 36 p. Frankfurt/M, 1997<br />
^Vittore → Baroni: Henning Mittendorf. In: Arte Postale. Guida al network della<br />
corrispondenza creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 58-59 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 32-33, 120-123 p.<br />
Miyazaki, Tatsuo ? Kobe Japan 1981<br />
°Letters to Kobe. Cat.: 26x18 cm., offset, 12 p. 189 parts. «Portopia '81». Kobe <br />
!Miz Mimi!<br />
→ Holmes, Mimi<br />
Mizukami Jun. 2-1-1, Shirakabecho Higashiku Nagoya, 461 Japan 1978<br />
Palaeo Pan Rites's Report (Mag. like publ. in various size, ~A/4, about experimental <br />
literature and other visual matters. 1975? -, ~1-100#, ir.)<br />
I Q (One sheet info magazine in over size of ~32x22 cm., offset, 1978?-, ir.) <br />
I Q, N° #2. Alphabetical anthology on Mail Art. 23.5x16 cm. offset, 140 p. 1978? <br />
Moadster, The (Your Oal, E-Z. Smith, Mallory Moad) c/o Fresno Art Council. Fresno, CA. USA 1993<br />
^Kings and Queens Mail Art Show. Cat.: Digest, offset, 32 p. / Fresno Art Museum <br />
May 15 - June 13, 1993<br />
!Mockersatz Zrox! (Zen Sutherland) 104 Woodgatz Court Sterling, VA-22170-1630 USA 1986<br />
^MOCKreviewZ (Mag. with reviews about the underground and network zines/prints <br />
only. Letter, phc., 8 p. 1986-, ir.)<br />
^#3<br />
~<br />
Literature:<br />
«A 'zine devoted specifically to reviews of this kind of works is MOCKreviewZ<br />
which I highly recommend. Zen Sutherland's reviews are as much about himself as<br />
they are about the work, but never mind it's good fun & actually informative. Lots<br />
of poetry work and copy art and m,ail art are reviewed here. An indispensible<br />
resource. Send stuff or 37 c to mockersatz zrox.»<br />
(PhotoStatic. N° 18, May 1986. Lloyd → Dunn: Mail Review)<br />
«...Here's a review newsletter or mostly literature... dividies energies between<br />
reviewing the „zeeps“ (his word for all those post-bukowskites churning out their<br />
most gut-wrenching confessions) and starting more and more to cover the hardedge<br />
experimental publications...»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 13 p.)<br />
Moffat, Napoleon ? Montreal Canada 1985<br />
^Neoisme et Propaganda. La structure fidele et malheureuse. In: → Wanowitch: <br />
Computer Graphic Conspiracy's First Report, 1985<br />
^Neoisme et Propaganda. Parameters, conditions, limites. (with → Wanowitch)
(xeroxed letter size flyer with text & computer graphic, 1 folded leave)<br />
n.d. (1985?)<br />
^Dull Century (with !Kiki Bonbon! & !Zbigniew Brotgehirn! [Tristan Renauld])<br />
(Very early Neoist publ. with verbal/graphical nonsenses, texts French<br />
and English. Half-legal, phc., 22 p. 1979, #1-2?)<br />
^#1<br />
<br />
Mohammed<br />
→ Mesciulam, Plinio<br />
Mollet, Michael Los Angeles Dada. 1802 Washington WayVenice, CA-90291 USA 1982<br />
^Music Mail Art Exh. (with → Caldera,→ Meade & others) Doc. in: RANT #4-5. <br />
Legal, 2 sheets, phc. Jan.-Febr. 1983<br />
!Monastirsky! (Andrej Sumnin) Ul. Tsandera 10 – 50. Moscow, 129515 Russia 1996<br />
→ Moscow Performance Group<br />
«Monroe Comm. College / Mercer Gallery» 1000 E. Henrietta Road. Rochester, NY-14623-5780, USA 1988<br />
^Annual Int. Mail Art Exhs. I-II-III. / 1988-89-90. Cat.: Letter, phc., 30 p. <br />
Montells, José M. Pl. Santa Barbara 9. Madrid-4. Spain 1982<br />
Doña Berta. Revista de Poesía (Mag. 23.5x15 cm., offset. 1982-, #1?)<br />
<br />
Montreal / artists C. P. 1261. Place Bonaventure Montreal, H5A 1G9 Canada 1979<br />
Cahiers (Magazine by artists for artists. Uncut (letter?) format, 1979-, qu.) <br />
~<br />
Literature: Umbrella (→ Hoffberg), Vol. 3, #1, 1980<br />
!Monty Cantsin!<br />
→ Kántor, István<br />
→ Haufen, Graf<br />
→ Berndt, John<br />
→ Scott, Pete<br />
→ TARP / Popular Anthropology<br />
→ The Memorial Group<br />
→ Appendix: Neoism / Some Monty Cantsins<br />
Moore, Barbara Bound & Unbound (artists' book ed. & shop) 601 W. 26 St. 12th Floor, NY-10001. USA. 1998<br />
Morandi, Emilio arteStudio. Via S. Bernardino 88. Ponte Nossa, I-24028 Italy 1982<br />
^Pelo + / Pelo – (Voluminous Mail Art compilation by international contributions. <br />
A/4, phc. ~50-70 leaves. 1982?-87? ir. #1-13?)<br />
^#1-13 (complete?)<br />
^arteStudio (Info leaflets and largeer brochures about Mail Art events and actions, <br />
also docs. of exhibition or festival activity in/by the arteStudio.<br />
A/4, phc., 1-40 p. 1983-86?)<br />
^Veliero – Sailling Vessel. Inv.-letter, 1985<br />
<br />
^Theme: Time 88. (Beside Mail Art also audio, video & computer works)<br />
Cat.: A/4, phc., 26 leaves. Exhibition in 4 stations: arteStudio<br />
Ponte Nossa / Bergamo / Villa d'Ogna / Bibliothec Civica Pone Nossa.<br />
April 9-24, 1988<br />
^Network Mutation. (40 p. xeroxed graphic) In: Panmag #29, July 1990 → Bloch<br />
^Artestudio. Centro indipendente - autogestito ricerca - sperimentazione - audio -<br />
video festivals performances - progetti mail art. Dieci anni attivita<br />
internazionale. (Xeroxed docs. & press review, ~50 leaves) 1990<br />
^Viva Vincent! – 100 Years of V. Van Gogh. Inv.-flyer, 1995<br />
^Artestudio / documentation 1993 (with Sergio Morandi) ~30 leaves xerox matter<br />
^Art Intermedia Project. (by 20 invitated Italian artists, doc. on 30 xeroxed leaves)<br />
Arte Studio + Centro Culturale Ponta Nossa, 1993.
