GÃ©za Perneczky - Ruud Janssen

Géza Perneczky 

NETWORK ATLAS 

Works and Publications 

by the People of the First Network 

Volume 1: 

A - N 

A Historical Atlas 

for the Post-Fluxus Movements 

as Mail Art, Visual Poetry, Copy Art, Stamp Art 

& Other Relative Trends with Addresses, Projects, 

Publications & Exhibition Events 

(Unedited manuscript for letter size) 

* 

Update: April 2003. © Geza Perneczky 

Soft Geometry, Cologne

It's very 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 accept 

compromisses with power, no matter of what 

kind it is, and the rejection of the use of art and 

the artistic work as its instrument... 

Es muy importante para mí expresar que el 

ejercicio de mi profesión artística lo veo como 

una actividad muy modesta, pero con mucha 

dignidad a la vez. Me refiero a la actitud de 

rechazo de todo compromiso con el poder, 

cualquiera que sea, y de la utilización de la 

actividad creadore como instrumento de él... 

Es ist für mich sehr wichtig zu sagen, daß ich 

meine künstlerische Tätigkeit als sehr 

bescheiden betrachte, gleichzeitig aber als eine 

von großer Würde. Ich meine damit das 

Zurückweisen von Kompromissen mit der 

Macht, egal welcher Art sie ist, und das 

Zurückweisen der Benutzung der Kunst und 

der künstlerischen Tätigkeit als ihr 

Instrument... 

(Guillermo Deisler: Some events... )

1 a Collective de Arte Postale» Faculdade de Filosofia. Arapongas Brasil 1978 → 

°1 a Collective de Arte Postale. Doc. List of 29 parts. 1978 

«A 1. Waste Paper Comp. Ltd.» (Hazel Jones & Michael Leigh) → Leigh 

!Aakoun, Pjotr Dr.! (Peter Moreels) 6 rue de la Croix Rouge. Pecq, B-7740 Belgium 1992 

↑ Changed addresses, the order of which is not clear: 6 rue Sainte Caip, 18 rue des Soeurs 

Noires, nc 84 Chausse de Renaix, 5 Terasse de la Modeleine, all in Tournei, B-7500, 

............................................................................................................................................................. 

Êkstraktion (Mail Art magazine, after the start in the form of unbound or stitched 

A/5 assembling, ~20 p. 30-100 copies, 1984-, ir.) 

^#1, #3, #1984, #Nov, 1985 

^Frenetic. Un simply regard (Mag. Mail Art compilation. A/5. phc., 16 p. 1985-, ir.) 

^#1 

^Collective Brainwash (A/5 assembling in envelope {30}, 1986, #1 only?) 

 

^#1 Our Brains in Blue Water (June 1986, 23 parts.) 

Învitation to the 2nd issue (not realized): Agri-Culture 

Aarssen, Ruud v. / Joseph, Robert / → Rook, G. J. de, Van Dortmondnstr. 19. Arnhem, Netherlands 1971 

Bloknoot (Mag. with visual poetry & concept art, also assembling issues {125-150}. 

D, Mayor, H. W. Kalkmann, P. Finch, J. Valoch, M. Nannucci, C. Padín, 

J. Urban, P. Stembera & others. A/4, offset, ~100 p. or: A/4 material 

collected and fixed into letter files of 35x25 cm. 1970-72, 3-4x yearly?) 

Abajkovics, Péter → Leopold Bloom 

Abbot, Steve 545 Ashbury, N° 1. San Francisco, CA-94117 USA 1981 

^Soup. A pineering journal of newest development in writing & the art. (A generous 

edited magazine with many visual matter. Cut A/4, offset, ~50 p. 

1981-, y?) 

^#2 

Ackerman, Al (!Blaster!) 425 East 31st St. Baltimore, MD-21218 USA 1997 

↑ 2407 Maryland #1. Baltimore, MD-21218 - “ - 1995 

↑ 208 Rout St. San Antonio, TX-78209 - “ - 1990 

↑ 137. Burr Rd. San Antonio, TX-78209 - “ - 1988 

↑ P. O: Box 15035 San Antonio, TX-78212 - “ - 1985 

↑ 1220 SE. 30 Portland, OR-97214 - “ - 1978 

↑ 2623 S. E. Belmont Portland, OR-97214 - “ - 1975 

............................................................................................................................................................. 

^The Laughing Postman (Mag. Each issue focused on a specific aspect or personality 

of Mail Art. A witty contribution to problems and theories of underground 

art trends. Letter, phc., ~10-20 p. 1975-81?, #1-8?) Portland 

^#11 

^Maître Ling & autres histoires. (Prose, translated by Philippe → Billé, 80 p.) 

La Tête Reposée, Plein Chaut, Bassac, F-16120, 1975 

Âsk Ling (Mag. in the form of series of open letters to friends and artists, Letter 

& digest size, phc., ~4-20 p. 1980-, irregular numbering!) San Antonio 

^#37, 38, 45 

Confessions of an American Ling Master (6 stories including the Bread Doll Fancier 

/ In Hellish Benares / The Squid Boys of Terre Haute. Book, Publishers 

Group South West – Allihies, Bantry, West Cork, Ireland, 1984) 

+Smile (Mag. with handmade cover, 1984, #1) Neoist Study Centre, San Antonio 

Êmils 69 (Smile mutant [anagramm] by !Dr. Emil Steiner!, digest, phc., 12 p. 

1984? #1), Portland 

^The Wire (Mag. Smile mutant. Digest, phc., 18 p. 1984, #1 only?) Editor: 

 

!Sharon Wysocki! Progressive Press. 7320 Colonial, Dearborn

Heights, MI-48127 

^Birk Neark. Karen Eliot's own magazine. (Mag. A pamphlet about the → Smile 

mania. Digest, phc., 20 p. 1985? #1) Mad Dog Press / San Antonio 

Rotational Situationism. „Levi-Strauss“ Style (Essay) In: PhotoStatic (→ Dunn), 

N° 40, Dec. 1989, 1509-1511 p. 

^Proud Cray (Prose, 28 p.) → Feh! Press, New York, n.d. (~1993-94) 

 

^The Blaster Al Ackerman Omnibus (Collected texts, 228 p.) → Feh! Press, 1995 

→ Neoism / Literature: István → Kántor: Some of the Monty Cantsins. 

~ 

Source: (Gerald Simonsen's letter to Géza Perneczky): « ...The guy has published over 5000 

different magazines in the past 20 years, always works while hearing a Ling Pillow 

case over his head through which he constantly slumps slurps Mogan David wine, 

holds several degrees in philosophy and mathematics, smokes Fatima cigarettes, 

runs a clinic for disturbed people out the back of his house, and sleeps in a coffin. 

I have know the good Doctor for nearly 20 years. I even testified as a character wittness 

at the trial. In the past several I have worked for him as a bodyguard when he 

has found it nessary to travel. Lectures, autograph parties, ect. I hope this helps you 

in what ever you are looking for...» (1775 Cliff Rd. Eagan MN-55122, July 12, '89) 

Al Ackerman: Letter to Géza Perneczky, Dec. 30, 1988. Quoted in: Perneczky: 

A Háló. Ed. Héttorony, Budapest, 1991. (Original English text: 299-230 p.) and 

Géza Perneczky: The Magazine Network. The trends of alternative art in the light 

of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993.179 p. 

Reprinted in: The Blaster Al Ackerman Omnibus, 1995, 121-122 p. In this letter, 

Ackerman describes his very intensive small magazine editorship activity and 

mentions the following titles: 

Gnom Club News, Clark Ashton Smith Fellowship Newsletter, Scientific Electricity, 

The Gulf Bulletins, The Other Room Magazine, Drunkard R.N.S., Dummysm, 

14 Secret Masters of the World Intelligencer, Oral Suctions Magazine, White Worm 

Review, Harry Bates Club Magazine, Do You Have Crabs?, Wire, Edgar Allan Poe 

Inspirator, Ask Ling, Davy Crockett's Misteryous Son, Unowned Worlds, The 

Keeper, Whap!, Hidden Love Romances, The Shrunken Heads Collector, Moonhead 

News, Parking Lot Reporter. 

Al Ackerman: Lettre à Géza Perneczky / Lettre à Philippe Billé In: Maître Ling & 

autre histoires. Translated into French by Ph. Billé. La Tête Reposée / Plein Chant, 

Bassac, F-16120, 1995. 69-71 and 72-73 p. 

Literature: 

John Held Jr.: Al Ackerman (An interview of the almost mythical mailartist) 

In: N D, # 15, 1991. 29-33 p. 

Géza Perneczky: The Magazine Network. The trends of alternative art in the light of 

their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 

«...As for the people sharing my mailbox, yes, I have a few aliases. It has been 

suggested that I attend Pseudononymous Anonymous on a frequent basis. The 

Blaster (→ Ackerman) recently sent me a suitable annotated copy of the most recent 

issue of the Multiple Personality Disorder Journal. This is wild exaggeration. There 

is Edward R. Gonzo, the Slightly Warped journalist. There is also Ace The Postcard 

Pal, which was an accidental postle wraparound of the name of the shop I owned, 

The Postcard Palace. He is a collector of Kalkala and exaggeration postcards. Some 

names were given to me; Wingo Fruitpunch... Any Salyer gifted me with Rasta Bob 

Gnarly... Sidney Lurcher comes into play as the excruciatingly bad poet... Felino 

Zepellini was created for my Italian-American Correspondents... 

(Ruud → Janssen: Mail-Interview with Rudi → Rubberoid. TAM-960140. 1996)

Vittore → Baroni: Al Ackerman. In: Arte Postale. Guida al network della corrispondenza 

creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 120-121 p. 

«Adalbert Stifter Verein» Hochstrasse 8 München, D-818669 Germany 1991 

^Böhmische Dörfer, Cat.: 23x17 cm., offset with 16 colour images, 64 p. Exh.: 

Ostdeutsche Galerie, Regensburg / Museum, Cesky Krumlov. 1991 

Adams, Jim c/o Kwantlen College, Box 9030 Surrey, V3T 5H8 Canada 1992 

ÛFO Celebration. Inv. 1992 

 

Adamus, Karel Dudelská 685 / 13. Trinec VI. CZ-739 61 Czech 1990 

↑ 689 š 13. / Okr. Frydek-Mistek Trinec VI. Czechoslovakia 1984 

↑ 739 61. / Okr. Frydek-Mistek Trinec VI. CS-685 13 - “ - 1978 

............................................................................................................................................................. 

Envelope works by cuting, punching & collageing, all in size of 11x22 cm. horz., 

~ 

Literature: 

used as correspondence material from 1970-1972 

Karel Adamus: Poems Pictures. In: Und, #8. (→ Käsmayr) Edition & Verlag 

Boczkowski, D-3500 Kassel, Kirchhainer Strasse 3. 1971. 

Adler, Jeremy (The Nat. Poetry Centre) 21 Earls Copurt Square, London, SW5 United Kingd. 1974 

A, AB, ABC... (Unbound envelope mag. for vis. poetry with a title that expands from 

issue to issue. A/4, phc. & offset, 1974?-, ir. ) The Nat. Poetry Centre 

~ 

Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. 592 p. 

with over 500 illustrations, Russian. Ed. Simplicii. Kaliningrad, 1998. 117 p. 

Affelder, Jessie 8808 South Grove Oak Park, IL-60304 USA 1990 

↑ c/o School of the Art Inst. of Chicago, Columbus Dr. / Jackson Blvd. IL-60603 1982 

............................................................................................................................................................. 

Curator of the artists' books collection in the Library of the School of the Art Institute 

in Chicago, 1980s 

°Button Art Show. Doc. /Art Institute. Chicago, 1980 

 

International Artists' Book Show. (Curator: J. Affelder) Exhibition in 1981. Cat.: in 

1982. Introduction by J. Affelder, essays by Michael Day and Janice 

Sydner. Exponats list, addresses + presses, distributors and archives. 

°How Do I Cope with the Loss of an Idol? Doc. /Art Inst. Library. Chicago, 1982 

°Some People Say We Look More Like Sisters... Doc. 1 sheet in plastic cover with 

the list of 90 parts. / Art Instiute, Library. Chicago, 1982 

Agius, Juan J. Livres & Multiples. C. P. 5243 Genève 11, CH-1211 Switzerland 1987 

agius.books@netsurfer.ch 

↑ Da Costa Editions. Korte Kreizersdwarstraat 18. G J Amsterdam, NL-1011 1984 

............................................................................................................................................................. 

^Kunstenaarsboeken: twalf benaderingen. (with → Carrión, Ulises) Cat.: A/4, offset, 

8 p. Text (Dutch & English): A. de Vries. Exh.: Museum Waterland, 

Weerwal 5, Purmerend, NL (J. J. Agius, F. Bonillon, A. Heibel, D. v. 

Kleef, F. Sanguinett, B. Sleeuwenhoek, U. Carrión, A. Geritsen, 

J. H. Kocman, T. Ockerse, G. Perneczky, P. Petasz) 1982 

~ 

Seurce: ^Juan J. → Agius: Catalogues of Books & Multiples /Livres & Multiples. #1-13. 

(Concrete & Visual Poetry, Conceptual Art, Fluxus, Mail Art & Related Media, 

Artists' Books, Magazines, Documentations – the cats. included also the whole 

archive material of the Other Books and So archive by Ulises Carrión after his 

death.) 24x 10.5 and 24x15.5 cm., phc/offset, ~16-20 p. Genève, 1992-1996 

Later issues as flyer, also e-mail/online service from the 1990s.

~ 

Literature: 

^Juan J. Agius: The Alternative Communication: Correspondence and Mail Art. 

(Special items from the Mail Art part of the Other Books and So archive, a selection 

of 338 docs. between 1973 and 1983) Prepared for this „Network Atlas“ publ.: 

A/4, 30 leaves, phc. Genève, 1996 

«Juan Agius began in 1977 in France making illustrated books, object books. 

Having met Ulises → Carrión, he realized that there is another possibility as an art 

form, the book. He tried with a collection, keeping an approach of „book-works“ as 

work of art. After study in Paris, he started making book objects in France, creating 

a symbiosis from the French idea of books as art forms: 

1) Books as visual exploration of material 

2) More conceptual, more bookworks that are subjejctive 

3) From illustrated text to text-image – not the visual into text, but just 

the Idea 

...He says that creation is not the problem; the problem is the distribution – 

to know one's targets, to bring this works to the public, containing galleries but 

galleries also come to him to ask him to curate exhibitions. Agius feels that it is 

easier to bring people to bookworks than before with exhibitions and collections 

already in museums... He does go to artists to show them more about the medium. 

The future, for Da Costa Editions, includes unlimited editions with communication, 

TV, radio... Some of the artists published are François Righi, François 

Bouillon, Ulises Carrión, Roberto Comini, Axel Heibel, Cornelia Vogel, Michael 

→ Gibbs and Christian Appel.» 

(Da Costa Editions. In: Umbrella [→ Hoffberg]. Vol.7, #1. 7 p. 1984) 

Agrafiotis, Demosthenes, 23 Xenias Street Athenes GR-11527 Greece 1984 

Clinamen / Χλιναµεν (A/4 sheet mag. on Mail Art, folded to A/5, phc., 1980- m.) 

Aguiar, Fernando Apartado 50253 Lisboa P-1707 Portugal 1996 

Ô Dedo (Poema en 22 andamentos, June 1977 - March 1978). Concrete poetry in 

self edition. 31x11 cm., offset, 32 p., canvas cover. Lisboa, April 1981 

^Poemografias. Exposição itinerante de Poesia Visual. (supp. Fund. Gulbenkian) 

Org.: Fernando Aguiar & Silvestre Pestana. Cat.: A/4, offset, 24 p. 

Text: Aguiar: Poemografias: um projecto (Portuguese) 

Exhs.: Lisboa, Gal. Diferenca / Torres Vedras, Gal. Nova / Évora. 1985 

de Arte / Lagos, Gal Mercado de Escravos / Coimbra, Gal. C. A. P. C. 

Artists: 

Abilio, Alberto Pimenta, Anna Hatherly, Antero de Alda, António 

Aragão, António Barros, E. M. de Melo e Castro, Fernando Aguiar, 

José-Alberto Marques, Salette Tarares, Silvestre Pestana. 

^1° Festival Int. de Poesia Viva. Cat.: 26x19 cm., offset, 248 p. Texts: F. Aguiar, 

E. M. de Melo e Castro / Museu Municipal dr. Santos Rocha, Figuira 

da Foz. April May 1987 

^Rede de Canalizaçao (Una interrenção consoante) (Broch. 16x16 cm., 32 p.) 

From the III. Festival Int. de Arte Viva, em Almada: «Alternativa 3». 

Edition of the author + Camara Mun. de Almada. 1987 

Poesia: Quatras Escritas, Novos Supertes. Cat.: (Port. /Engl.) / Museu de Setúbal. 

1988 

ÎI. Encontro Nacional de Intervençao e Performance. (Org.: Aguiar) Cat.: 26x11 

cm., offset, 112 p., 139 artists. (Port. / Engl.) / Galeria Municipal 

Recreios Desportiros, Amadora, Portugal. July 8 - Aufust 7, 1988 

^Concreta, Experimental, Visual Poesia Portuguesa 1959-1989. (with Gabriel Rui 

Silva) Cat.: 27.5x20, offset, 72 p. Text: Ana Hatherty (Port. / Italian) 

/ Università di Bologna. April 10-17, 1989 

^Visuelle Poesie aus Portugal. (A/5, offset, 60 p.) experimentelle texte N°22, Siegen 

1990

~ 

Source: 

~ 

Literature: 

Who is Who / Fernando Aguiar (In: A.M.A.E. → Ibírico, N° 17, Marzo-98.) 

Exhibition list / Performances. Further publications by Aguiar (Books): 

Poemas + ou - Histó(é)ricos. Ed. of the author. Lisboa, 1974 

O Dedo. Ed. of the author. Lisboa, 1981 

Minimal Poems. Ed. experimentelle texte. Siegen, 1994 

Indicis. R. Salvo Editions. Barcelona, 1995 

(Anthology): Poesia Experimental Portuguesa Dels 90. R. Salvco Ed. Barcelona, 

1994 

(1° Festival Int. de Poesía Viva): A large and lavishly produced catalogue with alot 

of works reproduced, also includes documentation on atists books/magazines submitted 

and 29 bilingual essays/statements from different writers... all exploring 

different aspects of the word and image fusion. Writers include, E. M. de Meloe 

Castro, G. Bleus, A. Aragao, J. Blaine, J-F. Bory, B. Ferrando, D. Higgins, etc... the 

one I foun most interesting was by Ana Hartherly entitled, „Experimental Poetry: 

From before to Now“, which is a brief survey of Portugese experimentalists. 

Fernando Aguiar, the curator, is to be commended for organizing this event. My 

only qualm about this catalogue is that is has a weak spine and my copy is rapidly 

falling to bits.» (Stephen → Perkins: Catalogues. In: Box of Water, N° 4, 1988) 

^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. 592 p. 

with over 500 illustrations, Russian. Ed. Simplicii. Kaliningrad, 1998. 113 p. 

Aguillard, Leslie (Artemis Art) Box 4435 Denver, CO-80204 USA 1984 

^Grand Canyons. Inv. 1984 

Aiello, Alessandro Via Naxos 161 Giardini (ME), I-98030 Italy 1986 

↑ Via Cervignano 15. Catania, I-95129 - “ - 1984 

............................................................................................................................................................. 

Constrictor Magazine (Mag. with a sea of fractured imagery, contacts and record, or 

tape reviews, A/4, phc., 24 p. 1984-, ir.) Catania 

Îmbezill / Adult, the recycled xerox bulletin. (Mag. on Mail Art and graphic, A/6, 

phc., ~32 p., 1986, #1-3) Giardini 

^#1, 2, 3 

^Not-Recovering Flover / WERK (Register-texts + images) 42x10 cm, phc., 3 sheets. 

Giardini, n.d. (~1988) 

^Manipulated and stolen images recyclation. (by «doctor Long Peter», ) A/4, phc., 

24 p. 1988 

^Force Meat (Statement: The avantgarde/power electronics opinion-magazine, 

supplement to „Il sorris o verticale“ book, written in idiosyncratic 

english, tape & publication review, recycled graphics section. 

A/5, phc., 50 p. 1988) 

^#1 

→ Natale Musarra / Il Sorriso Verticale 

~ 

Literature: 

 

(Constrictor Magazine, #8): «Printed on black and white xerox this collage of the 

Italian language covers the harder edge of new music. Containing pieces/reviews on 

Force Mental, Grok, Interchange, Leather Nun, Pure, mail art, etc... There's all types 

of strange visuals so even if you can't read the language you'll get the general 

feeling...» (Publication Listing. In: Unsound (Multimedia magazine with booklets 

& tape supplements, →Davenport. Vol 2, N° 2, 1985. 42 p.) 

(Imbezill, Small): « Serves as both catalog of cassette releases and a collection of 

images which make very deliberate use of xerographic quirks (espacially that dirty 

but almost typographic look) and produce a set of opieces of text float to the surface 

of random forms sort of like a dreamscape.» ( Lloyd → Dunn: Mail Review. In:

PhotoStatic. N° 22, Febr. 1987, 706 p.) 

(Imbezill, #3): «This is the final issue of this small format booklet created from 

recycled images and plagiarised material plus 3 pgs. of magazine reviews. „More 

then ever the COPY is an unique ORIGINAL, sine recyclating, the process of 

creation are destroyed and randomly planned aesthetic typologies appear anyhow 

LOGICAL.“...» (Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988) 

Alessandro Aiello: Re-Cyclation Manifiesto. In: El Djarida (Burial issue 7). 

Ed.: Guttorm → Nordø. Tabloid, newsprint, 24 p. (n.p.) Trondheim N, 1988. 

!Ajax! c/o Bondage. 17 rue de Montreuil, Paris, F-75011 France 1986 

^Derisoire (French graphzine of a late generation / with works by Pissier, Ossang, 

Tillier, Ajax, Galdo, Marker, F. kervizic, etc. and the publication of the 

Manifeste Reseau 666. by → Tillier. A/4, phc., 24-28 p. 1986?-, ir.) 

^#1, 2 

Ajtony, Árpád / Happ, Béla (as initiators) Budapest Hungary 1971 

Expresszió Self-manipulated dissolved/spreading magazine (In A/4 size, Hungarian 

underground publ. with free variable contains, typewritten pages, each 

copy has been changed its content spontanous like a new mutation. 

An amalgam of samizdat literature in the communismus and early mail 

art phenomena. The magazine exists in a few copies, same of them in 

the Art Pool Archive, Budapest → Galántai) Budapest, 1971-72. 

Akita, Masami Merzbow. 7-32-14-105 Takinogawa, Kita-ku. Tokyo, 114, Japan 1992 

 

Alatalo, Sally c/o Sara Ranchouse Publishing, P. O. Box 476787. Chicago, IL-60647. USA 1984 

Warriors hate clowns and When you fall. Two books of 19x14 cm., offset (also 

colour) + screenprinted cover, 16 p. Visual and photographical matter. 

Chicago, 1984 / 1985 

The tempestous romance. 14x10 cm., colour offset, 28 p. Photographic and text 

matter. Chicago, 1985 

^Du Da (The periodical variously known as chicagodada [#1 only] Do Da, Doo Da, 

Do Dah, DuDa and DUZ. Object-mag. with booklets and «found object» 

supplements in very various form. The issues: 1984-89 Vol. 1-4: quarterly 

– altogether 16# / 1989-90 Vol. 5: #1-3 / 1990 Vol. 6: #1-2 / from 

1991 with the title DUZ, yearly only.) Chicago 

^# 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; 

Vol.6 /1 

^Collusion (Magazine by offset / phc. / electronic print like bound A/4 assembling 

with booklet supplements or postcard-collections in cover of 14x20 

cm.; ~34 p. or ~13 postcards. 1987-89, y.) Print: The School of the Art 

Institute, Chicago 

^#1, 2, 3 

Launching the Sara Ranchouse editionhouse for publication of DUZ magazine and 

var. bookworks with experimental literature and graphic/text collage 

works in a «Pulp Fiction Series» (authors: Sally Alatalo, Toby Greenberg, 

Doug Huston, Matthew Konicek, Karen Reimer, Kevin Riordan, 

Anne Wilson, etc.) Sara Ranchouse Publishing. (S. R. P.) Box 476787. 

Chicago, IL-60647, 1992 

Big stand-up emperor doll. (with Matthew Konicek) 33x14 cm., colour offset, 8 p. 

Illustration and text, printed on transparent acetate pages. S. R. P. 

Chicago, 1992 

Imperfect sutures. (with Anne Wilson) 22x15 cm., black and red offset, 16 p. + un- 

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 

^Post Impressions. Diverse documents: Letter, phc., 4 p. / 8 p. and photos. 

Traveling show: 

Student Gallery, Albany, Campus Center, Room 101, Nov - Dec, 1986 

Hartwick College, Oneonta NY. Student Gallery. Jan-Feb, 1987 

Barbados Community College, West Indies. Spring 1987 

Stamp Act. (Curator: Willie Marlowe) Cat.: 10 p. (505 contributors, 8 of them 

from Russia), 1987 

^The Mail Box Blues. Cat.: Letter, phc., 12 p. February-March, 1990 

 

«Albany, Woorkspace» 278 S. Manning Blvd. Albany NY 12208 USA 1984 

^Post Historic Documents (with Luise Krasniewicz & Joachim → Frank) 

Cat.: in: Prop (Joachim → Frank ) N° 12. 1984 

«Alberta, Ring House Gall.» University of Alberta Alberta, Edmonton, T6G 2E2 Canada 1984 

^Peace Earth Peace. Doc.: one sheet of 61x46 cm., offset. 1984 

 

Îmages of Peace. Doc. Legal, offset, 2 sheets. 1985-1986 

 

Albrecht/d, (Dietrich) (Reflection Press) Friedenaustr. 21 Stuttgart 1, D-7000 Germany 1988 

↑ Raichbergstr. 7 Stuttgart 61, D-7000 - “ - 1968 

............................................................................................................................................................. 

^Flug / Flux Blatt Zeitung (Info mag. A/4 & A/5, mimeogr. + phc., 1968-88, #1-49) 

^#15, 16 

Êverybody's Creativity (One of the first network activity by a selfpublished maga- 

zine. It contains answers to the question: «Is everybody creative?» 

Mimeographic issues, A/5., 26 p. 1971, #1-2). 

^#1, 2 

°A Concert at the I. C. A. (A performance documentation with J. Beuys) 10.5x14.5 

cm., offset, 100 p. Reflection Press, Stuttgart, 1974 

^Yoshio Nakajima: ACTION. (Early performance art from 1970-71 documented by 

photos and text-reproductions, with a short foreword by Albrecht/d. 

A/5, phc. and mimeogr., 24 leaves. Reflectionn Press Nr. 34. 1974 

Bundeskartenschau (with A. Schmidt / «Elsässer») Cat.: A/4, mimeogr. & phc., 

140 p. / Stadtbücherei, Stuttgart, 1977 

°Violence permanente. Cut A/5, offset, 24 p. S. P. Stuttgart, 1977 

 

°Kotzet mit Spaß. (Xeroxed bookwork, 30x11 cm., 8 p., mounted to accordion) 1982 

~ 

Source: 

Âlbrecht d. – die letzten jahre – eine dokumentation, 1-2-3. Reflection Press 

N° 33. (Works, activities & publs. + press reaction in 3 volumes, ~ 20 p.) 1970-71. 

Gesamtkatalog der Reflection Press 1974 / 75. (Listing of magazine issues, books, 

catalogues, postcards, silkscreen works, graphics, etc. with press reaction, 28 p.) 

 

Literature: 

Albrecht/d.: Statement (about own publications and early assemblings) In: Stephen 

→ Perkins: Assembling Magazines. Internationale Networking Collaborations 

Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 (Print: 1997). 58 p. 

Alcorcón 

→ Ibírico 

«Aleph Group» P. D. Verzuno (BO), I-14040 Italy 1993 

^Box for Christmas Tree. Inv. 1993 

 

^Lovers. Inv. 1993 

 

^My Name is Dorian Gray. Inv. 1993 

 

^Rock-On / Fottball. Inv. 1994 

 

Ôrientation. Inv. (“Send to Acidpunk”) 2000 

 

Alien, Gail 2717 Clement St. #4. San Francisco, CA-94121 USA 1987 

↑ 377. 4th Ave. San Francisco, CA-94118 - “ - 1985

............................................................................................................................................................. 

Mona Lisa Show Doc. / Blue Danube, 36 Clement St. S. F. July 15-Aug. 15, 1985 

Summer of Love '87 Doc. 1987 

 

Êlvis Wanted Dead or Alive. Inv. Soft Touch Gallery, Haight St., San Francisco. 

1990 

Allen, Ben Flat 4. The Mote, Motelands. 132 Old Hollywood Road. Belfast. Bt 42 HN. North. Ireland. 1997 

↑ 94 Adelaide Grove, Sepherds Bush, London, United Kingd. 1986 

↑ 1. Carnhill Av. Newtownabbey, Co. Antrim, BT36 6LE - “ - 1980 

............................................................................................................................................................. 

Cabaret (Multimedia mag. collages, infos, review. A/4, offset, 16 p. 1980?- qu.?) 

^The Transmutated Envelope Mail Art Show. Cat.: A/3, phc., 12 ép. / Roy. College 

of Art, Kensington Gore, London, 1985 

^Neodata (Mag. Compilation of images by the editor + some mail and neoist artists. G 

A/5, phc., ~20-30 p. 1986?- ir.), London 

^#3 

^Particles from Space. (Offset publ. with Neoist texts & graphics {400}, A/4, 20 p.) 

Antrim , 1986 

^Youth Antem (Fanzine from partly Neoist editors: Martin, Ben Allen & others. 

A/4, phc., ~20 p. 1986?-, ~10#) Moneyreagh, N. Ireland 

^#10 (1987) 

^Photobooth Portraits (Offset, {300}, A/4, 32 p.) S. P., London, 1987 

 

^Photocollage, Postcards, Badges & Books, Photoboth Portraits. Cat. in form of a 

photocopied BW A/3 poster . Exh. at De Media, Eeklo (→ Boever), 

Nov 6 - Dec 3, 1987 

Almonde / Sigogneau, Paul / Chapiron, Chris. 2, impasse Lebouis, Paris, F-75014 France 1976 

^Bulletin-périodique (Graphic mag. with the works of the group → Bazooka. 

46x32 cm., offset / colour offset, ~12 p. 1976-, qu. #1-4?) Paris 

^#1, 2, 3, 4 

Alozen P. O. Box 215. Vercelli, I-13100 Italy 1989 

^Chaos. Mail Art project for the late XXth century. Cat.: A/4, phc., 64 p. 

 

(+ AUDAX #1, info-magazine). March 1989 

Altemus, Reed 16 Blanchard Rd. / Box 422 Cumberland, ME-04021 USA 1996 

Ylem Newsletter (One page info with art data. Letter size, phc., monthly, 1981- 1995?) 

^Bibliography of Copier Art (Nov. 17. 1993. Letter, 34 leaves, spiral bound) S. P. 

Altman, Roberto Beckagässle 144. Vaduz Lichtenstein 1971 

Apeiros / Apériodique Utopique (Exp. literary magazine with actionism and lettrism. 

Cut A/4, offset, ~72 p. 1971-77, #1-9) 

Altschul, Darlene (!Tarzana Savannah!) 5365 Orrville Ave. Woodland Hills, CA-91367. USA 1997 

↑ 5711 Donna Av. Tarzana, CA-91356 USA 1986 

............................................................................................................................................................. 

«Tarzana Savannah» Artists' Postage Stamp activity beginning about 1980, various 

stamps at the start in b/w, later also in multicolour print techniques. 

Often with the marking „Femalist“ 

^Mail Art Ambassadors Stamp Album (with Chuck → Welch and Wally Darnell) 

(One of the most beautyful Mail Art publication: accordion book (8x) 

like a book in a size of 33x23 cm. by handmade „sky-paper“ and with 

18 artists' postage stamps by Welch, made as commemorative stamps 

to the Latinamerica trip of W. Darnell. Also an attendant brochure, text 

by Chuck Welch, letter size, 10 p. 1984-85 

^Find Vanishing Creatures. Inv. ~1985 

 

Âccordion folder. (9x) (Collages + orig. rubber stamps, 9 p.) S. P. n.d. (~1988) ®

Â Mail Art Tribute Kees Francke Exh. with a cat. in colour phc. (org. by Darlene 

Altschul & others) Show at the “Raadskelder”, Sluis, NL-4524 CD. 

February, 2003 

~ 

Artistamps: ^Love Zap (Sheet of 16 diff stamps, b/w phc., + red rubber stamps on 

each stamp images. Rose, ocher or blue paper) DKA Production 

/ Femalist. n.d. (1985?) 

^We are the Whorls (Sheet of 16 stamps, 4 diff. images, phc. on rose 

paper, also hand colored sheets) DKA Post. n.d. (1985?) 

^Vanishing Creatures Series (Block of 4 stamp images, phc. on ocher 

paper, not perforated) First Day Issue (April 1985?) 

^Rubber Portraits (Sheet of 24 stamps, 4 diff. images, phc. on blue 

paper. Portrait images in rubber by Fran → Rutkovsky) 1986 

Ôctober is Bat Month (Sheet of 25 id. stamps, red on rose paper, 

additional bat images and a longer text by black print over) n.d. 

1996? 

^Networker Issue 96 (Colour photocopied images of a stamp sheet of 

20 stamps, printed by black phc. on an offset reproduction from 

Picasso's woman painting. Perforation as photocopy only) 1996 

^Boundaries Borders and Desire (Block size publ. of a manual rubber 

stamped over and hand colored artistamp sheet of 16 id. stamps, 

original green print on yellow paper. The block is perforated) 

{20} 1997 

^Cocks (Sheet of 8 stamps, 4 diff. images. This is a «stamp in stamp» 

publ. originally by an identical stamp images of a cock's head, 

which has been completed in various way by black drawing.) 

{20} 1997 

Amen, Woody van Benedenstraat 87 Rotterdam BA, NL-3077 Netherlands 1984 

«Amis, Les» (E. Cheval, P. B. Conjoint, Cuerra, M. Duschnock, J. Banus, Tetranadon, Xanax 0,50, 

A. Lavillat, Caramel, Boiro, A. Tjoyas, S. Granier, Yamm Yudas, P. Zigmut) 

c/o 3 rue du Gond Angouleme, F-16000 France 198? 

^Votre Ami (Tabloid graphzine in 42x28.5 cm. size, offset, 40 p. Maybe the work of 

art school students in South-France? 198? #1 only? ) 

Amsterdam / artists «Interplanetary Review» Postbus 10920, Amsterdam Netherlands 1974 

°Mark / Space (Assembling in envelope with rotating editions {200}. Works by 

G. P-Orridge, R. Crozier, O. Nations, P. Smith, P. Louwers, H. Targowski, 

T. Leary, P. Weiss, S. Vinkenoog, P. Taverner, J. Edwards & others. 

A/4 matter in envelope. 1974-, ir.) Amsterdam 

Mark / Space (Phantasmal texts and images, an «Interplanetary Review». A/5, offset 

booklet, supplement to the Oct. / Nov. issue of Mark / Space, 1976) 

And, Miekal Ed. Xexoxial Endarchy. Rt. 1 Box 131 La Farge. WI-54639 USA 1992 

↑ Dreamtime Village. Rt 2. Box 242 W. Viola, WI-54664, - “ - 1990 

↑ 1341 Williamson St., Madison, WI-53703 - “ - 1986 

............................................................................................................................................................. 

Launching the Xexoxial Edition with Lis → Was. Madison, 1979? 

 

The. (Xeroxed br., 24 p.) Accouint of the male archetypal THE... Madison, 1980 

^The Electrix Samsara Lightbook (3-colours silkscreen, 21x25 cm. horz., 12 p. {50}) 

 

 

Xexoxial Endarchy, Madison + Survival Graphics, 1980 

^Chameleon, Bounce, Facility, Contact, Sample (Colour xerox book, letter, 74 p.) 

Xexoxial Endarchy, 1981 

Âbsorbent Surface's (by Chuck Boyen), xeroxed broch. half-legal, 20 p. 

 

Xexoxial Endarchy, 1981 

→ Xexoxial Endarchy / also in the literature!

~ 

Literature: 

«...What is this new manner of behavior called art? No where in art history has the 

transition toward collective underpinnings & massive deconstruction been so readily 

apparent – the culture has been put in our hands for the first time & the derivative & 

the original are placed side by side. BOOKS ARE PEOPLE TOO, & any life form 

capable of transmitting such a planentary momentum need be subject to continual 

genesis.» (M. And: Statement. In: Sarah → Jackson: Books Build Bridges / Copier 

Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 289. item) 

Anderson, Frank, J. ? Spartanburg, SC ? 1980 

°Mail Art Exh. Doc. List of 252 parts. Wofford College Library. 

 

Spartanburg SC, 1980 

Andersson, Peter Box 14050 Göteborg, DK-40020 Denmark 1973 

Embryo (Magazine for actionism and experimental art, many visual and poetry 

matter. A/4, offset, 48-98 p. N°13 = postcard issue. 1973?-, over #10) 

Andryczuk, Hartmut Hybridenland. Belziger Str. 29 Berlin, D-10823 Germany 1996 

↑ Urbanstr. 34 Berlin-61, D-1000 - “ - 1989 

............................................................................................................................................................. 

^Solypse – Prospekte 5. Satellits Sendungen (Experimental literature with drawings 

and photos. A/3, phc., 26 p. 111 signed and numbered copies. Göttingen, 

Fall 1984 

^Sternesprache (I.) Material by Chlebnikov (Werke I-II, Ed. Reinbeck 1972). 

Illustrations by Chanskaja Stanka (Hommage an Chlebnikov, Berlin, 

1986. 29.7x10.5 cm., phc., 32 p. n.d. (1986?) 

^Sternesprache (II.) Elaborated form of „Sternesprache I“, a book-object in a very 

limited edition. A/4, 6 colour phc. sheets, recto-verso print, + 8 BW 

photocopied transparent foils. Signed, dated: 3. Sept. '87 

^Jenseits der Südsee. „YR“ 1st. Deutsche Maori production. (Concrete Poetry.) 

A/5, phc., 12 p.,, 57 copies. October 1987 

^Teraz Mowie «...für vis. Poesie + verbale Kunst» (Mag. A/5, phc, also colour 

xerox pages, 20-50 p. Many Eastern European contributions. Published 

in an edition of 10-100. 1989- squ., over 20#) 

^#15, 16, 17, 20 

Launching the Ed. interWall and the Hybridenland Verlag for documents, catalo- 

gues, statements, / magazines and anthologies in alternative arts and 

experimental literature in self-edition. Berlin, 1993. 

^Steckenpferde. Int. Visual Poesie. (Coord.: Andryczuk) Cat.: A/5 in Z-form, phc., 

50 p. {169}. Galerie 13. Hannover. January 22 - February 19, 1993 

^Brieffreundinen & Brieffreunde. Cat.: A/4, phc. (also colour), 44 p. {70} Edition 

interWall N° 5 / Exhibited in Studio im Hochhaus, Zingerstr. 35. Berlin, 

D-13051. April 1995 

^Visuelle Poesie aus der USA. (Anth. A/5, 68 p.) expreimentelle texte N° 41-42. 1995 

Êrste Eschatologische Internationale. Cat.: SA/5, phc. + offset, 40 p. {150}. 

/ Studio im Hochhaus, Berlin. June 1996 

^Hybridenland Editionsbox 1998. (Visuale literature and network material in wood 

box) Box of 31.3x22.2x6 cm. Hybrinden Verlag {25}. Berlin, 1998 

Content: Karl → Kempton: From Meditation on om... A/5, e-print, 60 p. 

Boris → Konstrictor: Leningrad: StuttgART: St. Petersburg. 

Cut A/5, , 6 p. With 2 orig. cards, painted over, rub. stamps 

Boris → Konstrictor: Ausgabe B. Miniaturen ½ IV. 

Cut A/5, 2 orig. postcards + rubber stamps. 

Pierre Garnier: Im 21. Jahrhundert... A/4, e-print, drawings, 40 p. 

Z. F. M. U. K. (Assembling, works by 12 artists) 28 leaves 

Valeri → Scherstjanoi: Lautgenommen. Audio-cassette. 

Register. A/5, phc., 12 p. (Text: German, with biographies)

~ 

Source: 

^Hybriden Verlag 1993 / 94 (Xeroxed catalogues-leaflets of uniques or limited 

publs. by Andryczuk, Ilse & Pierre Garnier, Burkhard Heyl, Fredy Flores Knistoff, 

Boris Konstrictor, Rea Nikonova as well as a list of authors of the magazine Teraz 

Mowie, 1-17. issues) 

^Hartmut Andryczuk: Teraz Mowie N° 1-20 (Checklist leaflet), A/4, 1996 

^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With 

over 500 illustrations on 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 129 p. 

^Korrespondenzen – Hybride Literatur und Kunst. Exh. in the Studio Hochhaus, 

Zingsterstr. 25, 13051 Berlin. Curator: H. Andryczuk. Accordion book of 21x11 cm 

(3x), offset print. Berlin, 1999 

Anelli, Salvatore S. S. 19 Bis N. 50. Cosenza, I-87100 Italy 1983 

Êffetto Dossier. «mail art work in progress samoizdatel» (A compilation magazine. 

A/4, phc., 32-36 p. 1983-, ir. ) 

^# 1 

^Fuori Rotta and other xerographied pages. (Photocopied Mail Art and graphic 

works in 3 brochures) A/4, phc., 6 / 5 / 5 sheets. Cosenza, ~1984 

Âela ricerca di un titolo. Appurti per la memoria. (Graphic works and texts on 

the occasion of an travelling exhibition at the Galleria la Roggia 

(Pordenone), Centro d“Arte Spazio (Maddeloni), Exp-Arte (Bari). 

23x16 cm., offset, 16 p. October, 1984 - March, 1985. 

^Mail-World's-Artists-Family. (Thinking of Mail Art, towards an information-art – 

progetto su pace, guerra, e altro...) Congress / exhibition at the Centro 

Studi Mancini, Cosenza, 1984. Curated by S. Anelli, R. Granafei, 

S. Iagulli. Doc.: 21.5x16 cm., phc., 12 p. + offset cover. 

^Teaching of Pitagoras. Inv. 1985 

 

^Labhirint. Nuovi Spazi per Nuove Idee. (Statements by Anelli, F. Flaccavento, 

G. G. Marx, G. Deisler, and C. Padín.) Texts Italian, Spain and English. 

A/4, phc., 13 leaves. 1987-88. 

 

 

Angioni, Marcello 61 rue de Trèves Luxemburg Luxemburg 1977 

Âbracadabra (Magazine for experimental & vis. poetry. A/5, offset, ~60-80 p. 

1977-80, #1-5, 1-2xy.) 

^#1, 2, 3, 4, 5 

Anker, Mp Wichertstr. 68 Berlin, GDR-1071 1980 

Save the Small Things (Commonpress #38, not edited yet) 

 

- “ - - “ - Exh.: Fachschule für Werbung und Gest., Berlin, GDR, 1981 

«Annaberg-Buchholz / Galerie am Markt» → Milde 

Anonym B. P. 14. Uccle 5. Bruxelles, B-1180 Belgium 1974 

Schède / Fiches d'operateurs anonymes. (Mag. with happenings, action art, photos 

etc., self the editor exists as a post box number only. A/4, offset, 

16-32 p. 1974-, m.) 

Anonym 11 Ascham Street London, NW5 United Kingd. 1974 

437 Springtown Road New York, NY-12561 USA 1974 

............................................................................................................................................................. 

Wallpaper (New York – London magazine with visuale & exp. literature, bound in 

wallpaper cover. Cut A/4, offset, ~50 p. 1974-, qu.)

Anonym Jan Brand? Voorburg Netherlands 77 

Zonnebul / Eksperimenteel-kulturelle uitgeverij (Xeroxed mag. with Mail Art, 

rubber stamps, vis. literature and theory. Cut A/5., phc., 32 p. 1977?-) 

® 

Anonym Box 20781 Seattle, WA-98102 USA 1985 

^Pounding Waves (Mag. for xerography. Digest, ~24 p. 1985-, m., over 20#) 

^#2, 17, 19, 20, 21, 22 

Anonym P. O. Box 10533 Minneapolis, MN-55458 USA 1986 

^Losing Faith (Mag. for graphics only. Digest, offset + phc., ~20-30 p.1986-, qu.) 

^#1, 6, 9, 10, 11 

~ 

Literature: «I don't know what happened to issues #8 and #9 but this is what I got, a very nicely 

produced, light and dark little publication. Issue #7 features a spread of „true Comix 

Stories“ (one of which gives me a certain sense of déjà-vu about a personal trip to 

Moscow), but other than that the magazine is entirely graphic art. The styles range 

from neo-German Expressionism to adolescent male doodle-art and everything in 

between.» (Anastasia Coles: Print Reviews. PhotoStatic. N° 40, Dec. 1989, 1521 p.) 

Anonym 508 Howks Ave. Vancouver B.C. V6A 3H9 Canada 1989 

↑ 301-1010 Salsbury Dr. Vancouver B.C. V5L 4A7 - “ - 1987 

............................................................................................................................................................. 

^Pyramid Magazine (Mag. for Mail Art. Letter & digest sizes, phc., ~32 p. 

 

1987- squ. Issues not dated, not numbered? / «Cities» issue in 1990) 

^# Cities (1990) 

Anonym (Neoism anthropologically illuminated) Amherst, MA USA 1993 

Smile (Mag. from March 1993, #1 = «issue 100») 

 

Antaki (A. S. B. L. Restaurant), 13 rue Roture Liege, B-4020 Belgium 1980 

^Cirque Divers (Info mag. by a restaurant with good contacts to the alternative scene. 

«If you're looking for humour and derision, don't miss Cirque Divers... 

is not only a booklet but a Theater/Café/Gallery/Restaurant/Jazz video 

club, too. [Métro Riquet, #6] 15x7.5 cm., phc., 32 p. 1980-, ~ #150) 

^# 99-100, 152 

!Anthroart! 