^100 anni della biennale Venezia /100 anni della mail art / (with Giovanni → Strada <br />
& Alfio Fiorentino) Cat.: A/4, phc., 14 leaves. Exh.: Mestre-Venezia,<br />
June 1995<br />
Artistamps: A very large activity by photocopied artists' postage stamps in sheets <br />
or as blocks (mostly 4 images), never perforated, but often with<br />
the drawn frame pattern of a perforation. Some publications:<br />
^Elefant Art (Sheet of id. 4 stamp images, phc., not perforated) n.d.<br />
^In memory of Cavellini (Sheet of 42 stamps, colour phc. green/red/<br />
black, on white paper, not perforated) n.d. (1990)<br />
^Networker Congress 92 Ponte Nossa (Sheet of 20 stamps, phc., not<br />
perforated) artestudio. n.d. (1992)<br />
^Festa per Shozo (Sheet of 6 id. stamps, b/w phc., not peforated) 1993<br />
~<br />
Literature:<br />
Moreels, Peter→ !Aukoun, Pjotr Dr.!<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 117-118 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 377 p.<br />
Morelle, Jean-Paul Cas. Post. 74, Sommacampagna (VR), I-37066, Italy 1986<br />
^Series of A/5 booklets with collages, drawings and visual & concrete poetry, pub- <br />
lished in offset about 1975. There exist photocopied facsimile editions<br />
of these publications special for Mail Art network using date from 1985.<br />
These booklets are not entitled but numbered: from N°1 till N°10.<br />
A/5, phc., 8-10 leaves, 20 copies.<br />
^Phc. series: #2, 3, 4, 5, 6, 7, 8, 9<br />
^Les fruits de Congo. „Cahier n. 7“ A/5, offset, 12 p. Text: Emilio Villa Exh.: at the <br />
Centro Lavore Arte, Sep 26 - Oct 9, 1985. Milano<br />
^Alto. Contemporary Art Review (Stitched assembling in A/5 size, ~20 leaves {70}, <br />
Jan 1986-, qu.)<br />
^#0, 1, 2, 3<br />
^Alto N° 1. Exhibition (mostra no. 7) at the „festivi e lunedi mattina chiuso“, Verona <br />
Doc.: A/4 sheet, photocopied. 1986.<br />
^Polaroid art-core. N°1. (with Ubaldo → Giacometti) Cat.: A/5, phc., 14 leaves, <br />
Exh.: at Nicoletta Franco, Proposte d'Arte, Verona. 1986<br />
Moretti, Alberto / → Nannucci, Mauricio, Via della Vigna Nouova 17. Firenze Italy 1973<br />
Schema Informazione (Concept art, vis. poetry, body art, performances, intermedia. <br />
A/4, offset, 52 p. 1973-, ir.) Galleria Schema, Firenze<br />
#1: D. Graham, D. Huebler, C. Parmiggiani & others<br />
#2: «Retorurned to Sender», V. Acconci, J. Furnival, L. Levin, etc.<br />
#3: «Politic Art», E. Tatafiore, G. maciunas, J. Kosuthh c others<br />
Morillo, Robert ? Gray, F France 1987<br />
^J' t' embrasse, moi aussi. (A/4 assembling for Mail Art matter in portfolio, 50 copies, <br />
ca. 30 sheets. 1987-, #1 only?)<br />
^#1<br />
Morozov, E. 18 / 20 - 57, Ul. Rusakovskaya Moscow, RU-10714 Russia 1996<br />
Morse, Yves / Roberts, Patti 2700 N. Tamiami Trail Sarasota, FL-34234 USA 1989<br />
↑ P. O. Draver A-G. Sarasota, FL-34230 - “ - 1987<br />
.............................................................................................................................................................<br />
^Reproductions (Assembling for photocopy art in bag and in bound brochure form,
thematic issues. Letter size leaves, ~25 sheets. 1987-, 2xy., at least 6#)<br />
^#3, 5, 6<br />
Moscow Artistamp Collection Natalie Lamanova (Lamana Wooma Post), Alexander Kholopov<br />
Perekopskaya ul. 11-4-30 lamana@cnt.ru Moscow, RU-113209 Russia 1998<br />
Artistamp activity with a large collection and some international known editions (e.g.: stamps<br />
with the images of the man-hole covers of Moscow’s sewer system by Kholopov)<br />
^The First Moscow Artistamp Exhibition 98. Doc.: An artistamp block (as Comme- <br />
morative Artistamp Issue) with an additional participant list instead of the<br />
catalogue (43 artists). Further data and documentations at the “JAS Cyberspace<br />
Museum, Canada” of J. W. → Felter. The show was “...carried within<br />
the framework of the Russian annual inetrnational exhibition «Art-Manage»<br />
in the Moscow Central Exh. Hall...” December 4-10, 1998.<br />
~<br />
Literature:<br />
^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian<br />
and English. AAA Edizioni. Bertiolo, 2000.<br />
(Kholopov: 168-169; Lamanova: 170-171 pages.)<br />
Moscow Performance Group (N. Abalakova, N. Alexejev, J. Backstein, E. Elagina, G. Kiesenwalter,<br />
A. Monastyrsky, I. Makarevitch, N. Panitkov, S. Romashko, V. Skersis, V. Zakharov,<br />
A. Zhigalov, K. Zvezdochetov & others. Group activity since 1976)<br />
.............................................................................................................................................................<br />
Collective Actions (Special books {4-5}) 1980: Trips to the country / 1983: Trips and play-back<br />
/ 1985: 1-2-3 Vol. Trips to the country / 1987: 1-2-3 Vol. / 1988: 1 Vol.<br />
About the Studios. (Archive boxes {10}), 1982-83: about 24 Moscow artists; 1985: 11 artists<br />
Moscow Archives of New Art (Assemblings with doc. in envelopes {5}, 1986-88, #1-10)<br />
(All information from George Kiesenwalter, Moscow)<br />
~<br />
Literature:<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations, 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 305, 373 p.<br />
Moulinier, Didier Changed addresses, their order is not clear:<br />
33 rue Jean-Renaud Dandicolle-Bordeaux, F-33000, France ?<br />
4 Ave. P. V. Courtier Boulazac, F-24750 ?<br />
14 rue Albert Camus Boulasac, F-24750 ?<br />
11 rue de la Segesse Perigeux, F-24000 ?<br />
33 rue J. R. Dandicolle Bordeaux, F-33000 ?<br />
.............................................................................................................................................................<br />
^La Poire d'Angoise / LPDA (Weekly magazine with Mail Art matter and graphics. <br />
A/5, phc. ~20 p., 1984-86, about 150 issues)<br />
^ 1985: #23, 24, 37, 43, 44, 45, 47, 56, 58, 59, 68,<br />
^ 1986: #77, 82-83, 91, 93, 101, 103<br />
^ 1987: #106, 109, 121-122<br />
^Tujau / Quotidien (A mini format daily [!] Mail Art news, A/6, phc., 1987-, ~ 150#) <br />
^#74, 77, 137<br />
~<br />
Literature:<br />
(La Poire D'Angoise, #55) «English: The Pear of Anxiety... latest installment of<br />
prolific art & poetry (mostly French) journal contains some nifty expressionistictype<br />
cartoon/drawings by a guy called Krabs. There's a lot of action in this guy's<br />
hand. Also of note: penis torture photographs which contort that organ in surprising<br />
ways that you can't help but react to. (PhotoStatic. N° 16, Jan. 1986. Lloyd →Dunn:<br />
Mail Review)<br />
(Tuyau / Quotidien): «A really interesting idea for a project. This is a daily magazine<br />
which features in each issue the work of a single artist. The mechanics of the<br />
project are like this: editor D. Moulinier sends out preprinted layout forms to folks,<br />
asking their participation in the form of filling the form with their work as well as a
it of information about themself. Moulinier takes on the tasks of production and<br />
distribution. Voilà. Instant magazine. Because of their size, each one of them<br />
becomes a tantalizing glimpse; it's not possible to say a lot here, so much is left<br />
unsaid.» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 23, April 1987, 742 p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 146 p.<br />
Mounier, Patrick, → !Llys Dana!, → !Horus!, Av. St. Hoch, Hotel des Alpilles, Aureille, F-13430, France 1982<br />
↑ 7 rue de l'Évéché. Beaugency, F-45190 France 1976<br />
.............................................................................................................................................................<br />
Dragon Rouge (One of the first psychodelic fanzines with hints to sur-natural, <br />
symbolism, & cabala, etc. with wide Mail Art conections. Statement:<br />
Vive le mouvement perpetuel! Vive la dictature de l'imagination!<br />
Cut A/4, offset. 1976?-77, bim.)<br />
^Sphinx / Sphynx (with Jaques → Juin) (Alternative art, literature and culture in a <br />
text/image collage, also Mail Art contributions. French.<br />
A/4 and 27x21 cm., offset, 76-140 p. 1978-82, ~1-20#)<br />
^# 10-11, 14-15 (1981).<br />
^Hieroglyphes & Co. (Postcard size assembling in a small portfolio {50}, 37 parts., <br />
+ 3 editor's cards. 1982, #1 only? ) Aureille<br />
^L'art de la - l'in - citation devient science des dérapages. (with → Pissier, Lucien<br />
→ Suel, P. & Hopuchard, J-L.) Xerox {100}, A/4, 24 p. Ed. Le Jeu de<br />
Tombes, → Pissier, Montmorency, 1985<br />
~<br />
Literature:<br />
!Mraur! / !Post Mraur! → Felter, Jas. W.<br />
<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 66-67 p.<br />
Mühleck, George ?<br />
^Copy Art Exhibition – at the Kunoldstr. 34, Kassel. Inv.-card, 1986<br />
<br />
Mukata Takamura 2-204. 1390 Koyata. Iruma-shi-Saitama Japan 358 1985<br />
Mail Photo Show. Doc.: 2 xeroxed sheets / Kawagoe City Library. October 1985 <br />
Müller, Andreas ZEBRA Verlag, Landenbergstr. 10. Zürich, CH-8037 Switzerland 1996<br />
^Wolga / World of Letter Graphic Art (with → Stirnemann) (Info mag. A/5, phc., <br />
8 p. 1989- 2xy.)<br />
^#1<br />
Müller, Frank (!Frankie l l'Amour!) / Wyrowski, Jörg. Bagelstr. 104. Düsseldorf, D-4000 Germany 1983<br />
^What's l'amour, mamma? (Expressive graphzine in a style of the French graphic <br />
scene, hard b/w xeroxs. Each issue with a spec. theme: a postmoderne,<br />
postnucleare apocalipse. A/4, also horz., phc. 1983-, #1-11)<br />
^#1, 3<br />
Müller, Rudolf c/o Post offices (Bundespost) Bonn Germany 1983<br />
°Mail Art. Kunst auf Postkarten. Cat.: 21x32 cm., offset colour, 82 p. 100 parts. <br />
{500} / Bundespost. Bonn, 1983<br />
Mullican, Jeff 943 Menlo #5. Los Angeles, CA-90006 USA 1985<br />
^125 Mail Artists' Fears. Cat.: Digest, phc., 8 p. August 1985<br />
<br />
^Mind’s Eye. Outdoor exhibition in downtown of Los Angeles. Inv.-flyer, 1985 <br />
!Munos, Mr.!<br />
→ Renault, Frédéric
Muñoz, Patricia L. Vicente Lopez 1780. Piso 3. Dept. 6. Buenos Aires, AR-1018 Argentina 1988<br />
↑ Rodrigez Pena 1710. Piso 10. Buenos Aires, AR-1021 - “ - 1981<br />
.............................................................................................................................................................<br />
°(Tickets). Cat.: 35.5x21 cm. phc., 30 leaves, 22 parts. Buuenos Aires, 1981 <br />
Munson, Howard 355. 15th Ave. N° 6. San Francisco, CA-94118 USA 1982<br />
The Bridge (Mag. flittering between journal and bookwork with words, poems, <br />
photos, typwritten copies, inserts. Digest, offset, 30 p. 1982- qu.)<br />
Munson Williams Proctor Institut. 310 Genesce St. Utica, NY-13502-4799 USA 1989<br />
^Art is long, life is short... (curator: „JK Post”) Doc. Letter, phc., 12 p. 1989 <br />
Murphy, Jay 2425 Burgundy St. New Orleans, LA-70117 USA 1988<br />
↑ P. O. Box10258 Tallahassee, FL-32303 - “ - 1981<br />
.............................................................................................................................................................<br />
Red Bass (Poetry, prose, profiles, articles, some art an resources of a political bent,<br />
partly thematic issues (#10 on Women's International Arts). Letter /<br />
offset or tabloid / newsprint issues, 72-80 p. 1981-, 2-3xy.)<br />
~<br />
Literature: Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.<br />
Musarra, Natale Edizioni Loplop. Via Provinciale 8 a. Piano Tarola (CT), I-95040, Italy 1986<br />
^Il Sorriso Verticale (Bilingual Mail Art anthology with text & images, in Italian <br />
and English, 17x12 cm., offset. 144 p. October 1986, #1 only?)<br />
Organisator: → Aiello?<br />
«Musée de la Post, Paris» 34, Blvd. de Vaugirard Paris, F-75015 France 1994<br />
^Timbres d'artistes. Cat.: A/4, offset, 248 p. (Org.:→ Laszlo, Jean-Noël<br />
<br />
& Reynaud, Chantal). 1994<br />
Texts: (French / English):<br />
P. Restany: Le timbre d'artiste: lieu privilégié de l'identité poétique<br />
J-N. Laszlo: Le timbre c'est le message<br />
J-N. Laszlo: Interviews de György Galántai et Ken Friedman<br />
Peter Frank: Modernisme postal<br />
J. W. Felter: Timbre d'artiste<br />
Ed Varney: Timbre d'artiste: quoi et comment?<br />
Patrick Marchand: L'art et le timbre<br />
^L'art du tampon. Cat.: A/4, offset, 96 p. (Org.: Sophie Nagiscarde.) 1995 <br />
Texts: Sophie Nagiscarde: L'art du tampon<br />
Pascal Rabier: La cachet de la Poste fait foi<br />
Jon Hendricks: Le tampon à imprimer: un aspect de Fluxus<br />
Michel Giroud: Mail Art et Network<br />
«Museo dell' Informazione» ? Senigallia Italy 1992<br />
^Fe/Mail Art, Dedicato Donna. Cat.: A/5, phc., 12 p. 1992<br />
<br />
^Fe/Mail Art, Dedicato Donna. Cat.: 22x22 cm., offset, 48 p. February 1994 <br />
«Museo de arte Contemporaneo» San Diego 1476, Calle 3-1489. Santiago de Chille, Chille 1994<br />
^Homage to René Magritte. Doc.: Poster of 45x25.5 cm., sheet, offset. 1994 <br />
«Museum of Museums, The» → Geluwe, Johan van<br />
<br />
«Museum of Post & Telecommunication, Berlin»<br />
^Mail Art Documentation – Allegories of the 21st Century. Published by J. Kallinich<br />
and V. Lemmrich. Cat.: 21x21 cm., Col. offset, 154 p., 189 parts.,<br />
all illustrated! Exhibition as completing of the travelling Mail Art<br />
show from the Staatliches Museum → Schwerin, June 19 - Oct 26, 1997
«Museum of Silence» Valeriusstraat 5-I-Hoog. Amsterdam, 1071 MB Netherlands 1994<br />
^Silence in Art / Stille in Kunst. Cat.: 22x23 cm., offset (colour), 96 p. Kempen <br />
Publ. Eindhoven. 1994<br />
^Silence - 3D-project. Doc. A/4, phc., 4 p. Amsterdam. 1994<br />
<br />
!Music Master! → Cassidí, Thomas M.<br />
«Music Network» → «Cassette Net»<br />
!Mutt, Richard ! R. Mutt Galleries Press, Box 377 Northridge, CA-91328 USA 1976<br />
°Letters to R. Mutt and Transfer Series. Mail Art compilation, letter size, offset, <br />
130 p. Northridge, 1976<br />
°California Drought Catalog (A Dada Digist). Cat.: letter, offset, 110 p. 265 parts. <br />
R. Mutt Galleries Press. Northridge, 1977<br />
!Nada Post! (Victor Perez) Box 0221, College Grove Station, San Diego, CA 92115. USA 1984<br />
^Big Brother is Watching. Doc. Letter, phc., 4 p. 1984<br />
<br />
Nader, Wladyr Wertente Editora Ltd. R. Monte Alegre 14434, São Paulo, BR- 05014, Brasil 1975<br />
^Escrita / Revista Meusal de Literatura (Leaflet for concrete art, graphic, Mail Art. <br />
33x21.5 cm., offset. 1975-, m.)<br />
^# Vol.1/3<br />
Nagy, Pál / Papp, Tibor / Alpár, Bujdosó, Atelier Hongrois.<br />
139. av. Jean-Jaurés, Montrouge, F-92120, France 1962<br />
^Magyar Mühely (Offset mag. for literature, since the 80s more with visual poetry, <br />
since '89 published in Hungary: Ady E. u 12, Budapest, H-1024.<br />
1962-96, 24x18 cm, ~60 p. squ. #1-100)<br />
→ Kovács, Zsolt / Magyar Mühely (Magyar Mühely, new series, #101- )<br />
Nakagawa, Alan H. 459 South Citrus Ave. Los Angeles USA 1984<br />
^Visual Response League. (with Lon → Spiegelman). Doc. one half-legal sheet, <br />
offset, + one dia-slide. 1984?<br />
Nakahara, Seiei Jack. 203 Tanova, Res. Nº 2. 1-14-19 Tamagawa Denenchoufu, Setagayn-ku. Tokyo 158. Japan<br />
^The Joke Project. Int. Mail Art Music and Art at the Tama Art Univiersity in Tokyo. <br />
Cat.: 36x13 cm., phc., 16 p. Exh.: November 2-4, 1984<br />
More about → Joke Project<br />