→ Hamann, Volker 

«Aorta» (Underground club) Spuistr. 189. Amsterdam Netherlands 1982 

^The WORLD, (Artist-World / World-Artist) Int. Mail Art Show Org.:→ Vlugt. 

Cat. as supplement for Artzien(→ Gibbs), N° 28, Nov. 1982 : 21x16.5 

cm., offset, 20 p. / Aorta. Amsterdam, October 23 - November 13, 1982 

~ 

Literature: 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 42-43 p. 

Aphesbero, Michael 3 rue Canihac Bordeaux, F-33000 France 1978 

^4 Taxis (Mag. with correspondants in Barcelona, New York and Roma. Booklets or 

prints by post-fluxus artists from French and the Mediterran zone. 

Mostly in A/4 size, offset. 1978-, ~15#, 2-3xy.) 

^#1, 2, P2, 3-4, 5, 8, 9-10, 12-13, 14 

~ 

Literature: 4 TAXIS: an international magazine. In: Umbrella (→ Hoffberg), Vol. 6, #3, 73 p. 

«Appel, Foundation, De» Prinseneiland 7 Amsterdam LL, NL-1013 Netherlands 1990 

↑ Brouwersgracht 196 Amsterdam HD, NL-1013 - “ - 1986 

.............................................................................................................................................................

^Works and Words: International Art Manifestation Amsterdam (Festival for the 

Eastern European / Holland avant garde & alternative art with conceptual, 

performance, film and mail artists. Stichting De Appel, Filmmuseum 

Amsterdam, + with an exhibition in the Fundatie Kunsthuis) 

Cat.: 92 p. (Org.: Jossine van Droffelaar & Piotr Olszanski). 

De Appel. Amsterdam, 1980. Essays and documentation texts: 

Józef → Robakowski: Operative Photography 

List of film-contributions 

Jaroslav Andel: The Present Czechoslovakian Art Situation 

Tomas Straus: Three Model Situations of Contenp. Art Actions 

Czechoslovakia / Chronology 1960-1979 

Lóránd Hegyi: The Loss of Collective Validities 

L. Beke / L. Hegyi / D. Maurer: Hungary, art events 1966-1979 

Grzegorz Dziamski: Art in Poland During the Seventies 

Andrzej → Kostolowski: Possibilities of Art 

Poland / Chronology 1961-1979 

Jesa Denegri: The Situation of the New Art in Yugoslavia 

Yugoslavia / Chronology 1957-1978 

Artists with one-page contributions in the catalogue: 

G. Attalai (H), J. Bereš (PL), G. Bódy (H), M. Erdély (H), Tomislav (YU), 

B. Grinberg (NL), T. Hajas (H), Á. Háy (H), N. Hoover (NL), S. Ivecovic 

(YU), S. Janssen (NL), Zs. Károlyi (H), T. Konart (PL), J. Kovanda (CS), 

H. de Kroon (NL), Z. Kulik & P. Kwiek (PL), D. Martinis (YU), R. Maroquin 

(NL), D. Maurer (H), A. Mikolajczyk (PL), J. Ml Coch (CS), T. 

Murak (YU), A. Paruzel (PL), S. Peeters (NL), J. Robakowski (PL), 

T. Sikorski (PL), P. Stembera (CS), M. Stilinovic (YU), R. Todosijejvic 

(YU), E. Tót (H), Z. Warpechowski (PL), R. Waško (PL), A. van der 

Weide (NL), 

Artists who contributed to the exhibition: F. Aalders, J. Andel, G. Attalai, 

M. Cardena, B. Grinberg, M. Cardena, L. Durcek, V. Gudac, T. Hajas, 

K. Halász, V. Havrilla, S. Ivecovic, C. Jaworski, J. Józwiak, K. kelemen, 

M. Kern, J. Koller, T. Konart, J. Kowanda, R. Kutera, H. de Kroon, 

P. Kwiek, Natalia LL, A. Lachowicz, D. Martinis, D. Maurer, A. Mikolajczyk, 

K. Miler, S. Peeters, S.Pinczehelyi, J. Rishtr. J. Robakowski, 

T. Ryszkiewwicz & Z. Sosnowski, J. Szczerek, I. Szirányi, J. Valoch, 

J. Vetö, R. Vaško, A v.d. Weide. 

De Appel (The quarterly bulletin of the Appel Foundation, beginning in June 1981) 

~ 

Literature: Jan van Raay: Reindeer Werk Live-In at „De Appel“. In: Artzien (→ Gibbs), 

Amsterdam. N°1, Nov. 1978. n.p. 

Flavio Pons: Feministische Kunst International. Panel discussion organized by 

Stichting de Appel... Dec. 10, 1978. In: Artzien, N°3, Dec. 1978 (→ Gibbs). n.p. 

Jan van Raay: Open Avond (Evening) at de Appel. In: Artzien(→ Gibbs), N°5, 

March 1979. n.p. (Further Open Avonds in the Appel in Artzien, Febr. 1980 / 

April-May 1980) 

«The Works & Words meeting last month in Amsterdam brought together artists 

from Poland, Hungary and Yugoslavia in a comprehensive 10-day programme of 

exhibitions, film, video, performance, lectures and discussions. The aim of the event 

was to give exposure to some of the latest artistic developments in these countries, 

and to provide the visitors with a sampling of similar developments by artists in 

Holland. Artzien conducted the following interview with two of the participants 

from Yugoslavia, Sanja Ivekovic and Dalibor Martinis...» 

(In: Artzien [→ Gibbs], Vol. 1, N°10, October 1979. n.p.)

→ GENERAL IDEA premiered their latest TV programme Test Tube at De Appel 

on 8 November... (The whole text of this production was reprinted in: Artzien 

[→ Gibbs], Amsterdam. Vol. 2, N°1, November 1979. n.p. In the same issue 

also an essay on this thema: General Idea – a Social Event by Hezy Leskly.) 

Hezy Leskly: The Apple and the Worms, I-II. A silly fairy tale for unintelligent 

children by an unintelligent writer. In: Artzien (→ Gibbs), Vol. 2, N°5, March 

and N°6-7, April-May 1980. n.p.) 

(Works and Words. About the document-catalogues published respectively): 

«...It is clear that the term „East European“ art is a misnomer, not so much because 

of the different circumstances in, say, Poland and Yugoslavia, but more because the 

new artistic languages currently in use are internationally recognised, and are operated 

outside of national cultural institutions. In Holland the State has already assimilated 

the avantgarde, whereas in the less „free“ countries it still has the position (and 

maybe the virtue) of being non-acceptable within the system.» 

(Michael Gibbs: Documents. In: Artzien, Vol. 3, N°1, Jan. 1981. 27 p.) 

«Apropos» Sentimattstrasse 6, Luzern Schwitzerland 1979 

^The Apropos T-Shirt Show. Cat. in form of a poster: A/2 (59.4x42 cm.), offset 

RV, with photodocumentation and participant list (over 60 parts.) 

Exh.: at the Apropos, Nov 15 - Dec 12, 1979 

Araujo, Avelino de Rua Seridó 486. Apt. 116. CEP 59020-010 Natal-RN. Brasil 1993 

°Cultura Alternativa. Doc. List of ~300 parts. / Centro C, Mendes, Rio de J., 1982 

°Mostra de Arte Postal. Doc. A/3, offset colour / Centro de Cultura Alternativo. 

Rio de Janeiro, 1982 

^Poezine (Accordion (4x)-size mag. Vis. poetry. 23x15.5 cm. offset, 1993- bim.) 

^#2, 4, 5, 7, 9 

^Livro de Sonetos 1984-1994. (21x16 cm, offset, 54 p., {1000}) S. P. Natal, 1994 

^Mostra Int. de Poesia Visual. (with Delmo Montenegre & J. Medeiros) Inv. 1995 

~ 

Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With 


Archetti Maestri «Last European Boys» Via C. Battisti 9. I-15011 Italy 1989 

^Fiumi e inquinamento / Rivers Pollution. Doc. A/3 poster phc., + an offset 

accordion folders in (5x) 22x10 cm., + postcard. Citta di Acqui Terme, 

Palazzo Robellini. November 25 - December 10, 1989 

Archivo Storico 

→ Baccelli, Vittorio 

Argañaraz, N. N. Miguelete 1669 Montevideo Uruguay 1982 

Ô Dos / Revista de Arte de Vanguardia (Mag. for visual poetry with Mail Art colour. 

Half-legal, offset, 16-28 p. 1982-85, #1-5 in two series) 

^#1, 2 

«Arkade, Galerie» → Werner, Klaus 

Armleder, John M. (Gallery Ecart) 14 rue d'Italie Genève-1. CH-1211 Switzerland 1979 

↑ Gallery & Publication Ecart, 6 rue Pantamour, Genève-1. - “ - 1972 

............................................................................................................................................................. 

Happening Festival (The forming the artist group ECART: John M. Armleder, Claude 

Rychner, Patrick Lucchini; later also Gérald → Minkoff, Carlos Garcia 

& others) The festival was held in the cellar of the Hotel Richemond, 

Geneva, and consisted of 15 evenings between Nov. 18 - Dec. 3, 1969. 

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. 

The Ecart published altogether 59 catalogues and artists' books 

or other kind of art publications in the years of 1973 –1982 and held 

a number of exhibitions and manifestations which supported the fluxus 

and post-fluxus mouvements, further the diverse conceptual and alternative 

trends of the international art scene in the 1970s. 

~ 

Exhibitions and gallery events refering to network activities in Ecart: 

J. A.: Collage collectif par correspondence Nr. 1. (1972/73). (with Pat rick Lucchini 

– a collection of collage material in the form of correspondence art) 

Cat.: A/4, offset / colour, 40 p. Exh.: February 10 - March 9, 1973 

Gérald Minkoff / Art reported Stolen – An Analytical Work in a Reward Stimulation. 

Cat.: A/4, colour offoset print on blue & beige paper, 39 leaves in 

portfolio (32x24 cm.) {150}. Exh.: June 13 - ?, 1973 

Groupe Ecart / Ayacotl. (Participation on the 8 e Biennale de Paris) Cat.: A/5 horz., 

offset, 24 p. Ecart Publications. Genève, 1973 

John Gosling / Billard Drawings. 19 States of Play & Public Actions on Gallery 

Windows. (Window exhibition by graphic works on transparent foils) 

Cat.: A/4, colour offset, 20 p. {500}. Text: David → Briers. Nov. 1973 

Gérald → Minkoff – Jean Otth: Videoart. Cat.: A/4, colour offset, 28 p. {500}. Video 

Text by Pierre → Restany. Ecart Publications. March - April 1974. 

David → Zack / CV Nut Art Show. Facsimile catalogue of Mail Art pieces in enve- 

lope (of 35x25 cm.): colour offset print on diverse papers (12 pieces 

of 33x23 cm., 2 pieces of A/4, 1 shet of A/3 folded to two, and 1 piece 

of 25.3x21 cm.) stitched to 2 steps,{450}. Texts by D. Zack, David 

Gilholly, Ray → Johnson, and Sam Goodman (Not Art / Shit Art). 

Ecart Publications. Genève, Mai-June 1974. 

Endre → Tót / Correspondence avec John Armleder. (Facsimile edition of Tót's 

„zero correspondence“ with Armleder from 1973-74) Cat.: cut A/4, 

offset, also color print, 80 p. {500}. Ecart Publications. July 1974. 

Endre Tót / One Dozen Rain Postcards 1971-73. No catalogue. Exh.: June-July '74. 

Hervé → Fischer / Art et communication marginale – Tampons d'artistes. (Rubber ® 

stamp art) No catalogue. Exh.: November 14 - December 4, 1974. 

Robin → Crozier / Drawings, Collages & other Works. Cat.: with a letter of Crozier 

to Armleder: A/4, colour offset, 12 p. {500}. December 1974 

Raul → Marroquin / Installation Pieces – Peformances. No catalogue. Exh. & per- 

formances: March - April, 1976 

Dick → Higgins / Œuvres graphiques recentes, rétrospective des livres, documents, 

edition Something Else Press. No calatogue. During the exh.: Events, 

musique, théatre (performed by the Groupe Ecart, January 27 ). 

January - February, 1977 

David → Zack / Art Cause. No catalogue. Mai 26 - ?, 1977 

 

Ben (→ Vautier). No catalogue. February 23 - April 15, 1978 

Fluxus 

Ulises → Carrión / Box Clinch – Carrión versus Armleder; Carrión versus Merlin. 

(Performances) Mai 10, 1978 

Anna → Banana, Bill → Gaglione / Futurist Sound Performance. No catalogue. 

November 3, 1978 

Günther → Ruch: Vergangenheit / Zukunft / Gegenwart – Présent / passé / avenir. 

No catalogue, but an earlier publication from the year 1976. 

December 5 - ?, 1978 

~ 

Selected Ecart Publications: artists' books and artists' works: 

Double Sphinx Series (Altogether 8 booklets, all in offset print, cut A/5 size): 

#1) Patrick Lucchini: (without title). 24 p. {250}. July 1973 

#2) John M. Armleder: Lézards sauvages I. 24 p. {250}. Nov. 1973

#3) John M. Armleder: Ayacotl – Excerpts. 40 p. {250 + 20}. Nov. '73 

#4) Gérald Minkoff: Alias. 64 p. {250}. Nov. 1973 

#5) Muriel Olesen: Dix fresques confuses à cinq voyelles. 32 p. {250}- 

July 1973 

#7) Gérald Minkoff: Touch your. 60 p. {250}. Nov. 1973 

#9) Mauricio → Nannucci: Provisoire & Définitif. 36 p. {250 + 50}. 

March 1975 

#11) Paul Armand Gette: Alnus glutinosa (L.) Gaertner. 20 p. 

{500 + 25}. Mai 1977 

Ecart Yearbook (planned as a periodical publ., one issue only). Texts by Armleder, 

John Gosling, Lucchini, Minkoff & Daniel Spoerri. 5x5x2.5 cm booklet, 

200 p. {430}. With a rubber stamp on the edge: homage à Diter Roth. 

Also stamps pn the first and éast leaves: E. P. G. 1973. 

Claude Rychner & Dougal (David McIntosh): Janvier 1975. (Poems by Michel 

Dufour & Allan Wall). 8.2x9.5 cm., colour offset, 12 p. {~200}. 1975 

Mauricio → Nannucci: Rose aux... An envelope (of 16.3x22.8 cm.) publication with 

17 contributions printed by colour offset on paper of diverse qualities 

and formats. The artists: John Armleder, Carlos Garcia, Patrick Lucchini, 

Ben Vautier, Aligheri Boetti, George Brett, Robert Filliou, Daniel 

Buren, James Lee Byars, Giuseppe Chiari, Robin Crozier, Antonio Dias, 

Ken Friedman, Jochen Gerz, Jannis Kounellis, Giulio Paolini, Claudio 

Parmeggiani, Endre Tót, Tim Ulrichs, Emmett Williams. April 1975 

Carlos Garcia: Country of Origin. 10x6 cm., 7 loose leaves (5 ones with orig. rubber ® 

stamps). 1975: 1st edition {50}; 1976: reprint {100}. 

Mauricio → Nannucci: Creare l'artista creativo / Ecritures, documents, editions. 

Diverse documents and print works as well as post cards, as magazine 

issues (Supra), artists' books (by Nannucci), slide, magnetic tape, info 

matter, invitations cards, and other efemera in a black cardboard box 

of 18.5x26x2.6 cm. {~50}. Ecart Publications. Genève, 1975 

Günther → Ruch: Vergangenheit / Zukunft / Gegenwart – Présent / passé / avenir. 

Cut A/5 size, colour offset, 36 p. with some transparent adhesive paper 

applications. {300}. April 1976 

Endre → Tót: TÓTalJOYS / 1971-75. Cut A/5 horz., offset, 12 p. {650} June 1976 

Genesis → P-Orridge & COUM: G. P. P. v[ersus] G. P-O. / Mail Action. Cut A/4, 

offset, 104 p. {500}. September- October, 1976 

~ 

Source: 

~ 

Literature: 

Lionel Bovier & Christophe Cherix (eds.): L'irrésolution commune d'un engagement 

équivoque. Ecart, Genève 1969–1982. Exh. Cat.: of the Musée d'art modern et contemporain 

/ „mamco“ (October 28, 1997 - January 19, 1998) and the Cabinet des 

estampes (October 28 - December 21, 1997), Genève. With a chronological survey 

of the editors and additive essays by Catherine Quéloz, Christian Besson and Rainer 

Michael Mason, furthermore with an large documentation of the exhibition and 

manifestation events of the Gallery Ecart and the complete list of all Ecart Publications. 

Bibliography and index. 24x22 cm., offset, 156 p. Genève, 1997 

«ECART is a gallery/bookshop/publisher in Geneva run by John Armleder, Gerald 

→ Minkoff, Carlos Garcia, & others. The world „ecart“ means approximately „the 

space between things or the fact of making a step aside. It bears eventually the sense 

of deviation, digression, a gap, a swerving“ which sums up very well their activities 

with video, books, postcards, and with such exhibititors as Endre → Tót and Robin 

→ Crozier. Books by these 2 artists arrived recently in the post. (...) Ecart's Double 

Sphinx Series of booklets are, as their title suggests, something like riddles. In 

Touch Your (no. 7) Gerlad Minkoff presents the reader with enlarged details from a 

number annotated drawing of an elephant, and the upper sections from pages of an 

english-french dictionary, while in Alias (no. 4) we find permutations of the letters 

of the author's name and a selelction of faint xeroxed photographs. Not much to go 

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 

fringe of the avant-garde, in a sort of no-mans-land without frontiers. But their 

works are not too distant...» 

(News and Reviews. In: Kontexts, #8 [→ Gibbs]. Amsterdam, 1976. 15 p.) 

Arnold, Heinz Ludwig. Pf. 638. Göttingen, D-3400 Germany 197? 

^Text + Kritik (Literature mag., 23x15 cm., offset, ~60 p. 197?-, qu.) Ed. Text + 

Kritik GmbH, München. In the issues 25 & 30: Konkrete Poesie I-II: 

^#25 / 1975: Experimentelle und konkrete Poesie, 48 p. 

^#30 / 1975: Kritische Ansätze zur konkreten Poesie, 60 p. 

Arnold, Tomy W. → Feh! Press 

Árnyékkötök (Shadow Fixers) (Zsuzsa Dárdai, János Szász, István Tenke, Ervin Zsubori, Dániel Erdély & others) 

Timár u. 17. fsz. 3. Budapest, H-1034 Hungary 1996 

↑ Ed. Cserépfalvi, Attila út 20. III. / 1. Budapest, H-1013 - “ - 1990 

............................................................................................................................................................. 

^Árnyékkötök (The «ancestor Árnyékkötök». Mag. for copy art only – no texts! 

A/5, phc., 18 leaves {12 copies only}. Appeared monthly, 1989. #1-6) 

^ #1-6 

^Árnyékkötök („Shadow Fixers“, from the #15 entitled as Árnyékkötök, co-media.) 

(Mag. for electrocopy art. Texts: Hungarian / English. A/4, phc., ~60 p. 

1990-, qu. ~ 30#) Budapest. The Issues (with guest authors/groups/events): 

#1 (90/1) Frankl Aljona, Klaus Banet, Daniel Cabanis, Joseph Kadar, 

Irén Kiss, Vera Molnár, Electrografia Museo Cuenos E, etc. 

#2 (90/2) R. Hervé, László Kerekes, Bálint Szmbathy, etc. 

#3 (90/3) György Vadász (1953-1985) issue. 

#4 (91/1) Fax-project Manufaxtura, Ágnes Haász, Gyula Máté, Vera 

Molnár, etc. 

#5 (91/2) Debra Millard, József Scherer, Gábor Tóth, etc. 

#6 (91/3) Cejar (Christian Rigal) issue. 1ere Biennale d'Electrographie 

Paris. 

#7 (92/1) Piermario Ciani / Stickerman. TRAX. Group Art-Reseaux. 

4th Int. Alternative Art Festival Érsekújvár/Nové Zámky SL. 

Essay by András Bohár 

#8 (92/2) State of Being, István Burger, Dániel Erdély, Ágnes Haász, 

Dezsõ Kiss, Slavko Matkovic, etc. 

#9 (93/1) Daniel Cabanis, Jamesa Duran, Jean Mathiaut, Dijon Art 

School – Intermedia. 

#10 (93/2) Georg Mühleck, Jürgen O. Olbrich, Andrej Tisma. COM 

TRUST Group. I. S. C. A. Ars Electronica '93, Linz 

#11-12 (93/3-94/1) FAX-projejcts: Send us a Fish (BBS, Budapest), 

S.O.S. live line (5th Int. Alternative Art Festival, Nové 

Zámky), City-Analysis (Autumn Festival, Budapest) 

#13 (94/2) Ars Electronica '94, Linz / Peter Weibel. Trench Art Festival 

in Romania. Graphic Biennale, Györ Hungary. Gyula Máté. 

#14 (95/1) Stephen Perkins issue (Street art collection, San Francisco) 

#15 (95/2) Eduardo Kac: Aspects of the Aesthetics of Telecommunications. 

Árnyékkötök retrospective show in Györ H. 

#16 (96/1) FAX issue: Essays by G. Bleus (Telecopying in the Electronic 

Netland), C. F. Vicente, Reed Altemus, Georg Mühleck 

& Paulo Bruscky. 

#17 (96/2) Concentration exhibition (János Saxon Szász). Works and 

essays by Zsuzsa Dárdai (Electro-Aura). Writings and works 

by István Tenke & Ervin Zsubori. 

#18 (97/1) Shadow exhibition at the Hungarian Photographic Museum, 

Kecskemét, April-May 1997. Essay by Miklós Peternák.

#19 (97/2) FAX-issue: Marie Paule Cassagne, Lilian A. Bell, etc. 

The chronology of internationale FAX-projects 1982-1996. 

#20 (97/3) FAX-issue: R. Maggi / FAX-show in Kaposvár H / M. Mitropolus 

/ Eyes project by I. Tenke, Budapest / Klaus Urbon: 

Museum für Fotokopie. 

#21-22 (98/1-2) Works from the Árnyékkötök-archives 1990-1998. 

Essay to the Árnyékkötök story by Géza Perneczky. 

#23 (99) Repertorium for the #1-22. 

^#1-22, 23, 26, 27, 29 

Êlectrographic Art. (A/4, 17 phc. leaves in portfolio). Comm. Centre «Somogy», 

Kaposvár H. May 17 - June 15, 1991 

Êlectrographic Art. Cat.: 20x14 cm., phc., 28 p. Selyem u 12, Nyiregyháza H. 

July-August 1991 

^FAX Catalogue (FAX matter on a 240 cm. long paper roll) Edition FÁME. FAX 

Exh.: Érsekújvár H. September 1991 

Êlectrographic Art. Cat.: 21x21 cm., offset, 20 p. {300}. (Concept by → Szombathy) 

Texts: Bohár & Barna Exh.: Galerija Savremene Likorne Umetnosti 

Izlozbere Prostorije Galeje. YU. January-february 1993 

Launching the Gallery Black for exhibition about electrographic art in Budapest, 1997 

Invitation from the ISCA (→ Neaderland) to co-operation at an quartal-issue, 

New York, 1998 

^FaXi-mille: Date and Time. Fax and electrographic show included into the large 

exhibition “Internet Galaxis 99” at the Mücsarnok (Kunsthalle) in 

Budapest, Feb-March, 1999. Cat.: Horz. A/4, B/W phc., ~100 p. 1999. 

^Árnyékkötődések (Light and shadow art assotiations). Electrographic exhibition at the 

Liget Gallery, March-April, 2001, Budapest. Artists: Dárdai, Kováts, 

Tenke, Zsubori. Cat.: Horz. 14x20.5 cm. phc., 54 p. + cover. 

Documentation in images and texts, also statements of the artists in 

Hungarian and English. 

~ 

Literature: 

«Arrowspire Press» → Egger, Walter 

FAX 

«The eight-year-long publishing activity of Árnyékkötők has been made joyful by 

several animating circumstances, or, if you like, utopias (there is nothing shameful 

about this word). I shall mention some. 

The issues of the periodical are marked by a small remark placed in the 

imprint or at the bottom of the page saying that in Eastern Central Europe their 

periodical is the only professional journal in the field of electrography. I must affirm 

at once that in these questions facts and not utopias are concerned. Furthermore, I 

must also add that this statement could easily have been as albeit there is busy 

copigraphical activity in Germanic countries, no professional journal exists there. 

Beside many other reasons the early upswing of the Árnyékkötők can be accounted 

for by the fact that in Hungary, as opposed to other“peoples' democracies“, private 

photocopying was slowly becoming accepted already in the eighties. As the regulations 

limiting the publication of periodicals became more relaxed, then, such a 

journal, growing from the underground movement, but edited with professional 

ambitions, was understandably received with interest. 

(Géza Perneczky: What do the Árnyékkötők copy? [On the 10. anniversary of 

the Group Árnyékkötök] In: Árnyékkötök, #21-22. Budapest, 1998. 41-66 p.) 

«Art Attack» 

!Art & Tal! 

«Artefax» 

«Artestudio» 

→ Nordø, Guttorn 

→ Figueiredo, Cesar 

→ Guerrero, Mauricio 

→ Morandi, Emilio

!Artistamp! 

«Artists' Books» 

→ Bidner, Michael 

→ Appendix: Artists' Postage Stamps 

→ Appendix 

«Artists' postage stamps / Artistamps» → Appendix 

!Art Dump! Box 147, Stn. J. Toronto, M4J 4X8 Canada 1990 

^Postmodern Postdogmatism. Inv. 1990 

 

«Art Lover» 

→ Szombathy 

«Art Metropole» 788 King St. Toronto, M5V 1N6 Canada 1989 

↑ 217 Richmond St. W. Toronto - “ - 1981 

............................................................................................................................................................. 

Books by Artists. Cat.: (with essays by Tim Guest & Germano Celant and with docu- 

mentation of books by over 50 artists. Exhs.: Nat. Gallery of Canada / 

Winnipeg Art Gallery, 1981) 20.4x26.5 cm., offset, 128 p. or 50 p. (?) 

Toronto, 1981 

Êvidence of the Avant Garde / Collection of intermedia + ephemera. Cat.: 26.5x19.8 

cm., phc., 96 p. Toronto, 1984 

«Art Papers» P. O. Box 77348 Atlanta, GA-30357 USA 1991 

↑ 119 N 4th St. #303, Textile Building Minneapolis, MN-55401 - “ - 1989 

............................................................................................................................................................. 

Information about the Art Strike. In: Artpapers. Vol. 9, N° 3, November 1989 

Bob → Black on the Art Strike. In: Artpapers. Vol. 9, N° 4, December 1989 

^Correspondents. Art Papers' Opened All Nite. Cat.: in: Art Papers, May-June 

1991. 2-35 p. Exh.: Tula Fundation Gallery, May 30, 1991 

!Arto Posto! (Dorothy Patrick Harris) 199 14th n. e. / Apt. 2505. Atlanta, GA-30309-3691. USA 1995 

artoposto@aol.com 

~ 

Literature: 

«...When living in Minneapolis, Minnesota about eight to ten years ago, I took a 

workshop at the Minnesota Center for Book Arts on mail art. I was done in 

conjuction with the Walker Art Center, a wonderful contemporary art museum 

there. We modified text by – draft, can't remember famous artists' name now, type 

set on old press – added our modifications and art do it, then mailed it all over the 

world to a list of mail artists that Scott → Helmes had, asking these artists to modify 

our modifications and mail them back to the Walker museum... As a result of that, 

we started a rubber stamp/mail art group in Minneapolis, and it is still doing strong. 

I think. The → Bag Lady, whom I introduced to mail art and invited to that party, 

still lives in Minneapolis and participates in that group, and is coming to spend a 

week with me, to make art and play on the computer, in just a couple of weeks. And 

so the networking goes. I have since lived in St. Louis, Missouri; Chicago, Illionis; 

and now in Atlanta. In each in these Cities I formed groups that meet periodically to 

talk mail art, and have had mail artists visitors and house guests from all over the 

world, som of whom I had never met in person before, but knew through the mails, 

coming through or to each city...» 

(^Ruud Janssen: The Mail Interview with Arto Posto. TAM-950076, 12 p. 

A/5, phc., 1995.) 

«Artpool» 

→ Galántai, György 

«Artons Publishing» 183 Bathurst Street, 1st Floor Toronto, M5T 2R7 Canada 1988 

↑ 217 Richmond St. W. Toronto M5V 1W2, - “ - 1978 

↑ 489 College Street, 5th Floor Toronto, M6G 1A5 - “ - 1976

↑ Artons. 320 – 10st St. N.W. Calgary (Alberta), T2N 1V8, - “ - 1974 

............................................................................................................................................................. 

Editors: Robertson, Clive & Marcella Bienvenue. 

Centerfold. An interdisciplinary Artists' Newspaper. 

 

(Tabloid, newsprint, 1976-79, m.) 

^Fuse (Multimedia mag., the continuation of Centerfold. sA/4, offset, ~35-50 p. 

1980?- ) Toronto 

^#Vol. 4/ 2, 3, 6; Vol. 11/ 4 

 

~ 

Literature: Judith → Hoffberg: Centerfold. In: Umbrella. Vol.1, #3. Glendale, 1978. 80 p. 

»There's a formidable history behind this politically-charged magazine stemming 

from the late '70s. It is a fisty item that picks on all sorts of bugaboos, governmental 

and otherwise. The issue at hand steers a bit more toward art, per se. It contains a 

thoughtful review of Toronto performance art...» (Lightworks [→ Burch], Glimmerings 

[Print review], N° 18, Winter 1986-87, 49 p.) 

«Artpool» 

→ Galántai 

Arts, Arno Klarlendalseweg 419 Arnhem GV, NL-6822 Netherlands 1984 

^Festival of Arts. (Drawings, paintings, prints, photos, objects, projects.) 

Cat.: 23.5x21 cm., offset, 72 p. Gemeentemuseum, Arnhem. 1982 

Ârts in the City. Doc. A/4, phc., 4 p. / Festival Arnhem, Post Office, May-June 

/ Living Room Arts, Nijmegen NL, September 1983 

Ârts on the Move. Cat.: 24x17 cm., offset, 16 p. Exh.: SBK Gelderland, 

 

Kerkstraat 19. Arnhem, NL. 1984 

Ârts above the Couche. Doc. A/4, phc., 4 p. / Kunstverein, Stadt. Museum, 

Kassel, D. 1984 

Another Art / Life Dinner (with Rob Thuis). A box of 26x15.5x5 cm. with contri- 

butions by Rob Thuis (tape), Art/Life magazine, Café Podium, Restaurant 

Prelude and the artists A. Arts, W. Krechting, J. O. Olbrich, 

N. Monro, A. Schnyder, J. Wessels (objects, text & image docs. in 

~ postcard size). {59} Korenmarkt. Arnhem NL, 1984? 

Ârtibus Sacrum / The Arts Friends Show. (Exhibition and live-performances by 

A. Banana, M. Bloch, S. van de Burg, J. van Geluwe, W. Hainke, K. 

de Jonge, D. Kamperelic, R. Maggi, J. O. Olbrich, S. Paridaen, M. 

Peulen, C. Pittore, A. Schloss, C. Schmidt-Olsen, J. Sonntag.) 

Cat.: A/5, offset, 44 p. Exh.: Kunstcentrum de Gele Rijder, De-Korenmarkt, 

Arnhem. Oct 1-20, 1985 

»Art Strike 1990-93» → Appendix 

Artworks Comittee, The... Tokyo Japan 1985 

Art Works. The art-minded network. Limited edition. (Unbound, letter s. assembling 

published in spring folders in an edition of 150 copies. Thematic issues. 

Ca. 25 sheets per each publ., 1985-, bimonthly. A parallel / accessor publication 

to the Art Works by Steve → Peacock in the USA.) 

«A. S. A. C.» (Art Strike Action Committee, 1990-1993) 

ASAC California (Stephen Perkins), Box 170715. San Francisco, CA-94117, USA 

ASAC Eastern USA (John Berndt) 3523 N. Calvert St. Baltimore, MD-21218, USA 

ASAC Ireland (Tony Lewes) Allihies, Bantry, West Cork, Rep. Ireland 

ASAC Latin America (Clemente Padín) C. de Cor. 1211. Montevideo, Uruguay 

ASAC United Kingdom (Stewart Home) BM Senior, London WC 1N 3XX 

 

 

 

 

 

Ashworth, Robert P. O. Box 2161 Bellingham, WA-98227 USA 1984 

^Telling Tales / Robert's letter, etc. The Handmade Magazine Featuring Creative

Social Commentary. (Letter & digest size mag., phc. 8-20 p. 

1979-81 monthly, after 1981 quarterly) 

^#2, 14 

^The Super Number Mail Art Roster. Cat.: Letter, phc., 10 p. 1984 

^My West Coast Bike Ride. Summer 1987. Self edition. 21,6x14 cm., phc., 30 p. 

~ 

Literatrure: 

Géza Perneczky: The Magazine Network. The trends of alternative art in the 

light of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 174 p. 

«Asociación Latinoamericana y del Caribe de Artistas Correo» → Marx, Graciela Gutierrey 

«Asociacion Mail-Artistas Españoles» → Ibírico 

Atchley, Dana Ace Space Company. Box 62 Crested Butte, CO-81224 USA 1989 

↑ Phoenix College, Art Dept. 1202 W. Thomas Road, Phoenix, AZ-85013, USA 1972 

↑ Ace Space Company, Victoria Univ. Vancouver Island Canada 1970 

............................................................................................................................................................. 

Notebook One (Like assembling in letter size ringbook {250}, ~60 parts. 1970.) 

Space Atlas (Like assembling in letter size ringbook {250} 1971). ~120 parts. 

One of the first assembling like network publications. The address list 

of the Space Atlas has been taken over by the → Image Bank and it 

became a part of the int. network and the mail art net. Notebook One 

+ Space Atlas had altogehter 3 issues. 1970-1972. 

Âce Space (One sheet info + additive info-matter, 1972-, #1-3?) Phoenix 

~ 

Literature: 

«...One of the first project that began the consciousness of a network was done by 

Dana Atchley during his two years of teaching at the University of Victoria (1969- 

71). An American artist, separated from friends and a stimulating art community, 

he decided he needs to do something to keep up his contacts with the outside world. 

(...) Atchley went out and bought 250 empty three ring binders and invited all his 

friends to contribute pages... By the end of the year, there were about sixty contributors 

to the Notebook. Eric Metcalfe and Kate Craig helped Atchley assemble the 

issues, as Metcalfe was a student of his. (...) 

...In the end, Atchley was fired by the University, but had the foresight to 

apply to the Canada Council for a travel grant to go out and meet all the participants 

in the Notebook and Space Atlas... his „space trunk» containing his archive. This 

started him off on a ten year Road Show, which is what he titled his presentations of 

slides and stories about his work. This marked the end of Atchley's involvement 

with mail art.» 

(Anna → Banana: Mail Art Canada. In: M. Crane / M. Stofflet [eds.] Correspondence 

Art. Contemporary Art Press [→ Loeffler]. San Francisco, 1984. 237-238 

and 243 p.) 

«...Dana Atchley, a thirty-year-old Bostonite trained as a graphic designer and typographer, 

continous to produce exquisite prints... which he distributes throughout 

the correspondence systems. His own system, however, has to do with the coordination 

of other networks via a concept whereby „space is the connector of all things“. 

Atchley accomplishes this through a unique approach to both publishing and 

curating. His publication, Space Atlas, brought together pages designed by hand 

artists from all over the world, including printed pages and others made by hand or 

bearing stamps and stuffed envelopes. Each contributor bore the expense of reproducing 

250 copies of each of his pages, which were then sent to Atchley and 

assembled into 250 loose-leaf, three-ring nootebooks. Mailing and binding costs 

were subsidized by a $ 440 Cannada Art Council grant. Each artist received two 

copies. Nothing was rejected or edited, no rights were reserved and no copies were 

offered for sale. An earlier effort, Notebook One, followed similar principles. 

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 

the trunk from one city to another...» 

(Thomas Albright: Correspondence Art. In: M. Crane / M. Stofflet [eds.] 

Correspondence Art. Contemporary Art Press [→ Loeffler]. S. F., 1984. 224 p.) 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 46 p. 

«Atelier du 3x3:33» B. P. 665–75531 Paris, cedex II. France 1986 

^Bandes (Tabloid mag. for Mail Art and graphic, 44x32 cm., offset, 8 p. 1986-, ir.) 

^#3, 5 

!Atmosphere Controlled! → Nielsen, Mogens Otto 

«Atom Club» 

(Rock & multimedia centre / W. Levy, Genetic Factor, G. Hobijn, W.de Ridder), 

Prins Hendrikkade 142, Amsterdam Netherlands 1985 

Âtom Club Magazine (Info booklets, 13.5x8.5 cm, offset, ~80 p. 1985-, qu.) 

^#1 

Attalai, Gábor Gróza rkp. 11 Budapest, H-1085 Hungary 1990 

L-P-C art (Land-Project/Post-Concept art) 

in: → Groh: Aktuelle Kunst in Osteuropa, 1972, 9 p. 

°Red-y-made pieces. (Applicated paper works on cardboard with rubber stamps, 

colour effects or orig. photos. 1-4 sheets, div. sizes, distributed as 

Mail Art uniques and multiples) Budapest, 1976-79 

«Audio Art / Audio Network» → Cassette Net 

 

® 

«Augenweide, Edition» c/o → Kowalski, Jörg, Halle D-06114 & Tarlatt, → Ulrich, Bernburg, D-06466 1987 

→ Tarlatt, Ulrich: Mein Zahn riesengroß. (The first edition of the Augenweide, 

«erotic dreams» by J. → Kowalsky, U. Prautsch, H. Schubert, 29 silkscreen 

illustration by U. → Tarlatt + 4 photos by J. Franke) {80}, 48 p. 

1987 

→ Deisler, Guillermo & others: Rauhnachtträume. (Dreams by 12 authors, graphics 

by G. Deisler, Steffen Vollmer & U. Tarlatt) {100}, 30 p., 1987-88 

Des Kaisers Bart. (The «last German-German anthology» about emperor Friedrich 

Barbarossa and the German unity. Texts by F. Weyh, W. Bartsch, P. 

→ Huckauf, J. Kowalski, H. U. Prautsch, T. Böhme, &10 silkscreens 

by Frieder Heinze, K. Süß, U. Tarlatt.) {150}, over size, 1990 

5 Jahre Edition Augenweide. Inv. to the exh. / Gal. Marktschlößchen, Halle, Am 

Markt 13. Accordion book (4x) with the history of the in 1987 launched 

(and in the first time illegal publishing) editionhouse as well as some 

book-illustrations and an list of authors. 1991 

~ 

Source: 

Ûlrich Tarlatt. hortus animae. (Ed.: Erik Stephan) Cat.: 25.5x19.5 cm., offset, 

80 p. With the complete publication list of the artists' books 1987-1995 of the 

Edition Augenweide (22 items). / Museum Schloß Burgk / Galerie Himmelreich, 

Magdeburg / Cranach-Stiftung, Wittenberg. 1996 

AU+MA (Mail Art Urgent Action) GOM@ (Global Org. of Mail Artists) 1999 

Organisation committee: Cesar Regelo Campos, Tartarugo, Montse Fornós, Hans Braumüller, 

Clemente Padín, Fernando García Delgado, Jose Emilio Antón, Elías Adasme / Boek 861, Taller 

del Sol, Amma, Vortice Argentina, P.O. Box, Stidna. http://www.geocities.com/SoHo/Atrium/2759 

~ 

^Libertad en la enseñanza de las artes / La influencia de los regímentes autoritarios. 

(Solidarity with Humberto Nilo, ex director of the Fac. of the Fine Arts, 

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. 

March, 1999 

Australian Mail Artists 

°Recorder / Projet Mail Art. Cat.: 37x27 cm., offset, non-pag. A collective project 

by the University Union. Ed. Art Core Meltdown, Sydney. 1979 

 

Austrian Copy Artists 

^Zwischenbilder und elektronische Arbeiten von österreichischen Künstlern. 

Cat.: Cut A/4, offset, 152 p. Exh.: Landesmuseum. April 28 - June 5. 

Linz, 1994. Texts: Peter Assman: Transformationen der Wiederholung 

/ Carl Aigner: Bild-Laboratorien / Johannes Dornisch: Wie «es» 

sein könnte / Peter → Huemer: Dazwischen. / Artists' Statements. 

^13. Int. Triennale für Originalgrafik / Copy Art / High Tech-Reprokunst. 

Cat.: 20x20 cm, offset, / Grenchen October 1994 

→ Maerz Galerie, Linz 

Avau, Roger (!Metallic Avau!) Rue Martin van Lier 11. Bruxelles, B-1070 Belgium 1992 

↑ Av. Wielemans Ceuppens, 50 / A. Bruxelles, B-1190 - “ - 1978 

............................................................................................................................................................. 

Âerosol («The only graffiti mag. in Europe», sometimes as Cat.: 30.5x21.5 cm., 

offset, ~8 p. 1978-87, #1-32) Street Arts & Co. Bruxelles 

^#16 = Cat., 18 = Cat., 21, 24, 25 

Înternational Graffiti Mail Art. Cat. in: Aerosol, Vol. IV, No 16, Aout 1981. 

A/3 sheet folded to two, offset. Exh.: Salon d'Art, rue Hotel des 

Monnaies 107/a. B-1060 Bruxelles. 

^Cirque Divers - Int. Graffiti Mail Art / 2. Cat. in: Aerosol, Vol. V, No 18. Jan. 

1982. 61x43 cm. folded to 4 (~A/4 size), RV. Exh.: at Cirque Divers, 

Roture 13, B-4020 Liege. 

^Graffiti / Bibliography. (1 xeroxed leaves, A/4) 1982 

 

^Mur des Communications. At the Cité de la Radio-Television, Patio 1 U. 1984 

(Blvd. A. Reyers 52, 1040 Bruxelles) Project by Metallic Avau. 

Catalogue in the form of a poster with image & part. list. Rose paper 

of 61x38 cm., BW offset. 

Ârt + Communication NETWORK (Mag. A/4, offset, 4 p. 1991-, qu.) 

 

^#1 

^Com 1000 (with a text of André Noël: Computerized sign drawing. Book, A/4, phc., 

71 p.) S. P. Bruxelles «1st English Edition, 1993» 

^COM 1000 News (Mag. by Avau's «drawing sign writing» A/4. phc., 4 p. 

1993-, #1?) 

Î . I> Semagraphic Communication Art. (The successor of the COM 1000, 1996-, ir.) 

^#1, 2, 

~ 

Literature: 

«...It is sure the graffiti is my big adventure for about fifteen years. I've quickly 

understood that the graffiti would bring me into another sight about art. At first it's a 

free expression where life and art deeply mixed. It is a modest action because these 

works are spontaneous and mortal. The public graffiti lets us know that there are not 

the cultural organizers who impose their taste. It's the individual intelligence which 

lets everyone decide about the art. It brings you into a freedom of your choice, a 

wish to have another look at your moral/intellectual values. It is the look, the eye 

which create the artwork, which should stay a vulgar and lifeless object without this 

glance...» 

(Metallic Avau / Carmelite Convent / Brugelette / Belgium (Interview). In: Métro 

Riquet, N° 8, Paris, 1990 [→ Duvivier], 19-24 p.) 

!Axe Street Arena! 27788 N. Milwaukee Ave. Chicago, IL-60647 USA 1986 

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 

people working on an imaginative plan of the substruction of the „Planetary 

Work Machine“ and the emergence of social order based on the 

autonomous authority of bolos.) Inv.: Letter size leaflet r/v. 1987 

~ 

Literature: 

«This first issue of Panic serves as the catalogue for an international mail art show 

held in Chicago last year to celebrate Haymarket Centennial Week. A mash of 

articles, writings, images and anarchy.» (Stephen → Perkins: Magazines. In: Box 

of Water, N° 3, 1987) 

«A. Y. O.» P. O. Box 44123. W. Sommerville, MA-02144, USA 1985 

Bag of Wire Expose (BOWE) (Curious and disconcerting mixes of collages, writings, 

found pieces and quasi-informational text/image combinations. 

Half-legal, phc., 40 p. 1985?-, qu.) 

~ 

Literature: 

«We've never actually been in contact with these xeroxers but have found a copy in 

a funky store in NY and been given a copy at a bookfair in MN. Says they come out 

quarterly, the graphics are imaginative and strange, the writing less so. Belongs on 

the shelf next to your old copies of PhotoStatic and Box of Water. (Mega Zines. In: 

Anti-Isolation [→ Xexoxial], #3-4, 1987. 10 p.) 

Ayah Okwabi Box 6055 Accra-North / Accra Ghana (Africa) 1985 

Âfrica Arise. (with → Hamann, Volker, Berlin) Cat.: A/5, phc., 12 p. Edited in 

Berlin, 1988. Project in Ghana / Germany, 1987 

Baake, Rolf-Peter Postfach 301642 Berlin, D-1000 Germany 1981 

Gepein (Magazine in A/3 tabloid size with concrete poetry and concept art. Phc., 

collages, + orig. drawings, offset, ~80 p. 1981?-, #1-7) 

~ 

Literature: Instant Media, #16 (→ Kretschmer) 

Baccelli, Vittore Archivo Storico. Via S. Giorgio 33 / C. P. 132. Lucca, I-55100 Italy 1996 

↑ Piazza S. Giusto 10 Lucca, I-55100 - “ - 1992 

............................................................................................................................................................. 

Fuck (Assembling for prints, stamps, Mail Art, poetry {200}. Folio and A/4 sizes, 

~15 sheets. 1978?-, over 20#) 

^Vittorio Baccelli Magazine (A/4 assembling {100}, folded to A/5, 1980-81, ir.) 

^#? 

^Vittori Baccelli in vitro (with V. → Baroni), 13 xeroxed & collaged A/4 leaves 

in plastic cover {20}, Forte dei Marmi, 1980 

^Mail Art & Sport. Cat.: A/4, phc., 14 leaves / Piscina & Bibl. in Capannori, 1996 

 

Badao, Dao 

(Connection to → Rastorfer, J-M, or an Editionhouse only?) 