Nakayama, Shigeru. 500 Kita Amagashaki, Fushimi Kyoto Japan 1985<br />
^Frottage. Inv.-letter, ~1985<br />
<br />
^Mauve project – request for audio cassette works. Inv.-flyer, ~1985<br />
<br />
^Spring Copy ’88. Inv.-letter with image, 1988<br />
<br />
^Autumn Copy ’88. Inv.-letter with image, 1988<br />
<br />
^Sunrise ’89. Inv.-flyer, 1989<br />
<br />
Nannucci, Mauricio c/o Archive Zona, Via Marsala 4 Firenze, I-50137 Italy 1976<br />
Via San Nicolo 119. r. Firenze, I-50125 - “ - 1970<br />
.............................................................................................................................................................<br />
°Black. (21.5x21.5 cm. 6 silk-screens sheets with black on black print. {50}) <br />
Edition A, Frankfurt, 1967<br />
°Timbro d'Artista. Cat.: Zona, 1975<br />
<br />
°Per conoscenza. (Documentations) A/4, offset / colour, 64 p. Zona. Firenze, 1975 <br />
°Provisoire & définitif. 20x14.3 cm., offset, 32 p. {250}. Ed. Ecart → Armleder. <br />
Double Sphinx, #9. Genève, 1975<br />
°Wit Wit. (21x15 cm., 4 embossed & silkscreened sheets) Multi Art Points, <br />
Amsterdam, 1976
°M40/1967. A/5, offset, 188 p. Multi Art Points. Amsterdam, 1976<br />
<br />
^méla (Mag. for experimental and visual literature. 70x100 folded to 24.5x17 cm., <br />
offset. 1976-81, #1-5)<br />
^#4, 5<br />
^Small Press Scene. (Exh. Cat.: A/5, offset, 40 p. {500}. / large bibliography, 44 p.) <br />
Exh.: December 1975 - February 1976. Zona. Firenze, 1976<br />
°Sessanta Verdi Naturali. (33.5x11.5 cm, accoordion, offset colour, 24 p.) Im Taxis- <br />
paleis – Spagnoli / Innsbruck – Firenze. 1977<br />
°Formato Lib(&)ro. Mostra de libro oggetta in Italia. (with L. Caruso & E. → Mic- <br />
cini) Cat.: 64 p. / Palazzo Vecchio, Firenze. 1978<br />
°Inbound / Outbound. Inv. on postcard, offset. Zona. Firenze, 1977<br />
<br />
°Copyright. Inv. on A/4 offset sheet. Zona. Firenze, 1978<br />
<br />
mèla post card book. (A collection of 48 postcards {1000}, b/w works of art/alterna- <br />
tive art, appeared as a special issue of mèla, summer/autumn 1979)<br />
°Cent livres d'artiste italiens. Cat.: A/5, offset, 27 p. BN Cabinet des Estampes. <br />
Paris, 1981<br />
^Art in Bookform. Zona Archive. Cat.: 13x24 cm., offset. 24 p. / Alvar Aalto Museum, <br />
Jyväskylä, Finland. 1987<br />
°El posible plan de lo impossible / el imposible plan de lo posible. (Billiard-ball with <br />
the engraved title in a wood case of 9x9x9 cm.) {50} Madrid, 1990<br />
→ Armleder / Ecart<br />
~<br />
Literature:<br />
^Judith A. Hoffberg: Maurizio Nannucci and Zona, Florence, Italy. In: Umbrella,<br />
Vol. 6 No 5, 1983. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, the<br />
Anthology. Santa Monica, 1999. 41-45 p.<br />
^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p.<br />
Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 78-79 p.<br />
!Nar, De! (V. Z. W.) Postbus 104 Brussel, B-1210 Belgium 1994<br />
^Fast-Lift MA Project. Cat.: A/5, phc. + offset, 32 p. In: Extra Editie. Nov. 1994 <br />
Narloch, Charles ? Joinville Brasil 1994<br />
^Cidade das Florese das Bicicletas. Cat.: A/4, offset, 12 p. Two exhibitons: <br />
Banco de Brasil, Joinville. November 1994<br />
Galeria do Centro, Florianópolis. January-February 1995<br />
Nation, Opal Louis & Ellen, 3952,Fruit Vale Av. Oakland, CA-3952 USA 1990<br />
↑ 66 Montele Oakland, CA-94611 - “ - 198?<br />
↑ P. O. Box 301 Barton, Vermont-05822 - “ - 1979<br />
↑ S. F. Press. 74 Thomdike St. N°4. Cambridge, MA-02141 - “ - 197?<br />
↑ 42 / a. Pembridge Rd. Notting Hill Gate, London, W11 3HN United Kingd. 1969<br />
.............................................................................................................................................................<br />
Strange Faeces (A collection of writers' and artists' works plus translation from the <br />
French – from comic strip animation to Russian poetry. One of the most<br />
important publications in the int. post-fluxus scene with nonsenses and<br />
dadaistic absurd contributions. A/4, letter and digest sizes, mimeogr. +<br />
mix. techn., also phc., ~100 p. 1969-88?, ~ 20#) Edited in London [with<br />
Allen Fisher, Dick Miller & Pierre Joris], further in Cambridge, in<br />
Monterrey CA, in Vancouver, in Oakland CA, etc.)<br />
°10 pieces from: The Opal Land of the Angels. 33x20.5 cm., mimeogr. 24 p. Strange <br />
Faeces. London, 1971<br />
°New facts on evolution. 33x20.3 cm., mimeogr. 30 p. Strange Faeces. London, 1972 <br />
°The Opal coloring book. A/4, mimeogr. 40 p. Strange Faeces. London, 1972 <br />
°Creation of a Nation, death of a Mind / Catalogue Eddle Warings hydrostatic... <br />
33x21 cm., mimeogr. + offset, 20 p. Strange Faece. London, 1972<br />
°The tragic hug of a small french wrestler. (Mimeogr. 48 p.) Fault Publ. Union City
1977<br />
°Stabbed to death with artificial respiration (with R. E. Amos) (Coul. offset, 32 p.) <br />
The Coach House Press, 1977<br />
~<br />
Literature: Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 59-60 p.<br />
«Opal L. Nations was born to run. He published different numbers of Strange<br />
Faeces in Vancouver BC, Canada (#17); Penfield, NY (#18); and Cambridge, MA<br />
(#20). In a departure from the „non-judgemental“ attitude of most zines published<br />
at the time, Nations states that, „Contributions by requeust only.“ (John → Held, Jr:<br />
Bay Area Dada, 19970-1984: An Annotated Bibliography of Primary Sources.<br />
In: The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione]. S. F. 1997)<br />
Naud, Jean-Pierre 46 rue Lafayette, Riom, F-63200 France 1991<br />
^An Other Philately – send false-stamps. Inv.-flyer, 1991<br />
<br />
^Photography – thematical postcards. Inv.-flyer, 1992<br />
<br />
^Venise – Venezia. Inv.-flyer, 1992<br />
<br />
^A history of torture. Inv.-letter, ~1992<br />
<br />
Neaderland, Louise 759 President St. #2H Brooklyn, NY-11215 USA 1996<br />
↑ c/o I. S .C. A. 800 West End Ave. New York, NY-10025 - “ - 1981<br />
.............................................................................................................................................................<br />
^The ISCA Quarterly (ISCA = International Society of Copy Artists) <br />
(Xerographic matter, assemblings in letter size book form or in box,<br />
also boxed postcard assembling issues and artists' books collections in<br />
box or in bag as an issue. ~40-50 pieces in a publ. 1981-, qu., ~ 60#)<br />
^# 2/1, 3; 3/2, 3; 4/3; 6/2, 4; 13/4<br />
°The Nuclear Fan. 20x5 cm, phc.,10 leaves (riveted) in a slipcase. n.d.<br />
<br />
°Muybridge Revisited. 19.3x20 cm. accordion book (7 p.), phc. n.d.<br />
<br />
°Basic Elements: Earth, Air, Fire, Water.19x17.7 cm., phc. + rubber stamps, 16 p. ®<br />
Bon Hollow Arts. New York, 1981<br />
°Empress Bullet. 21x24 cm., accordion book (7 p.), phc. ISCA. New York, 1982 <br />
°Sadat's Journey. 22x23.5 cm., accordion book (4 p.), phc. ISCA, New York, 1982 <br />
°The Ston Roll On. 21.3x17.3 cm., accordion book (8 p.), phc., {250}. ISCA, 1982 <br />
°The Vanishing Act. 10.7x10.7 cm., accordion book (11 p.), phc., {150}. ISCA, 1982 <br />
^Copier Artists' Bookworks. Cat.: 18x11 cm., phc., 20 p. / I. S. C. A. 1982<br />
<br />
°A Mideast Kaleidoscop. 21.5x11.4 cm., 41 identity cards, riveted at a corner, phc. <br />
ISCA, New York, 1983<br />
°Scenic Tunnels. A photo-essay. 21.5x16.5 cm., phc.,, 28 p. S. P. New York, 1983 <br />
°Cease-fire. 7.3x11 cm., phc., 20 p. ISCA. New York, 1983<br />
<br />
^ISCA-Newsletter (Infomag. Half-legal, phc., 16 p. 1984-, squ.)<br />
<br />
^# 1985/ Febr., May, Nov., 1986/ Febr., 1988/ Jan.<br />
°Distress Signals. (Flipbook) 13.4x10.5 cm., phc. Bone Hollow Arts. NY, 1985 <br />
^The Heart of Lightness. (Text + images, a handstamped booklet of 22x6 cm. with <br />
12 pieces) S. P. New York. n.d.<br />
^La Strada. (Xerographic work, booklet,10.5x11 cm., 6 p.) Bone Hollow Arts. <br />
New York, 1986<br />
°A Book of Short Stories. (Where is Home? 2/3) Half-legal,phc., 24 p. {25} S. P. 1986 <br />
°The Disposable History of the World. Multiple. Cardboard box with 50 news leaves <br />
foulded & cut to the size of 15.2x17.7. {?}. Bone Hollow Arts.<br />
New York, 1986<br />
°Straitjacket. Digest, phc., 12 p. Bone Hollow Arts, New York, 1987<br />
<br />
°Open Roads, Empty Nests. Digest, phc., 16 p. Bone Hollow Arts, NY, 1988 <br />
°Missing Persons. Letter, phc., 32 p., spiral bound. Bone Hollow Arts. NY, 1988 <br />
^I. S. C. A. Graphics. Doc. 28x20 cm. offset folded to accordion (3x). / Sarnia Public <br />
Library & Art Gallery. January-February 1989
^The Walls come tumbling down. Inv.-flyer, 1991<br />
<br />
~<br />
Literature: «The I.S.C.A. is a kind of service organisation for xerographers. It's around to<br />
advance copier art as a legitime, collectible art form. Artists who work in this<br />
medium may join ($20 per year) and during their membership must submit 200<br />
copies twice a year for inclusion in the quarterly. As such, the publication is a<br />
smorgasbord of ups and downs – colleged goofiness to the exquisite. However,<br />
to each his/her own... (Lightworks [→ Burch]. These Things Too [Print review].<br />
N° 16, Winter 1983-84. 56 p.)<br />
(I.S.C.A. Quarterly, Winter 1985) «...The invitable problem with this kind a journal<br />
is that you end up distributing a lot of dreck. There's gopood stuff here, but not<br />
enough to merit the cost that a non-member would have to pay. And I guess to make<br />
up for a lack of exercisable editorial policy, they have themes for every other<br />
issues for contributing members to adhere to. This one was „The elements: Earth,<br />
Air, Fire, and Water.“ You figure out what to make of that.» (PhotoStatic. N° 16,<br />
Jan. 1986. Lloyd → Dunn: Mail Review)<br />
«My interest in books and printmaking goes back many years but my work as a<br />
creator of xerographic bookworks really had its beginning only five year ago when<br />
I just happened to put a photograph on the xerox machine. Ten copies later of that<br />
photograph – I was a book artist. My first book, High Falls, consisted of five xerox<br />
copies of a photograph taken in High Falls, N. Y... The photograph was of a young<br />
man jumping from the top of the falls into a deep pool at the bottom. By cropping<br />
eych of the copies of this photograph so that thefirst showed a great deal of white<br />
sky and the last a great deal of black rock, an illusion of movement or animation<br />
was created when the five copies were strung together vertically. This was my first<br />
accordion well book. All of my subsequent books (25 to date – 1986) have each<br />
been created from altered multiples o a single image. Using this method I discovered<br />
that less (one image) was more because the image was so intensely explored.»<br />
(L. Neaderland: Statement. In: Sarah → Jackson: Books Build Bridges / Copier<br />
Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 239.item)<br />
°Neaderland, Louise: Copy Art. In: Artists Newsletter. 23-25 p. Aout, 1988<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 90-91 p.<br />
«Fourteen years! I must confess that I never dreamed that the Society would be<br />
around for such a long time when I sent the first fanciful notice to Afterimage<br />
announcing the formation of the I. S. C. A. Devoted as the frequently accompanied<br />
by such infirmities of aging as hardening of the arteries. Denial of such symptoms<br />
would be the easiest course to follow but acceptance and action the more<br />
productive.<br />
I need you help to revitalize our Quarterly! I must confess that I am a<br />
computer dummy. Everything there is done on a typewriter or a stone age Radio<br />
Shack computer which stores metarial on a cassette. Said machine gave up the<br />
ghost last weekend under the stress of printing the mailing labels, so I am about to<br />
enter the electronic age by purchasing my first modern computer with networking<br />
(?) capabilities, and, perhaps, even a photo program...»<br />
(Louise Neaderland: I. S. C. A. Quarterly. Editorial for Vol. 14. #1, 1995)<br />
Neef, Dirk de Blekerijstraat 5 Gent, B-9000 Belgium 1986<br />
Co(rr)ections (Mimeographed mag. literature + visual matter. A/4, mimeographic<br />
handmade coloured pages. 1986-, ir.)
Nelli, Salvatore ? Siracusa Italy 1983<br />
^Ripensandoalla Mail-Art. Doc. One sheet of 21x39,7 cm, offset. / Sala Expositiva, <br />
Isituto Statale d'Arte, Siracusa, November 1983<br />
«Neoism»<br />
→ Appendix<br />
Neutics, Hermann / → Nation, Opal Louis / !Vic d'Or!, P. O. Box 789, Stat. F. Toronto, N4Y 2N7 Canada 1974<br />
^Only Paper Today (Multimedia magazine with humor, nonsense, dadaistic images. <br />
42x29 cm., newsprint, offset, 20 p. 1974-, bim.)<br />
^# Vol.6/1<br />
!Neutral Ground! → Close, Patrick<br />
Nevidal, Hans Kohlgasse 11 / 4. Wien, A-1050 Austria 1992<br />
↑ Ferdinand-Mosergasse 39 Guntramsdorf, A-2353 - “ - 1982<br />
Nevai, Andrew ? Florida, NY-10921 USA 1978<br />
^Instant Media Dispatch. The Journal of Quick-Art. (Dada, Mail Art, rubber stamp, <br />
polaroid, photocopy, colour-xerox, etc. 74x58 cm. sheet folded to quarter,<br />
offset, 2 p. 1978, #1-2?)<br />
^#2<br />
~<br />
Literature:<br />
«New Reform Gallery» → Hondt, Roger D'<br />
«...Soon to be called Quick, this finely produced journal in its first issue has news,<br />
book reviews, informative classifieds, a display of rubber stamps for sale, and the<br />
inside is the complete documentation of Dadaland (→ Gaglione), Anna → Banana,<br />
Buster → Cleveland and Andrew Nevai in Toronto and later in New York City this<br />
summer. Guest edited by Buster Cleveland, this second issue will be followed the<br />
first Art Fun Rubberstamp catalogue... and it looks like it is a classy journal for all<br />
those interested in mail art and now art. (New Periodicals. In: Umbrella [→ Hoffberg].<br />
Vol.1, #6. 151 p. Glendale, 1978)<br />
«New Wilderness Foundation» 325 Spring St. Room 208 New York, NY-10073 USA 1983<br />
↑ 365 West End Ave. New York, NY-10024 - “ - 1973<br />
.............................................................................................................................................................<br />
Ear Magazine (Experimental music, also Fluxus scores, rich in visual matter. <br />
A/3 tabloid, offset. 1973-, 10xy.) Editor: Varol E. Tynmon<br />
New York (Spring Street) / artists 325 Spring St., Room 333. New York, NY-10013 USA 1985<br />
Stroll («Outdoor Art» mag. 1985- qu.)<br />
<br />
Nielsen, Mogens Otto Atmosphere Controlled. Tylstrupvej 43. Hjallerup, DK-9320 Denmark 1984<br />
^Made in Brazil – “collected book” project (assembling like). Inv.-letter, 1983 <br />
^Send a Piece of Your Nature. Inv.-letter, 1984<br />
<br />
^1984 we are all stars. Small brochure photocopied by red colour on white paper.<br />
15.5x11 cm. cover with 2 leaves of 15x21 cm. (folded). n.d. (1984?)<br />
^Thou Art 84. (with → Schmidt-Olsen, Carsten) Anthology of films, videos, dias,<br />
music, audio and performance works and installations by international<br />
mail artists. Program at the Jomfru Ane Teatret, Aalborg DK-9000,<br />
May 11-17, 1984. Anth.: A/4m phc. + offset, 80 p. with 90 participants.<br />