Case 54, Bergières Lausanne, CH-1000 Switzerland 1989 

^Send Postage Stamps for Karenni. Inv. 1989. (Curious para-philatelic movement 

about the “young state Karenni“. The result was pubished by→ Léopold, 

Pierre (?): Timbres pour le Karenni and Karenni: des artistes et des 

timbres, Ed. Dao Badao, Lausanne, 1990 

^Mail Art Projects / Mail Art Events. Invs. for data and documentations. 1994 / 1997 

Backstain, Joseph Modern Art Institut. Bersenjevskaya Naverejnaya 20. Moscow, 109072, Russia 1996 

!Bag Lady, The! 108831 Sumac Lane Minnetonka, MN-55343 USA 1991 

^The Empty Envelope.Doc. / Empty Envelope Press. 233 East Wacker Drive. 

#3011. Chicago, IL-60601, USA. 1991 

^Small Books Documentation. Cat.: Digest, phc., 16 p. /School of the Art Inst. of

Chicago, Flaxman Library. November 1991 

^Shaped Books – at least 4 pages. Inv. 1992 

 

!Bag Post! → Barbot, Fernand E. J. 

Bak, Imre Petzvál u. 23/A. Budapest, H-1115 Hungary 1990 

↑ Nagybányai út 34. Budapest, II. - “ - 1972 

............................................................................................................................................................. 

Conceptual works in form of postcards and minibooks 1972-73, used also as correspondence 

material: 

^Big Art (1 km²). (Conceptual & visual literature works) Photocopied A/4 brochure 

with 7 sheets, + cover. S. P. Budapest, n.d. (1971) 

Îtt / Here. Booklet in the size of 13.3x20.3 cm. horz., offset + photo, 5 leaves, 1972 

 

^Booklets: Space and Time & Three Pictures / Három festmény. 13.5x20.5 cm. horz., 

offset, 3 leaves, 1972 

^Three Project / Három projekt. 12.5x20 cm. horz., offset, 4 leaves, 1972 

 

^My Shadow is my Art / my Art is my Shadow. Offset leaflet,14.5x21 cm. horz., 1972 

 

^Three leaflets: Portrait / Stilll Life / Landscape. Each 13.5x20.5 cm. horz., offset. 

1972 

^The Rising of Good and Bad. Postcard, A/6, offset b/w. 1972 

 

Ûp - Down. Postcard in size of 10x21 cm.. horz., offset b/w. Galeria Akumulatory. 

Poznan PL, 1973 

^Three postcards with concepts in colour: Three Blue Squares / Three Yellow Squares / 

Three Red Squares. Each A/6 horz., offset colour. 1972 

Bäker, Heimrad Stockwiesen 13. Linz, A-4020 Austria 1970 

^Neue Texte (The best known review for visual and experimental poetry from Austria, 

26.5x21.5 cm., offset, ~40 p. 1970-, m.) 

^#5-6, 11, 15 

Bakhchanyan, Vagrich. 219 E. 84th St. Apt. 1-D. New York, NY-10028 USA 1987 

^Stalin Test. Project. New York, 1987 

 

Bakos, Zoltán ? Tapolca Hungary 1982 

Fixing of Sings. Doc. 1982 

 

Balbat, Made Veimeri 34 - 165. Tallin, 200038 Estonia 1992 

Artistamps: ^Statements about Mail Art (With Ruud → Janssen. Sheet of 16 diff. 

stamps, phc. on rose paper, not perforated) Marked: TAM / MB. 

TAM. Tilburg, 1992 

Baldacci. Luigi ? Pescara Italy 1980 

°Sull' uso del mezzo postale in arte. (Essay, 24.5x17 cm., offset colour, 20 p.) 

Centro di Documentazione, Pescara. 1980 

Baldwin, Dennis / Callahan, Brian, Level Head Quarters. P. O. Box 50164. Indianapolis, IN-46256. USA 1984 

Level (Assembling, mostly by Mail Art matter, sometimes bound, N°8 in textile 

bag, ca. 50 contributor's sheets per issue, the N°10 as a publication with 

audio cassettes. {100}. Various sizes, mixed technic, 1984?-, over #10) 

~ 

Literature: 

(Level): «This is sort of a conceptual magazine, it is a piece where people from all 

over contribute. I received my Level in a small box, and people had contributed 

postcards, photos, xerox pieces, even a tiny plastic dolll with no legs. Level is fun 

and detailled, send to them for more information on how you too can contribute.» 

(Publication Listing. In: Unsound. Multimedia magazine with booklets & tape 

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 

things (much of it xerox stuff) thrown together like a salad & shipped out every so 

often. Contributors send in 105 on anything and Level assembles and mails. There 

are always, needless to say, surpises in every issues Includes a great little booklet of 

contacts.» (PhotoStatic. N° 19½, Aug. 1986. Lloyd → Dunn: Mail Review) 

«Balear, Edition» Apartado 471. Ciutat de Mallorca Spain 1976 

^Neon de Suro (Tabloid graph. mag. in the size of A/3 with monographical issues: 

Collective Paris-Néon: J. Palau, S. Gilbert, Mariscal, A Muntadas, J. 

Blaine, Collective New York, etc. Newsprint, 8 p., 1976-, ~ 8#) 

~ 

Literature: 

^#Lund, #Bruno Richard 

«Each issue of this 8 page tabloids is done by someone else. As handprints, studies 

of genitalia on sculpture, or reprints of newspaper headlines 4 years apart, it seems 

to be art and definitely out there.» (Lightworks [→ Burch], New Art in Print, N° 11- 

12, Fall 1979, 60 p.) 

Balthaus, Fritz ? Berlin Germany 1982 

°Views-beside-Words (Assembling like publs. with black & colour offset pages + orig. 

works by vis. poetry & concept art {550}. 66 contributors; B. Anderson, 

B. Adrews, J. Baldessari, F. Balthaus (with disk 45), J. Blaine, U. Carrion, 

R. Crozier, R. diPalma (orig. rubbers), M. Gibbs, H. Hahn, D. D. Hompson, 

T. Kapelski, M. Rosenberg, J. A. Sarmiento, F. Truckk, E-A. Vigo 

& others. 33x25 cm., bound, 340 p.) Ed. Vogelsang, Berlin. 1982 

Balthazar, Jacqueline / Bury, Paul, 29 rue Jule Thiriar La Louvière, B-7100 Belgium 197? 

Le Daily-Bul (Offset magazine for concrete and vis. poetry. 21x16.5 and 21x11 cm., 

also orig. collages on the pages and the #7 with a hand painted cover, 

#13 like book-object in portfolio. 1957-68, #1-13?) 

°Daily Bul and Co. (Anthology. 22x16.5 cm., offset, 354 p.) Lebeer-Hossmann, 

Bruxelles, 1976 

Banana, Anna R.R. 22, 3747 Highway 101, Roberts Creek, BC, VON 2W2, Canada 2000 

↑ P.O. Box 2480 Sechelt. B. C. VON 3A0 - “ - 1995 

↑ 287 E. 26th. Ave. Vancouver B.C. V5V 2H2 - “ - 1992 

↑ P. O. Box 3655 Vancouver B.C. V6B 3Y8 - “ - 1981 

↑ 1183 Churchill St. San Francisco, CA-941114 USA 1973 

↑ R. R. 2, West Coast Road, Victoria B.C. Canada 1971 

............................................................................................................................................................. 

^Banana Rag (Mag. {200-2000}. 1971-90, #1-28) various size and technic, Victoria, 

Canada /San Francisco, USA/ Vancouver, Canada 

^#1-28 

^Somethimes Monthly Banana Rag (Banana Rag #9). Legal, offset, 14 p. Editor: 

Ms. Canadadda, Daddaland Edition. San Francisco, June 1973. Works 

by Daddaland (B. → Gaglione), Dada Processing (T. → Mancusi), 

Arthur Cravan (C. → Chickadel), J. Dowd, Stu → Horn, Genesis 

→ P-Orridge, Helicopter Art Co., & others. 

The First International Hosanna Banana Show. (with Bill → Gaglione) Cat.: A/4, 

phc/ip. 62 p. A Correspondence – Mail Art show with works by 

Haddock, → Ackerman, The Western Dakota Junk Co., C. → Stake, 

R. → Marroquin, Mr. Tip / Ms. Top, P. → Smith, R. → Crozier, 

C. → Padín, K. → Groh, and others at the Schwartz Gallery, Milano, 

1974 

^VILE (Mag. 1974-78, #1-7. Editor for the issues 1-6 Anna Banana. The issues ® 

4 & 6 have been signed by Bill Gaglione as co-editor, issue 7 was 

edited and published by Gaglione) 

1 = Vol. 1. N°1, Febr. 1974 (announced as February 14, 1985).

Letter, ip., 56 p. 

2 = Vol. 1. N° 4, «The Editors Vile». Sept. 1974. Letter, phc., 48 p. 

3 = Vol. 3. N° 1, Dec. 1975. Letter, offset, 66 p. 

4 = Vol. 1. N° 2 + Vol. 2. N° 1, «International Double Issue». 

Summer 1976. Letter, offset, 100 p. 

5 = Vol. 3. N° 2, Summer 1977. Letter, offset, 98 p. 

6 = Vol. 6. N° 3, 1978. Fe Mail Art. 18x25 cm., offset, 107 p. 

7 = Stamp Art. Winter 1979. Letter, rubber stamps, np. (Rubber stamp 

assembling, ed. by B. Gaglione, prod. manager: Joel Rossman) 

^#2, 3, 4, 5, 6, 

^The Sometimes Yearly Banana Rag (Banana Rag #11, a «special report» on the 

Banana Olympics). Legal, offset, 6 p. Banana Prods. S. F., May 1975 

^The Sometimes Yearly Banana Rag (Banana Rag #14, a mailer, included information 

on the prods. of VILE 4, 5, and 6, the European peformance tour of 

Banana and → Gaglione, the forthcoming visit of → Cavellini, an 

update od the Encyclopedia Bananica, the organisation of Interdada 80, 

and the forthcoming publ. of Stamp Art magazine by Gaglione and 

Joel Rossman). Legal, offset, 2 p., Banana Prods. S. F., June 1976 

Întroduction (to Fe Mail Art, an overview documenting some 110 female artists 

from 18 countries) In: VILE #6, Fe Mail Art, San Francisco, 1978 

Âbout VILE (Letter size book, offset, 108 p.) S. P. Vancouver, 1983 

 

^Mail Art: Canada & Western U.S.A. In: Flue / → Franklin Furnace, Vol. 4 #3, 

1984, 25-28 p. (See also: Mail Art Canada. In: M. Crane / M. Stofflet 

[eds.] Correspondence Art. Contemporary Art Press [→ Loeffler]. 

San Francisco, 1984) ) 

Înternational Art Post (IAP). Banana Prods. Full-colour «anthology editions» of 

artists' postage stamps from in- and outside of the Mail Art network. 

Photo offset print on gummed & perforated glossy paper, divided into 

full (with 36 stamps), half or quarter, etc. sheets / also block form for 

individual publications. 

The first sheet of the Vol.3, No. 1 publication contains 36 of triangle 

and square form stamps by A. Banana + 6 Northern American 

artists. 

Six single blocks of the Vol. 9, No. 1 are the cataloug for You & Me 

show at the Art Galllery of S. W. Manitoba. 

Authors of some individual compiled sheets: 

Airbush Emporium, Anna Banana, Buz Blurr, Dogfish, Harley, 

Robert E. Gerow, Intermedia Press, International Rocketship, 

Eleanor Kent, Lithotech Canada Ltd., Sir Real, Ed Varney, 

Graham Wade, etc. 

The edition structur of the first 10 volumes of the International Art 

Post publications: 

Vol. 1. 1988 / No. 1: I-II Sheets / No. 2: 1-4 Sheets 

Vol. 2. 1989 / No. 1: 1-4 Sheets / No. 2: 1 Sheet / No. 3: 1-5 Sheets 

Vol. 3. 1990 / No. 1: 1-2 Sheets / No. 2: 1-6 Blocks / No. 3: 1-7 Blocks 

Vol. 4. 1991 / No. 1: 1-7 Blocks 

Vol. 5. 1992 / No. 1: 1-2 Blocks / No. 2: 1-9 Blocks 

Vol. 6. 1993 / No. 1: 1-2 Blocks 


Vol. 8. 1995 / No. 1: 1-2 Blocks 


Vol.10. 1997 / No. 1: 1-4 Blocks 

Ârtistamp News (Info mag. devoted also for the International Art Post publs. 

The best source in the field of artists' postage stamps in the 1990s 

with special columns for news, stories, artistamp catalogue and book 

update, artists' profiles, practicals, show and project informations, etc. 

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.) 

^The Banana in Contemporary Germany; Art Parodies Science. An abstract for the 

ISHC Conference, Ithaca, 1994. In: Ingrid G. Daemmrich: The Changing 

Seasons of Humor in Literature. Drexel University. Dubuque IA, 1995 

(The complete 12 pages paper available from A. Banana) 

Ûnited States of Mind (The Artistamp Movement) In: American Inst. Graphic Arts 

Newsletter. March 1995, p. 36-39. / Banana Prods. Sechelt BC., Canada. 

Artistamps / Mail Art Network. Cat. Letter, phc. 8 p. Exh. at the Sunshine Coast 

Art Center. Sechelt BC, Canada. March, 1998 

~ 

Bananapost Artistamps: The own artists' stamps of Anna Banana. Editions in b/w and black/red 

photocopy since middle 1970s. Since the 1980s perforated sheets with Colour 

Xerox further by Canon Colour Laser Copier. Some sheets have been made by 

photo offset print as part of the the International Art Post (IAP) productions (see 

above). Very selected list of publications: 

Bananart Edition (Sheet of 25 stamps, photocopied, {36}) December 1981 

Êuropean Tour Commemorative – Fall 1986. Series of 15 diff. perforated stamp 

sheets in 3 groups. Each sheet was printed in a limited edition of 16 signed 

copies by Canon Laser Color Copier: 

1. Signs & Symbols Series, 1-9. (Sheets of 25 elongated rectangle stamps 

with diverse geometric forms, road signs & symbols, marine markers, 

signal flags, statistical illustrations of wedding couples or babies, etc. 

on map fragments of Den Haag, Copenhagen, Northern Denmark and 

Stockholm) Banana Post. 1987 

2. Putting Physical Fitness on the Map, 1-4. (Sheets of 30 square or 24 

triangle form stamps, photographic images of exercising men / women on 

Cologne City or Denmark maps.) Banana Post. 1987 

3. Unknown Artist Series, 1-2. (Sheets of 24 elongated rectangle stamps. 

Black boat and ship forms with red-green-white light signs or signal 

flags) Banana Post. 1987 

Banana Triangle. (Colored drawing by Canon Laser, open edition) San Francisco, 

1988 

Twenty Years of Fooling Around with A. Banana. (1970-1989) Sheet of 25 stamps 

with series of colored drawings, printed by Canon Laser. Open edition. 1989 

^Post Banana is not the same as Banana Post. (Sheet of 42 stamps, 15 images, 

colour phc., {12}) Nov. 1989. Anna Banana 

Êyeful Tower (Block of 6 diff. stamps/eyes, colour photo offset, {1500}) 

IAP, Vol. 2, No. 3., Sheet 2/5. December 1989. Banana Prods. 

Owen Sound for Your Summer Break. (2 blocks of 10 stamps, colored drawings of 

foot in cast and hands on cane collaged over tourist maps of Owen Sound, 

{20}) 1991 

50 Years Artistamps 1941-1991 (Sheet of 10 triangular stamps with colored ink 

drawings, Canon Laser print) 1991 

^Classic Ice Cream, 1-2. (Sheets of 18 stamps, 6 images with primary colour / 

natural colour faces per sheet, {6}) June 1992 

Â. Banana Goes to Germany 1993 (Block of 3 diff. stamps, colour photo offset) 

IAP, Vol. 6, No. 1., Sheet 2/2. 1993. Banana Prods. 

Joki was a colorful guy. (Sheet of 30 stamps, colored drawings by Canon Laser, 

{25}) September 1997 

Îtaly Goes Bananas. (Block of 6 stamps, colored drawings by phozo offset print) 

IAP, Vol. 11, No. 2, Sheet 1/4. 1998. Banana Prods. 

~ 

Source: 

Anna Banana: Vile History & April Fooleries / Futurist Sound (Mail Art tour of 

Europe, 1978) / Work Record 1971-1982. With illustrations. In: Anna → Banana: 

About VILE. Letter size, offset, 108 p. S.P. Vancouver, 1983. 1-10 / 83-104 / 

105-106 p.

«1971 was a hot year for mail art. In August of that year, I began my Town Fool 

piece in Victoria (Western canada), soon getting into the publishing game with the 

Banana Rag in an attempt to communicate better with the public. My first editions 

were done in runs of 1,000 as hand outs at local public schools. I mailed leftovers 

off to friends, among them Lee-Nova. He quickly put me in touch with the developing 

network by sending copies of the Image Request Lists (→ Western Front) that 

he and Morris had been producing from their Image of the Month mailings. Discouraged 

by the frosty reception I got from the citizens of Victoria, I began mailing to 

everyone on the request lists, sending whatever type of imagery they requested and 

including my Banana Rags, and request for banana images and informations. The 

response was overwhelming...» 


Art. Contemporary Art Press [→ Loeffler]. San Francisco, 1984. 245 p.) 

Anna Banana: Women in Mail Art. (Adopted from the introduction to VILE #6, 

Fe-Mail Art by Anna Banana.) In: M. Crane / M. Stofflet (eds.): Correspondence 

Art. Contemporary Art Press (→ Loeffler). San Francisco, 1984. 279-297 p. 

Names of „fe-mail artists“ and other women in this article: 

Lisa Baumgardner (USA), Jeanie Black (USA), Jean → Brown (USA), 

Linda Burnham (USA) → !Cosey Fanni Tutti! (UK), Irene → Dogmatic (USA), 

!Ms Generality! (CDN), Hannah Höch (Berlin Dada), Judit A. → Hoffberg (USA), 

Leavenworth → Jackson (USA), Betty Kelly (AUS), Karol Law (USA), Noemi 

Maidan (CH), Barbara Moore (USA), Elaine Neour (USA), Giulia Niccolai (I), 

Sabina Ott (USA), Ms Zazu Pitts (USA), Jan van Raay (USA), Ula Rbaczeh (PL), 

!Rhoda Mappo! (USA), Meredith Rogers (AUS), Angelica → Schmidt (D), Janet 

Schmuckal (USA), Pauline → Smith (UK), Pat → Tavenner / Mail Queen (USA), 

Ashley Walker (USA), Martha Wilson (USA), May Wilson (USA), Ruth → Wolf- 

Rehfeldt (GDR). 

Represented by images only: Cheryl → Cline (USA), Pat → Fish (USA), 

Nancy Frank (USA), Eva Lake (USA), Ginny → Lloyd (USA), Scarlatina → Lust 

(USA), Ester → Nation (USA), Lowry Thompson (USA), 

^Bananapost. European Tour Commemorative Edition by Anna Banana. Offset 

print accordion folder (4x) of 21.5x9 cm. with data about a series of 15 limited 

edition artist's stamp sheets. Also «A little History of Artistamps», «About the 

Artist / this Editon», etc. Banana Prods. Vancouver, 1987 

Înternational Art Post. (Publication / artist name list and order form for the IAP 

artists' stamp sheets from Feb 1988 - Dec 1997, further for the Artistamp Collector's 

Album by Banana Productions) Letter size leaflet, phc. Banana Prods. Sechelt, 1998 

Literature: 

«(Sometimes Monthly Banana Rag, #9): «... the first issue of the Banana Rag to be 

published in San Francisco (it continud publication in the Bay Area until issue 15). 

From 1971-1973, the Rag was published in Victoria, British Columbia, Canada, 

where the editor was documenting and publicizing her activities as Town Fool, and 

staging such events as April Fool celebrations and collaborative parade participation. 

Eventually, the Banana Rag found its way into the hands of Gary Lee Nova 

(Art Rat) and and others involved in Vancouver's → Image Bank. From that point 

on, the editor became emeshed in the emerging Eternal Network. In this issue Anna 

Banana announces a name change to Ms. Canadada... The format includes rubber 

stamps, photobooth photographs, drawings, handwritten copy, and newspaper 

clippings, all collaged to produce an all-over mix of word and images.» (John → 

Held, Jr.: Bay Area Dada, 19970-1984: An Annotated Bibliography of Primary 

Sources. In: The Bay Area Dadaist. Stamp Art Gallery [→ Gaglione], S. F., 1997) 

(About Vile, 1983): 

«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 

me that anyone could be a publisher. In 1973, letters by Robert Cumming and 

Hudson of Ant Farm voiced FILE's viewpoint; that mail-art is a plague on art and 

ought to be wiped out immediately. As an ardent „mail-arter“, I disagreed, and so 

began work on the first issue of VILE which appeared in February '74 as a new 

forum for mail-art... For VILE, I visualized a magazine that would look like LIFE, 

but on close examination, would reveral its true nature; subtle put-down of the mass 

culture with nasty, dada, „up-yours“ type messages. However, it didn't take any 

close examination of the first couple of issues to see they looked nothing like LIFE 

beyond their covers. The material I received in response to my first invitation did 

not lend itself to presentation in the imagined format. It was all full-page artwork; 

collages, drawings and writings. Rather than delaying the first issue to ask for 

other, I published the material received, presenting it in a wrap-around cover over 

the vello bound pages...» (Anna Banana: About VILE. S. P. Vancouver, 1983, 2 p. 

Reprint: Vile History. In: Chuck → Welch (ed.): Eternal Network. A Mail Art 

Anthology. University of Calgary Press, 1995. 47-53 p.) 

(About «About VILE», 1983-84): 

«This 8th edition of VILE is its swan song – Anna is cutting back on her mail art 

and her responibilities as editor. However, if you don't know how important VILE 

has been to mail art, About VILE is a good place to start. Anna recounts the magazine's 

history and reproduces a good number of letters, mail art and images by 

others. A substantial portion of the issue deals with her Banana Olympics, her 

travels to Europe and her performance work (on which she continues to work). 

VILE is a send-up of General Idea's FILE and both are parodies of LIFE. VILE 

(as the early issues of FILE) provided a kind of mirror for the greater network of 

mail artists, documenting exchanges and amplifying various issues. Always there 

was at the fore a wiggy, high-spirited irreverence. VILE was not vile in any sense 

other than the way some blunosed art patron might approach it. It was wacky mail 

art fun and a sense of community from the 70s. It remains a considerable legacy.» 

(Lightworks [→ Burch]. These Things Too [Print review]. N° 16, Winter 1983-84. 

54 p.) 

Anna Banana: Mail Art Canada. In: : M. Crane / M. Stofflet (eds.) Correspondence 

Art. Contemporary Art. San Francisco, 1984. 233-264 p. 

Anna Banana: Mail Art: Canada & Western U. S. A. In: Flue (→ Franklin Furnace), 

Vol. 4 #3-4 (Winter 1984) «Mail Art Then and Now» issue, 25-28 p. 



«...One of my friends in Vancouver who was then a member of the Image Bank 

collective, responded with a copy of the Image Bank Request List. This little 2-page 

flyer brought the first information I had that there was, in fact, a network. It was a 

list of names and addresses of artists, and the sorts of images they wanted to receive; 

lips, clouds, 50s cars, that sort of thing. I went through my stack of old clip magazines 

and put together an envelope for each of the perhaps 20 artists listed, and 

mailed them out, with a copy of the Banana Rag, and a note stating that I was interested 

in receiving ANYTHING to do with bananas; images, news stories, jokes, 

music, whatever, as long as it had a reference to bananas. Within 2 or 3 weeks, my 

mail-box came alive, and here I had the sort of enthusiasm and response I was 

missing elsewhere in my life. Amongst the bananas, there were samples of the 

others' work, invitations to projects, etc., and before I knew it, I was HOOKED. 

In the course of the next year and a half, I responded to all the mail I 

received, participated in all projects I heard about, and expanded the number of 

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 

where I would live next. I intended to drive across Canada, down the eastern USA, 

across the southern states, and up to the West Coast. However, the van I bought to 

make this trip in turned out to be a lemon, and my start was delayed for 6 months. 

When I did leave Canada in May of 1973, I went south into Washington, Oregon 

and California. In the Bay Area, I met with all 12 of my mail art connections, and 

decided pretty quickly that was the place for me to live. (...) 

...Some mail-artists have a private life besides their mail-art life, but in your 

case it seems that your private life and your mail-art world got completely integrated. 

I remember the issue About VILE (1983), and it looked like your life and your 

art were the same at that moment. Some photo's of you and Bill Gaglione indicate 

the same. Am I right? 

During those years with Bill, we were both very involved with mail art and 

performance art, and there was very little time for anything else (except the everyday 

jobs/work we did to support that activity which took up the majority of our 

time! We just don't write about that stuff.), so I suppose you are right, at that 

moment, my life and art were very integrated. What isn't apparent from that view 

you had of us from VILE #8 (=About VILE), is that we both DID have jobs or 

paying work that is never spoken about in the context of the magazine.The humdrum 

work that just about everyone has to do to pay the bills. Bill had a variety of 

jobs over the year, and after working in a print shop, and for a weekly newspaper, I 

started my own graphic design and production company, Banana Productions, 

which is how I earned the money to publish VILE and the Banana Rag. (...) 

During those first two years (anew) in Canada, I tried to quit mail art. I did 

only one issue of the Banana Rag, in 1981, and I let the most mail accumulate, 

unanswered. Early in 1982, I convinced the local TV station to host my 10th anniversary 

April Fool's Day event; the Going Bananas Fashion Contest. I applied for a 

grant to create the new performance work, Why Banana? and in the fall of '82, 

toured it across Canada and the USA. After that, I applied for funding to produce 

About Vile, so that I could bring VILE to an official conclusion, use the materials 

that people had sent for it, and wrap up that period of my life. (...) 

In 1984, I was back in San Francisco for the Inter Dada '84 events, and spent 

3 weeks working with my friend Victoria Kirkby on a performance, In the Red,... In 

'85, I quit the producing job, and free-lanced my design services, both to the printer, 

and to other clients and connections I had begun to develop. I continued printing 

and sending the Banana Rag, and in the fall of '86, I did a second tour of Europe, 

this one solo. 

At the moment you are very active with artistamps. When did you start with 

those? What is so fascinating about them? 

I did my first artistamp in response to an invitation by Ed Varney in the mid- 

70s. He reproduced a number of my stamps on one of his many „anthology sheets.“ 

The first ones I did were in B&W, and he printed them in black and red. Then somewhere 

around '76 or '77, Eleanor Kent, who was a neighbor of mine in San Francisco, 

got a Color Xerox machine in her home, and invited me to come and work with 

it. I produced my first two editions on that machine, along with many other collages 

and postcards, and Eleanor introduced me to Jeff Errick of Ephemera, which produced 

buttons, postcards and stamps. (...In 1987) I utilized the brand new Canon 

Laser color copier, and was very impressed with the results. However, these were 

still pretty pricey to produce, and that's when I started doing the figuring necessary 

to cost out a full-color printed edition. I circulated this information in 1987, and in 

1988 produced the first two editions of International Art Post. (...) 

There are many aspects of artistamps that engage my attention. I think the 

first thing that grabs me about them, is that they parody of an official currency / 

medium of exchange. People still do double-takes when looking at an envelope with 

artistamps on them. Because they look so REAL, the question always comes up, 

„are they real/legal?“, „Can I mail a letter with these?“ I like this aspect, because it 

startles people, and makes them question what is real. Since I have a healthy dis-

espect for most government agencies, this is very satisfying...» 

(Ruud → Janssen: The Mail-Interview with Anna Banana. A/5, 14 p. TAM 

Publs.: TAM-960092, Tilburg, 1995) 

Anna Banana: Artistamps in the Mail-Art Network. In: Rubberstampmadness 

(→ Sperling), Vol. 18, #93, May-June, 1997. 

Vittore → Baroni: Anna Banana e Bill Gaglione. In: Arte Postale. Guida al network 

della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 92-95 p. 

Ânna Banana: On Artistamp News. In: James W. → Felter: Artistamps / 

Francobolli d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo, 

2000. 90-95 p. 

Banville, Bernard, (!Xona!), Chevalier Ave. / 30. Olive St. Greenfield, MA-01301 USA 1983 

^Nebuleux 'gazine (Mag. postfluxus images and collages, sA/6, phc., 8 p. 1983-, #?) 

^#1 

^Void (Mag. with editor's graphics. Letter, phc., ~24 p. 1983-84, #1-2?) Xona Prods. 

^#2 

Barber, Daniel ? ? ? 1977 

°The Secret Code Work Book (Xeroxed bookwork) 21.6x13.8 cm., 20 p. n. d. 

°Some of the names have been changed (Xeroxed publ.) cut A/5, 20p. 1977 

 

°Send no more letters, please! (Xeroxed spiral book) Letter, 6 p. 1977 

 

°Superman. (Xeroxed spiral book) Letter, 14 p. 1977 

 

Barbery, Stephan Camera Obscura. 52 rue Stévin Bruxelles, B-1040 Belgium 1983 

^Camera Obscura (The only high quality colour mimeogr. magazine of the Mail Art 

scene, handmade character, mostly A/5, ~12-20 p. 1983-84, no regulary 

numbering but entitled the issues, #1-13?) 

^# 1984: „if you want to die“; „Fuerza Magica“ 

Crocodila Mundi (Like assembling, «graphix» anth., A/4, phc. and mixed techn. 

1983, #1 only? ) Camera Obscuura Edition, Bruxelles 

Nord, Quest, Est, Sud (Collective publ. by Camera Obscura, L J B, Nina Childress, 

and Placid) 44 p. Paris?, 1984 

^P.O.W. Art, I-II. (People in the Other World's Art) Vol. I. 264 xeroxed sheets / 

Vol. II. xeroxed 60 sheets. Bookwork in box. Entr' act Camera Obscura, 

Bruxelles. n.d. (~1984-85) 

~ 

Source: 

~ 

Literature: 

^Camera Obscua News. Horz. A/4 sheet, photocopied, folded to an A/5 info flyer. 

Front side: B/W images + headlines. Back side: Cassette and book offering. Also 

colour portraits (of artists/by artists?), etc... Additive orig rubber stamps. Dec. 1984 

«I try to survive in this world. I don't believe in inspiration, just in work. I do the 

more images I can during the day. My images come from my life, what I find is 

wrong, in my life in the world. I feel like a little point in the univers that I don't 

understand. Only 2 girls and animals and univers are important for me. Save the 

world if we can (?). Fight money (the „new peste“), fault words, fault minds, believe 

in reality, „beaute“, and positive things around us.» (S. Barbery: Statement. In: 

Sarah → Jackson: Books Build Bridges / Copier Art – Bookworks. Cat.: TU ° NS. / 

National Postal Museum Halifax, 1986. 4. item) 


oftheir periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 146-147 p. 

Barbot, Fernand E. J. / Claudine (Bag Post) 2939 Avenue Y. Brooklyn, NY-11235 USA 1985 

^For Pepace on the Earth (by Claudine Barbot) Inv., 1989

~ 

Literature: 

^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian 

and English. AAA Edizioni. Bertiolo, 2000. 96-97 p. 

Barbot, Gérard Bob Art. 2939 Ave. Y. Brooklyn, NY-11235 USA 1990 

^The Waterloo 2 nd International Postal Art Exhibition. Inv. University Waterloo 

(Ontario), 1985 

Artistamps: ^Homage 2 Vincze László (Sheet of 12 + 1 diff. stamps/nudes, b/w 

phc .) n.d. 

^Gaia Netwalk Congress (Sheet of 8 stamps in triangular form, 2 diff. 

images, b/w phc.) n.d. (1984?) 

^MON'AO (Sheet of 9 stamps, 4 images/Mona Lisa, b/w phc.) n.d. 

Barboza, Diego Calle Paez, Don Robertico, Apto 31, Chacao, Caracas Venezuela 1976 

^Buzon de Arte (Mag. for postfluxus graphism, vis. poetry, and theory on 73x55 cm. 

one sheet of 72.5x54 cm. to fold, offset. 1976, #1-2 only?) 

^#2 

Barnett, Carol (Snail Art Colony) United Kingd. ? 

(TAM data) 

 

Barnevelt, Aart van Ten Katestr. 53 Amsterdam Netherlands 1984 

c/o Stempelplaats, St. Luciensteeg 25. Amsterdam - “ - 1977 

............................................................................................................................................................. 

^Niet-stempels. Rubber exh. in Stempelplaats. Inv./Doc. A/4 sheet, offset. 1977 ® 

Artists: J. Armleder, T.v.d. Burg, M. Gibbs, F. de Jong, G. Perneczky, 

Sosno. 

^Rubber (Rubberstamp mag. A/5, offset. 1978-82, more → Stempelplaats) ® 

^Handstamped Selfportraits. (Commonpress #15) 59 postcards in cover, rubber ® 

stamped. September 1979 

^Time Based Arts catalogues, 1984, 1985, 1986-87, more → Time Based Arts 

1990 1990 

→ Stempelplaats 

→ Time Based Arts 

~ 

Literature: 

Aart van Barnevelt / Ronald Wigman: Stempelen. (Book in Dutch language about 

history, applications and the making of your own stamps. Offset, 100 p. 'S-Hertogenbosch 

NL, 1982 



Baron c/o Mather Gallery Cleveland, OH USA 1978 

°Baron's Mailbox. Cat.: Lettere, phc., 10 p. 160 parts. Mather Gal. Cleveland, 1978 

Baroni, Vittore (Near the Edge Ed.), Via C. Battisti 339, Viareggio, I-55049 Italy 1996 

↑ Via. Raffaelli 2. Forte dei Marmi, I-55042 - “ - 1979 

............................................................................................................................................................. 

Artists' postage stamp activity in collaboration with other networkers (~30 different 

sheets) and many done by himself, ~1978-1985. 

Small booklets in limited editions with a visual poetry/collage content, from 1978 

Ârte Postale! (Mail Art mag., partly assembling, in very var. form, but very often 

with thematic issues. 1979-, sm., over 80 issues.) 

Some publs. have appeared with a double name – Etoatlerpsa!, The 

Yahoo Bulletin, etc. – or under a fake name: Bidet, S. I. N. EWS, etc. 

The issues N° 1-51 have a multistructured form. The main component 

(inclusive title and back pages) forms a layouted compilation of text

and graphic matter received by mail, and that produced by the editor. 

Its medium is folio size leaves (33x22 cm.) with one side instant print 

(like offset), or, beginning at the N° 29, A/4 sheets likewise one side 

photocopied. Sometimes, this part of the publications is clipped together 

with a loop, or, oftentimes, it is stitched to a brochure. The other component 

is an assembling matter: between the leaves, or separate (and sometimes 

collected into smaller covers), there are, as inserts, loose sheets of Mail 

Art and visual poetry contributions. Its number is, because of the enclosed 

project advertisements and small invitation flyers, difficult to determine. 

After its 51/53. issues, Arte Postale! took up a booklet form (often under 

the weight of 20 grams, to save trees and postage...) with a regular, on both 

sides printed text/images photocopied matter, often enriched (as well 

as the pages of the first 50 issues) with manuale interventions by blots 

of colour, small glued inserts, rubber stamp images, etc. 

1979: (the 1-3 issues together form a musical trilogy) 

1 DEMONIA. 12 folio leaves, ip., clipped together with a loop at one of their 

corners. {100} October 1979 

2 PATTI SMITH ROCKIN' DEMONIA. 9 folio leaves, ip., + 2 A/4 sheets as 

inserts, clipped together with a loop at the corner. {100} November 1979 

3 ART SONGS FROM DEMONIA. 10 folio leaves, ip., + 3 A/4 sheets and 

some collaged graphics as inserts, clipped together with a loop at the 

corner. {100} December 1979 

1980: 

4 MORE POLITICAL SATIRE: POST SCRIPTUM . 9 folio leaves, ip., 

+ 1 A/4 sheet as insert, stitched. {100} January 1980 

5 CAVELLINIANA. 11 folio leaves, ip., stitched. {100} February 1980 

6 AMERICAN MAIL ART DADA. 9 folio leaves, ip., stitched. {100} 

March 1980 

7 REFLUXUS ISSUE. 6 folio leaves, ip.,+ 4 sheets as inserts, stitched. {100} 

April 1980 

8 AUTOBIOGRAPHICAL ISSUE I. 8 folio leaves, ip., + 1 sheet as insert, 

stitched. {100}. May 1980 

9 UK SPECIAL. 5 folio leaves, ip., + 6 A/4 sheets as inserts, stitched. {100} 

June 1980 

10 AUTOBIOGRAPHICAL ISSUE II. 5 folio leaves, ip., + 9 ~A/4 sheets as 

inserts, stitched.{100} July 1980 

11 AUTOBIOGRAPHICAL ISSUE III. 2 folio leaves as front and back pages, 

ip., + 10 var. sheets as inserts, stitched.{100} Aug. 1980 

12 ALL STARS ISSUE. 6 folio leaves, ip., + 13 var. sheets as inserts, stitched. 

{100} September 1980 

13 T-SHIRT ISSUE. {100}. Additional a special „Badge Show“ supplement, 

4 folio leaves with an introduction text and participant list, distributed 

separately {400}. October 1980 

14 DEVELOP MY DREAMS. 1 folio leave as front page, ip., + 9 var. sheets as 

inserts. Stitched. Addendum: Cat.: booklet, in size of 21x10 cm., 9 p. 

{100} November 1980 

15 (title image: teacher with kids). 4 folio leaves, ip., + 9 var. sheets as inserts, 

stitched.{100} December 1980 

1981: 

16 VISUAL POETRY ISSUE (40 contributors). 2 folio leaves as front and 

back pages, ip., + ~60 various sheets, the whole matter is clipped 

together with a loop at one of its corners. Addendum: A True Matchbook 

Poem by V. Baroni. {100} January-February 1981 

17 ETOAPLERSA! 2 folio leaves, ip., + 11 ~A/4 sheets, clipped together 

with a loop at the corner, + 25 sheets in various sizes as loose inserts. 

The whole material packed into an envelope (28x21 cm). {100}

March 1981 

18 THE YAHOO BULLETIN. 5 folio leaves, ip. + rubber stamps, + 14 ~A/4 

sheets, clipped together with a loop at the corner and folded to half, 

+ 25 various sheets as loose matter. In envelope of 28x21 cm. {100} 

1st April 1981 

19 THINK ABOUT MAIL ART. 4 folio leaves, ip., clipped together with a 

loop at the corner and folded to half, + 16 loose sheets as inserts. 

A small addendum: Bern Porter commemorative artists' postage stamps 

in a mini cover. The whole material packed into an envelope 

(28x21 cm.). {100} May-June 1981 

20 UT FONA RES. 8 folio leaves, ip., + 13 var. size sheets as inserts, clipped 

together with a loop at the corner and folded to half. In an envelope 

(28x21). {100} July 1981 

21 44 88! 6 folio leaves, ip., + 6 ~A/4 sheets, stitched. Further 14 loose 

inserts. The whole matter folded to half and packed into an envelope 

(28x21 cm.). {100} No date (July 1981) 

22 MIDSUMMER ISSUE. 3 folio leaves, ip., + 15 insert sheets, stitched 

together and folded to half. Further insert: a package card size material. 

In an envelope (26x19 cm.). {100} August 1981 

23 THE YAHOO BULLETIN (II). 5 folio leaves, ip., + 10 ~A/4 inserts, stitched 

and folded to half , packed into an envelope (26x19 cm.). {100} 

September 1981 

24 BOXED EDITION in 3D cardboard box of 24x24 cm. with plastic bag 

including many loose leaflets and objects (ping-pong ball, heavy mail, 

matchbox, stickers, ear-fricher, etc.) by ~ 40 participants. The cover is 

black/white offset glued on cardboard. {100} October 1981 

25 THIS ORDER. 5 folio leaves. ip., + 10 insert sheets, stitched and folded to 

half, packed into an envelope (26x19 cm.). {100} December 1981 

26 YEARBOOK 1981. With an offset booklet, 16x11 cm. size, 16 p., + 23 

loose sheets as inserts. The whole matter in an envelope (33x23 cm.). 

{100} 31st December 1981 

1982: 

27 POSTCARDS BOX. 35 cards and an A/4 size text-sheet (folded to quarter) 

in a carboard box of 15.5x11x3 cm. {100}. January-Februry 1982 

28 CONFIDENCES. 2 folio leaves as front and back pages, ip., with 12 inserts, 

stitched. Further 10 loose sheets. The whole matter folded to half and 

packed into an envelope (26x19 cm.). {100} March 1982 

29 CRISIS OF #29. («The invisible Hobson») 2 A/4 sheets, phc., as front 

and back pages, + 8 stitched and 9 loose inserts, folded to half. {100} 

April 1982 

30 EAST-WEST CONNECTION. Altogether 25 loose leaves, mostly in ~A/4 

size, phc., folded to half. {100} May 1982 

31 (vintage postcards) 30 loose phc. leaves in postcard size, also some A/4 

contributions folded to quarter. {100} June 1982 

32 BIDET. Assembling like publ. with 20 ~A/4 leaves, clipped together with 

a loop at one their corners, + 2 loose inserts, folded to A/5. {100} 

July-August 1982 

33 (mask cover) Unbound matter from 9 larger (~A/4) and 16 smaller pieces, 

folded into an A/5 size. {100} September 1982 

34 ARE YOU IN LOVE? (A collaged laurel leave for C. → Pittore on the 

title page) Unbound matter from 10 ~A/4 and 10 smaller pieces, 

folded to A/5. {100} October 1982 

35 BIENNALE DE PARIS. Unbound matter from 10 ~A/4 and 12 smaller 

leaves, folded to A/5. {100} November 1982 

36 (badges cover) Unbound matter: 5 ~A/4 and 12 small sheets, + the US fanzine 

Counterspud #6 as insert. All folded to A/5. {100} December 1982 

1983:

37 S. I. N. EWS I. 7 ~A/4, phc., stitched, and 6 smaller sheets. (This issue is not 

folded!) {100} January 1983 

38 CONCEPTUAL MAFIA. 10 A/4 or letter size leaves, stitched. {100} 

March 1983 

39 LEWD CARESS (also CARE N° 8). 35 ~A/5 size sheets + cover in a plastic 

bag (also a «rubber» toy-baloon by Baroni like supplement). {100} 

April 1983 

40 (old Forte dei Marmi photo). Unbound matter: 8 ~A/4 + 6 smaller pieces, 

folded to A/5 issue. {100} May 1983 

41 S. I. N. EWS II. 7 ~A/4 size sheets folded to A/5 + 15 small pieces in a 

special cover of 24x18 cm. {100} June 1983 

42 POST-ART GUERILLA. 6 ~A/4 (folded) and 12 smaller sheets in an 

envelope (25.5x17 cm.). {100} July 1983 

43 NETWORK ART. 9 ~A/4 (folded) + 13 smaller pieces in a Network Art 43 

envelope. {100} August-September 1983 

44 (postman & drummer) Loose matter: 7 ~A/4 and 15 ~A/5 sheets. {100} 

October-November 1983 

45 S. I. N. EWS III. 15 ~A/4 leaves, stitched, + the A/5 size booklet as an 

insert: The 7 Tables of SIN (7 leaves, clipped together at a corner). 

{100} December 1983 

1984: 

46 A TRIP TO AKADEMGOROD (Neoist issue). 8 A/4 sheets + 30 small pieces, 

all as loose matter in a cover (26x19 cm.). {100} January- February 1984 

47 MAIL ART SHOW SHOW CATALOGUE. 9 A/4 size sheets, stitched, + 14 

smaller, loose inserts. {100} March 1984 

48 MCMLXXXIV! Stitched matter: 11 A/4 size and 12 smaller pieces. {100} 

April-June 1984 

49 THE MINIATURE ISSUE (in a normal audio-cassette box). Various small 

works (leaflets, stamps, mini sheets folded, etc.) by ~ 40 participants. 

July-September 1984 

50 SILVER ISSUE. 24 ~A/4 leaves, enriched by smaller graphic and print 

collages, stitched to a book, further 17 other pieces, the whole matter in 

a silver cover. {100} October 1984 

1985: 

51 S. I. N. EWS IV. Stitched booklet by 11 A/4 leaves. Inserts: an artists' postage 

stamp sheet by V. Baroni, + 8 small pieces in a cover of 23x16 cm. {100} 

(This is the last assembling like issue in the series of the Arte Postale! 

publications.) January 1985 

52 SCRIPTA VOLANT. (As the Cat.: of a Mail Art project) A/6 size booklet, 

photocopy, 24 p. + cover, insert: A/4 poster, folded. {200} 

February-March 1985 

53 HOMMAGE A VITTORE BARONI (Organized and edited by M. → Pawson) 

Unique pieces by fifty-some networkers: 30x22 cm., phc., loose works 

in black/white cover. One copy only, no date. (April-May 1985) 

Geza Perneczky received an interesting facsimile work of this issue from 

Mark Pawson. It is an image and text compilation by blue and brown phc. 

on A3 size half-transparent paper, folded to two = A4. 

(It seems that this pseudo-facsimile is not an unique work!) 

54 CORNUCOPIA. Booklet in A/6 size, phc., 24 p. + cover. Insert: one A/4 

size artistamp sheet. {300} June-December 1985 

1986 → 

55 MAIL ART HANDBOOK. A/6 size, phc., 24 p. + cover. {500} January- 

December 1986 

56 MAIL ART & MONEY DO MIX! A/5 size booklet, with a real coin glued 

to each cover, phc., 28 p. + cover. Supplement: one A/4 sheet. {100} 

January-June 1987 

57 THE BOX GAME. A/5 booklet, phc., 24 p. + cover. Supplement: one A/4

size poster. {500} July-December 1987 

58 THE B. A. T. MANUAL. A/6 booklet, 32 p. + cover, pages are painted over 

and collaged. {300} January-December 1988 

59 ALTERNATIVE PHILATELY. In cover: 4 A/4 (folded) and 4 A/5 sheets, 

+ one artistamps sheet as supplement. Phc. Text: Vittore Baroni: 

Other Stamps. {500} January-June 1989 

60 (the making of) NETZINE. (A collective project with proposals and various 

texts.) A/5 size brochure, phc.: 24 p., unbound, in a cover of 23x16 cm. 