^Pocket Museum. Doc.: One A/4 sheet, phc. (Send some trash or objects from <br />
your pockets...) Exh: Sonde Århus Kunstmuseum, November 1984 -<br />
January 1985<br />
^Conceptual Laboratory Future-Enginneering. Published on small, golden signed<br />
cards ~1985 with the saying of Adorno: “Society with other qualities”<br />
and the text of the 10 Commandments of the Mail Artists:
1. Mail Artists do not care who did it first<br />
2. Mail Artists do not care who did it best<br />
3. Mail Artists do it for each other now<br />
4. Mail Artists go beyond limitations<br />
5. Mail Artists do not compete in public who does it best<br />
6. Mail Artists do not accept awards for doing it<br />
7. Mail Artists do not reject anybody<br />
8. Mail Artists do it internationally<br />
9. Mail Artists build the world network of confidence<br />
10. Mail Artists are coming by mail<br />
^Book Object. (Metall book form – like preserve can or box – with an opening key.) <br />
30x22x4 cm. Signed and numbered multiples, 9 copies. n.d. (1985?)<br />
^Østvendsyssel Film & Video Festival 1986. (Org.: M-O. Nielsen and Carsten <br />
Schmidt-Olsen) Cat.: A/4, colour offset, 96 p. (71 participants).<br />
Kinoteatret, Sondergade10, Hjallerup. Oct 10-11-12, 1986<br />
Artistamps in div. form since 1976, also by rubber stamps. Very known pieces: ®<br />
^earth-heart (Sheet of 8 id. stamps, red rubber stamps on white p.) n.d.<br />
(1976?)<br />
^Lips (Sheet of 12 red and 12 green rubber stamped stamps) n.d.<br />
^Film-stamps (Special stamps by sinle 36 mm film images on white<br />
paper, perforated, sometimes additional rubber stamps) n.d.<br />
Atmosphere Controlled (Sheet of 24 stamps, one image/fish in four<br />
diff. positions, a work by rubber stamps) 1986<br />
^Strike Zero Art Revenue (Cut stamp pieces in size of 7.5x6.5 and<br />
10.5x8.5 cm., diff. images, b/w phc. ) n.d. (1990?)<br />
→ Olbrich, Jürgen O. / Actions and Exibitions at the Artspace Kunoldstr. 34, Kassel<br />
~<br />
Literature:<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 103 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 397 p.<br />
Nielsen, Paul Henning / Peterson, Bent, North Information. Box 1000, Copenhagen, NV. DK- 2400 1976<br />
North (Art activities with orig. contributions by Scandinavian artists. A/5 and A/4 <br />
booklets, offset. Mag. 1976-, qu.)<br />
North Information (A/4 info-pages. 1976-77, #1-35?)<br />
Nieslony, Boris Boltlensternstr. 16 / Build. V 6. Köln, D-50735 Germany 1986<br />
↑ Poller Kirchweg 60-66 Köln, D-5000 - “ - 1983<br />
.............................................................................................................................................................<br />
^Neescha. Magazine, zeitschrift, Bilderbogen, Findebuch (Multimedia magazine. <br />
A/4, offset, 42-84 p. 1985-88, #1-3)<br />
^#1, 2, 3<br />
→ Olbrich, Jürgen O. / Actions and Exibitions at the Artspace Kunoldstr. 34, Kassel<br />
Niggl, Thomas Hohenstaufenstr. 7 München-40, D-8000 Germany 1969<br />
Omnibus News (The first regulary assembling at all, a paper accumulation with <br />
«concrete art» character {1500}. A/4 volume, ~200 p. 1969. #1 only)<br />
Omnibus 79/80 (A late second issue of the Omnibus News {1000} edited by Peter & <br />
Susanne Schwenk, Alte Schule, Martenbeth D-8091. A/4, mixed techn.,<br />
192 p., with 65 artists. 1980)<br />
Omnibus Press. Publications on art, activity in the 1970s<br />
<br />
~<br />
Literature: «The Omnibus News, 1 – the hugest contributor-printed collection I've seen yet, as<br />
thick as a telephone directory, and containing all sorts of work, and on different<br />
sorts of paper. As with other such collections there's both very good and very bad
work (dependeing of course on one's own standards). At last there's no lack of<br />
choice. For those who are interested in names the contributorsto this first (and<br />
only?) issue include Dietrich → Albrecht, Eric Anderson, Stanlay Brown, Jochen<br />
Gerz, Dick → Higgins, Milan → Knizak, Herman Nitsch, Werner Schreib, Timm<br />
Ulrichs, Ben → Vautier, Wolf Vostell... (...) Or one could say that it's a volume in<br />
whichwe are all ONE. Assembled by Thomas Niggl, Christian d'Orville and Heimrad<br />
Prem...»<br />
(News and Reviews. In: Kontexts, #6-7 [→ Gibbs]. Amsterdam, 1975. n. p.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 41-42 p.<br />
«Nihilist Press» 10350 ½. Wilshire Los Angeles, CA-90024 USA 1978<br />
OK Magazine (Xerographic network publ. 1978-)<br />
<br />
!Nikonova, Rea! (Anna Tarshis) Sverdlova 175 Eysk, 353660 Russia 1988<br />
Transponance (with → Segay, → Konstrictor) (Typewritten handmade samizdat <br />
magazine in the Sovietunion with exp. literature, art [also Mail Art]<br />
manifests and theoretical contents. Very few copies only. 1979-86,<br />
#1-36)<br />
^Scarecrow. Mail Art Exh. Poster of A/2 size + Photo-doc. / Eysk. 1989 <br />
Transflöte (About Transponance, with → Segay) in: Iskustwo, N° 10 / 1989 <br />
(Russian) Its English translation → Segay: The Crux of the Matter<br />
^Transponance Transfuturismus oder Kaaba der Abstraktion. (with → Segay) <br />
(Offset, 52 p.) experimentelle texte N° 20. → Riha, Siegen D, 1989<br />
Artistamps: ^Window (?) (Sheet of 16 id. rubber stamp (?) images, b/w print, <br />
not perforated) n.d.<br />
^Two piggs as bycicle (Sheet of 24 id. stamp images, phc., not perfo- <br />
rated) n.d.<br />
^(Zaumnist drawing) (Sheet of 32 id. stamps, phc., not perforated) n.d. <br />
^(MAMA) (Sheet of 8 stamps, on identical images the letters M & A. <br />
Phc., not perforated) n.d.<br />
^(Drawing with woman figure) (Sheet of 12 id. stamps, phc., not perfo- <br />
rarted) n.d.<br />
^The first in Russia Int. Visual Poetry Exh. (with → Segay) Cat.: 19.5x14 cm., offset, <br />
36 p. Museum, Eysk. December 25, 1990 - February 25, 1990<br />
^Double (Assembling with int. Mail Art and vis. poetry matter, a magazine in a form <br />
of a wonderful structured paper collage: pages cut in dif. form. ~A/5,<br />
14x18 cm. and ∆ of 29x23x23 cm. Mixed techn., ~20 sheets. 1991-,<br />
2xy. #1-6?) Eysk.<br />
^1, 2, 3, 4, 6<br />
^Mail Art Exhibition: Vacuum. Inv.-flyer, 1992<br />
<br />
^Hommage to Nikonova & Segay – exhibition at the “Euterpe”, Chieri (TO), I-10023. <br />
Inv.-sheet: A/4 to accordion 3x. 1994<br />
→ Transfurism<br />
~<br />
Source:<br />
~<br />
Literature:<br />
^Transfutur. Visuelle Poesie aus der Sowjetnunion, Brasilien und deutschsprachigen<br />
Ländern. Cat.: 98 p. Eds.: F. W. → Block & A. → Vallias. / Verlag Jenior &<br />
Pressler. Texts by F. W. Block, C-F. Claus, V. Scherstjanoi, K. Sachse, A. Vallias,<br />
P. Huckauf. Exh.: Galerie Pankow, Berlin, 1990. (more → Pankow, Gal.)<br />
Géza <strong>Perneczky</strong>: The Magazine Network. The trends of alternative art in the light<br />
of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 108-109 p.<br />
«...The KGB took great interest in Mail Art and began opening each of our<br />
international letters. An unsophisticated looking stamp, „Forwarded Damaged,“ was<br />
placed on each of our letters which had been torn open. Our letter took three or four
months to arrive, disapppeared by the dozens or were returned without reason.<br />
Serge (→ Segay) and I knew for some time that we were taking great risks with our<br />
art activities.<br />
When Serge and I went into Mail Art we were already active artists and<br />
poets. We had published two „samizdat“ avant-garde journals, hundreds of<br />
unpublished books, collections, articles, textbooks, thousands of poems, paintings,<br />
drawings and organized unoffizial poetry readings for Leningrad audiences. We<br />
collaborated in the peformance group Transfuturists (Nikonova, Segay, Konstrictor,<br />
Nik). Serge and I participated in unoffizial art exhibitions in Leningrad and<br />
Sverdlovsk and published a journal „Transponans.“ (...)<br />
There were basic ideas of „Transponans“ that sharply distinguished it from<br />
the sea of Soviet „samizdat“ publications ofthat time. We strove towards originality<br />
in design; ewery issue had three formats, was handmade and vagualy resembled an<br />
airplane with outstretched wings. (...) Opponents to „Transponans“ were not only<br />
from the conservative field... but also from the field of innovators or Moscow<br />
conceptualists, socialist artists and others...»<br />
(Rea Nikonova: Mail Art in the USSR. In: Chuck → Welch (ed.): Eternal<br />
Network. A Mail Art Anthology. University of Calgary Press, 1995. 95-99 p.<br />
The same essay has been reprinted in a bilingual – German / English – version in:<br />
Mail Art. Eastern Europe in International Network. Staatliches Museum Schwerin,<br />
1996 / Kunsthalle Budapest, 1998. Cut A/4, offset, 318 p. 69-75 p.)<br />
Rea Nikonova: 42 Dreams about Mail Art. In: Chuck Welch (ed.): Eternal Network.<br />
A Mail Art Anthology. University of Calgary Press, 1995. 235-237 p.<br />
«...The way in which mail art appeared in the former Soviet Union was even<br />
stranger. It didn't get started at all until a few people discovered Hlebnikov's<br />
futurist-dadaist legacy. It is thanks to those artists that from that experimental<br />
literature a kind of samizdat was able to develop whose fragile thread wove through<br />
the various natural samizdat fields. And since among them and the trans-futurist<br />
poets only the Nikonova-Segay couple used this material also as mail art, Russian<br />
mail art capable of speaking with an independent voice, being as it was but a weak<br />
thread, for a long time remained constricted to those two people. By the 70s a<br />
strong camp of so-called unofficial art developed, which at the time was rightfully<br />
considered to be a part of the cultural opposition. Russian mail art that sprang up a<br />
decade later, however, found no connection to that earlier development; in fact it<br />
was considered by mail artists to be a part of elite art...»<br />
(Bálint → Szombathy: „Now is Always and Always is Gone“ Historical Exhibit of<br />
East European Mail-Art in Schwerin. In: Left Curve [→ Polony, Csaba] #21, 1997,<br />
24-27 p.)<br />
Vittore → Baroni: Rea Nikonova e Serge Segay. In: Arte Postale. Guida al network<br />
della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 116-117 p.<br />
^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With<br />
over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 393 p.<br />
Nixon, Robert 2a Poplar Grove, New Malden Surrey, KT3 3BY United Kingd. 1984<br />
^Idolise (Mag. Text, graphics, tape labels, film reviews with a flair for quality, <br />
beautiful print. A/5 and 21x17 cm., lithography, 32 p. 1984-, ~y.)<br />
^#1, 2, 3<br />
Njaradi, Vlado Palih Boraca 19.A Vrbas, YU-21460 Yugoslavia 1994<br />
N° Embargo for Arts! Accordion book, „Zlatno oko“, Novi Sad, 1994 <br />
^66666 Project. Cat.: 10.5x22 cm. horz., offset, 4 p. Text: A. → Tisma. 1996 <br />
«No-Institute» → Olbrich, Jürgen O.
Nold, Wilfried Eppsteinstr. 22 Frankfurt, D-60323 Germany 1996<br />
Art and Play with Rubberstamps (Commonpress #52, not edited yet)<br />
® <br />
^Schachtel Museum. Inv.-letter, 1996<br />
<br />
^Mailart-Aktion Mandala 1996-97. Cat.: A/5, offset, 190 p. 142 parts. S.P. 1997 <br />
^Das kosmische Kreuz. ( The Cosmic Cross) Inv.-card, 1987<br />
<br />
^Die schwangere Bibliothek. Cat.: A/5. offset, 190 p. Over 200 exponats. S.P. 1997 <br />
^Numero. New Mail Art News. Die Kunst der Kommunikation (Network mag. for <br />
texts and information exchange. A/5, phc., 48 p. 1997-99, #1-6)<br />
^#1, 2, 3, 4, 5, 6<br />
^Kreuz-Aktionen, 2000 / 2001. (Catalogue- and essay publications with participant <br />
lists and exhibition reports about the ongoing / traweling Mail Art project<br />
Das kosmische Kreuz – Cosmic Cross). Cats.: A/5, phc., 80 / 48 pages,<br />
+ cover. Also poems and other literature efforts in the volume from 2001.<br />
Language: German only.<br />
Nolewayka, Marcin, Chorzowska 16 / 23. Bytom, PL 41-902 Poland 1991<br />
^I. A. L. (Assembling in postcard size, ~15 pieces in an issue. 1991-, 1-2#?) <br />
^#1, 2<br />
«Nomad Museum, The» → Oliveira, Jose<br />
Nordø, Guttorm (Art Attack) (Idiot Press), c/o Aasen. Mandallsgate 5, Oslo N-0190 Norge 1992<br />
↑ Box 4536. Kalvskinnet Trondheim, N-7002. 1985<br />
.............................................................................................................................................................<br />
Idiot-Press publs. 1982-83:<br />
000 Propaganda.................................................................200-250 copies 1982<br />
001 Positio / positiv...........................................................200 - “ - 1983<br />
002 Texthefte / trondheimsband........................................500 - “ - - “ -<br />
003 Anti-Story I. ...............................................................5 - “ - - “ -<br />
004 Anti-Story II...............................................................100 - “ - - “ -<br />
005 Psyk-psykere-psykert .................................................150 - “ - - “ -<br />
006 Prosessen 1-7..............................................................100 - “ - - “ -<br />
007 DIA-verbal Schizologik .............................................200 - “ - - “ -<br />
008 Anti-Story III..............................................................100 - “ - - “ -<br />
009 Das Konzept...............................................................50 - “ - - “ -<br />
010 Anti-Story IV / V .......................................................100 - “ - - “ -<br />
011 Syk valkpropaganda FF..............................................50 - “ - - “ -<br />
012 Noen blad fra min dagbok..........................................300 - “ - - “ -<br />
^DIA – verbal-schizologikk. (A/4 phc. matter, 100 sheets, {200-300} signed as<br />
«Gutt 83». Idiot Press 007. Tronheim. 1983.<br />
<br />
^Anti-Story (Gaphic mag. {100}1983, #1-6) Idiot-Press (see Idiot-Press publs.) <br />
^#4-5,<br />
^El Djarida / Art Attack (A very generous edited Mail Art and graphic magazine <br />
from Norway, wide spread in the network. A/3 tabl. by newsprint, and<br />
A/4 offset sizes, 24-64 p. N°6=colour offset images, N°7=Mail Art<br />
theory publ. 1985- 90, #1-9, later additive issues, sometimes as exh.<br />
catalogues, e.g. #15 = H 2 O Mail Art)<br />
^#1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 15<br />
^Mirror Man (Correspondence like mag. {14} 1986, #1)<br />
<br />
^#1<br />
^Art and Action, El Djarida Mail Art. Cat.: in: El Djarida N°. 5. + N° 7 (Also a <br />
Mail Art manifesto + poster). trondheim. April, 1987<br />
^Dummy (12 sheets xerox-mag. {14} 1978, #1) Idiot Press. / Publs. Nr: 078.<br />
^The Fluxus Permormance Workbook / El Djarida #9. (with I. Bloom, K. Friedman,<br />
<br />
<br />
Per Hovdenakk /more → Friedman) A/4, offset, 64 p. Trondheim, 1990<br />
^My OH My My Book - Words / Drawings 1991-1993 (Horizontal size mini offset, <br />
64 p. {1100}) S. P. Trondheim, 1993
^Mumble Maniac, #2. (10.5x7.5 cm., phc., 16 p.) Oslo. 12. November 1993<br />
^Luna (A/4 graphic assembling in envelope {28}, ~15-20 sheets in an issue. 1993-94, <br />
published at every moonful!)<br />
^#1, 2, 3, 4<br />