{unlimited edition} July-September 1989 

61 SMILE. A/6 booklet, phc., 30 p. + cover. {unlimited} October-December 

1989 

62 B-ART ISSUE. A/6 booklet, phc., 40 p. + cover. Insert: TRASH poster, A/4, 

by Baroni. 250 copies with an insert book by G. → Ruch. {500} 

January-December 1990 

(no Arte Postale! in 1991) 

63 LET'S NETWOK TOGETHER. With 7“ record. Its cover is an offset booklet 

in a size of 19x19 cm., 12 p. Computerized cover art & concept by Piermario 

Ciani {600}. Also texts and participant list of the Music & Mail 

Art Do Mix project (Vinyl Love Junkie). January-December 1992 

63bis META CONCERT IN SPIRIT. (cassette) {93} January-December 1992 

64 UTOPIA INFANTILE. (V. Baroni & R. → Crozier) A/6 booklet, phc., 20 p., 

hard interventions. {100} January-March 1993 

65 GLASS ENIGMA. (David Drummond-Milne) A/6 Booklet, phc., 20 p. 

+ cover, {100} April-June 1993 

66 THE ONE MAN SHOW. (24 contributors to the theme) A/6 booklet, phc., 

24 p. {100} July-September 1993 

67 STICKERMAN SCRAPBOOK. A/6 booklet, phc., 24 p. {100} 

October-December 1993 

68 ARTURO FALLICO SPECIAL. A/6 booklet, phc., 20 p. {100} 

January-December 1994 

69 RAY JOHNSON LIVES! A/5 booklet,phc., 12 p., hard interventions. 

{Unlimited} January-February 1995 

70 THE NO INSTITUTE / JÜRGEN O. OLBRICH. A/6 booklet, phc., 20 p., 

colour-xerox work glued on covers, various hand-interventions. {100} 

March-April 1995 

71 FUN IN ACAPULCO. A/6 booklet, phc., 24 p. A postcard is enclosed in 

150 copies. {300} May-September 1995 

72 ONE YEAR LATER. A/5 booklet, phc., 12 p., hard interventions. {81} 

1-13 January 1996 

73 A DECK OF POSTCARDS. A/6 booklet in plastic envelope, phc., 24 p. 

with same colour-xerox cards glued in. {100} October-December 1996 

74 MY OWN PRIVAT INTERNET. (With the advertisement: THE BIG SELL 

OUT: Buy a share-piece of the E. O. N. Archive! – intended as a joke) 

A/6 booklet, phc., 8 p. with hand interventions. {300} 14-17 January 1996 

75 LUTHER BLISSETT MAN OF THE YEAR. A/6 booklet, phc., 20 p., with 

hand-interventions, big sticker enclosed. {100} 18 January - 1 April 1996 

76 SCISSURES 1. A/6 booklet, phc., 32 p., hand-interventions, a postcard 

enclosed. {300} May-September 1996 

77 THE MAIL-INTERVIEW WITH VITTORE BARONI (by Ruud → Janssen). 

A/5 booklet, phc., 8 p. {unlimited edition} October - December 1996 

78 (THE MAKING OF) ARTE POSTALE. A/6 booklet, phc., 16 p. {unlimited 

edition} January - December 1997 

79 LA-LAMENTO PER RAY → JOHNSON. In brown bag size A4, including 

Scissures 2 (16 pp.) and various loose leaflets, a d-i-y bunny mask, 

a cassette with track for Ray Johnson by Le Forbici di Manitù, 1 cardboard 

moticos, 1 stamps-sheet, etc. {31 numbered copies only}. 

Date: January 13th, 1998 (day of performance-tribute to Ray J.).

80 DICK → HIGGINS LETTER reprint on yellow paper, only 2 pages (single 

A4 sheet), 60 copies, an instant commemorative issue, October 28th 1998 

81 THE INCONGRUOUS MEETINGS 1998 Catalogue. 12 pages with inserts, 

250 copies, January-June 1999 

82 THE TABLE OF THE LITTLE ICONOCLAST. ( Cat.) A/5 booklet 

with 12 pages + cover, partly perforated, partly loose sheets. {400} 

July 1999 - June 2000 

83 THE DAVID ZACK PROJECT. A/3 sheet with recto-verso phc. print, folded 

to 8 (result: A/6), 150 copies. July-December 2000 

84 LE FORBICI DI MANITÙ – SCISSURES 3. A/3 sheet with recto-verso phc. 

print, folded to 8 (result: A/6), 150 copies. January 2001 

85 JUST 4 F.U.N. (The Year of Virtual Land – Creative De-Globalisation). 

( Cat.) Horz. A/5 booklet, phc., 24 p. + cover. The catalogue of the 

“Virtual Land” artistamp project with participant list and texts + many 

artists’ postal stamps (partly as printed images or glued on collages in the 

catalogue, partly as supplement artistamp sheet [A/3, B/W phc., perforated], 

and a number of additional original stamps – among them many 

colourful pieces – in a separated cover). 201 copies. 2001 

86 LON'S MEMORIAL JUKE-BOX. An audio tribute to Lon Spiegelman. 

«…I copied on cassette some of these songs, jumps and scratches included, in 

the same semi-casual order that I picked them from the box […got from Lon] 

(but if you listen closely, you will be able to hear bizarre "correspondences", 

popular music has its ways of talking to us.). We are what we eat, buy, listen, 

and something of Lon's personality might well be trapped among these dusty 

vintage grooves. May his soul now be reunited with his beloved wife Linda.» 

E.O.N. - December 2002 

87 THE BOOKLET OF OZ (A David Zack tribut booklet, selected texts by Zack 

edited and introducted by Vittore Baroni, notes by István Kántor and Al 

Ackerman). A/5 booklet with 52 + 4 pages + cover (+ 3 colour-copy images 

in the book). 100 copies. January-March 2003 

^#1-52 complette, + nearly all later issues. 

Political Satire: Post Scriptum. (Commonpress #23) A/5, loose pages, 110 p. with 

serigraphed cover in a size of 16.5x23 cm., ~250 participants {500}. 

Forte dei Marmi, September 1979 

°Political Satire. Esposizione Int. di Arte Postale! (Commonpress #23, + separate 

copies). Inv. Poster of 69x50 cm., silkscreen. Biblioth. Comunale, 

Forte dei Marmi, 1979 

^The Badge Show. Inv. 22x33 cm., sheet, phc. + rubber stamps. Silkscreen poster 

as suppl. (Cat.: in Arte Postale! N° 13) 1980 

^Lieutenant Murnau – Janus Head. Assembling like compilation {10} by 10 xeroxed 

leaves + one 45 rpm record, intended as a limited Mail Art ed. 1980. 

Lieutenant Murnau – Janus Head. 20x21 cm. stitched booklet, phc., 52 p. with same 

hand-interventions, + one 33 rpm 7“ record. {500}. 1980 

(Also further various audio-mag publs. under the pseudonym Lt. Murnau, 

which was one of the early «multiple names» in the network.) 

^Cere e arcobaleni . Collective work with Sara & Piero Simoni on graphic, handdrawing 

& typewriter poetry. 33x22 cm., mix. technic, 10 sheets + 

1 text sheet in yellow cover , 100 copies. Borgo Cappuccini, Livorno. 

March 1981. 

Launching (with P. → Ciani) the collective multimedia project → TRAX. 1981 

(TRAX activity till 1987) 

^Real Correspondence (A series of one-page mailers with var. themes and contents, 

7 undated sheets in the early 80s, + one called THE B.A.T. from Febr. 

1987, + 3 in a new series, 4-8 p. each, 1991-92. All phc. with some 

manual interventions. 

Area Condizionata. (Cassette mag. with int. contributors + enclosed booklets, phc.,

16-24 p. + var. gadgets in plastic handbag. 1983, #1-3) 

^Scripta Volant. Cat.: in: Arte Postale! N° 52. Exh.: Circ. di Prod. di Poesia, 

Firenze, 1985 

^Smile / Snarl (Smile mutant on the occasion of the «9° Festival Neoista» in Arte- 

Studio Pontenossa [→ Morandi], also as → TRAX 1085, with audiocassette. 

A/5, phc., 8 p. 1985, #1) Agenzia Neoista 

The Box Game. Cat.: in: Arte Postale! N° 57. / Forte dei Marmi, Italy, 1987 

^Recycled Mail (Stitched A/4 booklets with «old» correspondence with over 100 

participants. Partly numbered, dated & signed ) 1987 

^The B.A.T. Man UAL. Cat. in: Arte Postale! N° 58, 1988. A/6, phc., 34 p. {300} 

Pocket Calculator Poems. Orig. xerox ed. in A/3 by Baroni. Reprint in A/5 size 

{~500} by Vox Pop records (45 rpm record enclused), Milano, 1989 

Launching the publishing house AAA / Artisti & Allibratori Associati, 1994 

(with Piermario Ciani). Among the 14 first publs. authors as Stewart 

→ Home or Luther → Blissett, further 3 artists books (in cut A/5 size) 

by Baroni & Ciani using pseudonyms: 

^Mino Cancelli: La Cultura del Caos (The Culture of Chaos) with 100 

different pages of typographical mistakes. 

Êrica Moira Pini: La morte del libro (The Death of the Book) with 100 

white pages with three pistol shots. 

Êvita B. Torroni: Tre allegri ragazzi morti. 100 yellow pages without 

any text, a pun on the Italian «yellow» mystery books. 

Ârte Postale. Guida al network della corrispondenza creativa. Cut A/5, offset, 

256 p. Text Italian. AAA Editioni. Bertiolo, 1997 

With shorts chapters in the book: 

A. Ackerman, A. Banana & B. Gaglione, V. Baroni, K. Bates, 

J. M. Bennett, G. Bleus, H. Bzdok, U. Carrión, A. G. Cavellini, 

Church of the SubGenius, P. Ciani, R. Cohen, R. Crozier, G. Deisler, 

M. Diotavelli, G. Galántai, J. Held Jr., E.F. Higgins III, R. 

Janssen, R. Johnson, H-R. Fricker, P. Küstermann, H. Mittendorf, 

R. Nikonova & S. Segay, J. O. Olbrich, C. Padín, M. Pawson, G. 

Perneczky, P. Petasz, C. Pittore, G. P.Orridge, R. & R. Rehfeldt, 

Rocola, G. Ruch, M. Scott, S. Shimamoto, R. Summers, E. Varney, 

E-A. Vigo & G. G. Marx, C. Welch 

Â Year of Incongrous Meetings. Inv. in form of an open letter. 1998 

→ TRAX 

→ Neoism / Literature: Smile-Snarl, Statement 

~ 

Artistamps: ^Great Men Series #2 (Sheet of 25 diff. stamp images, offset on green 

paper, not perforated) V. Baroni & David Drummond Milne 

^Francobolli Vale L.1000 (Sheet of 64 diff. stamps, offset on light blue 

paper, not perforated) Vittore Baroni. B#W. 4 – 80 (1980) 

^Homage to Râ Stamps (Sheet of 20 diff. stamps, offset on light yellow 

paper, not perforated) Vittore Baroni. B&W 6/80 

^Mama Dada (Sheet of 16 diff. stamps, offset on light blue paper, not 

perforated) Vittore Baroni. B&W. 9 / 1980 

Êngland O Italy (Sheet of 16 diff. stamps, offset, not perforated) vittore 

baroni & robin → crozier. near the edge stamp series n.7/81 

^Stamp Art Memories (Sheet of 16 diff. stamp, offset on green paper, 

not perforated) Mario → Lara & Vittore Baroni. B&W 3 – 1981 

^Collaboration Stamps (Sheet of 12 diff. stamp images, offset on rose 

paper, not perforated) V. Baroni & E-A. Vigo. B&W - 6 - 1981 

^Mail Art Stamps (Sheet of 15 stamp images, offset on rose paper, not 

perforated) by Vittore Baroni & Arturo Fallico. 1981 

^Carlo Pittore & Vittore Baroni Present... (Sheet of 15 stamps, offset 

on rose paper, not perforated) N. E. Coopstamps one: eighty two 

^S. I. N. Stamps (Sheet of 30 diff. stamps, b/w phc., not perforated) 1985.

Folio 1. 

^S. I. N. Stamps / Lugosi Béla (Sheet of 33 diff stamps, phc on yellow 

paper, not perforated {100}) 1985. Folio II. For mad vampirs only 

^Vittore Baroni first thirty years... (Sheet of 30 nearly id. stamps, phc., 

not perforated) S.I.N. AP! 55. 1986 

^Marty Cantsin (Sheet of 20 diff. stamp images, phc. on rose paper, not 

perforated {200}) Near the Edge Ed. Folio 1° Vittore Baroni fecit 

^Bat Post (Sheet of 26 diff. stamp images, phc. on red paper, not perforated) 

BAT AP! 58. Collective stamp sheet. Jan-June 1988 

^Historical Puzzle, Series N3 (Sheet of 24 diff. stamps. phc. on green 

paper) E.O.N. Art Post. V.B. – 1988 

^The Risk! (Sheet of 16 + 16 diff. stamps, phc. on red paper, recto/verso, 

not perforated) Coop-sheet by V. Baroni & Günther → Ruch, 1988 

^Philatelic Heroes & Villlains (Sheet of 24 stamp images, phc. on yellow 

paper, not perforated {50}) Near the Edge Eds. 1991 

Âutomatic Doodles... / Automatic Babble... (Sheet of 20 diff. stamps, 

phc. on green paper, not perforated {50}) P. Ciani & V. Baroni, '91 

~ 

Source: Ruud → Janssen: Vittore Baroni. Mail-Interview. In: Arte Postale! N° 77, 1996 

^Last TRAX (Offset booklet, 60 p., + 12 stamps, 4 postcards, 3 stickers and one 

record in black vinyl, 1987). The publ. is an illustrated summing up report (with a 

theoretical introduction by V. Baroni and a retrospective essay by P. Ciani) about 

the TRAX activities (text: Italian and English). Further→ TRAX / Literature 

Literature: «...I think (an I hope!) that also most of the more mail artists feel the ambiguity and 

the fraily of the Eternal network as it works now: there is a swarming variety of 

mail-art shows every month, and thousand of individuals spending money to keep 

an enormous emount of cards and envelopes circulating in the postal systems of half 

the countries of the world, but the network lacks completely a clear idea of what 

they are all doing and why. (...) First of all, the stress in this expression is on a twoway-communication, 

that would be enough to determine a radical change in the way 

of doing and divulging art...» 

(V. Baroni: Letter to Umbrella. In: Umbrella [→ Hoffer], Vol. 3, # 5, 99- 100 p.) 

Karl Schmieder: Vittore Baroni. (Interview about TRAX and other publications) 

In: Unsound (→ Davenport) Vol. 3, N°4. 1986. 26-31 p. 

(Arte Postale!, #56): «Documentation of an amusing mail-art project. Entitled „Mail 

Art and Money Do Mix“ this volume tells of the editor sending out legal tender in 

respectable amounts (like $20 in the currency of the recipient's country) attached to 

a form letter with one of 5 options selected for the receiver then to do with the 

money. Among which are: drink to Baroni's health with it, buy Baroni a „compulsory 

gift“, for use as a payment to make the receiver stop sending „that awful mail 

art“, as a phony chain letter, and as incentive to xerox loads of the recipient's 

wonderful mail art. Needless to say, the results are very humorous and this to my 

mind is a welcome relief from the bulk of mindless mail art I receive. If you can get 

a copy of this, do. It's great.» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 27, 

Nov. 1987, 919 p.) 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 13, 91-92, 119- 

120, 133-134 p. 

Baroni, Vittore: The Hidden Link: The Mail Art Phenomena. Part 1-2. In: The 

Works (→ Salzberg), Vol. 3, N° 5. and N° 6. Block Island. July and August 1989, 

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. 

Artist Profiles: Vittore Baroni, NEAR the EDGE Editions (About Baroni's artists' 

stamps). In: Artistamp News (→ Banana), Vol. 3, N° 1-2. February 1993 

Arte Postale! 1979-1995: Memories of a Mail Art Magazine Maker 

As the old saying goes, I am not an artist, I am a networker. When I started 

utilizing the mail art net, I was looking for something that the traditional art system 

could not give me. At that time, in the late seventies, I tried to restrain myself as 

much as I could from creating „fine“ images. I didn't want to make „artworks“ and 

develop a style or please myself æsthetically. I wanted to find new ways to communicate 

my ideas, avoiding all the usual traps and clichés of the gallery-museumcritic-artmagazine 

routine. 

I was very young and naif, and of course I was also wrong (a style always 

develops in spite of yourself, and you can't hide away indefinitely your love for 

pencils and colours), but my clumpsy idealism lead me instinctively to fully and 

whole heartedly embrace this correspondence art thing. It was so liberating, the 

whole anarchic idea of Mail What Thou Wilt Shall Be The Whole Of The Law. 

Furthermore, operating at distance (as those travelling the Internet are realizing 

thirty years later) permitted you to disguise yourself with harmless trickery, 

switching sex, age, status, credo and (pen)names fast as you would lick a stamp. 

It was not art in the traditionally accepted sense, yet you could pretend it was and 

„play artist“ with hundreds of others grown-up kids, create new real/fake art myths 

and throw them in the face of the official Artclique, or simply forget that such a 

thing as a cultural elite existed and make up your own ideal (net)working dimension, 

a planetary web with you at the centre. 

For me, a networker is a new kind of cultural worker, with a new role in 

society and new tools and strategies of intervention at his/her fingertips: a sort of 

„cultural animator“, a meta-artist who creates contexts for collective expression, 

instead of traditional art works. I always felt that, in the mail art medium, the „art 

work“ is not represented by the single postcard or letter I mail, but by the whole 

process of interaction with my contact(s), including their replies and the spiritual 

link that is actived between us. A complete mail art project, a collection of contributions 

from dozens or hundreds of different people (not necessarily „artists“!) 

responding to one request or theme, is another form of what I regard as a proper 

networking art piece: not the single contribution, but the sum of all the interacting 

mailings. 

In this sense, photocopied (or offset printed) and self-distributed mail art 

magazines, often including manual interventions and original pages submitted by 

various contributors, are yet another form of genuine art work generated by 

networking practices. I consider the thousands copies of Arte Postale! that I 

lovingly hand-assembled one by one in the past sixteen years as the best single 

docu mentation of my multifarious activities as a full-free-time networker. While 

many content themselves with simple lists of names and addresses, I believe there 

are infinite ways to turn a mail art catalogue or magazine into a fully satisfying little 

art piece in itself. All those unexpected holes or original fragments glued on the 

pages, one-of-a-kind enclosures or hand signed messages are not intended to mimic 

the preciousness of pricy artists' books, but to make the experience of reading a 

mail art magazine as fresh, unique and intimate as that of reading a personal letter. 

If only in a few cases I have been able to achieve this, then I am an happy networker. 

(Essay by V. Baroni, written for the Arte Postale! exhibition in Hasselt, 

Belgium, 1996, organized by Guy Bleus. In: Ruud → Janssen: Vittore Baroni. 

Mail-Interview. / TAM-Publs.: TAM-960147. / Arte Postale! N° 77, 1996 ) 

Vittore Baroni: Vittore Baroni. In: Arte Postale. Guida al network della corrispondenza 

creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 162-163 p.



^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p. 

Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 96-99 p. 

^Vittore Baroni: The postage stamps’ revolt. In: → Felter: Artistamps / Francobolli 

d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo, 2000. 6-27 p. 

(Baroni’s own artistamps: 98-99 p.) 

Barreiro Mail Art. (Biblioteca Municipal) Rua da Bandeira, Barreiro, P-2830 Portugal 1989 

(All the catalogues of this exhibition series have been illustrated very generouse – 

well usueable source material) 

Salâo Internacional de Arte Postal. Cat. Biblioteca Municipal, June-July 1989 

2 a Exposiçao Int. Arte Postal Barreiro. Anos '90. Cat. A/5. 1990 

3 a Exposiçao Int. de Arte OPostal, Barreiro, 1991. Cat. A/5. 1991 

4 a Exposiçao Internacional Arte Postal. Cat. A/5. Nov. 1992 

Â Festa. 5 a Edição do Salão Int. de Arte Postal. Cat.: A/5, offset, 64 p. Biblio- 

teca Municipal do Barreio. November 1993 

Ô nú. 6 a Exposição Internacional de Arte Postal. Cat.: Horz. 16x23.5 cm., 

offset, 66 p. Biblioteca, Barreio. November 12-26, 1994 

 

O Cinema. 7 a Festival Internacional de Arte Postal. Cat.: November 1995 

O Racismo. 8 a Exposiçao Internacional. Cat. Horz. size. Dec. 1996 

 

Os Oceanos. 9 a Exposiçao Int. de Arte Postal. Cat.: A/5. Nov.-Dec. 1997 

Â Terra. X. Exposiçao Int. Arte Postal. Cat. 20x21 cm. 108 p. Sept. 1998 

~ 

Literature: 

^Retrospectiva Arte Postal Barreiro 89 / 98. (with detailed data of all exhibitions 

and colorful reproductions of the catalogue-title-pages) 21x21 cm. col. offset, 12 p. 

Camera Municipal do Barreiro, Biblioteca / Espaço Jovem / Galeria Finisterra, 1999 

«Barreiro, Camera Municipal» International Art Postal Salon. Barreiro Portugal 1993 

Yearly Mail Art exhibition with documentations 

 

Învitations: The Party, 1993; The Nude, 1994; The Cinema, 1995; The Racism, 1996; 

The Oceans, 1997; The Earth, 1998; Century XXI., 1999 

Bartkowiak, Heinz Stefan Körnerstr 24 Hamburg, D-22301 Germany 1996 

Edition: Forum Book Art. 1996- 

 

Bartling, Manfred (Asyl der Kunst) Hauptstr. 3 Gross-Häuslingen, D-2818 Germany 1990 

^Tree in One Triptich. Inv., 1990 

 

^Cain and Abel. Inv., 1996 

 

 

!Basic! 

→ Renault, Frédéric 

Bates, Keith 2 Ferngate Drive Manchester, M20 9AX United Kingd. 1997 

↑ (The Eclectic Hermit) 34 Goulden Road, Manchester, M2O 9ZF. - “ - 1992 

............................................................................................................................................................. 

Activity in «fake tickets and bogus labels» as Mail Art ephemeras. 

 

Ânother Stamp Album. Cat.: A/5, phc., 24 p. 1984 

 

°Comic to Comic. Cat.: A/4, offset, 24 p. 1984 

 

^Ticket Art. (Make a ticket for a real or imaginary event...) Cat.: A/5, phc., 48 p. 

1985 (A second Ticket Art project: 1992) 

Êlements / Language / Visual Art / Audio Art. Inv., 1985 

 

^Jackson Pollock's Shoes. Cat.: A/5, phc., 32 p. / with «Christie's Mail Art», 

8. Dover St., London, WiX 3PJ. 21 September 1991 

~

Literature: 

Vittore → Baroni: Keith Bates. In: Arte Postale. Guida al network della corrispondenza 

creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 76-77 p. 

«Bay Area Dadaist» → Mancusi, Tim / → Gaglione, Bill / → Chikadel, Charles 

→ Caravello, Steve 

→ Cazazza, Monte 

→ Dogmatic, Irene 

→ Friedman, Ken / Weekly Breeder 

→ Lloyd, Ginny 

The Weekly Breeder publications of the Bay Area Dadaist: 

NYCS Weekly Breeder. (Vol. 1) #1-11, Edited by Ken Friedman, 1971 

NYCS Weekly Breeder. (Vol. 1. ?) further 12 issues. Ed. by Stu Horn, 1972 

NYCS Weekly Breeder. Vol. 2. N° 10 (#1) Ed. by Tim Mancusi. Letter, ip., 2 p. 

May 1972 

NYCS Weekly Breeder. Vol. 3, N° 2 (#2) Ed. by Tim Mancusi. Letter, ip., 7 p. 

June 1972 

NYCS Weekly Breeder. Vol. 3, N° 3 (#3) Ed. by Tim Mancusi. Letter, ip., 10 p. 

Christmas 1972 

The NYCS Weekly Breeder. Vol. 4. N° 1 (#4) Ed. by → Caravello, Steve, 1972 

The NYCS Weekly Breeder. Vol. 3. N° 5 (#5) Ed. by Tim Mancusi. Letter, ip., 

15 p. 1973 

(announced as May 1953!) 

The NYCS Weekly Breeder. Vol. 3. N° 6 (#6) Ed. by Tim Mancusi. Letter, ip., 

34 p. 1973 

The Very Last NYCS Weekly Breedeer. Vol. 3, N° 7 (#7) Ed. by Tim Mancusi. 

Letter, ip., 17 p. Autumn 1974 

The New York Correspondence School WEEKLY BREEDER. Vol. III, 1981. Letter, 

phc. 200 p. Ed. Tim Mancusi and the Bay Area Dadaists. (A complete 

compilation of the seven issues of the NYCS Weekly Breeder edited 

by the members of the Bay Area Dada group. Also reprints of an article 

from The Print Collector's Newsletter [Sept-Oct. 1977]; Howerdena 

Pindell: Artists' Periodicals.) 

The New York Correspondence School WEEKLY BREEDER. Vol. VI. N°1. (#8) 

Ed. Tim Mancusi. Letter, phc. ? p. (With the mini-editorial: A Brief 

History of the NYCS Weekly Breeder; «... I asked Bill (Gaglione) if he 

wanted to put out a 20th anniversary issue this May... Always be dada 

and remeber that „Traditional family values“ is just another code phrase 

for intolerance.) 

~ 

Sin City. (Mag. in mini size, 8p. ip., 1972-73, #1-2) Further→ Mancusi 

 

Weekly Readers Da-jetst. (by Perry Mancusi aka Indian Ralph) Vol. 1, N°1. 

Letter, ip., 8 p. San Francisco, Nov.-Dec. 1972 

The West Bay Dadaists / Flash Art / QUOZ? (Series of neo-dada mags. edited by 

Charles Chikadel. Altogether 12 publs. appeared between May 

1973 and winter 1975-76 in an edition of mini size, instant print, 

8–48 p. Trinity Press, San Francisco. Further→ Chikadel. 

Soloway, Rick (ed.): Clouds over Albuquerque / For Left-Handed, both mini, ip., 16 p. 

Mr. Tip & Ms. Tops Favorite Recipes „Cookabook“, digest ip., 24 p. 

(Contributors were asked to submit their favorite recipe, which ranged 

from Tim Mancusi's peanut butter and jelly sandwich to A. M. Fine's 

„How to Cook an Atomic Bomb“. 

Nu-Art, magazine with cartoons, #1 only, mini, phc., 20 p. 

 

Punks. (A series of 29 photobooth portraits, «...were photographed May 2nd, 1975, 

and include K. Doll, J. Rossman, B. Gaglione, C. G. Civatelli, T. Mancusi, 

Indian Ralph, O. L: Nations and J. Zontal») Mini, phc., 32 p. 

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 

Mamelle Inc., San Francisco, June 1980 

Cushman, Barbara: The 1980 Cooperative Color Xerox Calendar. 

The 1981 Cooperative Color Xerox Calendar. 

Color Xerox Annual. 

1983 Color Xerox Annual. 

New Art 84. 

(Spiral bound colour xerox calendars 1981-84. All publs. legal size, 

colour xerox, 15-16 p. A Fine Hand Prod., S. F. More: → Cushman) 

Stamp Art. Eds.: Joel Rossman, Tim Mancusi, Bill Gaglione. (55 participants) 

Letter, phc., San Francisco, 1980 

Fallout (Mag., ed. by → Smith, Winston. #1-2: digest, phc., #3-5: tabloid, newsprint, 

24-40 p. 1980-84, squ.) Fairfax CA. Further→ Smith, W. 

Cenizas #18 (Mag., with guest editor Geoffrey Cook. A visual poetry special issue, 

digest, phc., 40 p.) Ed. Romax, San Francisco (Rolando Catellion) 

Neo-Roc International Mail Art Exhibition. Cat.: Letter, phc. & rubber stamps, 

28 p. Org.: Marlon Rockola (editor of the Cat.:) & B. Gaglione. 112 

parts. / Fort Mason (alternative space). San Francisco, Febr. 1982 

~ 

Literature: 

 

 

 

Robert Camuto: Mailomania. (Covers the Bay Area mail art activity with Banana 

and Gaglione at the forefront) In: Boulevards (tabloid). Vol. 2, N° 1. San Francisco 

Vittore → Baroni: Interview with Bill Gaglione & Anna Banana (espacially about 

the Bay Area Dadaists). In: Punk Artist. N° 4. Ed. Graziano Origa. Milano, 1979 



«In 1968, Gaglione began working at Barons Art Supply, where owner, Edward 

Aaron, a former lawyer and army surplus salesman, encouraged a relaxed atmosphere 

among the staff. Steve → Caravello, who became the photographer of record 

for the group, began working at Barons soon after, joined the following year by 

Charles Chickadel. The core group of the Bay Area Dadaists congealed when Tim 

Mancusi, Gaglion's from Long Island Island moved to the area in 1969... In the 

seventies, artists went alternative, circumventing the established away institutions. 

For the most part, the Bay Area dadaists operated away from the mainstream, 

building new support systems through correspondence, publications, performances 

and festivals... From 1972, they were all involved in the mail art scene... 

Gaglione and Mancusi became the editors of The New York Weekly Breeder, 

which had first been published by Fluxus member Ken → Friedman. Friedman 

passed the editorship on to Stu → Horn of the Northwest Mounted Valise, who in 

urn relinquished his editorship to the Bay Area Dada group... These publications 

were produced at a crucial time, when photocopying was replacing mimeograph 

as the favored medium of self-publishing... The publications of the Bay Are 

Dada group marked a shift from the underground writings of the psychedelic area. 

They had a harder edge, in part due to the New York roots of Gaglione and 

Mancusi, and precursed the turn from hippie to punk and industrial sensibilities...» 

(John → Held, Jr: An Introductory History of Bay Area Dada Publications. In: 

The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione]. San Francisco,1997) 

«In many ways, this issue (#4) of the Breeder attains it's classic look. Reprinted 

newspaper articles are collaged with visual material, much of it pornographic in 

nature, all of it just a bit off kilter. For instance, on page three the following scraps 

from newspapers are gathered together on a collages background... The headline on 

page one reads, „Re-elect the President“, and there is social commentary running 

throughout.» (John → Held, Jr: Bay Area Dada, 1970- 1984: An Annotated

Bibliography of Primary Sources. In: The Bay Area Dadaist. Edition Stamp Art 

Gallery [→ Gaglione]. S. F. 1997) 

«Bazzoka, Group» c/o (O. Clavel ?) 34 rue Montholon Paris, F-75009 France 1975 

^Bazooka (Epoch making graphical publ. A/4, offset (partly colour print), 28-54 p. 

1875: #1 Bazooka, #2 Loukhoum Breton, #3 ?) 

^#1, 2 

^Bazooka Production. (by Olivia Clavel, Loulou, Kim Bravo), Tabloid size book, 

offset, 36 p. / Futuropolis, Paris, 1977 / 1987 

Ûn Regard Moderne, Resistance Graphic (Mag. Tabloid size, newsprint, ~32 p. 

1978, m. #1-6) Editor: Loulou Picasso (Edition Liberation / Bazooka, 

27/30/32 rue de Lorraine, Paris, F-75019) 

^#1, 3, 4, 5 

^Clavel, Olivia: Matcho Girl. Les aventures de Télé. (Book, 72 p.) Tabloid size offset 

book with «Bazooka graphics». Le Dernier Terrain Vague, 1980 

^Picasso, Loulou & Lacroix, Hugo: Affairisme et literature. 22x13.5 cm.,offset, 48 p. 

Le Dernier Terrain Vague. Paris. 1983 

^Clavel, Olivia !Télé!: Peintures (6 colour cards + text-accordion, 6 p., by D. Mallerin) 

DTV / Galerie Chistophere, Paris, 1990 

→ Larsen, Lulu (Lulu) 

→ Renault, Philippe 

→ Loulou Picasso (Duprés, Jean-Louis ) 

→ Clavel, Olivia /Olivia Télé 

Kiki Picasso (Chapiron, Christian ) 

Vidal, Bernard / Bananar 

Bailly, Philippe / T5Dur / T5 

Tirmel, Jean Pierre 

~ 

Literature: 

^Jean Seisser: La Gloire des Bazooka. (Illustrated monography, French.) Offset 

book, 272 p. Éditions Robert Laffont, S. A. Paris, 1981. The chapters: 

Les espoirs flous. 

Bazooka au singulier désigne le groupe. Bazooka au pluriel désigne les membres 

du groupe. Bazooka au singulier désigne aussi un membre du groupe. Bazooka 

production est la signature utilisée indifféremment par n'importe quel Bazooka. 

L'épopée Bazooka. 

Sur le marchepied punk le flash éclate dans la tête. 

«Libération» successivement: dictature graphique fondation réactiviste et résistance 

graphique. 

La nuit européenne. 

Les yeux brulés. 

Les Bazooka à travers Bazooka. 

Lulu Larsen est né le 7 aout au Mans. Mission impossibile. Il signe ses dessins Lulu 

ou Lulu Larsen. Mais il s'appelle. Philippe Renault et ses parents. L'appellent 

Phillipe. 

Bernard Vidal est né le 7 mai 1954 à Alger. La difestion lente. Il signe ses dessins 

d'abord Bananar, puis Bernard Vidal. Il est surtout connu sous te sobriquet 

Nanar. 

Loulou Picasso est né le 13 mai 1954 à Masingerbe. La parole du bègue. On 

l'appelle Loulou. Il signe ses dessins Loulou puis il rajoute Picasso. Son vrai 

nom est Jean-Louis Duprés. 

Olivia Clavel est née le 14 octobre 1955 à Paris. Un joli garçon (marin). Elle signe 

généralement de son nom. A un moment: Electrik Clito plus souvent: Olivia 

Télé Clavel. 

Kiki Picasso est né le 15 avril 1956 à Nice. Le dessin qui tue. Il utilise d'innombrables 

pseudonymes: Kim Bravo, Kriss Plak de Krass, Marie Scouleursavecgout, 

Professeur Kolbe. On l'appelle généralement Chap ou Kiki. Sa mère 

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 

Chapiron. 

Philippe Bailly est né le 29 mai 1957 à Déville-lès-Rouen. L'érotisme de l'angoise. 

Il signe ses dessins Ti5Dur ou Ti5 Absorption. Plus généralement Ti5. Ou 

simplement T5. On l'appelle Philippe. 

Les lignes brisées. 

Le panier de crabes. 


of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 139-141 p. 

Bealy, Allan P. O. Box 383, Village Station New York, NY-10014 USA 1980 

↑ Box 813, Station A Montreal P.Q., H3C 2V5 Canada 197? 

............................................................................................................................................................. 

Da Vinci (Mag. Letter, offset, 1973?-, #1-3?) Vehicule Art Inc., Montreal 

 

^Benzene Magazine (Fluxus like mag., also vis. poetry. Tabl., newsprint, 24 p. 

1980-, 3xy.) De Press. New York 

^#1 

~ 

Literature: 

(About Da Vinci) VILE #4, Summer 1976 (→ Banana, Anna): Introduction. 

Bechi, Lizzie / Crozier, Robin Bristol United Kingd. 1983 

Mail Art. Cat.: / Arnolfini Gallery, 1983 

 

 

Beerens, Rudy P. C. Box 732 Maastricht Netherlands 1981 

^P's Magazien (Underground mag. with dadaistic texts, photos, graphics, and 

visual poetry. Hand interventions. Issues not dated, not numbered. 

A/5 and A/6, phc., ~30 p. 1981?-) 

^# Doorstromen S.V.P., A/6, 30 p. 

Beke, László Pozsonyi út 4 Budapest, H-1137 Hungary 1982 

↑ Polgár u. 7. Budapest, H-1033 - “ - 1972 

............................................................................................................................................................. 

Âhogy azt a Móricka elképzeli (Open corresp. brochure, like samizdat magazine. 

Text: Hungarian A/4, typewritten, 26 leaves. 1972. #1 only) 

World-Famous World-Archives / of ideas, concepts, projects. Doc. 1972 

The Last Mail Art Exh. (1972-78?) / Artistic Errors (not exhibited) / Hatvani Lajos 

Museum. Hatvan H, 1978 

Bell ? ? France 1984 

Journal des Chats (Compilation mag. by exp. literature & graphics. A/5, 1984-, ir.) 

Bellini, Lancillotto Arte Naturale. Via Adelardo N° 8. Verona, I-37139 Italy 1990 

^Between Correspondence and Art / Tra corrispondenza e arte. (with the Gruppo Arti 

Visive di Verona) Catalogue in the form of a poster of 65x46 cm., 

2 colours offset, with participant list, + 2 A/4 sheets, phc., as document. 

Exh.: at the Palazzo verità Montanari, Verona, March 22-28, 1986 

Ârte Naturale. Inv., 1988 

 

^The Artist's Family. Cat.: A/4, phc., 18 p. 1990 ® 

Arte Naturale. Cat. 1990 

 

~ 

Literature: ^John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p. 


Below, Peter (Art Base) Leyendeckerstr. 27 Köln, D-50825 Germany 1996 

↑ Bismarkstr. 12 Würzburg, D-8700 - “ - 1986 

↑ (Ego Post) Steinheilstrasse 12, #14 Würzburg, D-8700 - “ - 1980

↑ Schrannenstr. 19 / P. O. Box 229 Kitzingen, D-871 - “ - 1976 

............................................................................................................................................................. 

°Correespondence with U. Carrión (Doc.) A/4, phc./dactylography. 30 p. Unique 

material in exchange between Below and Carrión. 1976 

^Handlungen. (Book with actions and performans, also Mail Art documentations. 

Cut A/5. offset, 132 p.) Omnibus Press / Mixed Media, 1976 

Îllusionäre Realitäten, Reale Illusionen. Dokument dreier Tage und Nächte. 

(with e. m. p.) A/5, phc., 24 leaves. {40} Ubbeboda Artist Union, 

Sweden / Lurchi-Edition. Kitzingen, 1976 

^Mail Art. In: Materialien an der Fachhochschule Würzburg, 1981-82, edited by 

Hubert Kretschmer. Other texts in this publ. (all German): U. Carrión: 

Mail art and the big monster. L. Spiegelman: Statement, G. Lloyd: 

Judit Hoffberg and the Umbrella, H. Zabala: Art is Prison. 

A/5, phc., 22 leaves. Würzburg, 1977. 

Êroticism and Art (Commonpress #3) A/4, offset, 24 p., 56 participants. Mixed 

Media Ed. Kitzingen, March 1978 

°Young Generation and Political Reality. Inv. A/4, phc. 1 sheet. Kitzingen, 1978 

Artistamps: °Ego Post (Sheet of 49 stamps, 7 diff. images, sepia on white) 1978 

°Abnorm Post ( Sheet of 72 diff. stamps, phc.) Mixed Media, 1979 

Bacillus Catalogues, #1-5. (Periodical publs. for the exhibitions and other art events 

at the Bacillus Art Space, Steinheil Str. 14, Würzburg, D-8700, curated 

and edited by Peter Below) Ed. Mixed Media. Kitzingen, 1979-1980 

1) Kunstvermittlung in der Diaspora I. A/4, phc., 38 leaves. Nov. 1979 

Photos & contributions by Wulle Konsumkunst, E. F. Higgins 

III., Rod Summers, P. Below, Angelika Link, Niels Lomholt, 

Horst Kraus, Albrecht/d, etc. 

2) Kunstvermittlung in der Diaspora II. A/4, phc., 48 leaves. Jan. 1980 

Exhibition by David Drummond Milne, contributions by H. J. 

Hummel, Petra Homeger/Ms. Occultic, P. Petasz, H. Kraus, Peter 

Below & others 

3) Neueste Nachrichten aus der Diaspora. A/4, phc., 54 leaves, spiral 

bound publ. March 1980 

Contributions by the artists from the magazine Schwantz / Frankfurt, 

Gábor Altorjay, Tamás Szentjóby, A. P. Stucker, J. Witsch, 

P. Reuth, W. E. Baumann, R. Knödler – E. Lepetit, T. Niggl, etc. 

4) Geschäftspapiere. A/5 material in a portfolio of 26x18 cm. Inserts: 

Art Space. Würzburg-Grombul (A/5 size offset brochure by the → 

Lomholt Formular Press) + loose photocoped matter + some original 

objects, also 4 postcards by T. Niggl. n.d. (1980) 

Additional catalogue: Niels → Lomholt: Mr. Klein Project. A/4 horz., 

offset colour print, 12 p. April 26, 1980 

5) Kunstvermittlung in der Diaspora. A/4, phc., 48 leaves. Mai 1980. 

Exhibition & graphic material by Joachim → Frank, film contributions 

by Stan Brakhage & Werner Nekes, etc. 

Multimedia Festival / Diaspora. Cat. A/4, phc., 110 leaves. Mixed Media Ed. 1980. 

Contributions by artists from Sweden, + J. O. Olbrich, Jan van 

Raay, R. Summers, H. W. Kalkmann, Albrecht/d, André Maguin, 

Groupe CAIRN, R. Crozier, Fred Truck, E. A. Vigo & others. 

°Instant Art for Instant People. Visual fragments from 4 performances. (A/4, phc., 

rubber stamps, collage, offset, 20 p. Mixed Media. Kitzingen, 1980 

°Identität / Realität. (Offset, rubber stamps, orig. photo) Mixed Media, 1980 ® 

A magazine for... (Mag. with correspondence and visual matter, for some friends 

only {10}. «This means that the addresses are different each time 

and no one will ever have a complete collection.» A/4, phc. 1980-, sm.) 

°Lebenszeichen. (Bookwork by coloured drawings maginified by xerox, + rubber ® 

stamps) A/4, 26 p.. Mixed Media. Kitzingen, 1980 

^Struwel Peter Scrapbook. (A cooperative work of Robin → Crozier, Geoffrey

Young, A. Barrio, Spudz/Cees Franke, Pete → Horobin and Peter 

Below. Below started a German children book for an «add to things 

and images» action in 1977. After the intervention of Crozier, Young, 

Barrio and Franke, in January 1981 the book was given to Pete Horobin, 

who destroyed it in the sense of a Destruction/Ceeation action. After 

this final result, the pile of loose pages have been photocopied and bound 

to a new book in 10 copies by Peter Below.) A/4, phc., 101 leaves + cover. 

Mixed Media / Kriptonic Press. Würzburg. February, 1981 

^The Neoist Network's First European Training Camp Würzburg, June 21-27, 1982. 

(with I. → Kántor) A/4, offset, 72 p. Kryptic Press, Würzburg / 

Centre de Reserche Neoists – Monty Cantsin, Montreal, 1982 

Ân open letter to Monty Cantsin. (A/4, 17 leaves, xeroxed matter {16}) Responses 

by: Pete Horobin, Vittore Baroni, David Zack, Mark Bloch, R. U. Sevöl, 

Tentatively, István Kántor. Kryptic Press, Würzburg, n.d. ~1982 

^Buddhette Documents I-II. (with Petra Weiß & Piotre N. N.) A/4, phc., ~50 leaves 

recto/verso in a portfolio. Editions to commemorate the (xerographical 

and Mail Art like) activity of the Budhette University in the Ultimate 

Akademie Köln (→ Pellini). {30} Kryptonic Press. Köln, 1996-1997 

#1: Gelasasenheit. 1996 

^#2: Weiblichen in Männlichen (und vice versa) . 1997 

~ 

Literature: 

P. Below: Info Exchange (About the planning of an alternative art space in 

Würzburg.) In: Umbrella (→ Hoffberg). Vol. 2 / #6. 143 p. November 1979 



Bennecke, Reinhardt / Lory, Ekkehard ? Hannover Germany 1975 

DA²=! (AHUA 1) A/4 publ. especial for xerography with dadaistic colour. 66 p. 

{500}. Dadahnova. Hannover, 1975 

 

Bennett, John M. Luna Bisonte Prods. 137 Leland Ave. Columbus, OH-43204 USA 1975 

^Lost and Found Times (One of the most known network mag. for visuale poetry. 

Digest size, offset print or phc. Issue 1 and 2 each with one sheet, 

issues 3-7 each with 21 leaves in cover, ubound, later stitched issues 

with 24-36 pages. 1975-, 2-3xy., over 40#) 

^#17, 18, 20, 21-22, 23, 27 

°Meat Dip / Blank Wall (15 / 17 stickers with rubber stamps in envelope) 1976 / 80 ® 

°Select Labels. Digest, offset, 16 p. Lina Bisonte prod. Columbus, 1976 

 

^Time Release. (concrete poetry by short sentences) Digest size, phc., 12 p. 1978 

^Contents. Visual poetry. 14x10,75 cm., phc., 14 p. 1978 

 

^Nose Death. Digest size, phc., 12 p. 1984 

 

^13 Spits. (dedicated for V. Baroni) A Clarel Edition, 1986 

 

Âsh. (with Robin → Crozier.) Visual poetry. 14x10.75 cm., phc., 8 p. 1999 

Âgon. (with Robin → Crozier.) Visual poetry. 14x11 cm., phc. on re paper, 8 p. 1999 

There exist also copies with hand interventions by R. Crozier. 

~ 

Literature: 

«I am interested in the word, in language as a vehicle for containing or referring to 

the whole of my experience alive. My work has moved in several directions toward 

that goal: language as poetry, as conceptual object, as visual object, as somatic 

graph in handwriting. Usually I try to combine two or more of these aspects in my 

search for a total expression. The placing of experience or self into language is 

perhaps the most unique aspect of being human. It is sometimes difficult, painful or 

joyful process. It is the self coming alive and leaving itself simultaneously...» 

(J. M. Bennett: Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art 

– Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 167. item)

«Bennett cranks outhis work and the work of his cronies with relentless regularity. 

Lost and Found Times features mostly poetry of the grainy, grit school. Tough but 

inward. Part surreal daydream, part concrete. With „Ack's Wacks“ as a ongoing 

item (Al → Ackerman's tangents into real life as he imagines it) the tone is set. 

The tape sounds like the poems and collage read, only louder.» (About N° 26, 

booklet + cassette, in: Lightworks [→ Burch]. Glimmerings [Publication review] 

N° 20-21, 1990. 64 p.) 



«Is it possible to describe what is do delighful about Mail Art? 

What's delightful about receiving Mail Art is that it's so full of people's uninhibited 

expressions, off-the-cuff blurtings, or careful, lunatic constructions. It's 

about as close as one can get these days to a „pure“ art, one with no agenda, no 

career-building motives, etc. (This doesn't mean it doesn't have political or social 

messages – it often, even usually, does – but the functionality of that is inpersonal) 

Anyway, receiving Mail Art stimulates my own creative processes... What I like 

about making Mail Art is that it's a medium in which I can either disitribute my 

main work, poetry, and/or do completely spontaneous things that often surprise me 

and serve as a source of ideas for other projects. (...) 

Lost and Found Times is an avant-garde literary magazine that includes the 

occasional bit of Mail Art. It began in 1975 as a single-sheet publication of fake 

lost-and-found notices that was stuck under car windshields in parking lots... When 

the other editor died suddenly in 1978 (Doug Landies or Mr. Sensitive) I continued 

to publish it, gradually expanding its literary aspect. (...) 

Your use of rubber stamps is quite interesting, too. Some mail artists in the 

USA and Europe like to use several rubber stamps to make a (realistic) visual story 

out of them, but you like to combine rubber stamps which don't fit together to give 

some kind of message... 

...I want to make something never made before, something I, and others, will 

see for the first time. This is my goal in all my art and writing. Rubber stamps are a 

quick way to achieve this: with a couple movements of the hand, you can make a 

bizarre combination of images and/or words and thus have an instant experience of 

seeing the world as if for the first time: the world becomes new and exciting, and on 

continues to learn about it. On a less metaphysical plane, I enjoy rubber stamps as 

objects and for their potential to create works in multiples, a fascination related to 

my work as writer, whose works are reproduced in books, which are the ultimate 

„multiple“ art form. Perhaps this is a contradiction (or unity of opposites): I want to 

create things no one has seen before, but create them in many identical copies. Vive 

la contradiction!...» 

(Ruud → Janssen: The Mail-Interview with John M. Bennett. A/5, 16 p. 

TAM Publs.: TAM-960123, Tilburg, 1996) 

Vittore → Baroni: John M. Bennett. In: Arte Postale. Guida al network della 

corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 110-111 p. 





Bennett, John (Also) 137 Leland Ave. Columbus, OH-43204 USA 1995 

^Typewriting in a Swimming Pool (Br. 24 p.) Found Street / Luna Bisonte Prod. 1975

Bennink, Sylvia ? Almelo, NL Neatherlands 1985 

^The Bright Red Briefcase. Mail Art project. Cat.: Horz. 14x30 cm., offset by red 

and black, 12 p. Almelo, July 1985. 

Bentos, Acoste Magallanes 1424 / 903 Montevideo Uruguay 1985 

^Defence of Animals. Doc. Legal, phc., one sheet. 1985-86. 

 

^Mail Art /Book 86, Edition. Invitation on postcard. 1986 

 

^Friends – Mail Art on Video. Inv., 1986 

 

Berardi, Rosetta Viale Petrarca 402, Lido Adriano AR, I-48020, Italy 1992 

^Ravenna from the World (with Giovanni → Strada), Cat.: 22x24 cm., horz., 

offset, 114 p. Ed. Essegi. Texts by G. Guberti, R. Berardi, G. A. Cavellini, 

E. Baj, C. Spadoni, J. Held Jr., A. Tisma. /Exh.: Saletta Ancora, 

Ravenna, September-October 1992 

^Lo Specchio / The Mirror. Cat.: 24x17 cm., offset, 32 p. / Arte Studio Sumithra, 

Via Pasolini 43/45, Ravenna. April-May 1993 

Berezianski, Andrzej ? Poznan / Worclaw Poland 1970 

^Matematyka. Cat.: 19x17.5 cm., offset (yellow print), 12 p. Conceptual-visual 

works exhibited in the „A“ Gallery in Gniezno, Poland. 1970 

^Periodik (Mag. for conceptual works and experimental literataure, one of the 

earliest artists' periodic publ. in Poland. Collaborators: → Kozlowski, 

→Kostolowski. 23x21 cm., phc. + offset + partly hand made technics 

as typewritten pages, hand drawings, mimeogr. etc. {~40}, 1972-75? 

~2xy. #1-5?) Poznan 

^#1, 4, 5 

Berger, Udo Expanded Media Editions Basel – Paris, Swiztzerland- France 1975 

Soft Need (Mag. Literature accompagnied by vis. matter from concept artists. 

Cut A/4, offset. 1975?-, bim? ~ 20#) 

Berger, M. 

→ !Harlekin Art! 

«Bergkamer / Workshop» Dept. of Arts and Culture Bergkamen, D-59192 Germany 1982 

Ârt for Surviving. Mail Art Workshop, Bergkamen 1982-/83. Cat. and anth. ® 

by original rubber stamps, edited by the Dept. of Arts and Culture, 

Bergkamen in cooperation with the Commune of Gütersloh, Germany 

in 1200 copies. Horz. 20x21 cm., offset, 70 p. for texts + 191 leaves for 

rubber prints. 

Bergmann, P. T. Webgasse 30 / 1. Wien, A-1060 Austria 1982 

^You, I and the Post (answering form to fill and send to). Inv., 1982 

 

Bericat, Pedro F. Associacion Amuna Duse (12). Apt. 4.033. Zaragozza, E-50002 Spain 1989 

^Mutualismo Laboral de Trabajadores Autonomos, de Servicios de la Industria 

y de las Actividades Directas para el consumo. (Beside Mail Art matter 

also artists' publications and magazines) Cat.: 24x17 cm., offset, 

52 p. – with large address & magazine lists. Exh.: Zaragoza, 1989 

^ 1. Festival / FAX „AUDISEA“. Cat.: A/5, offset, 36 p. (FAX: 976-253701) 1995 FAX 

Âudio-Noise Project at the Gallery Berde. Inv., 2000 

 

Berkhoff, Arthur (Pregroperativistic Movement) (Basis Orguna) P. O. Box 11839 Amsterdam Netherlands. 1985 

^Send Ashes to the Pregropertivistic Movement! Inv., 1984 

 

Lisme (Anagram of «Smile») (Neoist mag. A/5, N°5=A/4, phc., 1985-87? #1-5) 

Basis Orguna / AKAUCN, Amsterdam. 

Listed issues: 

LISME 1 (A/5, 20 p. 1985)

LISME 2 (A/5, 20 p. «Diving issue», May 1985) 

LISME 3 (A/5, «Key issue», 24 p.) 

LISME 4 (A/5, 28 p. 1985) 

LISME (A/4, 18 p. 1986) 

^NOW (Mag. 29.7x10.5 cm., phc., 16 p. 1986? #1 only?) Basis Orguna / AKAUCN 

 

Berlin, Post-Museum → Museum of Post & Telecommunication, Berlin 

«B. E. R. M. Kollegium» Richard Sorge Str. 24 Berlin, GDR-1034 1988 

^Recycling Mail Art.(«Second hand» material from the archives of mail artists) 

Cat. in the form of 4 accorodion folders, each with 4 postcards 

(BW offset) + participant list (A/4 sheet), + A/3 poster in BW photocopy. 

Exhs. in the Bezirksbüro, Berlin, further at the Kulturhaus Potsdam, 

Galerie «Blick», and in the Kulturhaus «Hans Marchwitza», Postdam, 

1988 

Recycling Mail Art / Actions Month (Guests: G Lipinsky, H. Bartnig, P. Küstermann, 

H. Otto, J. Klaffki) Kulturhaus Potsdam, Galerie «Blick», March 1989 

Recycling Mail Art / Action Month. Doc. in: Bermlina Zeitung. (News, 1989, #1) 

Bermejo, Mª Luz 

→ Inismo 

Berndt, John (!Monty Cantsin!) P.O. Box 22142 Baltimore, MD-21103 USA 1988 

↑ 3523 N. Calvert St. Baltimore, MD-21218 - “ - 1984 

............................................................................................................................................................. 

^Smile (Neoist mag., also audio-cas. & T-shirt. Letter, digest, phc. 1984-87, #1-8) 

Known issues: 

SMILE (A/4 size, 10 p. 1984?) 

SMILE now is never. (By Monty Cantsin /J. Berndt – A/4, 14 p. 1985?) 

SMILE issue 2. (A/4, 12 p. includes 2 audiocassettes, 1986) 

^SMILE issue 3. The answer is the destruction of the question. (A/5, 8 p. 1986?) 

^SMILE 1 issue 4. vol. «Formalism» (A/5, 16 empty p. 1986) 

^SMILE issue 6 vol.1 / issue 7 vol. 1 ( A/4, 24 p. screenprinted cover, 1986-87?) 

SMILE T-SHIRT (in small, medium and large form, by John Berndt) 

^SMILE (Art Strike issue with a text suppl. about the NYC Neoist apartment 

festival by J. Berndt. Digest size, yellow cover, 12 p. 1989-90) 

^K7U: Ultimatum II. – New Literature. (Brochure, letter size, phc., 20 p.) 

 

Texts: Berndt: Dialectical Immaterialism / Berndt &→ tENTATIVELY: 

Ultimatum II. Nouvelles Litteratures – New Literatures, 11-19 September 

1987 / tENTATIVELY: Generic As-Beenism. Baltimore, 1987 

Ôpening Gaps and Filling Them Up... 18x18, phc., 12 p. / Western Cell Division, 

~ 

Source: 

~ 

Literature: 

Dialectical Immaterialism Press, Baltimore, 1989. (Art Strike matter) 

^John Berndt & Graf → Haufen: The Secret of the Smile. (A/5, 4 p. n.d. / Berlin, 

1987?) A brochure making known some Smile publications by J. Berndt and 

S. → Home. About the Smile 6/7 by Berndt: «... was initialy prepared for 64th 

Neoist APT festival in Berlin and consequently reflected some of the concerns 

associated with neoism at that time...» 

(Statement of SMILE, Issue Three. The Answer is the Destruction of the Question): 

«The modes of discourse create their own (pseudo) answers. Only illusonary 

movement can take place within the existing frameworks. Consequently, our actions 

towards revolutionary movement must find their basis in the undermining of 

existing (i. e. accepted) forms of disicourse. To this end, we formulate (meta) 

nihilism as a point of departure, not because we „believe“ in it, but because it is a 

tentatively convienient position on the self-reflexive extreme of the mode of 

discourse (the „contradictionary“). We will „progress“ „beyond“ this „reference“ 

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 

pseudo-leisure in the first place). We have not illusions that meaning can continue 

in some way to „progress“ or can be done away with instantaneously – we 

impassively addresss the illusionary „progress“ of the „human cindition“ of the 

supression on (in) active refusal...» 

(K7U – Ultimatum II): «The package contains a booklet and a tape. Also known as 

Karen Eliot, Monty Cantsyn, and Charles Boyd, John Berndt is based in Baltimore, 

Maryland and is a graduate of the „Nuclear brain physics surgery school“ and has 

partipated in the →„Artists' Strike“ and other cultural conspiracies. His esoteric life 

activities have frequently been exhibited through the twin contexts of the art world 

(socially sanctionned imagination). Moore often than not, these exhibitions actions 

have involved diverse media of information recording and playback, and have 

reflected a perverse philosophical concern with questions of thruth and identity.» 

(Publication Reviews. In: Métro Riquet [→ Duvivier], #8. Paris, 1990. n. p.) 

Bernhardt, Martin c/o Noak, Karl-Marx-Platz 15 Greifswald GDR-2200 1987 

^... vom Adam zu Neuem Menschen... Inv., 1987 

 

Berry, Carolyn 78 Cuesta Vista Drive Monterey, CA-93940 USA 1987 

Literature: «My artists books originated from skills learned as a child transposed in form onto 

children's school books that had been written in, stamped on, covered with cloth 

and nibbled by mice. The character of these old books gave me the idea to make 

one-of-a-kind books. My books were developed on my own and independent of any 

other artist or their work. (...) The memories of old family textbooks gave me the 

impetus to treasure, then buy and develop a from of art to combine words and form 

in a meaningful way. They incorporate copy art pages, original photographs, 

paintings, and found objects to express the fragility of life and hopefully the tenacity 

of existence.» (C. Berry: Statement. In: → Jackson: Books Build Bridges / Copier 

Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986.168. item) 

Bertini, Gianni Via Malpighi 1. Milano, I-20129 Italy 1970 

MEC (One man mag. with vis. poetry and review. 23x25 cm., offset. 1969-71, #1-2) 

Bertola, Carla / Vitacchio, Alberto, Corso de Nicola 20. Torino, I-10128 Italy 1980 

Ôfferta Speciale. Ricettario di Poesia Internazionale. (Magazine for experimental / 

visual poetry and multimedia. 23x16 cm., offset, ~60 p. 1978-, ~2xy.) 

Prima series 1978-1987, 1-14 issues, the last five ones with the title: 

10) Torta da indovinare; 11) Artur Pétronio (monography); 

12) Spuntino Notturno; 13) Soup of the Day; 14) Gioie della 

Mensa 

Nuova series 1988-, (from the 3rd issue /Béchamel 200 copies have 

visual hand made by artists): 

1) Vini d'annata; 2) Mail Art Project; 3) Béchamel; 4) Breakfast; 

5) Prêt-à-manger; 6) Picnic; 7) Stuzzichini; 8) Cin Cin; 9) Plume 

Cake; 10) Torta Paradiso; 11) Manicaretti; 12) Convitto; 

13) Dessert; 14) Sciroppi; 15) Adesso Pasta! 16) Christmas 

Diner; 17) Bonarda; 18) Tartine; 19) Cream? 20) Buon Compleanno; 

21) Happy Birthday! 22) Churrasco; 23) Biscotti 

^# Series 1: #13 – Series 2: #12, 13, 19, 20, 21, 22, 23 

Read and Mail. (Poems read by their authors.) Cassette publications #1-2. 1981-1983 

Busta Sorpresa (Surprise envelopes with original vis. poetry works in 50-60 copies) 

1984-, showed in two exhibitions in 1988 and 1990 (~20 issues) 

Paté de Voix (Sound poetry collection on casettes) About 10 issues from 1985 

^Libri Da / Autore. (Artists' book collection at the Offerta Speciale) Cat.: 21x16 cm., 

color offset, 32 p. Text (Italian & English): C. Bertola. Exhibition: 

Studio Laboratorio di Anna Virando. Torino, December 1990

Visual editions. (Series of photocopied brochures with visual poems by the authors 

of the Offerta Speciale in 35 numbered copies, from 1998) 

A/5, phc, 16 p.: 1) C. Bertola; 2) A. Vitacchio; 3) A. Loras-Totino; 

4) F. Aguiar; 5) R. Kostelanetz; 6) C. Figueiredo 

~ 

Literature: 

 

^Dmitry →Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With 

over 500 illustrations, 592 p. Russian. Ed. Simplicii. Kaliningrad, 1998. 157, 225 p. 

Bertolino, Christian 53 rue du Sahel Paris, F-75012 France 1990 

^Nonotte et Patouillet (early issues by → Jocelin?)(Little graphzine in plastic bag 

with small object supplements {50}. A/5, phc. -124 p. 1986?-, ir., late 

issues were not numbered) 

^#1, 2 

~ 

Literature: 

«...It is almost an artists book looking like a small and nice flag, it will surely attact 

every bra-fetichists, featuring lots of writings, short stories and graphics, mostly 

humorous and surrealistic about this curious object.» 


Bertozzi, Gabriele-Aldo / Ed. Pagine, Viale Mazzini 146, Roma, I-00195. Italy 1993 

^Bérénice. Rivista quadrimestrale di studi comparati e recherche sulla avanguarde 

(Mag. for experimental and visual literature. 24x17cm., offset, ~180 p. 

1993-, qu.) Ed. Pagine. Roma 

^#1, 2, 3, 4 

Beurard, Patrick / Loth, Catherine, M.E.M., 15 rue Pierre Blanc Lyon, F-69001 France 1980 

Cahiers de Leçons de Choses (Mag. 22x17 cm., offset, ~160-72 p. 1980-, ~2xy.) 

Beveren, Peter van P. O. Box 1577 Rotterdam CN, NL-3000 Netherlands 1986 

↑ Herengracht 66. Amsterdam BR, NL-1015 - “ - 1984 

............................................................................................................................................................. 

°Art Information Festival. (Cat.: A/4, offset, 234 p.) Middelburg NL, Vleeshal, 1975 

^Transit (Almanachs #1-5, with Brand, Jan & other, 1975-1977) See → Brand 

Bias, Lisa 69 Etnuria, Apt. C Seattle, WA 98109 USA 1994 

It's in the Cards. Doc. 1994 

 

Bidner, Michael !Artistamp ! P. O. Box 3. Station B. London, N6A 4V3 Canada 1984 

Pioneer activity in artists' postage stamps 1982-1989, also a plan for a worldwide 

artistamp archive with exhibitions and a catalogue publication with 

international validity. This has been the famous plan for the “Standard” 

catalogue realized fater the death of Bidner by Rosemary Gahlinger- 

Beaune in a strong reduced form as a CD publication. The denomenating 

“Standard” was used also by → Dominique (Bug Post / Bugmaster, alias 

Dominique Johns), but her work was more a popular handbook for the 

artistamp freaks. 

^Statement (about Mail Art, art galleries, philately and artistamps) 80x10 cm. size 

computer print with additive rubber stamps. Distributed as circular by 

Mail Art correspondence, ~1982 

Ârtistampex. Known also as ”Cindarella Philately” or Artistamp Exhibition. Epoch 

making venture for the history of the artists’ postage stamps. Poster and 

diverse invitation flyers and cards were distributed. Exhibition at the 

Forest City Gallery in London, Ontario, in Canada. June 1-9, 1984 

^World Postex 86 – Artistampex / Cinderellex. Inv. to a filatelic and Mail Art 

event for Vancouver, Postal Station “E”, in the co-operation with the 

AMS.DAS graphic studio (Bidner self). Letter size leaflet with interesting 

theoretical text by Bidner on the back. Offset, r/v. print, 1986. (No further

data about the realisation of this show) 

Artistamps: ^Rocket Mail Artistamp (Block of 4 diff. stamps, phc. + red rubber 

stamp) n.d. 

Ârtystamp (Sheet of 6.5x7 cm stamps with photographed autoportrait. 

phc, on red paper) n.d. 

^Mail Art Masterpiece (Reproduction of a sheet of 16 diff. stamps, 

in the first stamp an advertisement text about ongoing artists' 

postage stamp catalogue of Bidner, b/w) Signed A/5 sheet, 1983 

^Stamp Drive (Sheet of 69 stamps, 1 is dubble sized, 18 images, phc.) 

Copyright 1985-05-13 Artistamps London Canada 

^RUSH Artistamps (Sheet of 50 selfadhesive labels with stamp images, 

49 images, b/w phc.) n.d. (1980s) 

^Mail Art first day of issue (40 sheets of diff. stamps, phc. on yellow 

paper) In mirror image: Artistamps M. Bidner '87. 07. 15 

Michael Bidner died April 5. 1989. His artistamp collection and Mail Art archive 1989 

was menaged by Rosemary Gahlinger-Beaune, 5515 Jersey Avenue. 

Burnaby-BC. V5H 2L3 Canada. A large part of the photocopied documentation 

was going to the Artpool Archive (→ Galántai), Budapest. 

~ 

Seurce: 

«The original concept for the artistamp project grew out of a desire and perceived 

need for philatelic documentation of privately printed stamps by artists, specimens 

of which had found their way into my stamp collection. The word „artistamp“ was 

coined to describe these items and replaces awkward usage of „artist's stamp“ and 

„artists' stamps“. (...) 

On April 1, 1982 (and continuing through to 1990) I began an ambitious 

research program to compile a comprehensive catalogue and handbook of artistamp 

produced by mail artists. The cataloguing and universal numbering of artistamps 

worldwide is a philatelic first. (...) 

An artistamp data base, exhaustive in scope for the philatelist and contemporary 

in attitude for the mail artist, is being created using micro computer technology 

coupled with the Spellbinder word processing system. Soon this information 

will be handled by a full-feature data base management system...» 

^(ARTISTAMP / AMSDAS: Background. Letter size leaflet, recto/verso, 

phc. on yellow paper, n.d. – 1983?) 

«...The artistamp data base has grown to nearly1000 artisampists representing 

almost 50 countries and it will be sometime after the deadline when I close entries 

to the data base for this edition at noon on April 1st before a final version will be 

ready for shipping. (...) 

As you may know, the release date for the reserved First edition of the 

Standard Artistamp Catalogue + Handbook (Canada + Worldwide) comprising 500 

loose leaf pages with text and facsimiles in black + white packaged in a binder for 

shipping is a set for Noon, April 1, 1984. The book may be currently reserved until 

the publication date for $50 (CDN) plus shipping... A series of 5 annual supplements 

has been planned to update the listings... Issuing Authorities listed in the 

artistamp catalogue will receive: 1/ two copies of their listing as it appears in the 

catalogue, 2/ a list of all the participants for whom artistamp numbers have been 

assigned, 3/ a mailing list of the issuing authorities which is not part of the catalogue 

package to the public, 4/ a checklist of all the assigned artistamp numbers, 

5 docu mentation of all the ARTISTAMPEX shows. 

The inaugural ARTISTAMPEX – Cinderella Philatelic Artistamp Exposition 

+ Bourse is being held in London, Ontario, Canada (natch) at the Forest City 

Gallery. (...)» 

^(Computerwritten letter /circular? to Géza Perneczky with the headline: 

1984 – International Year of the Artist from January 8, 1984) 

Literature: 

Rosemary Gahlinger-Beaune: A World of Artistamps: Remembering Michael Bid-

ner (with a preface and some bibliogaphical data by C. Welch). In: Chuck → 

Welch (ed.): Eternal Network. A Mail Art Anthology. University of Calgary Press, 

1995. 54-58 p. 

!Big Dada! 

→ Varney, Ed 

Bilejic, Dusan ? Zrenjanin Yugoslavia 1971 

Neuroart (Object-accumulation mag. in A/4 size, in a lessing edition: 33→0 copies 

at 1-33#, but not the whole series has been realized. 1971, 3# only) 

~ 

Literature: B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the 

1970s. In: Stephen → Perkins: Assembling Magazines. Internationale Networking 

Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 

(Print: 1997). 52-54 p. 

Billé, Philipp BP 249. T:(56) 818072 Bordeaux France 1995 

↑ 30 rue de la Vieille tour Bordeaux, F-33000 - “ - 1984 

............................................................................................................................................................. 

^Ljmit∋ (Mag. with special issues in var. sizes: A/4, A/5, A/6, phc. There exist also 

issues as phcopied matter in envelope format in edition of 100. 1982-87, 

#1-30) 

^#6, 7, 8, 15, 22, 23, 24, 27, 28 

^Ljmit∋ # 24 – Carton postal. (Post card assembling in envelope, 14 parts, 14 pieces 

+ 1 text card. {100} April 1986) 

^Poqo (Mini graphzine, one artist in each issue, A/6, phc., 8 p. 1986-88, m. #1-35) 

^#1, 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 19, 24, 26, 27, 29, 30,31, 32,33, 34, 35 

^Bizarr (Collective graphzine, without any text. A/4, phc., ~10 leaves. 1986-, 1-8#) 

^Supplement: Bazaar (One shot edition checklist by Ph. Billé, 1986) 

^#1, 2, 3, 4, 7, 8 

^Lettre documentaire (Theor. & informative A/4 one-sheet mag. 1987-92, ~ weekly. 

First series numbered as 1, 2, 3,... etc. ~180#?) 

Êconomy & Business / Transparitions. 25 leaves, S. P. {50} Bordeaux, 1987 

^Le Chantier du Chai, slide archive. 1. catalogue, July '87. Published by Billé as con- 

servator in the collection 23 rue du Chai des Farines, 33000 Bordeaux. 

(1-317 slides: works & publications from the Mail Art network) 

Cat.: A/5, phc., 8 p. Bordeaux, 1987 

 

^Lettre documentaire, nouvelle séries: Sept. 1992-, numbered as I, II, III, IV, etc.) 

^The Manuel / Handbook Proj. Cat.: in: Lettre documentaire N° 154-157. Nov. '95 

~ 

Source: ^Catalogue de l'edition graphice photocopiée en France. (20 p.) In: Ljmit∋ N° 28 

^Lettre documentaire, #41 = index for N° 1-33 

~ 

Literature: 

(Bizaar, #1) «...is a queasy and reeling series of strong-tasting images which rely on 

starkness for their power. Not everything here is great or even good, but all of it has 

some kind of effect. There are enlarged halftones of faces which lokklike refugees 

or political prisoners: this has the same quality of poorly printed terrorist literature 

which you see on the news sometimes. Shows what has become a sort of of visual 

vernacular. There is a jagged drawing of a demon on a toilet and there is sansom 

note lettering. All the pictures are full page and printed on one side of the sheet, so 

this is more like a portfolio...» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 

25-26, Summer 1987, 875 p.) 


of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 145 

Bini, Giampiero Via della Torre 90. Firenze, I-50135 Italy 1982 

Original Art Magazine (Assembling, folio size. 1982, #1-2?)

Birjukov, Sergey Ul. Virti 160 – 60 Tambov, 392032 Russia 1996 

^Muza Zaumi. (Zaumnist poems, A/6, offset, 32 p.) S. P. Tambov, 1991 

 

^Sub Alia Forma. (Book of visual poems, A/5, offset, 16 p.) Akademia Zaumi, 

Tambov, 1997 

~ 



Black, Byron ? 

Black, Bob c/o Loompanics Unlimited. Box 1197 Port Townsend, WA-98368 USA 1986 

^The Abolition of Work and Other Essays. (Book, 162 p.) Loompanics, 1986? 

^The Abolition of Work and Other Essays. (Brochure, 28 p.) → Feh! Press, 1993 

~ 

Literature: «(The Abolition of Work...) As Black describes his activities and being: „I go for 

baroque. I'm a lowlife hierarch, I picked the Locke and entered the Avant-Garden 

of Eden.“ Black's essays are what one could expect to hear if, through some quirk 

in the athmosphere. AM radio bands overlapped late one night and you picked up 

a fundamentalist preacher, an abusive call-in talk show, and an all-news station. 

The reception would be clear; the static results from the combination. Worth 

tu(r)ning into this „high priest of nihilarity“.» 

(Lightworks [→ Burch], Glimmerings [Print review] N° 18, Winter 1986-87, 48 p.) 

Black, Jeanie / Raman, Ely 451 West Broadway New York, NY-10012 USA 1996 

8x10 Art Portfolio (Portfolio mag. with matter collected and partly also printed by 

the editors, like an assembling {100}. Letter size with ~30-60 leaves 

by ~15-30 artists, issues not dated and not numbered, 1970-72, #1-9) 

~ 

Literature: 

«Factors that led up to 8x10 art portfolio. Well, there was the technical factor, 

having a little A. B. Dick offset press avaible... in my studio... So, in the early 

1970s I was quite involved in using an offset press as a vehicle for making art... I 

was very involved in the idea of alternative distribution projects – as well as the 

general idea of using non-traditional metarials and techniques to make art. 

In 1971 I contributed to Art Work No Commercial Value edited by Jerry 

Bowles; to Space Atlas, edited by Dana → Atchley, and → Kostelanetz's Second 

Assembling. In 1972 I sent stuff to Third Assembling and Bill Vazan in Montreal for 

Contacts. After that it began to be more and more mail art exchanges, as well as 

work on 8x10 art portfolio, Five Silent Songs, and other unique or (very) limited 

editions of various Books... I had a good connection with Fluxus. I participated in a 

number of Fluxus events... 

So 8x10 art portfolio did have a decent art pedigree... art rather art 

historical. Looking through all those issues of 8x10 art portfolio I realize that our 

historical consciousness (or self-consciousness?) was notably absent. The issues 

were not numbered or dated, the contributions often not properly identifieid (or 

footnoted) and we did not include serious (academic) verbiage identifying what we 

were doing in the context of art. Too busy making art to write or talk about it. I am 

not sorry we were not more self-conscious about the conceptual edges we were 

pushing – just as I am not sorry, that the work in 8x10 art portfolio was not 

produced on „good“ paper. There is a rather magnificent esthetic integrity about 

8x10 art portfolio. It was „pop“ art in the tradition of Warhol and Duchamp, in the 

tradition of Bianchine Supermarket, before pop art became Pop Art and was coopted 

by Castelli and Co. 

And it was art, art as distinct from entertainment or decoration or social 

display. And it went the way of so many things that were vital in the 1970s...» 

(Ely Raman, 1996) 

«What Ely has not included in this rather long letter is that within my 

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 

morning decided to attemp to produce a very slick version of what 8x10 later 

became... Each artist received one issue as recognition of their participation. The 

criteria (which was followed in most cases) was that rthe work fit on an 8½ x 11 

inch piece of paper. If the artist was using „found art“ that was smaller than that size 

we requested that they attach their piece to an 8½x11 sheet of paper. In some cases 

the participating artists sent 100 copies of their piece. In other cases we reproduced 

the work with the use of both paper and metal plates...» (Jeanie Black, 1996) 

(8x10 Art Portfolio. Two views – 26 Years Later. In: Stephen → Perkins: 

Assembling Magazines. Internationale Networking Collaborations. Cat.: Half-legal, 

phc., 64 p. Subspace, Iowa City. 1996 (Print: 1997). 20-21 p.) 

Blaine, Julien. Editions Nèpe, Le Moulin de Ventabren Ventabren, F-13122 France 1980 

Robho Les Carnets de l'Octéor. (with Jean Clay) (Early form of post-fluxus mag. 

with theory, sociology, cultural criticism, politrics, happenings, etc. 

41x27.5 cm., offset. 1967-71, #1-6) 

^Doc(k)s (Encyclopedical publ. for all kind of alternative and experimental art, very 

voluminous issues (often 300-400 pages) thematic order according 

to countries and species. 21x18 cm., offset. 1976-, bim., over 100#) 

The issues from 1976-1987: 

#1-4. Amerique Latine (Padín, Deisler, Ogaz, Glusberg...). Summer 1976 

#5-6. (Experimental poetry in the world + Mail Art.) Spring 1977 

#7-8. Special Japon (Poetry actual, manifestos + Mail Art). Summer 1977 

#9-11. (Poemes and poetry in the world «B» + Mail Art) Winter 1977-78 

#12-14. Yougoslavie et Catalans (Todorovic, Figueres...). Summer 1978 

Special Post-Cards (120 cards mostly by mail artists). Winter 1978-79 

#15-18. Corsica et Pologne (Works, manifestos + Mail Art). Winter 1979 

Destinataire Paris (200 postcard reprs. mostly by mail artists) Fall 1979 

#19-22. (The poetry + Mail Art in the Eastern European block) 1979-80 

#23-26. Russes (Actual/dissident poetry + Mail Art stamps). Summer 1980 

#27-34. Grand Virage (French poetry in alternative publs.). Winter 1980 

#35-39. Elementary Poetry in USA... (+ Mail Art). Fall 1981 

#41-45. Les non-officiels Chinois (+ Mail Art). Winter 1981-82 

#46-49. Adjonction et Additif (To the earlier themes + Mail Art). 1982 

#50-53. Espagne (Sarmiento + manifestos + Mail Art). Fall 1982 

#54-59. Les Allemands (Vostell, Garnier + actual manifestos). Spring '83 

Dixieme Anniversaire Circa (54 mail artists...). Winter 1983 

#60-65. British Best... (Labelle-Rojoux, Basement Group). Winter 1983 

#66-70. Les Quebecois (Martel, Gelinas, etc. + Mail Art). Winter 1984 

#71-75. Italie(s) (Spatola, Sarenco..., + publs. + Mail Art). July 1985 

#76-79. Australia (Selentitsch, Potage. Young, Maraux). July 1986 

#80-86. Portugal (Aguiar, Melo e Castro, etc., + actualities). Winter 1987 

^#23, 35, 80 

International Audio and Visual Mail Art Fair. (Organized by J. Blaine, P. → Restany 

and Liliane Vincy) December 6, 1979 - January 31, 1980. Gallery Lara 

Vincy, 47 rue de Seine, Paris F-75006 (Inv. in: Umbrella, 2/#4, 83 p.) 

°A vos postes: postezi timbres. Cat.: with 62 parts. In: Doc(k)s #23. '80. 165-221 p. 

^Conjunction 18. (Accordion book with vis. poetry, 12 p.) J. & J. Donguy, Paris, 1980 

Collection Zerosscopiz 845 (Mag. A/4, offset. 1980-, ir.) Monographical brochures, 

each issue devoted to an artist. Visual matter (graphic, poetry) only. 

#0 J. Blaine: Reprenoins la ponctuation à zero. 

#1 Carlos Ginzburg: L'Exotisme, le tourisme et les vacances 

#2 F. J. Bory: Poèmes mécaniques 

#3 Tolsty: Receptes à l'usage des jeunes émigrés russes 

#4 G. Maciunas / B. Buczak / E-A. Vigo / J-Blaine / M. Lara: 

Histoire de timbr(e)s 

#5 P. Garnier: Poèmes Blancs

~ 

Source: 

#6 H. Hoogstraten: The Atlas Darwing 

#7 I. & V. Bakchanyan: Franci-American-Russian Friendship 

#8 J. Marin: Semens 

#9 A. Labelle-Rojoux: Projets sans suite 

^# Olbrich 

Doc(k)s Made in World. 1976-1987 / Première série: le tour du monde. (Catalogue 

au 01/01/1990) 21x10 cm., offset, 24 p. Editions Nèpe. Ventabren, 1990 

~ 

Literature: «Here's one very dense alternative in print. The Anthology Doc(k)s, is thick (350 

page or so) and square in shape. The content has an unrelenting quality that is very 

visual and very international. One finds page after page of collaged socio-politico 

statements, mail art material and documentation of public performance. Within the 

formidable and unstopable feel to Doc(k)s there is a staunch and almost unapproachable 

quality. Production quality is clumsy and over-inked and while this may 

favorably flavor the intent of certaint contents, it overly homogenizes the rest...» 

(Lightworks [→ Burch], Art Alternatives in Print, N° 13, Fall 1980, 51 p.) 

«Talk about breadth and depth, no other magazine comes close to the vouile and 

diversity of works published by Doc(k)s. The latest issue is devoted to the Italian 

movement, impressive in its quantity and quality, with an open section for contributors 

from around the world, as well.» (Review in Score, #7. [→ Hill] Letter size, 

offset, ~1988.) 


of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 105 p. 

!Blaster! 

→ Ackerman, Al 

Bleus, Guy T.A.C. 42.292 Administration Centre, Kerkplein 7. Box 43, Wellen, B-3830 Belgium 1995 

Îndirect Correspondence. Abstract about the possibilities of network communi- 

cation – with diagrams and photocopied examples from the postage 

trafic. A/4, phc., 5 leaves. Distributed 1979-1981. 

Âre You Experienced? Love / Hate / Fear / Suicide. Cat.: 18x14 cm., offset 

booklet, 20 p. + 17 microfiches, 485 parts. + poster{600}of 80x56 cm. 

with 1018 works by ~800 authors. Exh.: Vrije Universiteit of Brussels, 

October, 1981 

^Telegraphy. Cat.: 42x29,7 cm., phc., 12 p. {750}/ Provincial Museum Hasselt, 

Belgium. March-April, 1983 

^World Art Atlas. Cat.: 10x16..5, horz., offset, ~600 (!) p. {800}. S. P. 1983 

^B. T. S. / Aerogrammes – Commonpress Retrospective (Commonpress #56) 

Cat.: 821 p. on microfiches, + A/5 booklet, offset, 142 p. 570 

participants. With the first bibliography (!) of the Commonpress publs. 

Museum Het Toreke, Tienen, Belgium. September 1984 

Artistamps: (Without title) (Sheet of 20 diff. stamps / nude with postage stamps, 

mixed techn.) n.d. (1986?) 

^PLAN – Gids, Guide, Führer. (with Gerard Caris, Robert Garcet) Cat.: 20x12.5 

cm., offset, 120 p. / Bonnefantenmuseum – Dominikanen-church, 

Maastricht, November 1988 

^Telephon-Project. 3. Oct. 89. Doc.: Photos, list, poster, etc. / Provincial Museum 

Hasselt. 1989 

Telephon-Project. «Screams against int. art burocracy» 90' cassette in box. 1990 

Ârtists' Books Catalogue '90 / Administration Centre. A/4, phc., 19 sheets. 1990 

Ârt is Books. (Artists' Books). Cat.: A/5, offset, 120 p. / Provinciale Centr. Openbare 

Bibliotheek, Hasselt. 1991 

^Mail Art Manual. Do Viajante em Portugal. Cat.: A/5, offset, 86. p. / Cultuur- 

centrum Heusden, Zolder / Administration Centre, Wellen. 1991

Statements by F. Aguiar, C. Andre, M. Avau, E. Baj, A. Banana, 

V. Baroni, J. Blaine, G. Broi, P. Ciani, J. Corsaro, Crackerjack Kid, 

K. D. Haeseleer, J. Evans, G. Fini, P. Frank, H. R. Fricker, K. Friedman, 

K. Groh, J. Held Jr., C. vd Heyden, J. Hoffberg, Ibírico, R. Johnson, 

R. & D. Kamperelic, J. Klaffki, L. Levine, E. Lund, R. Maggi, 

J. Mariott, E. Morandi, R. C. Morgan, R. Nikonova, J. O. Olbrich, 

J. Olivera, S. Paridaen, G. Perneczky, C. Phillpot, C. Pittore, D. Plunkett, 

Rubberstampmadness, G. Ruch, S. Segay, S. Shimamoto, 

L. Spiegelman, C. Stake,, R. Summers, A. Tisma, 

Âls kunst bestempeld: mail art internationaal. Cat.15x20 cm. horz., offset, 48 p. 

Texts: G. Bleus, U. Carrión, L.v Halem, B. Koevoets, K. Zijlmans 

Exh.: Stichting Het Nederlandse PTT Museum. S' Gravenhage, 1992 

^Building Plans & Schemes. Cat.: 19.5x20 cm., offset, 104 p. Texts by G. Bleus, 

D. Wieërs, R. Geladé. Statements by over 20 artists. / Cultuurcentrum 

Essay by Bleus: Dedicated to the Unknown Architect (English) 

Heusden-Zolder NL, August-September 1993 

Â Networking FAX-Project & Performance. Cat.: A/4, phc., 160 p., spiral bound. FAX 

{500}. Exh.: De Fabrik. Baarstraat 38, Eindhoven NL. March 28 - 

April 4, '93 

Artistamps: ^Netland (Sheet of 12 stamps, 2 images, phc. {100}) 1993? 

^ Netland / Put your Stamp in my Artistamp (Sheet of 12 id. stamps, 

phs. {100}) 1993? 

^Tolerance (Sheet of 20 id. stamps, phc.) 1993? 

Ên dialog tussen de postbode en zijn electronische shadow alsmede / En algemene 

discours over MAIL ART... S. P. 120 p. {500}, 1994 

În a Memory of Ray Johnson. Doc. in the form of a death-notice: 24x22 cm, 

offset, 4 p. / Begijnhof, Zuivelmarkt 33, Hasselt. Febr. 22 - March 22 

1995 

^Mail Art Memorabilia TAC-42.292 Cat.: A/5, offset, 16 p. / Postmuseum, 40 

Grand Sablon, Bruxelles. (FAX: 012-741415). 1995 

^The Artistamp Collection, Poster of 60x42 cm, colour offset / Begijnhof, 

Zuivelmarkt 33, Hasselt B-3500. 1995 

^The Artistamp Collection, 2 nd Edition. Catalogue on CD-ROM! 1996 

^T. A. C. retrospectives: Lightworks, Stamp Art Mag., Umbrella. Cat.: in: Programma 

Brochure Voorjaar '96 / 7 p. by the Prov. Centrum voor Kunst, Begijnhof, 

Hasselt. January-May 1996 

^Mail Art from the West. Inv. Exh. at the EU-administration, Maastricht. 1996 

^Working in a Coal-Mine / Mail Art Networkers are Miners. FAX & Internet-Art. 

Cat.: Text by G. Bleus: Telecopying in the Coal-Mine. A/4, phc., 

64 p., spiral bound, 48 parts. Org.: G. Bleus, Adm. Centre + Our House 

/ Bart Scheppers, FAX: 32-89-355 899. Genk B-3600, Sept. 20, 1997 

^RE: The E-Mail-Art & Internet-Art Manifesto. (Published as the Vol. III. #1, 

December 1997, of the Elctronic Mail Art Netzine E-Pêle-Mêle. 

38 parts.) Cat.: A/5, offset, 36 p. Ed. The Administration Centre. 1997 

(Newer contributions in: E-Pêle-Mêle, Vol. III, #2. 1997) 

^Now Ray is dead I smoke Johnson. Inv. to the Gallery Brasseurs, Liege, 1997 

Ê-Pêle-Mêle. (Volume III., number 2, Dec. 1997) Electronic Mail Art Netzine. 

Edited by The Administration Centre-42.292 / Guy Bleus. 

Content: E-mail interview with G.Bleus by R. Janssen + essays by Bleus. 

(See: Literature, blow). 1997 

^Kunstenaarsboeken / Artists' Books. From the Archive of the Administration Centre) 

Cat.: A/5, offset, 28 p. Literair Museum, Blampslaan 35, 3500 Hasselt. 

September 9 - November 7, 1998 

^1001 Desks. Invitation to the City Groningen. Cat. on CD-ROM! 1998 

 

Âmbiorix. Inv. Project at the City Torngerem, Belgium. Cat. on CD-ROM! 2000 

Â Journay to Utopia. Essay also in English to the Mail Art Catalogue: L’Utopia by 

the Comune di Vicenza, Italy, curator: Anna Boschi.

~ 

Literature: 

«42.292» – on August 2, 1979, at 2 pm „Guy Bleus“ was registered in the Benelux 

Mark-Office at Hague (Holland) as an individual mark with the number 42.292. 

Administrative Art: Instant Study – delivery of qualifications, Vrijhe Universiteit, 

Brussels-Pannenhuis, Antwerp. Administration – delivery of identity cards of Mars 

(fake Belgian I. D's) and other certificates, Pannenhuis, Antwerp-Vrije 

Universiteit, Brussels» (Information about T. A. C. 42.292 Administration Centre) 

Guy Bleus: Indirect Correspondence (Theoretical essay with diagrams, 1979). 

In: Clinch, N°3, 1983 (→ Ruch) A/5, phc., n.p. 

Guy Bleus / Value-Schreder. In: N D, N° 2. Austin TX, 1983 (→ Plunkett) 12-14 p. 

«...This view of the history of art refers to what has been called „art as an individual 

mythology“: artists realize their own history and myth. Applying this idea to the 

mail art network (=all mail artists together) it means the realization of a collective 

mythology. Here every mail artist has his/her role and function. But not one role is 

more true or important than another. Every judgment of value stays a mere personal 

judgment. It can't be generalized in the mail art circuit without injuring the democratic 

principle of co-partnership in mail art. A mail artist and his/her work are more 

or less important for another mail artist depending on the intensity of their communication 

and the interpersonal impressions all this. 

Every mail artist must be encouraged to write hiis/her own mail art biography 

and bibliography, so that all this culminates in a collective bio-bibliography, 

a network of crawling signs of the mail art life. The epistemological problem, if 

there must always be a relation on truth between the activities and the places 

„where“ or the period „when“ these activities happen, stays an open issue. Anyone 

is free to transform the objective assumed lies of the history of art into subjective or 

intersubjective lies or truths. 

Since the urinary bowl of Duchamp, everything can be art. Since Beuys, 

everybody can be an artist. It all depends on the way one looks at it, on the way one 

thinks. The aesthetic observation, the perception and the state of consciousness 

become more important than the created object. (...) More important (vitally 

important) than monetary considerations, the works of art or the art fetishes are the 

instincts of self-preservation, the wild intuitive thinking and the process of creating. 

(...) This feast of questioning and answering and artistic creating, of writing and 

writing in margins (J. Derrida), or intellectual and artisitic creating, of an art that is 

never finished, is the real art of this age. It finds its most important representation in 

the communication-art or mail art.» 

(Guy Bleus: Art as Collective Mythology: Mail Art. Foreword to John → 

Held: Mail Art: an Annoted Bibliography. The Scarecrow Press, Inc. Metuchen 

N. J. & London, 1991) 



Guy Bleus: Philately: Mail Art in Disguise? In: Artistamp News (→ Banana). 

Vol. 4, #1. March 1994) 

Guy Bleus: Art is Stamps (1993). In: Artistamp News (→ Banana). Vol. 4, # 2. 

October 1994. 

Guy Bleus: Communication: 44 Statements. In: Chuck → Welch (ed.): Eternal 

Network. A Mail Art Anthology. University of Calgary Press, 1995. 85-87 p. 

Vittore → Baroni: Archivi / Guy Bleus. In: Arte Postale. Guida al network della

corrispondenza creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 212-215 p. 

«...Mail-art is a „pèle-mèle“ of stories, tales, recitals and reports // // it is not a 

complete entity // The mail-art society is a virtual frame-work enclosing an artistic 

chaos; it is a pell-mell of reciprocity and exchange // // The History of mail-art is a 

selected reconstruction of histories, events, facts and artifacts // // Like Chronos, the 

god of time, was eating his own children, the eternal netland history is eating the 

netlanders // // Well, who cares? // // Yet, every mail-art networker must be encouraged 

to write his or her own history of netland // // Mail Artists art post- historical 

myth-makers... 

...It's not that I want or don't want to publish that much // // Mail-art and 

administration-art include publishing // // Furthermore, it's always a series of 

coincidences // // It just happens... 

... // Mail-art, being the mother of the internet, is a cybercity that never 

sleeps //...» 

(Ruud Janssen: An E-Mail Interview with Guy Bleus. In: E-Pèle-Mèle, Vol. 