^Paintings / Malerier. Catalogue after an exh. at the Henie-Onstad Kunstsenter, 1996. <br />
17x14.5 cm., col. offset, 32 p. {1000} Edited in Oslo/Trondhem, 1997<br />
^H 2 O Mail Art. Cat. in: El Djarida, N° 15, Spring 1999 (24x17 cm., offset, 66 p.)<br />
~<br />
Literature:<br />
(El Djarida, #4): «24 page international multiarts tabloid. Cover and centerfold are<br />
2-color, computer type, ½ English, ½ Norwegian, beautifully laid out. Lots of visual<br />
poetry, mailart, interviews, articles, reviews, photomontages (#4 has a spooky one<br />
by an unknown artist, of a man on an operating table in the dark being observed by<br />
a circle of animals). Another exmaple of the fine quality and isnpiration in general<br />
of European as opposed to American publishing efforts. I wish I knew Norwegian,<br />
but there's more than enough visual work here to statisfy any tongue.»<br />
(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 11 p.)<br />
(El Djarida, #6 / with the image material fo the Art and Action project): «...consists<br />
of 58 pgs. of images and no words, which is OK, but there seems to have been little<br />
attention paid to the sequencing and the feel of the issue is flat. #7 is the „Burial<br />
issue“, which includes alot of articles, essays, reviews, and assorted rants. Mostly<br />
in English, this is a meaty and varied issue.» (Stephen → Perkins: Magazines. In:<br />
Box of Water, N° 4, 1988)<br />
Northwest Artists' Woorkshop. 117 NW. 5th St. Portland, OR-97209 USA 1979<br />
^Westcoast Copy Machine Art. Exh. Cat.: Letter, xerox/colour xerox, 40 p. 1979 <br />
«Nosukumo Press» GPO Box 994 - H Melbourne, AU-3001 Australia 1985<br />
^The Carriónflower Writ (Mag. Art by charcoal, pen and ink collage, multi lingual <br />
prose/poetry, high quality set offset printing. Broadsheet, 59.4x42 cm.,<br />
folded to quarter, offset. 1985-87, #1-7?)<br />
^#1, 2, 3, 4, 5<br />
Notavo, Marconi (→CAMBIU), c/o → Silva, Falves, Natal, BR-59000 Brasil 1977<br />
Gaveta. Arte marginal brasileira (with F. → Silva) (Mag. with exp. poetry and art. <br />
22.5x16 cm. offset. 8 p. 1977?-)<br />
Novak, Jiri Tibor ? ? Brasil 1980<br />
Book '68 (Photocopy assembling with A/4 xerox matter, 1980?)<br />
<br />
Novelty, Carioca ? San Francisco USA 1978<br />
Ideas on Wheels (Commonpress #6) 20.5x15 cm., 24 p., 20 participants. August 1978 <br />
Nounce, Toby A. ? ? USA 1978<br />
Slight of Hand (Commonpress #7, not edited yet)<br />
<br />
Nu-Art Collectif → Mancusi, Tim<br />
Nuk, Ona Huttenstr. 71 Berlin-21, D-1000 Germany 1985<br />
Artist of the underground scene in West-Berlin in the 1980s, xerographical works, <br />
book-art, object-art in uniques and multiples. Connection to the Mail<br />
Art Network.<br />
^A∀A. 4-2 Artless Artists Arthritis. Multiple by small objects in an audio-cassette <br />
cover. 86 signed and numbered copies. n.d. (~1985)<br />
^Zero Information. (Circular, A/4, phc.) Invitation to a collective project with some <br />
“subprojects” as sticker action (signs of zero information), computer<br />
programs (?) and “moment documentations of itself ”. (~1986)
ABBREVIATIONS<br />
Magazines: m. = monthly qu. = quarterly y. = yearly<br />
sm. = semy monthly squ. = semy quarterly 2xy. = yearly twice<br />
bim. = bimonthly ir. = irregular 2-3xy. = two or three times y.<br />
Sizes: A/3 = 42 x 29.7 cm. ~16.5 x 11.75“<br />
Folio = 33 x 22 cm. ~13 x 8.6“ Legal = 14x8.5“ ~36 x 21.5 cm.<br />
A/4 = 29.7 x 21 cm. ~11.75 x 8.25“ Letter = 11x8.5“ ~28 x 21.5 cm.<br />
A/5 = 21 x 15 cm. ~8.25 x 5.8“ Half-legal = 8.5x7“ ~21.5 x 18 cm.<br />
A/6 = 15 x 10.5 cm. ~5.8 x 4.15“ Digest = 8.5x5.5“ ~21.5 x 14 cm.<br />
Mini= ~A/6 or ~A/7 Mini = 5.5x4.25“ ~14 x 10. 7 cm.<br />
<br />
= Art in general / Multimedia publ.<br />
= Artists' Books<br />
= Copy Art<br />
= Edition / Publishinghouse<br />
= Graphic<br />
= Visual and experimental literature<br />
= Mail Art / Correspondent Art<br />
= Music / Audio & Sound matter<br />
= Neoism / Radicalism<br />
= Theory / History<br />
® = Rubber Stamp<br />
^ = A copy is located in the Soft Geometry Archive<br />
by Géza <strong>Perneczky</strong> / ° = J. Agius' catalogues<br />
______________________________________________________________________________________________<br />
= Mail Art Project<br />
= Group of artists<br />
Anth. = Anthology<br />
Broch. = Brochure<br />
Cat.: = Catalogue<br />
Comm. = Community<br />
Cont. = Contemporary<br />
Coord. = Coordinated by...<br />
Diff. / div. = different / diverse<br />
Doc. / Docs. = Document / Documents<br />
Ed. = Edition<br />
Ed. / Eds. = Edited by... / editor / editors<br />
E-print = Electronic / computer print<br />
Exh. / Exhs. = Exhibited.... Exhibition / Exhibitions<br />
Gal. / Gall. = Galeria / Galerie / Gallery<br />
Horz. = Horizontal (size)<br />
Id. = identical<br />
Int. = International<br />
Inst. = Institute<br />
Inv. = Invitation<br />
Ip. = Instant print<br />
Mag. = Magazine<br />
n.d. = not dated<br />
n.p. = not paginated<br />
Org. = Organized by.... / Organizer<br />
Parts. = Participants<br />
Phc. = Photocopy<br />
Prov. = Provincial<br />
Publ. / Publs. = Publication / Publications<br />
Rub. = Rubber (stamp)<br />
S. P. = Self Publacation<br />
Techn. = Technic / Technical<br />
Them. = Thematic, with themes (issues... etc.)<br />
Univ. = University<br />
Vis. = Visual / Visuelle<br />
Xerogr. = Xerographical (photocopied)
SOURCES:<br />
^Archive material (artists' magazines, alternative art / literataure / exh. catalogues) from the „Soft Geometry“ archive,<br />
Géza <strong>Perneczky</strong>, Cologne (not complete, prepared yet)<br />
° = Juan J. Agius: Livres et Multiples / Catalogues, 1992- (Predominantly alternative publications and network<br />
materials from the archive Other Books and so... by Ulises Carrión and other sources.)<br />
P. O. Box 5243 CH-1211 Genova. Tel/Fax: 22-321.77.15 e-mail: agius.books@netsurfer.ch<br />
= (<strong>Ruud</strong> <strong>Janssen</strong>: Dead Mail Artists.) Regular updated information list by TAM/Rudd <strong>Janssen</strong> from Tilburg NL.<br />
LITERATURE:<br />
BOOKS:<br />
Fountin Nigel: Underground: The London Alternative Press 1966-74. New York: Routledge, Chapman & Hall, Inc.,<br />
1988 (History of the underground press in the UK.)<br />
Gunderloy, Mike & Janice, Goldberg Cari.: The World of Zines. New York: Penguin Books, 1992.<br />
Henry, Tricia: Break All Rules: Punk Rock and the Making of a Style. Ann Arbor: UMI Research Press, 1989<br />
...............................................................................................................................................................................................<br />
ARTICLES:<br />
Fraunfelder, Mark: Cheap memes: Zines, Metazines, and the Virtual Press. (Unpiblished, will be appearing in a spec.<br />
Copy Culture issue of New Observations magazine, New York).<br />
Ginsburg, David: Rock is a Way of Life: The World of Rock'n'Roll Fanzines and Fandom. Serials Review. Jan/March<br />
1979, p. 29-46.<br />
...............................................................................................................................................................................................<br />
CATALOGUES / BOOKLETS / ZINES...<br />
Artpapers. Special issue on the Alternative Arts Press. 15 (4): 1991.<br />
Ciani, Piermario: Fanzinerie: Editoria Periodica Amatoriale. Arcinova, Pordenone, Italy 1992 (Cat.)<br />
Trusky, Tom: Some Zines: American Alternative & Underground Magazines, Newsletters & APAs. Boise: cold-drill<br />
books, 1992. (Cat.: of ~80 zines, DStudent Union Art Gallery at Boise State University)