III. #2, 1-12 p. The Administration Centre. Wellen, December 1997. 

Guy Bleus: A Dialog between the Postman & his Electronic Shadow / Telecopying 

in the Electronic Netland / In Quest of Netland / Re: The E-Mail-Art & Internet-Art 

Manifesto. In: E-Pèle-Mèle, Vol. III. #2, The Administration Centre. Wellen, Dec 

1997. 

Ruud Janssen: The E-Mail Interview with Gus Bleus. Mail Art from Surface Mail 

to Cyberspace. Ed. by Joel S. Cohen. Produced and printed by Ragged Edge Press. 

NYC, 1998 


over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 165 p. 



^G. Belus: The trill of collecting artistamps. In: James W. → Felter: Artistamps / 

Francobolli d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo, 

2000. 100-103 p. 

!Blissett, Luther! 

→ Home, Stewart: Green Apocalypse 

→ Guglielmi, Federico 

→ Baroni / Arte Postale!' N° 75 

More information about Luther Blissett: 

http://www.dsnet.it/qwerg/blissett/bliss0.htm 

http://www.pengo.it/luther 

~ 

Literature: 

Autori Vari / Piermario Ciani: Dal great complotto a Liuther Blisset. AAA 

Edizioni,Bertiolo, I-33032, 2000. Offset, 254 p. (A very visual publication) 

Bloch, Julie Hagan 51 Mongaup Road Hurleyville, NY-12747-5406, USA 1996 

Self carved rubber stamps since 1967, to time about 2000 stamps. Mail Art activity ® 

since the middle of the 1980s. 

Carving Stamps. (Publication about the genre) Self-edition. Hurleyville, 1989 ® 

~ 

Litearture: ^Ruud → Janssen: The Mail-Interview with Julie Hagan Bloch. A/5, phc., 12 p. 

TAM Publs.: ?, Tilburg, 1998



Bloch, Mark S. (P. A. N.) P. O. Box 1500 New York, NY-10009 USA 1981 

^Pan Mag (One of the best known Mail Art info rag with theoretical and personal 

opinions on the network, its exhibitons, on alternative and radical 

movements and events, also lit. publs, of the editor, all in a veritable 

improvised «xerox salad». Letter and digest, phc., 1982-, ~ 30# ) 

^#2,4, 6, 8, 9, 10,11, 12, 13, 15, 16, 17, 18, 19, 20, 21, 22, 24, 26, 28, 29 

The P. A. N. Project. In: Flue (→ Franklin Furnace), Vol. 4 #3, 1984, 35-36 p. 

^C-NILE (Smile-mutant in the Pan Mag N°15, Letter size, texts on Neoism with an 

object supplement: a magnifying glass (!). Phc., 1985) 

^Postcard Project by P.A.N. Cat.: Letter, phc., 10 p. in: Panmag N° 13, 1985. 

^The Last Mail Art Show. Inv. to Galleria dell’ Occio, 267 E. 10 St. New York, 1985 

Ân Thems of Hope and Terror (In. Panmag #24, 30 p.) 1988 

 

Panscan (Host system: ECHO - Sysop: Stacy HORN, tele(phon) conferecing, from 

1990) 

→ Neoism / Literature: C-NILE, Cover Story 

~ 

Literature: Mark Bloch: The P.A.N. Project. In: Flue (→ Franklin Furnace), Vol. 4 #3-4 

(Winter 1984) «Mail Art Then and Now» issue, 35-36 p. 

 



«...(1976-77) I began to send Mail Art to people on postcards without 

knowing what Mail Art was. I watercolored and drew on the cards, too. I became 

interested in rubberstamps that way. That led me to The Rubber Stamp Album by 2 

women.. (→ Miller & Thompson) I got Ed → Higgins address out of it and sent 

him some Mail Art... I came across a little poster for Mail Art show stapled o a tree 

with Bill → Gaglione's address on it. I sent him something... I also saw the work of 

Ray Johnson in that Rubber Stamp Album for the first time. It made an impression 

on me... But I didn't know I could write to Ray myself. So I didn't start with him 

until 1980 or so. Ed Higgins also started me with Ed Golik Golikov, an early member 

of the New York Correspondence School living in Denver Colorado... 

By late 78 I decided to make my activities official. I contacted my friend 

Kim Kristensen in Ohio, back where I used to live, and asked him if wanted to be 

PAN Midwest. He said OK. Michael Heaton, another guy I had been sending art to 

through the mail after my graduation from college moved to New York and he 

became PAN East. I lived in Laguna Beach California and became PAN West. 

(...) Things developed rapidly. I was very inspired by the Inter-dada 80 festival. 

I met → Cavellini for the first time. Also Buster → Cleveland, Ed Higgins, as 

I said above, as well as Bill Gaglione and other „2nd generation“ of mail artists. I 

also had the pleasure of meeting Al Hansen... He was in John Cage's composition 

class at the New School with Dick → Higgins and the other pre-fluxists and was an 

important contributor to the first happenings... he and Cavellini drew portraits of 

each other in a Pasadena coffee house... 

I realized then that the Mail Art network would allow me to collaborate with 

people of Hansen's stature if I wanted, too. I was also very impressed with the other 

mail artists and the spirit of dada that engulfed the various events I attented. (...) 

Now here were a whole lot of people who had studied dada as I had, who valued 

it's anarchistic spirit and were taking actions to promote it in a new context. I was 

thrilled... Things changed drastically in 1982 when I moved from LA to New York. 

I saw a poster that said Cavellini was going to be in New York. I called the number 

and ended up speaking on the phone to Buster Cleveland. He said I could perform at 

the gig. So I was part of a bill that included many of the people I had been corresponding 

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 

warm greetings were like a Welcome Home to the network...» 

(Ruud → Janssen: The Mail-Interview with Mark Bloch. A/5, phc., 12 p. 


Block 11 

Circle of French graphic underground artists: Bruno Charpentier / RV (Hervé Caux) / B. Bocahut, 

→ Charpentier 

Block, Friedrich W. Julienstr. 8, Kassel D-34121 Germany 1996 

!Blood Bliss! 

!Bobart! 

→ Fox, Harry 

→ Barbot, Gerald 

!Bob X! & !X no! (Michael Roden) Ed. Xex Graphix. P. O: Box 240611, Memphis, TN-38124, USA 1983 

Edition Xex Graphix is a fertile publ. house for weird, surrealistic mini-comics, 1983- 

^Xex Graphix News Letter (Review mag. with informations about comics from the 

USA: Digest, phc., ~40 p. 1985?-, qu.) 

^#8, 9 

^Crazy Men Deluxe. (Digest, offset, 28 p.) TBH Comix, Milford / XEX Graphix,1985 

XEX Mail Art (Mail Art compilation booklet, 23x15 cm., colour xerox cover) n.d. 

Bocahut, Bruno / Charpentier, Bruno, 51 rue E. Raspail Arcueil, F-94100 France 1985 

^Dusex (Generously edited French graphic mag. A/3 and A/4 size, phc., offset, 

and silkscreen. 1985-, yearly? ~5#) 

^#5 

«Boekie Wokie» Artists Books Shop. Gasthuismolensteeg 16. Amsterdam AN, NL-1016, Netherlands 1988 

^Book-Catalogue. Cat.: A/5, offset, ~140 p. 1988 

 

Boever, Jean de c/o De Media (club, gallery), Molenstraat 165, Eeklo, B-9900 Belgium 1984 

^De Media Bulletin (Program and infomag of the club «De Media» with Mail Art 

news and exhibition reviews. A/3 folded to A/5, phc. 1984-, m., ~ 50#) 

^#1-10, 16-20, 23a, 34, #MA, 43, 44, 45 

^Frontières / Mail Art Project (with Driewerf Hoera / Association Frontières) 

Cat.: A/4, offset, 68 p. Exh.: De Media, Eeklo / DRAC, 1 rue 

des Lombard, Lille F, 1985 

^West & East – Exhibition at De Media. Inv., 1986 

 

^Small Mag Archive. In: De Media N° 23/a. A/4, phc., 8 p. September 1986 

^Megazine-Bulletin (Flemish review of alternative mags. & fanzins, A/3 folded to A/5, 

phc., 1987-, ~bim.) Eeklo, De Media 

^#1, 3, 7, 8 

^Kleine Blaadjes Catalogus. (Alternative 'zines) Cat.: A/4, phc., 48 p. / De → Media, 

Eeklo. 1988 

^Fanzine as an ... object. Cat.: A/5, offset, 58 p. / Invitation & project for an exhi- 

bition in the «Bruzzle Festival 1990». Introduction essay by Jean de 

Boever (English). St. Gorikshalle, Brussels. Sept. 13-20, 1990 

Later exhibitions: 

K. E. Osthaus Museum, Hagen, Germany. Sept. 21 - 23, 1990 

Third Annual Small Ppress Fair, London. September 29, 1990 

De Media in Eeklo, Belgium. October 5, 1990 

Confort Moderne – Poitiers, France. November 11, 1990 

~ 

Selected exhibitions and events in De Media 1984-1989: 

1984: Guy Bleus – Willy Dé. December 30, 1983 - February 16, 1984 

Ko de Jonge – John P. Jacob / Hype. February 17 - March 3

Jürgen O. Olbrich – Bernd Olbrich – Joseph W. Huber. March 3 - May 10 

European Apotheosis of G. A. Cavellini (Festival). May 19. 

Sjoerd Paridaen. May 11 - June 21 

The Mail Art Magazine (Media Mail Art project). July 1 - August 31 

Arno Arts. September 7 - October 19. 

Géza Perneczky. October 20 - December 19. 

1985: Frontières (Media Mail Art project) March 27 - May 15. 

Day of „Kleine Blaadje“ (Small Press Festival with G. Schraenen). April 5. 

Ruggero Maggi. August 1 - September 15. 

Chuck Stake's visit. October 30. 

Ferenc Gögös (Hungary) – Rob Thuis (NL). October 19 - November 27. 

East-West: Hommage to Shimamoto & Cohen (Media Mail Art project). 

October 30 - January 10. 

Shoso Shimamoto and Ryosuke Cohen in De Media. December 28. 

1986: Robin Crozier. January 11 - February 27. 

Rudy Wilderjans – Guy Stuckens. February 28 - March 4. 

Art Unidentified (20 Japanic artists). April 4 - May 15. 

The Worker's Paradise (Mail Art project by XCL Franke). August 22 - 31 

Bruno Deprez/Gorodok – André Lanois – Dr. Pjotr Aakoun. Sept. 5 - Oct. 16. 

Andzrej Dudek Dürer in De Media. October 10. 

Artistamps (Collection of Guy Bleu). October 17 - November 11. 

Anna Banana's performance. November 22. 

No War in my Town (Project by Peter Küstermann). Nov. 15 - Dece. 12. 

1987: Günter Ruch / Decentralised Mail Art Congress '86 docs. Jan. 17 - Feb. 19. 

Metallic Avau. February 20 - March 26. 

Henning Mittendorf. March 27 - April 30. 

Kun Nam Baik (South Korea). May 1 - June 12. 

Carlo Pittore. October 2 - May 11. 

Ben Allen. November 6 - December 3. 

Klaus Staeck's posters. December 4 - January 7. 

1988: Ruggero Maggi. January 8 - february 3. 

Joseph W. Huber. March 4 - 30. 

Paul Rutkovky. April 1 - May 4. 

Bilder für Africa (120 int. artists). June 10 - 26. 

Ryosuke Cohen. August 5 - 31. 

Mail Art in Action (G. Bleus, Ch. François, Kode Jonge, J. v. Geluwe, etc.) 

October 28. 

Robert Rehfeldt. December 2 - January 4. 

1989: John Held Jr. March 31 - May 3. 

~ 

Literature: 

(De Media): «Publication related to the 4-yr-old (sub-) cultural space of the same 

name situated in the Flemish part of Belgium. The Small Mags Archive (SMA), 

which this issue of the newsletter is mostly about, is on permanent display there at 

De Media. SM archivist Bola says the role of the archive is „to assemble, organize 

them & keep records & preserve them so that they can be at the service of those 

who want to consult them“, „them“ being fanzines, independent artzines, underground 

papers, alternative poetry papers, small graphic mags, etc. SMA is part of 

SMN, Small Mags Network, but Bola doesn't really describe this beyond the 

meaning of the word network. This newsletter alphabetically lists the names of the 

1,596 small mags in SMA's inventory, but lists no addresses! (Ugh! So much for 

networking!) The archive itself, he says, contains 318 different titles & about 1000 

magazines (?). (...) Listed in this publication are some of the events this org. has

sponsored, a variety of musical concerts, theatre, art exhibits & performance events 

that make me with Eeklo was as close as Chicago from here.» 

^(Contacts. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 23 p.) 

^De Media (D. → Plunkett's interview took place at De Media with Jan De Boever: 

«I don't concider myself an artist. My job is being an organizer. I think good 

organisation is an art...») In: N D #13, 1990, 27-29 p. 

Bogdanovic, Nenad S. Markovica 41. Odzaci, YU-25250 Yugoslavia 1996 

Dovrsi Marku / Finish the Stamp. 1981 (Exh.: Dom Omladine, Odzaci, 1983) 

°Mail Art Communication. Cat.: with 47 parts. A/5, mimeogr. 12 p. {100} 

(Text: Jaroslav → Supek, serbo-croatian) Oodzaci, 1983 

Mail Art Works (with → Supek, J. & → Gogolyák, S.) Exh.: Baske Vode, 1983 

^Netto 100 g. (Book-object in a very limited edition: Found news paper & magazine 

pages bound to an book) 20x14.5 cm., ~50 leaves. January 1984 

^Total (Stitched A/5 assembling with issues for special themes and technics {133}. 

1984-88, #1-17) 

^#1, 5, 6, 8, 9, 10, 12, 13, 15, 16, 17 

^YU Telegramm Art. Cat.: A/5, phc., 12 p. with an offset cover. Exh.: Sala M. Z., 

Odzaci, November 23-28, 1984 

^Second Manifesto (Theory and info magazine, also assembling [#4 =A/5 matter 

in envelope]. A/4, phc., 1984-85, 2xy. #1-4) 

^#1, 3, 4 (Open Letters) 

Împrimés. Cat. form of a poster (of 35x25 cm.): offset print with participant list. 

Exh.: Mai 12 - September 12. Library, Odzaci, 1985 

^What to do in the cellar? (with Tibor Toman) Cat.: in: Second Manifiest #3 

Exh.: 1. Maj Gallery, Novi Sad. 1985 

^Happy New Year! Doc.: One A/4 sheet, phc. Exh.: Foto Galerija (Sava Stepanov) 

+ Library, Odzaci. April 30 - May 3, 1987 

^Music in Visual Art. Doc. A/5, offset, 8 p. Dom Omladine, Odzaci. Dec. 1987 

Photography – Art and Communication. / Fotogallery Novi Sad. 1987 

 

^Networker Gallery Actions. Inv. to Mail Art projects in accordion form, 1996 

^Man Gallery. (Mail Art performances and projejcts) Inv., 1998-2000 

 

~ 

Literature: (About Total) Editor Statement: «By the beginning of February this year I received 

by mail a police decision, in which I was informed that the police had deprived me 

of a package from abroad containing 260 copies. These 260 copies were probably 

sent by one of my mail art friends as a contribution for taking part in my magazine 

Total or his participation in the fourth number of mail art magazine Second Manifesto. 

With the help of postal inspection, the police have depriced me part of 

contents of my packages several time. I know that because my friends informed me 

of the package contents. Maybe postal inspection and the police to fill up of the Big 

Brother archives. (Quoted in: Stephen → Perkins: Assembling Magazines. Internationale 

Networking Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa 

City. 1996 /Print: 1997. 35-36 p.) 

Înterview with Nenad Bogdanovic. In: N D, N° 9, Austin, 1987 (→ Plunkett) 

15-16 p. 

^B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the 


Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 (Print: 

1997). 52-54 p. 

~ 


over 500 illustrations on 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 173 p.

Source: 

TOTAL Magazine Monography 1984-1988 (Facsimile publication of the magazine 

issues #1-17 on CD, 133 copies). Multimedia Art Studio Odzaci, 2000 

Bogdanovic, Slavko / Mandic, Miroslav, Novi Sad Yugoslavia 1971 

^L. H. O. O. Q. (Cockoo-egg mag in the lit. mag. «Új Symposion» or distributed as 

typewritten pages, 1971-72) 

^#1, 4 

Closed letter / open letter. (Corresp.) in: → Groh, 1972. 

 

~ 

Literature: Géza Perneczky: The Magazine Network. The trends of alternative art in the light 


Bohár, András ? Budapest Hungary 1992 

Electrographic Art. Cat.: (Concept by → Szombathy) / Gal. Savremene Likorne 

Umetnosti Izlozbere Prostorije Galeje. YU. Texts: Bohár & Barna. 1993 

Ârs Poetica / TeleFAX. Cat.: /Community Centre, Kaposvár H, 1996 

 

!Bohm Art! 603, 2 nd Avenue St. Claud, MN-56304 USA 1992 

^Games ’92. Inv., 1992 

 

^Great Battles / Making Faces / Fun at Square One! / Street Machines. Inv., 1993 

Bologna / artists Via republica 37 Bologna Italy 1977 

Il Laboratorio (Mag, 1977?-, ) 

 

«Bonanova, Atelier» La Casa del Siglo XV / A. Segovia Spain 1977 

°Mail Art Exhibicion Internacional. Cat.: with 90 parts., 31.5x21.5 cm., phc., 

5 leaves. Studio Levi.Napoli, 1977 

°Negro Sobre Blanco. Doc. sheet with 171 parts. 16.6x12 cm., phc. La Casa del 

Siglo. Segova (E), 1978 

Bonvie, Rudolf / Klauke, Jürgen, Brüsselerstr. 1 Köln-1, D-5000 Germany 1977 

Kunststoff (Mag. on actionism, performance and body art. A/5 offset, 1977-, m.) 

Bonyhádi, Károly → Leopold Bloom 

!Bop, Mr.! Box 267 838. Chicago, IL 60626 USA 1985 

^The Danger Mail Art Show. Cat.: Digest, offset, 8 p. 1985 

 

^Summer Mail Art Show (with B. de → Vallance, Chicago). Cat.: Digest, phc., 8 p. 

Borba, Gabriel ? Sao Paulo Brasil 1979 

°Encarteley-Seca. (Assembling in envelope with works by L. F. Duch, J. Plaza, 

C. Fajardo, R. Silveira, M. Fridman & G. Borba. A/4, ) Sao Paulo, 1979 

Borillo, Mario ? Marseille France 1978 

°Poésie Expérimentale et Communication Parallèle. Le Mail-Art. (Essay, A/4, phc., 

5 leaves.) C.N.R.S. Laboratoire d'Informatique, Marseille, 1978 

Börjlind, Rolf / Mallander, J. O. / Regild, Carsten Hägerstein Sweden 1974 

°Vargen (Mag. for neo-dada and alternative culture. A/4, phc., mimeogr.1974-, squ.) 

°Vargen (The Wolf), #5=Cat.: for the exhibition. of new forms of communication and 

information / Moderna Museet de Stockholm: W. Vostell, Lomholt, J. 

Urban, S. Hanson, E. Partum, etc. A/4, offset, 1975. 

Bory, Jean-François 5 rue Cognacq-jay Paris, F-75007 France 1977 

↑ 10 rue de Nesle Paris, F-75006 - “ - 1973 

.............................................................................................................................................................

L'Humidité (with René Baudouin) (Magazine on avantgarde art and vis. poetry of a 

sociological inclination. A/4, offset, 1970-77 qu., #1-24) 

 

Bosch, Phoebe / Maloney, James, Red Sky Press. Seattle, WA USA 1986 

Sky Views Magazine / Written = Graphic Art (Mag. All kind of new and alternative 

art. Digest, phc. and offset. 1986-, m.) 

Boschi, Anna Via Asiago 23-25. Bologna, I-40131 Italy 1992 

Bottle project (to the 100th anniversary of the birth of Giorgio Morandi). Exh.: 

Spazio Kaos, Bologna. 1990 

^Thirty Years of Mail Art (in homage to Ray Johnson) Cat.: A/5, offset, 18 p. 

Texts: G. Gini, R. Maggi, A. Boschi. Exh.: Prisma Pagina Gallery, 

Bologna. April 1992 

^Remembering Giulietta, (with Tiziana Todi, dedicated to Giulietta Masina) Cat.: 

in Terzo Occhio, Jun. '95. / Galleria Vittoria, Roma. March 23-, 1995 

^Guglielmo Marconi (radio). Inv., 1995 

 

^Prehistory in Forli. Inv., 1996 

 

^30 Anni di Arte Postale. (Ray Johnson) Inv. to the Posta Italiane, Bologna, 1997 

Ârtist’s Books / Visual Poetry. Inv., 1998 

 

^Happy Birithday Castel S. Pietro Terme! Inv., 1999 

 

^2000: World-Wide Year of the Mathematics. Cat.: 24x17 cm., offset, 208 p. 

+ cover. 340 artists, 34 countries. Texts by Bruno d’Amore, Anna Boschi, 

Ruggero Maggi(Italian & English). Exh. at the Sala ex-Fienile, Castel S. 

Pietro Terme, August-September, 2000 

Êxit. Dedicated to Roberto Vitali (1926-2000), “storico e critico d’arte”. Exhibitions 

at the art galleries in Bologna, among them also a Mail Art show, curated 

by Anna Boschi. Large offset catalogue about the art show (but not any 

special Mail Art publication). January, 2001. 

^L’Utopia. Cat.: 23.5x16.5 cm., offset, 164 p + cover. Edition: Comune di Vicenza. 

A very voluminous work with large image material and some some essays 

(all in Italian & English): Guy Bleus: A Journay to Utopia; Monica Bonollo: 

The Mail Art’s irrevocable mark; Henning Mittendorf: Creativity and ethics. 

Exhibition: Chiesa di S. Ambrogio e Bellino, Vicenza. April-May, 2001 

~ 

Literature: 



!Bottinelli, Bickhard! Bottinelli Art Agency. Kantstrasse 7 Kassel, D-3500 Germany 1975 

Die Post als Künstlermedium. Cat.: A/5, instant print, 72 p. {700}. Essays by ® 

A. Schmidt, K. Groh, P. v. Beveren, H. Zabala, H. Fischer, R. Rehfeldt, 

Albrecht/d, P. Below, T. Ulrichs and others. Exhibition at the Foyer of 

the Hermann-Schaft-Haus in Kassel, November 1-30, 1975. 

An early attempt at Mail Art show (with extreme many rubber stamp 

art works) with contributions of German artists as Peter Below, Horst 

Hahn, Mike Hintz, Uwe Kreutzfeldt, Reinhard Mahl, Robert Rehfeldt, 

Gerd Scherm, Horst Tress, Wulle Konsumkunst & others. Survey and 

invitation to further participate – with 24 black/with images (!) – in: 

Magazin Kunst, N°3, 1975. Additive lecture with slide documentation 

about the show and its materials by Tim Ulrichs April 20, 1976 

Boumans, Bart Roessingsbleckweg 155. Enschede, NL-7522 Netherlands 1982 

& Postbus 1440 Enschede BK, NL-7500 - “ - 1986 

............................................................................................................................................................. 

^Care (Mag. + Assembling {75} with changed editors in var. form. 1982-, squ., 13#?): 

N°1-2-3... B. Boumans, NL 

N°4 ........ R. Crozier, UK. 

N°5 ........ C. Echevery, CO

N°6 .........S.v.der Burg, NL 

N°7 .........B. Porter, USA 

N°8 .........V. Baroni, I 

N°9 .........McLean, USA 

N°10 .......J. P. Jacob, USA 

N°11 .......B. Gaglione, USA. ~ Stampart #5 

N°12 .......R. Maggi, I 

N°13 .......L. Spiegelman, USA. 

^#4, 10 

^Stamp-postcard documentation. Inv. in form of request-card. 1982 

^Books of Souls, Silence & Friends. Cat.: A/6, phc., 12 p. Exhibitions: 

Akademic Centrum Kultury Palaczyk Wroczlaw (W. Ropiecki). 

Bart Boumans, Enschede Academy of Art, CARE mag and others. 

Edited by Ko de Jonge, Holland 1983. 

 

 

«Boury, Le» c/o Petou, Kris, En Poche, N°7. 36 Ave. Du 6. Juin. Caen, F-14000, France 1986 

Le Boury / AB Sexe. (Small French graphzine by 26 artists. {300} A/5 and A/6, 

phc., ~16-56 p. 1986-, about 10 #) 

^#7, 8, 9, 10 

Boursellier, Christophe c/o Groupe T. Z. 85., 23 rue Bayard, Paris F-75008 France 1981 

Casablanca (Mag. Mail Art with political colour, partly assembling. A/4, phc., 

1981?, #1-2) Groupe T. Z. 85, Paris 

Bowsza, Keith 

→ !Minóy! 

Boyles, Denis 50 Commerce St. New York, NY-10014 USA 1977 

The Journal of Art Performance and Manufacture (Mag. Art theories, new literature, 

etc. Letter, horz. size, offset. 1977-, m.) 

Bracho, Alexis Aptdo 702, Barquisimeto, VEN-3001 Venezuela 1998 

Ôxigen or Dead. Inv., 1996 

 

^Mail Art in Tribut to Damaso → Ogaz. Inv., 1998 

 

 

Bradley, Daniel 551 A Crwford St. Toronto, M6Q 3J9 Canada 1986 

^Push-Machinery (Mag. 35.5x21.5 cm. and half-legal sizes, phc., 8 p. 1986?-, ~12#) 

^#8, 9, 12 

Bradley, Steve S. / → Rutkovsky, Fran. 227 W. 1st Ave. Tallahasse, FL-32303 USA 1987 

^The Figure: Alternative Visions. Doc. Half-legal, offset, 8 p. 1987 

 

^CONTRAdiction. Doc. Letter, phc., 8 p., The Ware- house, Tallahassee. Nov, 1988 

Bradley, Tony / Crowcroft, Ron, 'Burford'' Byways Selsey, NR Chichester, P O20 OHY, UK 1979 

& 148 High St. Selsey, M. Chichester, P O20 OQE, 1979 

............................................................................................................................................................. 

Black Boat (Mag. Alt. literature and graphics, style of nonsense. A/5, phc. 1979?-, #?) 

Brall, Artur c/o Verlag Kretschmer & Großmann Frankfurt am Main Germany 1986 

^Künstlerbücher, artists' books as art: Ausstellungen, Dokumentationen, Kataloge, 

Kritike. (Offset, 176 p.) Kretschmer & Großmann, Frankfurt, 1986 

Branco, Joaquim R. Voluntarios de Patria 389 / 622. Rio de Janeiro. Brasil 1979 

247 Av. Astolgo Dutra (c/o P. J. Ribeiro?), Cataguases M.G., BR-36770, Brasil 1979 

............................................................................................................................................................. 

^Tabu (One sheet mag. with «pop-eye» actionism, concrete and visual poetry: P. J. 

Riveiro, K. Staeck, R. Werneck, G. Mattaso & others. Folio, offset. 

1976-, m.) Cataguases /Ed. Totem, Rio de Janeiro

^#11 

^Totem (with P. J. Ribeiro and Ronaldo Werneck) (Offset magazine, 32x23 cm, 4 p. 

as monthly suppl. to the daily news «Cataguases», mostly with vis. 

poetry, #10-13 special Mail Art issues. 1977-80, m.) 

^#13 

Totem N° Jan. 1980 = «arte correio» issue 

°Expoarte 80. (with Ribeiro, P. J.) Doc. with a list of 81 parts. 25x32.5 cm., fold, 

offset. / Catagueses, 1980 

AR-TE (Exp. art mag. for the Latinamerican underground. A/4, phc., 1983-, #1-3?) 

^Laser para lazer (Poemas experimentais). Ediçoes otem, Rio de Janeiro – 1984 

23x15.5 cm., offset, 64 p. 

~ 

Literature: 

 

 

 

 

 



Brand, Jan Bokhorstweg 4 Spankeren / Dieren Netherlands 1975 

Transit (with → Beveren, Peter van & others) (Anths. like A/4 mag. 1975-77, #1-5) 

Brummense Uitgeverij can Luxe Werkjes. Alweereen /Beuningen, 

°Transit. Taal Beeld Taal (Language Image Language) Editors: Maarten 

Beks, Urias Nooteboom, (34 authors) {195}, Brummense Ug., 

Beuningen NL, 1975 

^Transit. Book of Stamp. (Orig. stamps, bound, 92 leaves. {59 + 39}) ® 

1975 

Transit. Mirror. (Conceptual works), 1976 

 

Transit. Translation Transformation, offset + phc. {150}. Beuningen, 

1976 

^Transit. Tijdschrift aan de muur, offset, spiral bound, 's-Hertogen- 

bosch, 1977 

^Stichting Festival Arnhem: Beethoven, Music for the Millions. (also a Mail Art pro- 

ject, org. with A. Gerritsen, J. de Groot, M. Hendricks). Cat.: 3.5x17 

cm., offset, 28 p. 1977 

°Brand, Jan: Visuele Poezie. Anthology. Cut A/5, phc., 104 p. {200}. KAA, 

Arnhem NL, 1980 

Brandao, Antonio Cesar, C. P. 129, Santos Dumont M.G., BR-36240, Brasil 1992 

Brasil visual poets, Rio de Janeiro 

(Al ca So, Dayse Lacerda, Dico, Joao Carlo Sampiaio, Samaral, Sandra Moderno, Yara) 

............................................................................................................................................................. 

Olho Vivo / Dia (Assemblings for lettrism and concrete poetry. D. Lacerda, Dico, 

Samaral & others. 16x16 cm., mimeogr., phc, 1974? ) 

Poemas (Assembling in cover of 22.5x16 cm., 1974-, y. ?#) 

 

°Zanini, Walter / Plaza, Julio: Poeticas Visuais. Cat.: Texts in Portuguuese and 

English. 31.5x23 cm., offset, 56 p. Museu de Arte Contemporanea. 

Sao Paulo, 1977 

^Saciedada dos poetas vivos. Vol. 5. (Editors: Faustino, Urchacy / Miccolis, Leile) 

(Anth. 110 p.) Ed. Blocos, Rio de Janeiro, 1993. Authors: 

J. Branco, A. de Sá, E. Paulo, G. Magela, G. Mendonça Teles, H. Mund 

Junior. H. Pontes, J. J. Galahade, J. Cardias, M. B. Bezerra, M. Sobral, 

O. Pereira, Ph. Menezes, R-A. & A. Alves, R. Keppler, R. du Wascimento, 

S. Nunes, S. Monteiro de Almeida 

Braumüller, Hans Osterstr. 98 Hamburg, D-20259 Germany 1997 

↑ c/o Schor, Reeperbahn 156 Hamburg, D-20359 1997 

↑ Los Almendros 3898 Ñuñoa – Santiago Chile, Chile 1995 

............................................................................................................................................................. 

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 

Cat.: 20.5x20.5 cm., offset, 32 p. April 1995. Texts (Spain & English): 

Hans Braumüller: Los Almendros 

Felipe Vilches: The Planetary Pulsation 

Clemente → Padín: Network and artistit's role before and after Lyotard 

Â Tribute to G. Deisler. Inv., 1996 

^Mail-ElbArt 1997 / Kunstausstellung im Alten Elbtunnel, Hamburg (with → Merlin) 

Cat.: 19x20 cm., offset, 36 p. (German) 

+ elbart, CD-ROM, Windows/Mac. CulteV-beim Grünen, Jäger 25, 

Hamburg, D-20359, http://www.cult.de 

+ Art under Surface, Reeperbahn 97, (participant list) A/4, 2 leaves, 

phc., with or. rubber stamps, + div. suppls. Hamburg, 1997 

^Cruces del Mundo – Crosses from the World. Inv., 1999 

~ 

Literature: 

«Since 1987 I had been involved in alternative local networking directed against the 

dictatorship of Pinnochet in Santiago de Chile. Most of my local networking was 

performed through our artist group „La Preciosa Nativa“. The idea was rescue the 

origins of the indigenous cultures by generating an art movement connected with 

these cultures. (...) With the upcomming of festivities in 1992 meant to celebrate 

what used to be called the Discovery of America, I took the decision to do my part 

in a campaign directed against the hollow ring of these gooverment sponsored 

festivities. This widely supported campaign went under the name „500 Years of 

Resistance“. So inm 1991 I started the Origen Project... Within thisproject I edited 

two volumes of an assembling book under the subject of 500 Years of genocide and 

Colonialism with about 677 participants per volume. Volume one was shown in St. 

Kilda West, Australia and was also showns as part of an installation by our group in 

the Museum of Contemporary Art in Santiago de Chile and in another place in 

Hamburg, Germany, 1992» 

(Hans Braumüller: 500 años de genecidio y colonialismo. Statement / 1996. 

In: Stephen → Perkins: Assembling Magazines. Internationale Networking Collaborations. 

Cat. Subspace, Iowa City. 1996 / Print: 1997. 40-41 p.) 



Bremer, Hanna / Marlow, Jack ? Bremen Germany 1979 

°Kryptogame (Mag. for the post-fluxus scene: O. L. Nations, D. Higgins, V. Baroni & 

others. A/4. offset with orig. works by the eds. 1979-80 , ~2xy. #1-3?) 

Bressi, Betty P. O. Box 163, Rosebank Station Staten Island, NY-10305 USA 1975 

Glassworks (Magazine for literature & experimental poetry. Digest. 1975-, qu.) 

Brett, George Athens GA USA 1977 

OR Post. (Rubber stamp project) ~1976 - 

® 

°A. Proxi. (Silhouette of the artist, cut off, mentioned as an «approximately» Fluxus 

representation of the re-unioned DaDa and the manifestation of Mail 

Art, with a documentation brochure of 17 p.) Athens GA, 1977 

°OR Post (Rubber portraits of artists, {20} 20 p.) Orgroup. Greenville, NC, 1978 ® 

°Secca at Secca. Inv. / Center of Contemporary Art, Winston-Salem, NC, 1979 

ÔR Post (8 cards with rub. stamps) ORgrup + Stempelplaats, A'dam, 1979 ® 

°The Decashadenia Postcard Show. Inv. Pitt Comm. College, Greenville NC, 1980 

°Ghosting Along. (Bookwork). Digest, phc., 24 p. {20}. Cordial Quartos. Greenwille 

NC, 1981 

~ 

Literature: (Statement): «The parameters of mail art /correspondence art are defined by the 

system which incorporates and processes mail art: the United States Postal Service. 

The postal service dictates the size limitations, partial content [or forbidden

content], and the costs, among other things. But the service also provides mail 

artists a model for imitation. The creation of specific postal systems is an obvious 

imitation of the larger system; OR Post is an example...» In: Rubber ( → Stempelplaats), 

1979/7, July 



«The OR Post is a special part of my life. It is still going on. I cut my last stamp 

sometime in 1994, but have plans for cutting some more someday soon. The stamps 

are carved from vinyl technical erasers. My favORite has been Mars Stadtler Grand 

erasers, but lately they have been embossing some kind of logo onto the plastic...» 

(From an Internet-publication, 1998) 

Breuer, Theo Neustraße 2, Sistig / Eifel, D-53925 Germany 1996 

YE! (Assembling with thematic issues, A/4 {~100}. 1993-, ~ 2xy.) 

 

Faltblatt (Contact mag. 1994-, ) 

 

^School: Faces, Views, Insights. Inv., 1996 

 

Brewton, Johnny / Shargel, Delia. Pneumatic Press. P.O. Box 170011, San Francisco, CA-94117, USA 1994 

^X-Ray (Assembling like network zine for graphic and literature {200+26}. Half- 

legal size with ca. 40 leaves. Also found objects. 1994-, qu.) 

^#5 

Brian, Gentry USA 1988 

Smile «History is the index» (Smile mutant, 1988) 

 

Briers, David 15 Park Mansions, Prince of Wales Drive, London, SW11 United Kingd. 1970 

^Pages (Mag. with fluxus, concept art, performance, exp. music, etc, contributions 

and info matter also from Eastern Europe and Latinamerica. A/4, offset, 

~36 p. 1970-72, y., #1-3) 

^#1, 2, 3 

^Typewritten contact and address list (!) as addendum to Pages #3, 1972. 

 

Chapter Art (Review on printed matters, A/4. 1981-, m.) Cardiff. 

 

~ 

Literature: «Chapter Art... This peroiodical is a seed from the seminally important Pages, an 

early '70s art periodical with perfect pitch. Both edited by David Briers. However, 

Chapter Art acts primarily as house organ for an art center of the same name. It 

offers clear, lucid criticism on the Wales art community as well as a smattering of 

reviews and tidbits from the U.S. and European arenas. If it's goal is to „fill a gap“ 

in presenting alternatives outside of traditional media coverage, then Chapter Art is 

succeeding.» (Lightworks [→ Burch], Art Alternatives in Print. N° 14-15, Winter 

1981-82. 60 p.) 



Brög, Hans / Grünfeld, Thomas / Sturm, Hermann. Bensbergerstr. 232. Bergisch-Gladbach, Germany 1978 

^Positiv-Negativ. (Commonpress #8) 43x30.5 cm., folded to 43x15,2 cm., phc., 

11 loose sheets RV, 24 participants. Black Box Werkstattgalerie, 

Bergisch-Gladbach, D-5060. November 1978 

Broi, Gianni (Free Dog) C. P. 684. Firenze, I-50123 Italy 1991 

^La Posta in Gioco. Cat.: + Anth., 23.5x21 cm., offset (also colour), 138 p. (A 

phantastic rich and interesting publication but all texts Italian only!) 

/ Uffizi, Sala ex-Reali Poste, Firenze. November 15-28, 1990 

Statements by P. Sevcik, C. Belloli, D. Daligand, A. Leagne, L. Bellini,

M. Diotallevi, G. Ferri, G. Gini, B. Kittel, R. Maggi, E. Minarelli, 

R. Nikonova, A. Ohlman, F. P. Focardi, S. Segal, A. Tisma, M. Tortora, 

V. Baroni, G. Bleus, R. Summers, C. Welch, L. Pignotti, M. Chieppi, 

J. Held, B. Pollacci, P. Petasz, E. A. Vigo, C. Kainz, E. Sturani 

^Mail Ark '91. «Creative communication at a distance between old and new media» 

(Seminar / Fac. of Architecture, Univ. of Florence.) Doc. + Slides. 

1991 

^La Posta in Gioco II. Cat.: A/5, offset, 64 p. / Galleria Comunale d'Arte, Cagliari 

December 20, 1991 - January 15 1992 

^Free Dog Club Statuto (with Annamaria Caracciolo) 8 xeroxed p. Firenze-Calgari, 

1993 

^Networker Congress Florentine Area. 7-8 May 1994. (Info matter, 4 leaves) 

^Free Dog and Human Values. Inv. to exhibition. 1994 

^Pele di Mondo. Inv. Exh. with Italian mail artists only. 1994 

Âlternative, Creative and Free Conference, Bagno a Ripoli. 8th May 1995. (Book, 

A/5, offset, 300 p.) Theoretical texts by networkers: G. Broi, V. Baroni, 

R. Ascott, D. Cole, D. Daligand, R. Janssen, J. N. Laszlo, R. Maggi, 

H. Mittendorf, C. Padín, P. Petasz, R. Summers, A. Tisma, C. Welch, 

& others 

^La Posta in Gioco III. – Mail Stones for Meana Sardo / Thinking the difference. 

 

Curators: Giovanni Broi, Annamaria Caracciolo, Bartolomeo Muggianu. 

Texts: B. Muggianni: A new great experience 

D. Caracciolo: Statement / Dichiarazione 

G. Broi: Thinking the Difference / Pensare. La difference 

G. Bleus: Art ministration 

Cat.: 17x24 cm., col. offset, 128 p., 190 parts. Exhibition in Meana 

Sardo at the Sala del Consiglio Communale, Nov 22 - Dec 7, 1998 

^Raymond Roussel. Network performances in Paris and Firenze by G. Broi and others. 

Texts and documentation photos published in the form of a A/3 RV 

poster in envelope of 16x23 cm. 1998-99 

 

 

 

 

 

 

 

Brookmann, Dieter Albeckerstr. 2 / 611. Rostock. GDR-2520 Germany 1981 

^Human Habitat / 1. Mail Art Festival Weimar (forbidden) Cat.: A/5, phc., 6 p. 

Planned for the Studentenklub in Rostock, 1981 

Mail Art aus der DDR. Doc. / Studentenklub, Weimar / Studentenklub, Rostock. 

Planned for 1981, realized in 1982 

Mail Art / Postkunst Exh.: in the DEWAG. Rostock, 1983 

 

!Brotgehirn, Zbigniew! → Tristan Renauld 

Brower, A. / Meier, H. c/o Showburg Arnhem Netherlands 1983 

°Marx Now. (Anniversary of Karl Marx) Inv. 43x31 cm, offset poster (The large 

Mail Art exh. was realized without a cat.) Showburg. Arnhem, 1983 

Brown, Carolyn / Salzberg, Brian. N.F.S. Arts Found., Block Island. Box 131, Block/Rhode Island, RI-02807, USA 

^The Works / The Independent Voice of the Arts (Tabloid mag. in size of 34x27.5 cm. 

Offset, 24 p. 1987-, 10xy.) Vol. III, N° 5-8. Statements and opinions of 

American mail artists 

^# Vol.III. / V., VI., VIII. 

Brown, Jean (The same house but a new address:) Lee, MA-01238 USA 1988 

↑ Archives, Shaker Seed House Tyringham, MA-01264 - “ - 1980 

............................................................................................................................................................. 

«My husband and I started collecting the archive in 1954. The inspiration was Robert Motherwell's 

Dada Painters and Poets. The latter part of the archive , Fluxus, Mail Art, etc. seemed to 

inevitably and logically fall into the trajectory.» (Jean Brown, in a letter to Cuck Welch, May 5. 

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 

materials was purchesed by the J. Paul Getty Center for the History of Art and the Humanities in 

Santa Monica» (Chuck → Welch in: Eternal Network. University of Calgary Press, 1995.XXII p.) 

The Jean Brown archive passed for the «Central Archive» for the whole international Mail Art 

movement. Therefore, many artists send their works and publications in a special copy to this 

collection in the legendary Shaker Seed House. There is a regrettable ciricumstance that his large 

and very important material didn't have been ordered, catalogued and brought within reach for the 

researches by the Getty Center so far. 

May 1, 1994 1994 

~ 

Literature: 

«...So I took off for the Shaker Seed House known as the Jean Brown Archive, to 

savor the richness ot the collection and the hospitality of this great lady... And there 

I was firmly esconced in the Shaker House which the Browns bought after it had 

been moved to that location. George Maciunas had designed the cabinetry in the 

archive, and there was so much to see, from artist' books to one-of-a-kinds, from 

visual and concrete poetry to manuscripts and correspondence. The Shaker House 

is a place of peace and contemplation, a resting place for all those ephemeral materials 

that artists seem to create by a whim and very few people get to see. Here, we 

have a permanent study collection, and I urge all my readers to call or write for an 

appointment whenever you are in the vicinity of Tyringham. Jean Brown is a 

gracious hostess, and you will not forgot the experience...» 

(Judith A. Hoffberg: A Bookman's Holyday / Tyringham... In: Umbrella 

[→ Hoffberg] Vol. 4, #5, 113-115 p. 1981) 

Lon Spiegelman: Archives (about the purchasing the Judith A. Hoffberg Collection 

/ the Jean Brown Archive by the UCLA Art Library / Getty Center for the History 

of Art and the Humanities and similar problems) In: Spiegelman's mailart rag (→ 

Spiegelman). Vol. 1, #4. December 1986. 15-16 p. 



John → Held Jr.: In Memoriam: Jean Brown, 1911-1994. In: Umbrella, Vol. 17, 

No 3/4., 1994. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, the Anthology. 

Santa Monica, 1999. 154-155 p. 

Brown, Hoefer, D. c/o Asuc Studio Berkeley, CA USA 1981 

°Capitalism is sad. Doc. with a list of 28 parts. A/4, phc. 2 sheets. / Asuc S., 1981 

Bruns, Carol / Jacks, Robert, 134 Greene Street New York, NY-10012 USA 1978 

°Fifty Four Pages (Assembling for exp. poetry, drawings, texts. R. Avery, P. Bruscky, 

L. F. Duch, B. Gaglione, M. Rutt, A. Banana, & others. Bound letter size, 

1978) New York 

Brus, Günther Hatscheckstr. 7/3. Vöcklabruck, A-4840 Austria 1984 

^Korpus Kristi / Koitus Kristi (Porno Mail Art mag for the contributors only – 

12-15 copies. A/5, phc., ~12 leaves. 1984-, ir.) 

^# 2 issues: Apr 2, & July 6, 1984. 

Bruscky, Paulo CP 850 Recife-PE Brasil 1993 

^Punho (Assembling, collected into folio size envelopes {100-200}, A/4 matter, 6-28 

leaves. 1973-96, #0-5. The #0 was a mimeographed magazine) 

^#0, 1, 2, 4 

°Outra pedra de rosetta. (with D. Santiago) 21x14 cm., cut magazine pages, 280 p. 

{161} S. P. Recife. 1974 

°Int. Exh. of Mail Art. (with Daniel Santiago, D.) 135 participants invited. One 

sheet of 33x21.5 cm., phc. The exhibition suspended? Recife, 1976

^Multipostais I-II. (with Xilo Ypiranga and D. Santiago,) (Postcard size assembling, 

~ 20 pieces in envelopes of 20x16 / 22x16 cm. 1977-97? #1-9?) 

^#2, 6 

Înformatibo / Centros da arte marginal brasileira de informação... (with D. Santiago) 

(One sheet info mag. folio, mimeogr. 1977-78, 2#) 

^#1, 2 

^10 Seismographical Sheets. Self edition – xerographical works. 32x21.5 cm., phc., 

10 leaves. n.d. 

Êxercicios de Caligrafia. (6 leaves, offset + finger-print, in spec. envelope {110}) 

1978 

°Exposiçao Int. de Sonhos. (with Santiago, D.) Doc. 31.5x22 cm., phc. One sheet 

with the list of 23 parts. Recife, 1978 

°3x4 Show. (Postcards) Inv. on postcard / Livraria Livro. Recife 7. 1978 

°Arte Correio. Doc. with the list of 48 parts. One sheet of 31.5x17 cm., offset / 

UNICAP. Recife, 1978 

Classified Magazine. (Mag. Legal, phc. 1978, #1 only?) A xerographical imitation 

of newsletter's advertisment pages. 

Telegramarte (with D. Santiago) (Telegramm-assembling by 16 artists in envelope 

of 17.5x23 cm. 1978) 

1st Int. Visual Poetry Out-Door Exh. (with D. Santiago) Recife (Umbrella 1/#3) '78 

°II. Festival de Inverno. Int. Exh. of Mail Art. Doc. One sheet of 34x25 cm. offset 

print + collage, with the list of 245 parts. / UNICAP, Recife. 

July 15 - Aug. 4. 1979. 

^1 a Exposião Int. de Art-Door. (with D. Santiago) Cat.: Horz. 21.5x23 cm., offset 

(colour), 94 p. Prefetura da Cidade, Recife , 1981 

°Genotexto (with Daniel Santiago) Carboard piece of 14.5x12.5 cm. {50}. 1982 

°1a Exposiçao National de Libro de Artista. (with Daniel Santiago) Cat.: 16x21.5 cm., 

phc., 18 p.. UNICAP. Pernambuco BR, 1983 

IIIrd International Out-Door Exhibition. (With D. Santiago) Inv. Recife, 1983 

FAX Arte (Album {27} of the workshop «Da Xerox a Lito, Via Fax», Olinda-Pe) '91 

Xerografia (Album {27} of the workshop «Da Xerox a Lito, Via Fax», Olinda-Pe) '91 

~ 





Bruxelles / copy artists ? Bruxelles Belgium 1979 

Digital Dance Magazine / Digital Pages (Xerogr. assembling, A/4. 1979?- , #1-2?) 

Bryan Bieler, Steven, 7307, 6th Ave. NW. Seattle, WA-98117 USA 1989 

^The Stamp Act (Rubber stamp mag., earlier as The Rubberfanzine by Rudi → Rub- ® 

beroid. Letter size, phc., 20 p. 1989-91, #1-8) 

^#1, 2, 3, 4, 5, 6, 7, 8 

Bryin, Abraham. Kurfürstenstr. 21-22. Berlin-30, D-1000 Germany 1986 

Âugen (Multimedia zine with graphics, performances and announcements. 

#1-3 edited in Los Angeles, from #5 offset print. A/4, phc & offset, 

~24 p. 1986-, bm.) 

^#5 

Bucher, Max / Maidan, Noemi. Box 858 / Case 858. Lausanne, CH-1001 Switzerland 1975 

Soft Art Press (Multimedia magazine. A/4, offset with orig. rub. stamps and collages. ® 

1975-79, qu., #1-18?) 

Soft Art Press, N° 15, 1978 = International survey of Multi-Media Art Archives 

Soft Art Press, N° 17, 1979 = Rubber Stamps issue. 

®

~ 

Literature: 

«This colorful and wonderfully ephemeral publication deals with what the editors 

call „non static“ art... This does not imply a movement against electro-static (Xerox) 

art work. Rather „non-static“ art refers to certain alive alternatives which include 

video, mail art and performance art, among others... An excellent indicator of 

European fringe-flavored work in the visual arts...» (Lightworks [→ Burch], Art 

Alternatives in Print, N° 13, Fall 1980, 53 p.) 

Buchholz, Willy ? ? Germany 1980 

Ladies: Black and White (Commonpress #28, not edited yet) 

 

Büchler, Pavel 94 A. Richmond Road. Cambridge United Kingd. 1988 

!Bug Post! / !Bugmaster! → Dominique 

Bulatov, Dmitry Lenin Avenue 77 - „“ - 3 Kaliningrad, 236040 Russia 1996 

H. & A. Museum, Klinicheskaja 21 Kaliningrad, 236016 - “ - 1996 

............................................................................................................................................................. 

^Word Theatre. (with → Sherstyanoi, D. V. Pokladova. J. Kuznetsov) Doc. Lepo- 

rello (4+ 2 sheets), 20x14 cm., offset. texts: English, Russian / City Art 

Museum, Kaliningrad. October 1995 

Experimental Poetry. Selected Works. / Königsberg-Malbork, (Anth., 250 p. Russian) 

Essays by Valerij Scherstjanoi, Tatjana Gorjaceva, Karl-Friedrich 

Klaus, Alexander Lavrentjev, Ekatherina Bobrinskaja, Svetlana 

Birjukova, Serge Sigej, Ronald Arnhem, Guido Bilcharinko, Franz 

Mohn, Clemente Padín, K-P. Dencker, Henri Chopin, Gerald Janecek, 

Serge Birjukov, Paul Datton, Boris Chifrin, Ry Nikonova, Dmitry 

Ponomarev, Dmitry Bulatov. ~1996? 

Â Point of View. Visual Poetry: The 90s. An Anthology. (One of the most important 

source book/anthology for visuale poetry in the network and the whoole 

1990s. Texts Russian, some short titles also English. Encyclopedic 

structure) Also as catalogue in the form of 24x17 cm., offset, 592 p. 

Essays (Russian) by 19 authors, works / biographies of 116 artists, 546 

illustrations, + biblio- / disko- / WEB-lio- /graphy. Exhibition tour: 

Kaliningrad, St. Petersburg, Moscow, Niznij Novgorod, Vilnus (Lietura), 

Krakow, Wroclaw, Budapest, 1998-99. Ed. Simplicii. Kaliningrad, 1998. 

The author about yourself: 205 p. 

^Mail & FAX project: a year of incongreous meetings. Inv., 1998 

 

Bulkowski Zietenstr. 61 Düsseldorf, D-4000 Germany 1970 

^Pro / Blätter für neue Literatur (Magazine for experimental literature and graphic. 

#1-12: A/4, offset print thematic issues on brown paper, from #13 

mimeographic pages with a number of diverse text and graphic inserts. 

1966-77, #1-27) 

^#23 

Bullard, Robin 322 Virginia Ave. San Francisco, CA-94110 USA 1988 

↑ 255 Mt. Shasta Dr. San Rafael CA-94903 - “ - 1982 

............................................................................................................................................................. 

^Highchair (Mag. Performance docs. with photos. Digest, offset, 24-28 p. 1983-84) 

Yearly: #1-2 only? / N° 1. Pocice–tactice, N°2. Taxi scenes... 

^#1, 2 

Bunus, Ioan 19 rue David d'Angers Paris, F-75019 France 1986 

Kriegstrasse 76 Karlsruhe, D-7500 Germany 1984 

............................................................................................................................................................. 

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 

^Crazy Envelopes. (Anthology of para-mail art envelopes) Horz., 13x21 cm., offset, 

92 p. (ISBN 3-923080-05-0) Werkstatt Edition, Laufenburg. 1982 

Burch, Charlton c/o Lightworks, P. O. Box 1202 Birmingham, MI-48012 USA 1986 

lightworks_mag@hotmail.com 

↑ - “ - P. O. Box 77271 Ann Arbor, MI-48107 - “ - 1977 

............................................................................................................................................................. 

^Lightworks (with D. Schwarz, S. Penland-Mace, E. Keller & oth. )(One of the most 

important publ. of the post-fluxus scene: analytical texts, visual matters, 

photos, graphics, performances, stamp and Mail Art... First as tabloid 

size mag. of 38x29 cm., from the #6 cut letter size offset publ., ~60 p. 

Also thematic issues. 1977-90 = #1-21, but also a newer publ. in the 90s: 

#22, The Ray Johnson Issue, with an audio CD, dated as 1995-2000) 

Ann Arbor / Birmingham MI. 

^#2, 3, 4, 5, 6, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20-21 

°Lightworks Envelope Show. Inv. on postcard / Public Library, Ann Arbor, 1978 

°Shoes – Go Anywhere You Please. (Commonpress #14) Digest, offset, 46 p., 51 

participants. Ann Arbor, 1979 

~ 

Literataure: «Lightworks, through many years... documented and illuminated the shadowy 

underground. Without taking sides, it has reported on most of the creative 

movements – sound, visual, performance – of the 1980s. Reading back issues of 

Lightworks is like reading a history of the altlernative before it is co-opted by 

institutions, academic or economic.. Lightworks is timely, superbly printed, diverse, 

energetic, creatively designed, open-minded and -hearted, vital, and inexpensive... 

(By Karen Holman. In: Print Reviews. PhotoStatic. N° 36, June 1989, 1340 p.) 



Burg, Sonja van der Postbox 917, CX Den Haag, NL- 2501 Netherlande 1985 

↑ Swietenstraat 42. Den Haag, NL-2518 - “ - 1984 

............................................................................................................................................................. 

Âfzet / Afzet's Palmbank (partly with → Oosten, Margot van) (Assembling in 

envelope, edition: 60 signed and numbered copies. Special themes for 

each publ., A/5 matter, ca. 30 sheets in an issue. Numbering by volumes 

and alphabetical order. 1981-85, ~bimonthly, altogether ca. 30 issues.) 

^# 1984: 4/f , 1985: 5/a, d, e, f 

^Fritten-Show (with Flip Krabbendam). Cat.: A/3, offset, 6 p. {285} 1984 

^Natural Touch. Zogenaamd So called, 1985. Handmade publication in 10 copies: 

A/5 size, mixed technic, 6 p. 

^ 3 Dimensional Exhibition of Afzet. Inv., 1985 

 

^Journey. (8 p. xeroxed exh. & action journal) / Galerie Arti-Shack, Rijswijk, 1985 

^So Called (Postcard size unbound assembling in paper-cover with additional Mail 

Art info bochure, 1986-, 2-3xy.) 

^#1, 2, 3 

^Noveau Nihilisme. Exhibition of installations & objects by Let Bijkersma and 

Martin Helm at the So-Called rooms, June 1-25, 1986 in Haag. 

150 numbered copies of aspiral bound catalogue: A/5, phc., 36 p. 

^Travelin' Around the Midnight Myth. (Writings & drawings, ~A/5, offset, 28 p.){20} 

S. P. The Hague. 1988 

~ 

Literature: 

«Afzet is fine and cool. The bewst collation edition of artist-supplied art anywhere. 

The editors really demonstrate concern and a sense of the community they serve. 

Issues take on specific themes... Issue 5A deals with the phrase „looking for wordless 

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 

Gallery“ wherein artist / contributors do selfportraits for inclusion. The third section 

called the „Palmbank“ is where contributors deal with the issue theme. A fourth 

section includes a listing future mail art shows around the world. Oftentimes this list 

is ready for wall mounting with a sewed cloth hanger. This is a glorious compilation. 

It takes a substantial exception from the slap-dash, thrown together anthologies.» 

(Lightworks [→ Burch], These Things Too [Print review] N° 17, 1985, 25 p.) 

Buschmiller, Edgar Allen, Art Dept. Old Dominion. Univ. Norfolk, VA-23508 USA 1988 

↑ 7714 Restmere Road Norfolk, VA-23505 - “ - 1986 

............................................................................................................................................................. 

Thermos (Assembling in letter size, stitched, ~70 contributors in each issue {125}, 

also thematic publs., e.g. Vol. III/3 Absolutely no Sex, III/4 Glamour. 

1982-85, #1-18) Norfolk 

Êdgarzine / Letters to Edgarzine (Mag. for Mail Art communication. Digest, phc., 

~ 

Literature: 

12-16 p., 1986?- ) 

^# 3, 4, 5 

«Thermos Magazine was an artist's participatory & collaborative effort, international 

in scope, non-judgement in content, never consistent, always interesting, never 

elitist, never for sale, & never interested in being critiqued...» (E. A. Bushmiller: 

Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art – Bookworks. 

Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 174. item) 

«The obviousness of the paste up points to the synthesis of the issue: that is, Edgar 

Allen Bushmiller, ed., answers his mail in public in this form and pulls it all 

together with other tidbits into an extremly enjoyable volume of humor, insight, and 

fun stuff.» (L. → Dunn: Mail Review. In: PhotoStatic. N° 22, Febr. 1987, 706 p.) 

Butler, Russell L. (!Buz Blurr!) (Caustic Jelly Post) 908 Main Street. Gurdon, AS-71743. USA 1986 

Mail Art and performance art activity since 1972. 

 

Artistamps after boxcar documentation reduced to stamp size by photocopy ~1975. 

°Meanwhile (Commonpress #33) Digest, offset, 36 p., 29 participants. 1980 

Artistamps: Caustic Jelly Post. (Sheets of stamps with vry hard black and white 

portraits made by curious procedure with stencil print after the 

negatives of Polaroid images.) From the second half of the 1970s. 

~ 

Literatur: 

^Buz Blurr: Stamp artist Profiles. Some Buz Blurr autosoricizzazione. In: Artistamp 

News (→ Banana). Vol.1, #2. Dec. 1991 



!BuzBlurr! 

→ Butler, Russel 

BWA & ZPAP c/o Galeria Wigry. Suwalki Poland 1980 

Habitat's Range (Commonpress #34) A/5, 117 p. 47 participants. 1980 

 

Byrd, Greg Slice O' Toast Prods. 10017 Renton Ave. Seattle, WA-98134 USA 1993 

A large activity on artists' postage stamps by b/w and colour phc. since the beginning 

of the 1990s Perforation or cut perforation. Stamp types: 

B/W: Glue Tongue; Mars; Eat Hair; Seattle Baby Jesus Tour; 

Colour: Air Mail Toast Post; Possum Flip; Dead Elvis; The Arky of 

Toast; Great Desert Cat; Lycanthropy Post; fly by Toast Postes, etc. 

^MARS Networking / Int. Artistamp Show. Cat.: 10.5x13.5 cm, horz., offset, + ori- 

ginal artistamps {200}. Slice O'Toast Prod. Seattle. September 1993 

Îst in the cards – the ’94 MARS Expo / How would you plane the game? Seattle

Artistamps: 

~ 

Literature: 

Inv., 1994 

(“Toast Postes”) 

^Mars Networking (Sheet of 30 id. stamps, b/w offset?) 1993 

^First Annual Catmask Ball (Sheet of stamps by semyidentical images, 

the coloring is animated only, colour phc.) n.d. 



 

Byrum, John 3505 Virginia Ave. Cleveland, OH-44109 USA 2000 

↑ Generator Press. 8139 Midland Road Mentor, OH-44060 - “ - 1987 

............................................................................................................................................................. 

^Generator (Mag. for exp. lit. Letter & half-legal, phc., 60-100 p. 1987-, y., #1-6?) 

^#2, 6 

^Core. A symposium on Contemporary Visual Poetry, 1993 (further → Hill / Core) 

~ 

Source: 

^Generator: 1993 Catalogue (1 leave flyer with the list of the publs. of the 

«Generator Press Chapbook Series», begun in 1990, with «cont. visual and 

langauge poetry». Among of the authors: John Byrum, Tom Beckett, Peter 

Ganick, John Perlam, S. P. Martin, Crag Hill, Miekal And, R. Kostelanetz, 

Dick Higgins, Hank Lazer, S. Smith Nash, Bruce Andrews & Ron Silliman. 

^Generator 2000. Catalogue leaflet. Letter size sheet RV, phc. 

 

Literature: 

«John Byrum has successed in channeling most, and possibly all, of the various 

visual/verbal streams of today into apowerful river of modern sensibility... Some 

of the gold nuggets along the way: James Lang's „Credo“ („I bilieve in Death* 

Diffusion Almighty*** Homogenizer of Heaven & Earth...“), Clark Coolidge's 

„Cogitate“ (a meditative, heart-felt piece with the triumphant conclusion „Bird at 

cliff, flew as good as me from you“), glittering language abstractions from R. → 

Kostelanetz and Peter Ganick, a penetrating, atomic essay by Bob Grumman, and 

too many more jewels to enumerate...» 

(DeMichele: Reviews. In: Score, #9. [→ Hill] ~1989.) 

Byszewski, Janusz Switojerska 5 / 7, Warszawa, PL 00-236 Poland 1986 

c/o Biuro Wystaw Artystycznyck w Lódzi. Lódz, PL 91-075 - “ - 1985 

............................................................................................................................................................. 

^pARTner. Poznan. Biennale Sztuki dja Dziecka 1984-85. (Documents of actions 

+ Mail Art in texts and images.) Artists: Jacek Bukowski, Blanka 

Gul-Olszewska, Eugeniusz Józefowski and Wieslaw Karolak. 

A/4, offset, 48 p. 

Ârt Actions for / with Children – Sztuka Akciji dla / z Dziecmi. Cat.: A/4, offset 

90 p. Text by Byszewski (Polish & English). 1985 

Bzdok, Henryk Ul. Slowackiego 12 / 4. Katowice, PL 40-093 Poland 1984 

^BZZZ-carts. (Hand fabricated rubber stamps on post cards) 1970s 

® 

Put here your address and send it to another artist. (Project) 1977 

 

Artistamps: °(Bzzzcard) (Sheet of 35 diff. stamps, by red, green, bleu rub. st.) 1977 ® 

^ Dear Anna (Postcard with 9 stamp images, b/w offset) 17. 01. 1984 ® 

~ 

Literature: Vittore → Baroni: Henryk Bzdok. In: Arte Postale. Guida al network della corrispondenza 



Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 68-69 p.

Cabanas, Xaime c/o La Galga: Alcalde Abella 21 La Coruña Spain 1981 

°O' Patacon. Cat.: 23.5x18 cm., offset, 8 p. 124 parts. / La Galga. Coruña, 1981 

La Galga (Mag. with exper. lit. and graphism. 24x17.5 cm., offset, 24 p. 1981?- ir.) 

«Caffè Carmagnola» Via del Gelso, 37 Udine, I-33100 Italy 1995 

Hapy New Year for Luther Blissett. Poster. 1995 

 

Cairns, Phyllis Pembroke Press, 34 Main St. Newtown, CT-04670 USA 1986 

↑ 99 Cross Highway Westport, CT-06880 - “ - 1985 

............................................................................................................................................................. 

^You Tell Me Your Dream. (Dedicated to the memory of Betty Ruth Curtiss.) 

Xerographical collages. 21.5x18 cm. 1985 

^Things to do today. Artists' book by xerography. 14x11 cm., phc., 16 p. red cover. 

Additive 2 „SCREAM“ buttoms („SMILE“ variant?), Ø =6 cm. 1985 

^The Other Times – published spradically...(Tabloid mag. A collage of Mail Art 

announces, books reviews from the magazine underground, nice leyout. 

43x28 cm., phc., 1986-, ir.) 

^# Vol. I/2 

°Interior Decoration (Bookwork) 13.5x18.3 cm., phc. 8 p in form of accordion. {100} 

Pembrook Press. Newtown CT, 1987 

~ 

Literature: 

«Due to a suffocation of dexterity I am currently using found images in the form of 

photographs, objects, ephemera and rubber stamps to compose my works. Words in 

one form or another are usually incorporated. Large words which are narrative in 

nature interchange with book form. The use of the copier as a print-making tool 

both in the production and the creation of collage material is indispensable... And 

though I know that I will never escape being an artist; I hope that in addition I will 

never cease to surprise myself, and be surprised.» (P. Cairns: Statement. In: Sarah 

→ Jackson: Books Build Bridges / Copier Art – Bookworks. Cat.: TU ° NS. / National 

Postal Museum Halifax, 1986. 175. item) 

Source: 

^Pembroke Press. Current titles, Winter 1985-86. Horz. digest size, 2 passes phc., 

(green & black) 8p + order form. 1985. Works by Phillis Cairns: 

Synthetic Fabric, half legal, 40 p. {~200}, drawings, rubber stamps; 

You Tell Me Your Dream, see above; 

Depression, digest, 20 p. {~200}; 

Things to Do Today, see above; 

Floatting Heads, letter size, 176 p. (A contemporary visual narrative); 

Male Gift (one size fits all), poster size {104}. 

Caldera, Lesley M. (!Creative Thing!) 12331 Muir Court, Whittier CA-90601 USA 1982 

^RANT (Div. prints like a one-sheet mag. Mostly letter size, phc. and offset. 

Also artists' postage stamp sheet. 1982?-, very ir., ~ 25#) 

^#4-5, 6, 8, 10, 11b, 12, 12, 14, 17, 18, 24-a/b, 

^Private World Mail Art N° 1. Doc. Letter, phc., 6 p., address list.1983 

 

^Music Mail Art Exh. Doc. in: RANT #4-5. Legal, 2 sheets, phc. Jan.-Febr. 1983 

^Handbook. (Mini book of 14x10.5 cm., phc., 24 p. {99}) Palm Press, Whittier, 1983 

^Fin de Año (Digest, phc. + rub. stamps & collage, 18 p. {50}) Palm Press, ® 

Dec. 1984 

Smile (As a Rant issue, A/6, phc., 1985, #1) 

 

Artistamps: ^Spring 1985 (Sheet of 12 diff. stamps. Collective work of 10 artists. 

Phc. on cream colored paper.) Published as Rant #14, 1985 

^Los Angeles Marathon (Sheet of 10 diff. stamps, red and black offset 

on white paper) Published as Rant #18. March 9, 1986 

^Kurt Schwitters 100 years of MERZ. (Digest, phc., + rub. stamps, collage, 56 p. ® 

{200}) Palm Press, Whittier, 1987 

^Vision of Paradise. (Offset, images in form of postage stamps, Digest, 22 p. {200})

Palm Press,Whittier, 1987 

^101. Int. Mail Art Show. (La Mirada / Biola Univ.) Doc.: Poster of 43x28 cm. 

1990 

Artistamps: ^Schwitters 1887-1991 (Sheet of 6 diff. stamps, red phc. on yellow 

paper) Palm Press, Whitier. June 20, 1991 

~ 

Literature: 



Caldwell, Robert P. O. Box 409 Iowa City, IA-52244 USA 197? 

Typewriter (...written visual poetry. Mag. 197?- ) 

 

Calgary artists / W.O.R.K.S. 1758 Main P. O. Box. Calgary Canada 1973 

Â Conceptographic Reading of our World Thermometer. (by W.O.R.K.S. + Antenna 

T. V.) Cat.: Letter, offset, 76 p. (International concept artists) 1973 

«Calgary, OFF Centre Centre» ? Calgary Canada 1985 

^When I was a Cowboy. Cat.: Digest, offset, 16 p. (→ Modern Realism, Dallas; 

AKA Gall. Saskatoon) 1985 

Callahan, Brian P. O. Box 50164 Indianapolis, IN-46256 USA 1983 

Level (Mag., also with assembling issues in bag or box {100}. Letter, 1982-? squ., #?) 

~ 

Literature: 

«This Level (#4) is tubular, that is, packaged in a paper tube. In it you'll find a 

magick button on strings (probaly from a wornout but magical oveorcoat), a 

fucked-up freen green plastic army man with a tag which indicates an honorable 

discharge, plus a passel of drawings, weird poems and rantings of all sorts. The 

loosely-adhered-to theme of this issue is alternative publications and a listing a 

various addresses is included. Free-wheelling, open-ended and tangled up. Anybody 

can join by submitting 105 copies od something. So why not? Level 5 is to be 

boxed...» (Lightworks [→ Burch]. These Things Too [Print review]. N° 16, Winter 

1983-84. 57p.) 

Calleja, J. M. Apartat 133. Mataró (Barcelona) Spain 1988 

↑ Cta. de Mata, 75, 7é, 2a Mataró - “ - 1982 

............................................................................................................................................................. 

^Diezysiete (17). (with José A. Sarmiento) (Small size anth., 8x12, offset, 128 p. 

{1000}) Ed. La Cloaca, c Aragón 285, Barcelona, 1980. (Anguera, 

Calleja, Canals, Sabater, Carné, Corbeiro, Fernándéz, Gil, Pey, Pezuela, 

Pinya, Porta, Sapere, Sarmiento, Bernardó, Grupo Texto Poetico, Vega) 

Introduction by J. → Blaine. With bio- & bibliography. 

^Poesía Experimental (with G. → Vega) (Small postcard assembling in folio of 

19x13 cm. from the circle of the Gruppo Texto Poetico,→ Ferrando. 

1981, #1-2?) 

^#1, 2 

^ Teoria '81. Poesía Experimental. (with G. → Vega) 14 postcards in cover of 13x19 

cm. Mataró, 1981 

Capsa (Mag. for actionism and vis, poetry in very var. size, also octagonal form of 

21x21 cm. Phcotocopy and offset. 1982-83, #1-4?) 

°O. K. (Vis. poetry in a booklet of 25x17.5 cm., 8 leaves) {48} El Crotalon, #13. 

Madrid, 1984 

°Lopez Lopez (15.5x10 cm., offset, 16 p.) {177}. El Crotalon, Madrid, 1985 

^Poesía Visual. (Coordination: Calleja & Mirall de Glaç) Cat.: 21.5x11 cm, offset, 

28 p. Poesía XXX, Terrassa, Barcelona. September 1992 

^Poesía Experimental - 93. (Anth. with 42 artists, 64 p.) 19.5x13 cm., offset, 64 p. 

Sabater Ed., Ap. 9554 . Barcelona, E-08080 / Introducción de Ramon 

Salvo (Spain / Engl.) 1993

^Mixtures. (24x15 cm., offset, 112 p.) Pagès editors, Bibloteca de la Suda N° 5, 

Carrer Bobalà 4. Lleida, E-25004. / Pròlog de Jordi Coca. 1993 

^l'avioneta #14, (Monographical issues on the works of Calleja. Visual & concrete 

poetry. One sheet of 100x70 cm. folded to an accorodion: 

(2x8x) 35x12.5 cm., offset (16 p.). 1996 

^Poemas Visuales. Exhibition at the Taller de Intentos Culturales (Gabriel Aresti 6, 

Barakaldo, E), March-April, 2001. Cat.: A/5, offset (black and red print), 

12 p. Text: Gustavo Vega (Spain). Barakaldo, 2001. 

~ 

Literature: 

^Dmitry Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. With 


Calvert, Peggy 802 E. Buffalo Ave. Santa Ana, CA-92706 USA 1992 

 

 

 

«CAMBIU» 

(Centros da arte marginal brasileira de informaçao e união) c/o → Silva, Falves, 

Rua Eng. José Rocha 16 (48), Candela I. A., Natal, BR-59000 Brasil 1977 

Gaveta (Mag. for «arte marginal brasileira». 22.5x16 cm., offset. 1977?-, #1-5?) 

Camel, Joe c/o Gallery 210. Bloomington, IL USA 1978 

°Kitsch and Mail Art Show. Doc. Letter, mimeogr. 4 p. 68 parts. Bloomington, 

1978 

Campitelli, Maria Via Messina 2, Milano Italy 1985 

^Taccuino Apogrofo / Also as → TRAX 1285 (Assembling for xerography in port- 

folio, A/4, phc., 1985-, 1-15#, the most issues not as TRAX product!) 

1985 

^#13 

Campos, Augusto de ? São Paulo Brasil 1975 

Codigo (Vis. poetry mag. with a beautiful, and rigorous, high quality typographical 

finish. C. Veloso, D. Pignatari, H. de Campos, R. Bonvicino, D. Machado 

& others. 25x22 cm., offset, 1975-80, very ir., #1-4?) 

Canavan, Pat ? Catonsville, Maryland USA 1979 

°U. M. P. A. F. Mail Art Show / Copy Art. Inv. on A/4 mimogr. / Int. Arch. Univ. 

Catonsville, Maryland. 1979 

!Canadada! 

→ Varney, Ed 

Canepa, Anna / Deák, Edit / Robinson, Walter 149 Wooster St. New York, NY-10012. USA 1972 

Ârt-Rite (One of the most known multimedia & alternative art mags. Also thematic 

issues. Cut letter, offset, 1973-78, ir., #1-21) 

^#7, 8, 12, 13, 14, 15, 17, 18, 19 

Ârt-Rite Artists's Books (in: Art-Rite #14, Winter 1976-77) Eds.: W. Robinson 

& Edit de Ak. Statements on artists' books by 50 artists and art 

professionals / 78 p. Texts: 

John Howell: Writen art by women 

David Salle: Artists' books, a new fad 

Al Moore: About L. Katz & C. de Jong 

Rosalee Goldberg: Performance artists 

Lauwrence Alloway: Book review 

Peggy Gale: Italian publications 

A. A. Bronson: Via the book of Mr. Peanut 

Naomi Spektor: 17 titles of artists' books 

Eva Sonneman: Streek-talk on artists' books 

Irena von Zahn: Art book dealer in Soho

Peter Frank: Documenta's book policy 

Ârt-Rite's «Image Bank» issue, #17, 1978 

 

«Cannadian Correspondence Art Gallery, Calgary» → Stake 

Cannon, Terry 

→ Meade, Richard 

Capatti, Bruno Via I. Luminasi, 22. Medicina (BO), I-40059 Italy 2000 

www.dadacasa.com/ah! (an internet-zine), bnet@libero.it 

↑ Via Bordocchia 69. Dogato (FE), I-44020 - “ - 1988 

............................................................................................................................................................. 

Artzine Laboratory View. (Xeroxed mag. {200} 1987-) 

 

Ârtzine Bulletin (One sheet info rag, A/3 folded to quarter, phc. 1988-, qu.) 

^#1, 2, 3 

Ârtzine Portfolio (Photocopied A/4 matter, 52 laeves, 1988-89) 

 

Small- and fan-zine activity from 1987?: Diapoteka Bulletin; EW Bulletin, Mail Art 

archive; SSSSS!; Transumanze (Pittura. Copy Art), mostly A/5 & A/6 

^Choose a body area and send to... Inv., ~1990 

 

Ê-Mail Art – the first recognition. Inv., ~1994 

 

^BXA (Bruno Xero Alteration) project – “alter & pass”. Inv., ~1995 

 

^Send me Hands (for a fake mail art project).Ongoing project with div. docs., also 

as internet homepage. Brochure/Cat.: N°1., Spring 2000, A/5, phc., 8 p. 

Capdeville, Claudia 12 rue de l'ecole de Médicine Paris, F-75006 France 1974 

Plurielle (Mag. Concrete poetry and exp. graphic in a very stylish layout. Also hand 

made interventios. 27x27 cm. and A/4, offset. 1974-76? #1-7?) 

Capistrano, Franklin / Silva, Falves / Fernandez, A. (→ COOJORNAT, Natal, Brasil) 

541 Cidade Alta Natal Brasil 1987 

↑ Rua Anaro Barretto 1243. Alecrim - “ - 1986 

............................................................................................................................................................. 

A Margem (Mag. for visual matter and informations. Folio size, offset. 1986-, m.) 

!Captain Cavern! (Underground artist from Paris with an activity in the French graphism scene) 1988 

^Western Squelette. (Silkscreen accordion book, 18x13 cm., 7 p. {200}) Edition 

APAAR, 54 rue de Glacière, Paris / Atelier 6 rue de l'Abbé, Paris, 1988 

→ Thiellement / I never leave you / Ed. Vitrine 

→ Renault, F. / Basic publs. 

Capuano, Guido ? Ispica Italy 1981 

°Messages '81. Doc. on 43.5x62 cm. offset / to fold, + poster, 170 parts. 1981 

Caraballo, Jorge Juan Carlos Gomez 1490 Montevideo Uruguay 1986 

°Signals (Comic). (with C. →Padín) (Mimeographed, 16.5x10.5 cm, 20 p.) ? d. 

°Señales. (with C. Padín) (Bookwork) 16.2x10.7 cm. phc., 24 p. Cisoria (→ Ogaz). 

Caracas, 1977 

(Des)informacion. Digest size offset booklet, 12 p. Consists photographic diptychs, 

sort of before and after shots of graffiti on the sides of building... 

«Este proyecto fue interrumpido en 1976», n.d. 

A Brief History of Art in Latin America. Brochure, 8 p. 1986 «A clever and funny 

booklet that juxtaposes photos and text to create a sardonic political 

statement.» (Box of Water, #3 → Perkins,) 

^Breve Historia del Arte en Latinoamerica. Self edition, Montevideo, 1986. 

(Conceptual work by photos with a network character) 22.5x17.5 cm., 

offset, 8 p. 

Ên Uruguay La Palabra „Justicia“ Significa. Associacion Uruguaya de Artistas

Correo. Montevideo, 1987. 17.5x10.5 cm., offset, 8 p. 

→ Padín, Clemente / Solidaridad Uruguay 

Caravello, Steve ? ? CA USA 1974 

The Mendo Do De Do. (Mag. in mini size, phc. on yellow stock, 1974-, 14 p. #1) 

Introducting Mendo Area Dada. (Mag. Letter, phc., 1976-, 12 p. #1) 

 

Newsletter. (With B. → Cleveland. A Spinoff of Mendo Dada) Digest, phc., 10 p. 

Artists and Writers Guild, Ukiah / San Francisco, April 1977 

~ 

Literature: (Introduction Mendo Area Dada): «A collaboration with Buster → Cleveland, the 

Princess Kropotkin, and Polly Ester → Nations, „Mendodada was formed as a 

protest against the whole bullshit art trip that is happening. We are totally a 

performance happening and theatre trip withvisuals thrownin, We have no hope or 

care to make money through our art. All art is a political act. Dada is everywhere. 

There is no division between art and life“. Reproduces several newspapers accounts 

pertaining to the „the Bay Area Dadaists (B.A.D.)“ defacing Christo's Running 

Fence with the message, „Dada s God. Dada us Love. Dada Dadas Dada“.» 

(John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated Bibliography of 

Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione]. 

San Francisco, 1997) 

Caravita, Lamberto-Lambi, C. P. Boc 24 Massa Lombarda, I-48024, Italy 1986 

^Mail Art – Massa Lombarda / Seconda Edizione. Cat.: A/5, phc., 20 p. {100, 

numbered copies}. Exh.: Commune di M-L. Sept 1-7, 1985 

^Bela Lugosi's Magazine (Mag. for Mail Art. A/4, phc., ~16 p. 1986-?, #1-6) 

^#3, #No. Special 1, #Erotic 1 & 2 (1986), #Videogrammi 2 (1987) 

^Polaroid Show. Inv. To Bela Lugosi's Magazine, Massa Lombarda. 1986 

Invitations also to Videogrammi (Video Art / Video Music) and 

Audio Art – use hearing protection (tapes & records) in the same year. 

^Videogrammi 2. Catalogue in the form of a poster with participant list: 64x39.5 cm., 

2 colours offset. Exh. at the Chiesa del Camine, Seopt 20-21, 1986 

^Copy Book (Assembling for A/5 Mail Art matter, in cover {100}. 1987-88, #1-4?) 

^#3, 4 

Cardella, Joe / Schmeltzer, Barbara / Beede, Gayle / Fish, Pat: 

P. O. Box 23020, Ventura, CA-93002, USA. 1988 

↑ 1130 Luneta Plaza Santa Barbara, CA-93109 - “ - 1982 

↑ 39 Walter Lane Hamden, CN-06514 - “ - 1981 

............................................................................................................................................................. 

ÂRT/LIFE Communication for the Creative Mind. The original Limited edition 

Monthly. (Spring folder assembling in letter size for all kind of original/ 

handmade image matter {200}, ca. 40 artists in each publ. Started 1981, 

yearly 11 issues. Altogether over 200 issues!) 

^# Vol. 6/3; Vol. 7/6; Vol. 8/5; 

~ 

Literature: 

 

«... One of the longest continously produced artistic journal, called ART/LIFE, is 

published in Ventura by the man who conceived it in 1981, Joe Cardella... He began 

it as a four-page newsletter to friends and fellow artists in Santa Barbara in a need to 

communicate with other creative people. (...) 

The real spiritual parent of ART/LIFE is the 1960s movement, Fluxus. 

There is something of a fad now for Fluxus, major museum exhibitions and publications 

having generated increased interest during the past years or so. It is somewhat 

ironic that the group was nearly ignored in America in the 60s and 70s but the 

ideas, publications, and performances they originated have had endless reverberations 

since the time of the inception of the group by George Maciunas. From the 

beginning, one of the stated intentions of Fluxus was to create publications that 

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 

variously formated two-and-three-dimensional works. (...) 

Cardella was involved, tangentially, with a couple of members of Fluxus. In 

the early 1970s, as a young and experimental artis living and working in New York 

City, he became associated with a newly opened pereformance space called „The 

Kitchen“, and there he met and worked with Alison Knowles and Yohimasa Wada, 

two very active members of Fluxus. For Cardella it was a vibrant and seminal 

experience. 

Coming from a major art center to a relatively small town, Cardella moved to 

Santa Barbara in 1978. Feeling completely isolated and out of touch with experimental 

art, or any that matter, he wrote a statement that became the first issue of 

ART/LIFE, mailed it to friends and acquaintances, and received sufficient responses 

to encourage him to continue. 

The format of the magazine is 8½ by 11 inches, which has been invariable 

from the beginning. There is a three-color requirement, meaning that a submission 

cannot be merely a straight or unaltered photocopy.The artist must hand-color or 

attach something to the page to qualify it as being hand-made. Now the number of 

the editions is two-hundred, which means that the artist must produce his or her 

page as consistently as possible two-hundred-times. The editor encourages creativity, 

and because the subheading of the title is „Communication for the Creative 

Mind,“ Cardella likes to see artists responding to things they have seen in previous 

issues or to events in the secular world. Cardella attemps to exploit this dialogue 

establishing relationship between pages that are similar in content, composition 

and / or color. There is never an announced theme. For example, in the fall of 1991 

several artists did pages relating to Christo's Umbrellas project, and in the spring of 

1992 a number of artists did personal responses to the Los Angeles riots...» 

(Thomas L. Larson (1994): A Perspective of the ART/LIFE Continuum. In: Stephen 

→ Perkins: Assembling Magazines. Internationale Networking Collaborations. 

Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 / Print: 1997. 9-12 p.) 

Cardinas, Th. / Müller, R. / Schweizer, A. Genève Switzerland 1982 

Gratz (Spiral bound graphzine {50}, A/4. 1982? #1) 

 

Carioca ? San Francisco, CA USA 1198 

°Ideas on Wheels. (Commonpress #6) Digest, 24 p., phc., 20 participants. 

 

San Francisco, August 1978 

Carl, Eugene / Reese, Marshall, 8703 Colbath Av. Panorama City, CA-91402, USA 1976 

& 11805 Stonewood Lane Rockville, Maryland 20852 - “ - 1976 

............................................................................................................................................................. 

E magazine (Mag. for exp. & sound poetry, «scores», and visuals from int. authors. 

Letter and cut digest sizes, offset, 1976-, ir.) 

Carrión, Ulises (Apartment / Archive) Ten Katestr. 53. Amsterdam Netherlands 1976 

Other Books and So Archive. Bloemgracht 121. Amsterdam, KK, NL-1016, - “ - 1980 

↑ Other Books and So (Bookshop) Herengracht 259. Amsterdam - “ - 1974 

............................................................................................................................................................. 

Launching the In-Out Gallery and In-Out Productions (publications). 197? 

Some titles: 

→ Marroquin: First help in communication. 16.5x21 cm., mimeogr. 

28 p. {100}. 1973 

→ Marroquin R. / Tchong, Young: Mental drawings of Equipo Movimiento. 

10x10.5 cm., mimeogr. 20 p. {100}. 1973 

→ Rook, G. de.: Life. 10.5x7.5 cm., phc. 12 p. 1973 

→ Gibbs: Extinction. 15x10.5. cm., phc., 28 p. {25}. 1974 

°Sonnet(s). (Xeroxed book, 90 p.) In-Out Prod. Amsterdam, 1972 

 

°Amor, la palabra. (Mimeogr. + rubber stamps, 26 p.) In-Out Prod. A'dam, 1973 ®

Launching the special bookshop Other Book and So, 1974 

 

^Stamp Art Show. (Further: G. J. de → Rook). Cat.: 94 p. / Other Books and so... 

1976 

°Definition of Art. (On an idea of H. W. → Kalkmann) Inv. and responses. List of 

344 parts. Other Books and so. Amsterdam, 1977 

°Erratic Mail Int. System (E. A. M. I. S. ) Concept of an alternative system to the 

officiall post offices. Working of the service on a mimeographed A/4 

sheet. 74 small parcels and envelopes remain undelivered in Ulises' 

«office». Comment of the project on 7 pages. Other Books and so, 

1977 

^Mail art and the big monster. German translation in: Materialien an der Fachhoch- 

schule Würzburg, 1981-82, edited by Hubert Kretschmer. Other texts 

in this publ. (all German): P. Below: Mail Art, L. Spiegelman: Statement, 

G. Lloyd: Judit Hoffberg and the Umbrella, H. Zabala: Art is Prison. 


Êphemera (with Aart van → Barneveld & Salvador Flores) Mag., the classic of the 

Mail Art ephemera publs. Folio like size, offset with handmade applications 

as collages, rubber stamps or small suppls. Special issues for 

Carrión, Gaglione/Banana, Hungary, Brazil. 8 p. 1977-78, #1-12.) 

^#1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 

°Four Language Performances. (Program by the Other Book and so... archive at the 

Holland Festival, 1977, Amsterdam with works by G. Monach, U. 

Carrion, G. J. de Rook, M. Gibbs. Mimeogr. + rubber stamps, 8 p.) 

°Box, Boxing. Boxers (Commonpress #5) A/5, phc., 40 p. 34 participants {300}. 

Amsterdam, 1978 

^Mirror Box. (11 felt leaves + rubber stamps) 18.5x18.5 cm., S. P., Amsterdam, ® 

n.d. (~1978) 

^From Bookworks to Mailworks – Van kunstenaarsboeken to postkunst. 

 

Cat.: 32x23 cm., offset (red-black print) 12 p. Exh.: Stedelijk Museum 

Alkmaar. Curator: Ulises Carrión, Other Books and so. October, 1978 

°In Alphabetical Order. (Book, A/5, offset, 48 p. {250}) CRES. Amsterdam, 1978 

^ Books /...the first exhibition of rubber stamp books ever held... 

® 

(with → Lomholt). Cat.: A/4, offset (colour) 8 p. / Egmont Highschool 

Odder DK. 1979 

Proposing the Erratic Art Mail International System – an alternative to the official 

Post Offdices. («The E.A.M.I.S. will carry messages in any format – 

cards, letters, parcels, etc., and realized in any medium – Book, cassette, 

tape, film, etc. The messages must reach the E.A.M.I.S. office 

by any way other than the official Post Office...») Amsterdam, 1978 

Artistamps: °Here & Now (Sheet of 35 id. images, green offset on white) 1978 

^Rubber, Books & Post. Doc. A/4, mimeogr. 11 leaves (A collection of rubber stamp ® 

books and publs. + the Mail Art project Postage Stamps and Cancelations 

Stamps by U. Carrión)/ → FMK, Budapest, Hungary, 1979 

^Names & Addresses. Cat.: A/4, mimeogr., 12 leaves (Introduction text + a collec- 

tion of div. address list and like docs.) / → FMK, Budapest, 1979 

°Cancellation Stamps. Cat.: (50 envelopes, 50 part.) → Stempelplaats, 1979 ® 

^Second Thoughts. (Theoratical essays, 21x16 cm., offset, 70 p.) Void Distrb. Ed., 

Amsterdam, 1980. Contents: 

The New Art of Making Books 

From Bookworks to Mailworks 

Rubber Stamps Theory and Praxis 

Rubber Stamp Art 

Mail Art and the Big Monster 

Table of Mail Art Works 

Personal Worlds or Cultural Strategies? 

Bookworks revisited 

°Artists' Books: 12 approaches. (with J. J. Agius). Cat.: Text: Alex de Vries

Exh.: Amsterdam, Waterland Museum (Ockerse, Kocman, etc.) 1980 

^Bóka syning – Bookshow. Doc. A/4m phx., 8 p. / The Living Art Museum, 

 

Reykjavik, Iceland. November 21 - December 14, 1980 

^Stampa Newspaper (a one shot newspaper made by rubber-stamps only, not realized?) ® 

Inv. in form of a A/3 size print. 1980 

°Feedback Pieces. (The invitation torn in pieces and sent – except one missing 

piece! – to the people. The receiver must put together in his own way 

and return) Doc. A/4, offset sheet, black and red print, list of 242 

parts. / Gallery Pieter Brattinga. Amsterdam, 1981 

^Yellow Mail Art. Inv. to the Yellow Art Center, Arnhem NL. 1981 

 

^Kunstenaarsboeken / Artists' Books. Cat.: A/5, offset, 12 p. (60 exponats) 

 

Exh.: Other Books and so... / Stedelijk Museum, Schiedam, NL, 1981 

Kunstenaarsboeken: twalf benaderingen. (with Juan J.→ Agius) Poster + bilingual 

catalogue written by Alex A. M. de Vries. Exh.: Museum Waterland, 

Weerwal 5, Purmerend NL, 1982 

Ârt Photocopies. Doc. A/3 xeroxed sheet. / Centrum 't Hoogt & Univ. Utrecht. 

February-March 1982 

°Robert and Marta. Inv. + complette project with 93 responses. No catalogue. 

1983 

^For Fans and Scholars Alike. (Book, 19.7x14.4 cm., offset, 94 p. {200}) Visual 

Studies Workshop Project, Rochester. 1987 

^Manual de Instrucciones. Cat.: 25x17 cm., offset, 72 p. (Carrión's project, Copias 

originales, in this volume, 58-64 p.) Tolosa, E-20400. October 1988 

^Het Boek en de Kunstenaar. Two Cats.: A/4, offset, 20 p.; and / A/5, offset, 8 p. 

Stadsgalerij Heerlen, NL. 1988 

(Carrión, Goyowczyk, D. v. Kleef, Kocman, Kölgen, Lakner, 

Schmidt-Heins, G + B., T. Ulrichs, de Vries, F.E. Walther, v.Westen) 

October 6, 1989 1989 

~ 

^Sylogism. (Booklet {300}, 13x20 cm. offset, 16 p.) Events N°4. Coord.: Manuel 

Cuevas & Juan J. → Agius, Estampa Editiones, Madrid, 1991 

Êxclusive Groups. (Booklet {300}, 20x13 cm., offset, 24 p.) Events N°5. Coord.: 

Manuel Cuevas & Juan J. → Agius, Estampa Editiones, Madrid, 1991 

^«Ulises Carrión» (org.: → Schraenen, Guy, ASPC, Antwerpen) Poster of 60x42 cm., 

offset. / Museum Fodor, Keizergracht 609, Amsterdam. Jan.-Febr. '92 

~ 

Seurce: 

^Juan J. → Agius: Catalogues of Books & Multiples. #1-13. (Concrete & Visual 

Poetry, Conceptual Art, Fluxus, Mail Art & Related Media, Artists' Books, Magazines, 

Documentations – the cats. included also the whole archive material of the 

Other Books and So archive by Ulises Carrión after his death.) 24x 10.5 and 

24x15.5 cm., phc/offset, ~16-20 p. Genève, 1992-1996 

~ 

Literature: 

^Juan J. Agius: The Alternative Communication: Correspondence and Mail Art. 

(Special items from the Mail Art part of the Other Books and So archive, a selection 

of 338 docs. between 1973 and 1983) A/4, 30 leaves, phc. Genève, 1996 

^Judith → Hoffberg: Profile: Other Books and So / Ephemera. In: Umbrella. 

Vol.1, #1. Glendale, 1978. 1 / 12 p. Reprinted in: J. A. Hoffberg: Umbrella 

1978-1998, the Anthology. 23x18 cm., offset. Santa Monica, 1999. 21-22 p. 

«For the information of our readers, Other Books & So has changed its address 

(Ten Katestraat 53) and now serves as an archive for artists' books, organizing 

exhibitions in various countries of Europe... 

The shop called Other Book & So is now being managed by Karen Kvernenes, 

an American, and has changed its name to Art Something, 259 Herengracht... 

Karen writes that she will try to arouse new interest in artists' books and materials 

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) 

(Artists' Books. In: Umbrella (→ Hoffberg). Vol.2, #2. 44 p.Glendale, 1979) 

«Ulises Carrión first came to Amsterdam as a student on holiday from Paris. 

Born in a very small town in southern Mexion in 1941, he had studied literature in 

Mexico City, and then went to Paris on a grant for three years: 

„...I came here (to Amsterdam) just to visit the city... and I just fell in love 

with it... Then, at a certain moment I really decided I'm going to live in Amsterdam. 

That is the place where I wanted to be... That was in 1970. I was here four 

years illegally and it was not a trouble for me. After four years Aart (van → 

Barneveld) and I had the vague idea... there must be a place for books.... there must 

be a place for exchanging artists' books. It was a totally absurd dream because I was 

illegal here and we had no money at all... But we were going on the bicycle, through 

the streets, looking for a space. Every time we saw an empty space we went to ask 

the cost... And then things speeded up. I got a permit. We found a place... When we 

started Other Books we had zero... We needed 300 gulden a month, so let's be sure 

for six months. That's 1,800 gulden. Let's get this money from friends... But it 

turned out to be so good. Other Books could pay for itself from the first day. We 

work by post, that's the thing. (...) 

...I was a writer before, inthe sense that I was writing, I was using language 

consciously. I wanted to say things through language. But years before Other Books 

I stopped doing this. I kept using language but not trying to say something, not 

using it in a way a writer uses language. I was using language as graphics, or as 

volume, or as colour. In the sense that a plastic artist would use language. I never 

write anymore... I don't call myself a writer because I use language, as I say, from a 

non-linguistic point of view. I consider myself a writer in the sense that I think that 

my work is important for language... the fact is that my own work has taken such 

strange forms. One of these strange forms is not working with your person as an 

individual but through an institution... it could be a shop, a gallery, you can call it 

an archive, institute, company, group, whatever. But that means you have a sort of 

screen, you see. Not to cover you. Not to protect you. But to take a distance from 

the artist as a person. You are someone who is not acting with your own name but 

with, for distance, Other Book & So... it became... through talking with people and 

other friends who are involved in the same problems, it became evident to me that 

it was very important to make your work of art through a social entity... that could 

be a shop or gallery or whatever. (...) you are as a gallery.. a bookshop... Publishing 

a magazine can be a work of art... You see, there is a sort of distance, and you are 

there, behind. 

What I'm going to do now... I will start something called Other Books & So 

Archive... a very important part of my own work will be part of the archive... I will 

keep it at home... The archive already exists in the sense that I have collected in the 

last years, through other Books and So, quite a large amount of publications. So 

that's already a beginning. And then with the closing of Other Books there is a lot of 

material that will become part of the archive. And then, of course, the normal exchange 

of materials and works with friends. (...)“ 

Other Books & So closed on December 1st (1978), and with it the longterm 

project of Ulises Carrión takes a new dimension... Other Books & So is not a business. 

It's a process.» 

(Jan van Raay: End of an era? (Interview with U. Carrión) In: Artzien 

[→ Gibbs], Amsterdam. N°3, January. 1979. n.p. Reprinted with the title: Profile: 

Ulises Carrion: an end and a beginning. In: Umbrella [→Hoffberg], Vol. 2, #5. 

120-121 p. 1979. Also in: J. A. Hoffberg: Umbrella 1978-1998, the Anthology. 

Santa Monica, 1999. 22-23 p.) 

«I enjoyed seeing your exhibition „Anonymous Quotations“ (Anjelierstr. 153, Amsterdam. 

31 March)... There was a lot of to read in the show, not only the excerpts 

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 

writers? You carefully hid or crossed out the signatures, but there were some writers 

I recognised. Certain details, a name, a place, pointed to people we both knew. 

But that knowledge has to remain a secret. You expose enough in any case!...» 

(M. Gibbs' letter to U. Carrión. In: Artzien [→ Gibbs], #6, April 1979. n.p.) 

«...Archiven zijn voor de specialisten, moelijk toegankelijk voor grote publiek. En 

dit staat in scherp kontrast met een boekwinkel of galerie, plaatsen die voor iedereen 

toegankelijk zijn... Is dit juist? Ik weet het niet... Ik kan de keren op de vingers van 

één hand tellen: St:Petri in Lund (Jean → Sellem), Jean → Brown Archive in 

Tyring ham en Hans → Sohm's Archif in Markgröningen. (...) ...antwoord op de 

vraag waarom ik het archief heb opgericht en geopend: ik beschouw het als een 

kunstwerk.» 

(U. Carrión: Other Books and So Archief. In: Artzien [→ Gibbs], Vol. 2, 

N°8, June 1980. n.p.) 

(Second Thoughts): «...All but one of the texts originally appeared in various magazines 

and catalogues during the last five years. In the meantime Ulises has revised 

or expanded some his theories, and has added marginal notes. The most descriptive 

essay is „From Bookworks to Mailworks“ which succinctly introduces these two 

forms, and discusses individual works. All the other essays in the book tend to be 

analytical and critical in tone. (...) 

...What does the term „Mail Art“ refer to? – the activity, the medium, or the 

product? Ulises concludes that it is the first, since the Postal system itself is simply 

a distribution system, like galleries, or bookshops, or television and the product is 

usually just an excuse to be part of the activity. Mail artists don't usually take a great 

amount of care in producing their works for sending out, and they aren't particularly 

attracted by exhibition or publication possibilities since these are so easily available. 

It is, then, as Ulises notes, a privat cultural strategy, played out in one's own home, 

one's own personal gallery and studio, and vith a non-selective distribution netwok 

that anyone can be a part of. Altough there are a few (mostly self-proclaimed) Mail 

Art „stars“, mail artists tend to emphasise the communality of their activity... I feel 

that Ulises does not give enough credit to the importance of the spirit of cooperation 

in Mail Art (...) 

Second Thoughts comes at the right time: Book/Mail/Stamp Art has generated 

a great deal of enthousiasm and euphoria among its adherents but very little 

serious analysis or ciriticism. It is difficult to judge an art movement that rejects 

all criteria, including that of value judgement itself... but in the wider perspective of 

contemporary culture there are important issues at stake... Second Thoughts takes 

the trouble to raise these issues, and to relats marginal art activities to a mainstream 

of discourse.» 

(Michael Gibbs: Thoughts on Second Thoughts. In: Artzien [→ Gibbs], Vol. 

2, N°8, June 1980. n.p.) 

«Please copy by hand Proust's „A la recherche du tempe perdu“ and send it to me 

before the end of the 20th century. You may use the original French text or a translation 

into your own language. Wichever language you use, spelling mistakes are 

not accepted. A catalogue containning an integral reproduction of all entries will be 

published (tentative date: 28 January 2041) and sent to all participants or eventuelly 

to their legal heirs.» 

(U. Carrión: The Hand-Written Mail Art Show. In: Arte Postale! [→Baroni], 

#47, March 1984) 

Ulisses Carrión: Erratic Art Mail International System. (Leaflet. Reprinted in: M. 

Crane / M. Stofflet [eds.] Correspondence Art. Contemporary Art Press [→ Loeffler]. 

San Francisco, 1984. 129 p.)


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 19-20, 73-74 p. 

Vittore → Baroni: Sistemi. Di piccioni e vampiri viaggiatori. (About the „Erratic 

Art Mail International System“ project) And Ulises Carrión. In: Arte Postale. 

Guida al network della corrispondenza creativa. (Text: Italian) AAA Editori. 

Bertiolo, 1997. 196-197 and 200-201 p. 

Carrutzers, Tony ? Vermont, MA USA 1978 

°Traces (Bookwork) Letter, b/w & colour xerox, 74 p. wih plastic cover. {25}. S.P. 

Vermont MA, 1978 

°Enigma (Bookwork) 21.8x35.5 cm., b/w & colour xerox, 44 p. {35}. S.P. 1979 

Caruso, Luciano Edition Continuum. ? Italy 1973 

°L'Enorme tragedia del sogno. (Xeroxed publ. of 22x15.5 cm., 8 p. {100}) S. P. 

Continuum. 1969 

°W la poesia. (Xeroxed publ. of 15.3x15 cm., 24 p. {100}) S. P. Continuum 1970 

Continuazione A-Z (with S. M. Martini) (Assembling by visual matter of 48x20 and 

34x48 cm. (both folded) in portfolio {150}, 1973. 1# only?) 

Cases, Livia C. Marconi 11. Torino, I-10125 Italy 1991 

^Walking Exhibition. Cat.: A/5, phc., 8 p., + slide. January-February 1991 

^Heaven project. (Partial Catalogue N°3.) Cat.: A/5, phc., 12 p. 1991 

 

«Cassette Net» c/o James, Robin, P.O. Box 2391, Olympia, WA-98507 USA 1988 

Robin James: Cassette Conspiracy. Offset, 1988. 

 

~ 

Some contacts and publications from James' book: 

 

→ Aiello, Alessandro: Il Sorriso Verticale (Tape network with an eye to mail art). 

Cervignano 15, I-95129 Catania 

Cinca M., Javier: Particular Motors (Audio Art Magazine) S. T. I., Apartado 956, E-50080 

Zaragoza, Spain 

Das / Big City Orchestra. 1803 Mission St. #554, Santa Cruz, CA-95060 

Die Ind: Tape Report (Compilation). Postfach 239, A-4041 Linz, Austria 

→ Dunn, Lloyd: PhonoStatic («A subtle buoyancy of pulse») 911 N. Didge St. Iowa City, 

IA 52245 

Georgiew, Andrzej (Contacts and org. of music festivals in Poland) Ploocka 14m8, PL-01 231 

Warsaw 

→ Groh, Klaus: Sculpture in my garden / Talking objects. Audio Ed. Ammerland, P. O. Box 

1206, D-2905 Edewecht, Germany 

Guazzotti, Mario: Technological Feeling (Tape activity). Via Lorenzo 30/2, I-17100 Savona 

Hoffman, Zan (Tapes in release). 132 Council, Louisville, KY-40207 

Jaffe, Debbie / McGee, Hal: Cause and Effect (Lists and sells of tapes) P. O. Box 30383, 

Indianapolis, IN-46230 

→ Meyer, Peter R.: Nattövning (Radio series from hometapers) Artillerigatan 56, S-114-45 

Stockholm 

→ Plunkett, D.: N D (Magazine also for cassette networking) P. O. Box 4144, Austin, TX-78765 

Prescott, David: Generation Unlimited. (Germany's electronic musicians) 199 Strathmore #5, 

Brighton, MA-02135-5210 

Rachot (Cassettes by groups in Czechoslovakia). Postboks Nr 516. Jagtvej 70, DK-2200 

Copenhagen N. 

SEI / Brook Hilton. 475. 21st Street, San Francisco, CA-94121 

Sound Choice (An Audio Evolution Network Publication). P.O. Box 12151, Ojai, CA-93023 

→ Summers, Rod: VEC (Audio anthologies, 1978-,) VEC/RS, Postbus 1051, 6201 BB Maastricht 

V2 Organisation (Cassette distribution & magazines). Muntelstraat 23, NL-5211 PT 

's-Herzogenbosch

Yoshiaki Kinno, 1-10-30 Nakano, Morioka Iwate, 020 Japan 

Zinken, Peter: Bloedulag Products. Groenland 87. 1506 VC Zaandam, Holland 

~ 

Other events and publications (chronological): 

^Berliner Cassetten. Gesamtgatalog. Edited by Graf Haufen. A/5 brochure, phc., 24 p. 

Berliner Vertriebsbund, Havelmatensteig 6. March 1983. Listed services: 

Graf Haufen Tapes. Havelmatensteig 6 

Cassetten Combinat / Thomas Schmidt. Bülowstr. 67 

Kompakt Produkte / C. Beyer. Monumenbtenstr. 5 

007-Tapes / R. Rexin. Leusitzerstr. 31 

J. A. Reinboldt. Beerenstr. 24 

Scheißladen. Großbeerenstr. 50 

Ich - Kratzer / P. Lieske. Hektorstr. 20 

Thomas Girke. Nollendorferstr. 28 

Schuldige Scheitel Tapes / M. Krüger. Pillnitzer Weg 24 

Level Ag. / H. Hain. Kadeler Weg 6 

Idees Ag. / Brunnenstr. 113 

Cassetten Copy Service. Kluckstr. 35 

Stechapfel. Görlitzerstr. 74 

Audio tape advertisment flyers collected at the Berliner Cassetten Net (~1985): 

Kamera Obscura. TV-program on Channel 7, Cablevision, Thursday 4:00, 

Freyday 9:30 

LØL. 64 Cambridge Ave., New malden, Surrey. UK 

Man’s Hate Prods. Andi, 154 Alexandre Rd. Peterborough, PE1 3DL. UK 

Mystery Hearsay. Radio program every Suterday evening from 22:00 

WLYX – FM 89.3 at Rohed College – 2000 N. parkway, Memphis, 

TN-38112 

Rancid Armpitz – Diabolical Arselix. Fanzines, records, tapes. C/o Tony, 

33 Arthur Street, Port Talbot, West Glamorgan, South Wales, 

SA12 6EH, UK 

Stoge’s Funny Farm. 154 Skagen Court, Bolton, BL1 2JH. UK 

Unlikely Records. 25 Constable Road. Felixstonwe, Suffolk. IP11 7HN. UK 

~ 

^Mail Music. International edition of sound L.P. 33 compiled and edited by Nicola 

→ Frangione (Monza, I-20052), Armadio Officina editions. Repeated invitations 

for submission of tapes. Participant received LPs. At least 5 actions 1983-1985. 

^The Subway Organisation. By Martin XX. 4 Rylestone Grove. Bristol, BS9 3UT, UK 

Newsheet - Catalogues of cassettes stocked by Subway. A/5 brochures by phc., 

~4 pages, issued as quarterly: ca. 1983-1986? 

^Bris-Collage, Mail Muzik / Radio Banquise Broadcasting, 100,4 MHZ. Every Tuesdy. 

Additional: 2-monthly “programmations”, with Play-List, Catalogues, Contacts, 

Distribution- and Radio-Data, further Magazine (also Mail Art zine) addresses. 

The “Bris-Collage Programmations” were A/4 flyers on coloured paper by phc. 

with at least 18 issues till summer of 1985. Oranized by Lucien → Suel, 102, rue 

de Guarbeque Berguette, Isergues, F-62330 

^The Hater‘s Events (4 audio performances by the Haters) → Jupitter-Larsen, 1985 

^Soundportraits I-II. Airied tapes at the CRFO / Jupitter-Larsen, 1985 

What is GRRS? – Cassette Mail Art project, Hildesheim: Hope/Plambeck, 1986 

^Das Synthetische Mischgewebe (Group): Gemischtes. No.1/87. Berlin. A/5 bulletin, 

phc., 12 p. (Concerts and visual events accompagned with a large offering of 

cassettes) Other publs.: 

Deformation documentation (A/4 bulletin, 40 p.) Berlin, 1985-86 

Das cerises nommées desir, A/4, 40 pages, Berlin, 1987. 

^Nurnichtnur. Audio-cassettes-serles. Dieter Schlensog, Schloss Gnadental, Kleve, 

A4 phc. shehts folded to 2 and staplered to bulletin of 297x105 mm., 12 pages 

(«...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...») 

The Nichtnurnich was published 1985-86, at least 8 issues, Kleve, D-4190. 

^Tape Rebel (Magazine for the audio network, A/5, phc., ~20 p. 1987-, ir.) Winfried 

Pickart & Mathias Lang, D-5160 Düren / D-6795 Kindsbach. 

^#1, 2 

^Vital (...a thin information pamphlet, interviews, reviews of records and tapes, news... 

A/5, phc., 8 p. 1987?-, qu.) Frans de →Waard, NL-6534 Nijmegen 

^#1, 2, 3 

 

Literature: «There may be no better canvasing of the field than that of Cassette Conspiracy, 

1988. This broadside compendium of Robin James is filled with contacs and transcripted 

excerpts of tapes. (Lightworks [→ Burch], Glimmerings [Print review], 

N° 19, Winter 1988-89, 49-50 p.) 

Miekal → And & Robin James: Cassette/Working. (A mail interview, March 86) 

In: Unsound (→ Davenport) Vol. 3, N°4. 1986. 56-57 p. 

Vittore → Baroni: Audio. Il tape network e altri suoni. In: Arte Postale. Guida al 

network della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 

122-125 p. 

Cassidy, Thomas M. (Music Master / Musicmaster) 5136 Lyndale Av. S. Minneapolis, MN-55419, USA 1991 

↑ 4950 Bryant Ave. S. N°5., Minneapolis, MN-55409, - “ - 1976 

............................................................................................................................................................. 

Împossibilists / IMPS (with → Sargent, Mark) (Magazine publs. «angst, satire, 

poetry», text and graphics with absurd comic, mostly by the editors. 

Letter and digest size, phc., 16-24 p. 1976-86, #1-22) 

^#11, 17, 18, 20, 21, 22, 

Musical Comedy Editions (Digest or smaller size booklets, offset or photocopied, 

with exp. texts and graphics) 1976 

^Yikes! Stuff Everywhere. A surrealistic coloring book for paranormal tots and 

precocious adults. (Half-legal, offset, 24 p.) Musical Comedy Ed. 1985 

^Grimmicks 1987. (Trapezoidal colour xerox box with 34 pieces) → Xexoxial End. 

~ 

Literature: 

Thomas Cassidy: Mail Art. In: M. → Crane / M. Stofflet (eds.) Correspondence Art. 

Contemporary Art Press (→ Loeffler). San Francisco, 1984. 65-66 p. 

(Syllogism: Impossibilists' Manifesto, #21 - 2/86): «Contains drawings, short 

narrative, and columns, all of which are unusual & entertaining c even lots of fun. 

„Coffee“ is an interesting piece about an extraterrestrial rape, or was it meant to 

imply that substituting coffee for sleep makes you see things? The sci-fi novella 

„Planning Ahead“ is an American Expres ad gone awry. In any event, there's much 

here to be enjoyed, and I highly recommend it. Musicmaster will trade art for it... 

Be a brick, send him a couple stamps for postage.» (PhotoStatic. N° 19½, Aug. 

1986. Lloyd → Dunn: Mail Review) 



Thomas Cassidy: Postage on my Brow. In: Chuck → Welch (ed.): Eternal Network. 


Castro, Lourdes (with Christo, J. Voss, R. Bertholo & others), 71 rue des St. Pères, Paris 6e. France 1960 

KWY (Very early handmade magazine, a model – by its handmade technic and „soft“ 

material – for the later artists' books and Mail Art publs. Started with 

an edition of 60, later 100 and 500, from #7-12 in 300 copies, among 

the late publs. also assembling issues. ~A/4, mimeographic, silk screen,

etc. 1958-63, #1-12 ) 

°Par Suite (14x11 cm., offset, 24 p.) Le Daily-Bul (Les Poquettes volantes. 5). 

La Louvière B, 1966 

~ 


of their periodicals 1968-1988. Soft Geometry. Köln, 1993. (About KWY:) 30 p. 

Caterino, Phil ? Sacramento, CA USA 1976 

°The Last Correspondence Show. Inv. on A/4, offset / State Univ. Sacramento, 

1976 

Catriel, Luis ? Zarate Argentina 1979 

°The Standard Electric. Inv. on a 20.5x215.5 cm. xerox and collage sheet. 1979 

Cavallo, Franco Via Vecchia Licola Arco Felice (NA) I-80072, Italy 1979 

Colibri – Altri termini. (Mag. for concrete and vis. poetry + texts, theories. R. Tuttle, 

M. Leiris, J. Furnival & others. 23..5x16 cm., offset. 1979-, bim.) 

Cavellini, Gugliemo Achille. (1914–2014) 16, via Bonomelli Brescia, I-25100 Italy 1982 

↑ 11, via Einaudi-Sala A. Brescia, I-25100 - “ - 1980 

............................................................................................................................................................. 

^Gal 1973. (Exhibition catalogue – postal stamps, paintings, manifestos, letters, 

writings, etc.) 20.5x20.8 cm., BW offset, 60 p. Commune di Ferrara, 

Centro attivita visive. Exh.: at the palazzo dei diamanti, June 30 - 

Sep 19, 1973. 

(The following offset books by Cavellini have the size of A/4:) 

^25 Lettre. (Book, offset, 60 p.) Nuovi Strumenti, Brescia, 1974 

 

^Continuo la series delle mie mostre adomicilo... (Book, 44 p.) Nuovi Strumenti, '75 

^The Diares of... (Book, offset, 60 p.) Johannes Gutenberg Editor, 1975 

 

^Cimeli. (Self-biography, book, offset, 44 p.) Ed. Nuovi Strumenti, Brescia, 1975 

^25 quadri della Collezione Cavellini. (Book, offset, 80 p.) Nuovi Srumenti, 

Brescia, 1976 

°1946-1976 incontri/scontri nella giungla dell'arte / in the jungle of art (Essays) 

20x13.5 cm., offset, 176 p. Shakespeare & Co., Brescia, 1976 

^Nemo Propheta in Patria. (Exh.-docs. of a «self-historification», book, 76 p.) 

N. S. 1978 

°Postcard at the Palast. Inv. on postcard. Santa Rosa CA, 1980 

 

^Sull'uso del Mezzo Postale in Arte. 100 opere del Museo Cavelliniano. Cat.: / Anth. 

24x17 cm., offset (colour), 20 p. / Centro di Documentacione Arti 

Visive, Pescara, 1980 

°Cavellini in California and in Budapest. (Doc. A/4, 78 p., offset) Brescia, 1980 

Âutoritratti / Selfsportraits. Mostra a Domicilo (Book, colour offset, 80 p.) 1981 

Âutoportraitti impertinenti. (Offset, 20 p.) Ed. Nuovi Strumenti, Brescia, 1985 

Îl sistema mi ha messo in Croce. (Cat. of 21 prints by Cavellini) A/4 reproductions 

in a portfolio of 31x22 cm. Living room exh. in Brescia, 1986 

Artistamps: ^Cavellini 1914-2014 (2 blocks of 9 stamps printed on 1 large sheet, 

each block with id. images, colour offset) n.d.: 

„International Postage 030“, stamp size: 7x4 cm., 

„International Postage 333“, stamp size: 6.5x4.5 cm. n.d. 

°International Postage (Block of 9 diff. stamps, colour offset, selfadhesive 

paper) n.d. 

Înternational Postage 333 (Block of 9 id. stamps, colour offset, selfadhesive 

paper) n.d. 

Înternational Postage 333 (Sheet of 9 id. stamps: Cavellini with letterbox, 

colour offset, selfadhesive paper) n.d. 

Înternational Postage 333 (Block of 9 id. stamps: Cézanne & Cavellini, 

b/w offset, selfadhesive paper) n.d.

Înternational Postage 333 / Cavellini 1914-2014 / De Chirico 1888- 

1988 (Block of 9 id. stamps, colour offset, selfadhesive paper) n.d. 

Înternational Postage 333 / Cavellini 1914-2014 / Van Gogh 1853- 

1953 (block of 9 id. stamps, colour offset, selfadhesive paper) n.d. 

^President of USE (2 sheets identical sheets of div. autoportraits stamps, 

colour offset, printed over with diff. texts by black, the 2 sheets are 

numbered by rubber stamps) «1984 by Klaus Peter → Fürstenau» 

G. A. Cavellini (1914–2014) died October 23, 1990 1990 

~ 

Literature: Ten Ways to Make Yourself Famous 

I Kill Cavellini or have Cavellini kill you 

II Be included in the Cavellini Museum 

III Publically praise Cavellini's preocess of self-historification 

IV Wear the suit or the overcoat on which Cavellini has written 

his biography 

V Have Cavellini write on your body 

VI Organize a Center for the Study of Cavellini 

VII Have yourself appointed chairman of the Cavellini 

Centennial Celebration 

VIII Write a book or an essay on Cavellini 

IX 

X 

Receive a Cavellini „Round-trip“ in the mail 

Own a work by Cavellini 

(Reprinted in: Umbrella [→ Hoffberg]. Vol. 2, #1. 23 p. 1979) 

J. A. Hoffberg: Cavellini Comes to California. (to → «Inter-Dada '80», report with 

a number of photos) In: Umbrella (→ Hoffberg), Vol. 3, #3, 49-54 p. 1980 

V. Baroni: Letter to Umbrella (About the signification of Cavellini and the problems 

the Mail Art movement. In: Umbrella (→ Hoffberg), Vol. 3, # 5, 99-100 p. 

1980 

Cavellini. (Featuring with an interview and photos) In: Frankfurter Ideen (→Haus), 

September 1981 

Diane Sipprelle & Buster Cleveland: The Wonderfully Foolish Mysterioso Cavellini 

Festival – New York City, 1982. In: Umbrella (→ Hoffberg), Vol. 5, #5, 125 p. 



Vittore → Baroni: Gugliemo Achille Cavellini. In: Arte Postale. Guida al network 






Cazazza, Monte ? Berkeley, CA USA 1979 

→ Bay Area Dadaists 

mr. prolong. Letter size, photocopied collage-booklet, 10 p. Berkelely, n.d. 

Nitrous Oxide. (Mag. Letter, phc. 2–22 p. 1973 / 1977, #1-2. «The only magazine 

held together by a paper clip») San Francisco, 

Industrial News (Mag. Digest – A/5, phc. 16 / 26 / 34 p. 1979-80, #1-3) 

 

Ed. Industrial Records, Berkeley USA (#1) / London (#2-3) 

~ 

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 

for numerous photographic appearences of Cazzaza interspersed within the collage 

material... 

(Nitrous Oxide): ... contains photocopy, collage, typewritten srticlesm reprints from 

newspaper articles, a romance column, oruiginal spray paint art, printed rubber 

stamp impressions, performance documentation, and more. Contirbutions from 

L. Redlich, J. Bell, K. Friedman, Jukebox, R. begonia, Prof Dada, and others. 

A melding of Bay Area Dada with punk style not yet in public currency. Cazazza 

went on to collaborate with Genesis P-Orridge in England, coining the phrase, 

„Industrial Music“... 

Newsletter of Industrial records incorporating hard news of the record label with 

collage material reflecting the overall sensibility of their musical style...» 

(John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated Bibliography of 


San Francisco, 1997) 

«C.C.A.G.» 

The Canadian Correspondence Art Gallery (Amy Gogarty) 

Third Floor 118, 8th Ave. SE. Calgary, Alberta, T2G 0K6 , Canada 1986 

^The Act of Stamping Doc., Digest sheet, offset. CCAG. May 1986 

 

^Transformation Cat.:, Digest, phc. + collage, 8 p. CCAG. June 1986 

 

^Total. (Exh. with the Yugoslavian magazine Total → Bogdanovic) Doc. 

One A/4 sheet, phc. CCAG. February 1987 

→ Stake, Chuck 

Ceccotto, Alessandro. Via Scarpari 1 / L Adria (RO), I-45011 Italy 1989 

New Bulletin / Mail Art Archive (Mag. A/5,, phc., 16 p. 1989-, #?) 

 

Cee, Steve P. O. Box 943 New York, NY-10009 USA 1981 

Âvenue E. (Mag. Alternative literature with images. 35x22 cm., offset, 1981-, y.) 

^#? 

Celant, Germano 

→ Art Metropol 

°Offmedia. (Essays about new art technics: video, disco, book. Texts Italian & 

English) 25x20 cm., offset, 187 p., Dedalo Libri, Bari I, 1977 

 

!Celebral Shorts! 5 / 143 Glenhuntly Road Elwood, AUS-3184 Australia 1990 

^The Hand Mail Art project. Inv., 1990 

 

Cellini, James 1321 Dwight Way H. Berkeley, CA-94702 USA 1984 

^Rasism. Inv.,1984 

 

Art & Soul (Mail Art mag. with black artists and black issues. Mini, phc., 1984-) 

Îdea X-Change (Collective Mail Art magazine by →Mela, E. / →Peters, Ursula / 

→ Patrick, Tom, 1985-, irr.) 

^#1 

«Century City Educational Arts Project» → Lond, Harley 

Cepl, Gernot Merkenicher Str. 170 Köln-1, D-50735 Germany 1988 

Chabert, Jacques-Elie / Philibert, Camille, 12 rue Faicherbe, Paris, F-75011 France 1982 

^Toi et moi pour toujours (One of the most beautiful publ. of the French graphzine 

scene. Handmade A/4, offset & silk screen techn., computer graphics 

and texts on ~100 p. Each issue with a central theme: L'Amour Souvage, 

L'Amour Inutile, etc., also a calender issue. Sometimes in protfolio and 

also with object collage. 1982-87, #1-10?) 

^#1, 2, 3, 6, 7, 10 

^Calendre 1987. (with Marc Caro & Toffe) 32x21 cm., silkscreen, 24 p. {483?}

~ 

Literature: 

Co. 2 TMPTJ. 56 rue de la Rogette, Paris 11°, 1986 



Champendal, Michel 2 bis, rue des Champs-Maillets Rouen F-76000 France 1985 

^Cat Show. Doc. A/4, phc., 4 p., + offset poster (with participant list) of 60x42 cm. 

Exhibition at the bookstore of Champendal. Rouen –New York (?), 1985 

Charpentier, Bruno / Caux, RV (Hervé) / Bocahut, Bruno. 

c/o Caux, 4 Allée Peyronnet, apt. 91, Chatillon-sur-Bagneux, F-92320, France 1984 

c/o Charpantier, 51 rue E. Raspail ez. A., Arcueil, F-94110, France 1983 

(also: 122 rue R. Losser, 

Paris, F-75015) 

............................................................................................................................................................. 

^Pauv'Art. (Small anthology of graphic works by Charpentier, Bruno Bocahut, 

K-Petcharatz and Hervé Caux) 12x12 cm., phc., 19 leaves. 

^Block 11 (Mag. A/4 and A/5, also 15x15 cm. size {100-120?}. Issues not numbered 

and not dated. Hand made outfit. 1983-84, #1-4) 

^# 1984 (?) issue in 15x15 cm., 

Block 11, «Hors-Series», (Mag. as earlier, 1984-85, #1-3) Edition: c/o Caux 

Les ami du block 11. (Mag. A/5 matter, phc. 1986, #1 only), anonym edition 

Dusex (A4 + A3 size offset graphzine by Charpentier. 1987-, #1-5?) c/o Charpentier 

Chelkovski, Igor 

→ Shelkovsky 

Cheek, Cris 24 Stonehall Road London, N21 1LP United Kingd. 1977 

RAWZ (Mag. for vis. and exp. poetry. Cut A/4, offset. 1977-, ir.) 

 

Chew, Carl T. Triangle Post. 7023 14th Ave. N.E. Seattle, WA-98115 USA 1996 

↑ 1807 90th North Seattle, WA-98103 - “ - 1984 

............................................................................................................................................................. 

Artists' stamp activity with an interest for animals and absurd in the Triangle-Studio 

in downtown Seattle from about 1975. Color xerox artistamps from 

1976. (Probosidea Issue, Fun Post, etc.) Chew developed a subsription 

scheme in which participants would, for 25$ / year, receive 1 sheet of 

stamps per month. In following years his prices went from $3 to $25 / 

sheet and to $225 in 1985, the final year, in which he was burned out 

on stamp making. From 1977 a series of collaboration works with E. F. 

→ Higgins III. 

°Stamp World. Tabloid size publ. black/red offset, 8 p. Triangle Post. Seattle, 1984 

~ 

Literature: 

Anna Banana: Stamp Artist Profiles. Carl Chew / Triangle Post. In: Artistamp News. 

Vol. 1, N° 2, December 1991 

Chiarlone, Bruno Edition «workarea» Rocchetta dei Murales, 17010 Italy 1994 

↑ Via Bertalotti 58 / 4. Cairo Montenotte, I-17014, Italy 1990 

↑ Via M. Liberta 42. Dego (SV) I-17010 1984 

↑ Cas. Post. 5. Arzago d'Adda (BG), I-24040, Italy 1981 

............................................................................................................................................................. 

Minus. Xerobook de Imagine Poetica (Mag. {100} A/5, phc. 1978-82? #1-14?) 

Corto Circuito N Zero (Mag. A/4, phc., 1981?- m?) 

 

°Artista professione uomo. Cat.: A/4, phc., 60 p. 52 parts./Work Area. 

 

Parma, 1981 

^Work Area. (Xeroxed brochure, A/5, 24 p.) Cairo Montenotte, 1986 

 

^Roman Bridge over the Bormida. Inv.,1989 

 

^Lithuana Independence. Inv., ~1992 

 

^Remote Action Poetry – Poetica a distanza. Inv., 1998

^Make a New Geography of Art. Inv., 1998 

 

^Pooesia Zen a Villa Faraggiana. (Curators: B. Chiarlone & Giuliana Marchesa) 

Mail Art and visual poetry presented Sep 9, 2001 in the Villa Faraggiana, 

Albissola Marina (SV), Italy. Doc.: Two A/4 sheets by computer 

colour print (informations, participant list). 

Chicago / artists P. O. Box 6362 Chicago, IL-60680 USA 1984 

Plaid (Mag. Xerograohy, drawings, poems, prose, edited by a group performance-type 

artists. 22x19 cm., offset + colour xerox. 1984-, ir.) 

 

Chicago Artist’s Book Works, 1422 W. irvin Park Road Cicago, IL-60613 USA 1992 

^Book Exhibition – via Mail Art. Inv., 1992 

 

^Winter in Chicago – send artist’s books. Inv., 1993 

 

Chickadel, Charles Trinity Press, Box 1320. San Francisco, CA-94101, USA 1973 

The West Bay Dadaists / Flash Art / QUOZ? (Series of neo-dada mags. edited by 

Charles Chikadel. All publs. appeared between May 1973 and 

winter 1975-76 in an edition of mini size, instant print, 8–48 p., 

Trinity Press, San Francisco. John Held notated in his Bay Area 

Dada Annotated Bibliography the following issues: 

The West Bay Dadaists: 

Vol. 1. N° 1, 8 p. May 1973 Vol. 1, N° 2, 24 p., June 1973 

Vol. 1, N° 3, 24 p., Aug. 1973 Vol. 1, N° 4, 40 p., Oct. 1973 

Vol. 2, N° 4, 48 p., March 1974 Vol. 2, N° 6, 40 p., June 1974 

Life (Quoz?): 

Vol. 2, N° 7, 40 p., Sept. 1974 

Flush Art (Quoz?): 

Vol. 2, N°8, 40p., Dec. 1974 

Quoz?: 

Vol. 3, N° 9, 40 p., March 1975 Vol. 3, N° 10, 48 p., Summer 1975 

Vol. 3, N° 11, 40 p., Autumn 1975 Vol. 3, N° 12, 44 p.,Winter 1975-76. 

Publish it Yourself – The Complete Guide to Self-Publishing Your Own Book. 

(Offset, 208 p. Review in: Umbrella, 1/#5, Sept. 1978) Trinity Press 

~ 

Literature: 



John → Held, Jr: Bay Area Dada, 1970-1984: An Annotated Bibliography of 


San Francisco, 1997 

Chikhladze, David 11 Ninoshvili St. Tbilisi, 380002 Georgia CIS 1995 

Âditi Theatre – Muliculturalism. Cat.: A/5, offset, 8 p. Text Georgian and English. 

Margo Arena 2. Tbilisi. December 1995 

Child, T. S. 2510 Bancroft Way, N° 207 Berkeley, CA-94704 USA 1983 

^The Monthly Bulletin (Mag. Stories, cartoons, visuals, misinformations. 

 

18x14 cm. offset, ~8 p. 1983-, sm., ~ 70#?) 

^#60 

Înformation Sickness. Inv., 1992 

 

~ 

Literature: «2x22C stamps per issue. In issue #41, T. S. Child the editor is himself the story in 

a short newspaper article entitled „Editor Arrested in Bus Assault“... „they got in a 

terrific argument,“ said Alfred Porter, a witness. „Finally the guy with the little 

magazines called the other one 'anilliterate humorless media lemming' and tried to 

stuff one of them down the other guys' throat“.» (Stephen → Perkins: Magazines. 

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 

Ûrgent Mail Art Show – at the Museum of Contemporary Art. Inv.-card, 1992 

^Hommage to René Magritte – at the Museum of Contemporary Art. Inv.-card, 1993 

^Life on Earth. Inv.-card, 1995 

 

China, Mail Art c/o Michael Pollard, 221 Gulf St. Milford, CT-06460 USA 1992 

^Boys and Guns. Exh.: in Xian, People's Rep. of China, Jan 3. 1992. 

 

Doc.: One sheet, letter size, phc. 

Chlebowski, Philippe (Tus Mop) 2 Cité Zola Haveluy, F-59255 France 1986 

Ânthracite (Assembling on Mail Art in cover, partly printed and bound {50, 30}, 

A/5, ~ 20 leaves, 1986-, ir.) 

^#1, 2, 3 

Chopin, Henri The Gate House. Station Lane. Ingatestone. Essex, CM4 OB1. United Kingdom 1979 

↑ 9 rue des Mésangues Sceaux (Sein) France 1959 

............................................................................................................................................................. 

ÔU / Revue OU (The classic among the concrete and vis. poetry publs., a bridge 

between the old dada and the new experimental trends. Very generous 

presentation: 18x19.5 cm brochures or ~27x25.5 (or 27x27) cm. portfolios 

/ boxes with unbound print matter like assembling. Often also a 

disk supplement containing sound poems and recorded exp. literature. 

Print matter mostly offset, also colour prints. 

Two series: Cinquième Saison as „OU“: 1958-63, #1-19 

Nouveaux Saison as „revue OU „/ «object books»: 1964-74, 

#20-44 

The issues: 

Cinquième Saison: 

N° 1. Printemps 1958. 19,5x14 cm. 48 p. 

N° 2. Aout 1958. 19,5x14 cm., 48 p. 

N° 3. Dec. 1958. „Poésie Jazzante“, 19,5x14 cm., 52 p. 

N° 4. Mars 1959. „La Tour de Feu“, 19,5x14 cm. 48 p. 

N° 5. Eté 1959. 19,5x14 cm. 48 p. 

N° 6. Automne 1959. 19,5x14 cm. 48 p. 

N° 7. Hiver 1959-1960. „Spatialisme-concretisme“, 19,5x14 cm. 48 p. 

N° 8. Printemps 1960. „Poésie ouverte“, 19,5x14 cm. 48 p. 

N° 9. Eté 1960. „Au plus prés“, 19,5x14 cm. 62 p. 

N° 10. Automne 1960. Double issue, 19,5x14 cm. 96 p. 

N° 11. Printemps 1961. „Poésieobjective“, 19,5x14 cm. 96 p. 

N° 12. Eté 1961. „Determination“, 19,5x14 cm. 96 p. 

N° 13. Automne-Hiver 1961. „Sol air“, 19,5x14 cm. 96 p. 

N° 14/15. Printemps-Eté 1962. „Poésie sonore“, 19x19 cm. 64 p. 

N° 16. Numero franco-japonais, 19x19 cm. 64 p. 

N° 17. Hiver 1962-1963. 19x19 cm. 64 p. 

N° 18. 1963. „Poésie objective“, 19x19 cm. 64 p. 

N° 19. Eté-Automne, 1963. 

revue OU: 

N° 20. 

N° 21/22. 1963. „Pochette“ format of 27x27 cm. with a 25 cm. disk. 

N° 22. 1964. 27x27 cm. Cover by → Gette. 

N° 23/24. Avril 1965. 27x27 cm. with a 25 cm. disk. Cover: de 

Kosice. 

N° 25. 1965. Special Biennale de Paris. 

N° 26/27. 1966. With a 17 cm. disk (R. Hausmann) 

N° 28/29. 1966. With a 25 cm. disk. Cover by Chopin. 

N° 30/31. 1967. With a 25 cm. disk (Chopin). Cover: Ben Vautier. 

N° 32. 1967. „Musée d'Art Moderne de la Ville de Paris“ issue. 

N° 33. 1967-1968. 19,5x19 cm. With a 217 cm. disk.

OU: 

N° 34/35. 1969. Revue en Angleterre, with 1 25 disk. 

N° 36/37. 1970. With a 25 cm. disk. 

N° 38/39. 1971. With a 25 cm. disk. 

N° 40/41. 1972. (des amis Tchèques), with a disk. 

N° 42/43/44. „Dernier numéro“. With a disk of 25 cm. 

^#11, 12, 17, 18, 19, 20 

^Portrait des 9. (dactylopoèms...) 30x21 cm., offset, 8 p. Ed. → Schraenen, 1975 

^Typewrites poema (A/5, offset, 16 p. {500}) ed. Hundertmark, Köln, 1982 

Îllumination. (31x22 cm., offset, 34 p.) Ed. Morra, Napoli, 1983-84. 

~ 

Literature: 

Christensen, Jörgen → Schmidt-Olsen, Carsten 

^Henri Chopin: A propos de OU – Cinquième Saison. 1958-1974, un quart de 

siècle d'avant-garde. Horz. 19x24,5 cm. offset, 86 p. EE. Veys, Tielt, 1974. 



«Church of the SubGenius, The» P. O. Box 140306 Dallas, TX-75214 USA 198? 

SubGenius pamphlets (Para-religious publications by the church in the subculture, 

editor: Ivan Stang. From the pamphlet #1:) 

If you are what they call 'different', 

If you think we're entering a new Dark Ages, 

If you see the universe as one vast morbid sense of humor, 

If you are looking for an inherently bogus religion that will 

condone superior degeneracy and tell you that you are 'above' 

everyone else, 

If you can help us with a donation, 

then 

The Church of the SubGenius 

could save your life! 

The Last Secrets of SubGenius Brand Audience Elimination/Assinilation Techniques 

(by Church Elders Janer Hypercleats & Rev. Ivan Stang) 

San Francisco Devival Program. 1985 

~ 

Literature: 

«...The Church of the SubGenius (CSG) parodies and uses the other religions like 

the use of guilt as a weapon, as a parody tool to counteract the actual destructive 

tendencies of all these other religions that actively practice all these kinds of mind 

control, and power and economic control. If they've got God sitting there waiting to 

throw you into a stinking abyss, our religion needs one too, so we have God come in 

a flying saucer, and our Hell“s bigger than theirs. Its a way to comment on it in 

order to combat it – one of the most effective ways with humor is to 'become your 

enemy'. If the patriarchy is particularrly offensive you don't ridicule it by opposing 

it, like the Discordian's failed because they worship Aires, where as the CSG 

succeed because they worship J. R. 'Bob' Dobbs, which is more patriarchal than you 

could ever hope for. Its the all-white all American Dad figure gone bad, or maybe 

he always was bad and you were just waiting for the psychotic breakdown...» 

(Church of the SubGenius. Interview with «Lis, Puzzling Evidence, Gary 

G'Broafram and Dr. Hal, represent only a fraction of the creative productivity 

in which the Church inspires.» In: Unsound (→ Davenport) Vol. 3, N°4. 1986. 

39-47 p.) 

Vittore → Baroni: The Church of the SubGenius. In: Arte Postale. Guida al 

network della corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 

208-211 p.

Chwalczyk, Jan & others, Laka Mazurka 13/5. Wroclaw, PL 51-164 Poland 1978 

Counterpoint (Anthology of texts) Cat.: 1972 

 

^Gang (Mag. like anth. with conceptual & alternative art from the Eastern European 

underground. A/4, offset, 16 p. 1978, #1 only) 

Biuro Wystaw Artystycznych, Wroclaw 

Ciani, Piermario Via Latisana N° 6. Bertiolo (UD), I-33032 Italy 1981 

Selfportrait. Postcard size Mail Art project for a TRAX-Box, see: AP! #26, 1982 

^Défilé Elettrostatic / TRAX 0785 (Book about copy art, 1985) TRAX Publication 

^Xerografie Originali. Cat.: 10.5x21 cm., offset, 12 p. / Centro Cult. A. Moro, 

Commune di Cordenons (PN). November-December 1988 

^Vanity Fair – a Portraits Collection. Inv., 1990 

 

Ûnexpected communications (Corresp. distribution like one page mag. A/4 & A/5, 

offset. Issues numbered after the date: 301190. 1990-, ir.) 

^#301190, 060591, 140591, 060891 

^Sticker News / Fansin & Die. («The first and smallest adhesive bulletin, 

 

A/6 Sticker-leaves, 1991) 

International Stickerman Fan Club. 1991. (...for stickers), 1991 

 

^Fanzinerie / Editexpo 1992. (with V. → Baroni) Editoria Periodica Amatoriale 

Arci-nova. Exh.: Pordenone, Via Fabio Filzi 8. Fontana Fredda (PN) 

I-33074. 

Cat.: 24x17 cm., offset, 32 p. Texts: P. Ciani: Fanzinerie / V. Baroni: 

Fanzirama 2000 / V. Baroni: Intervista - M. Baraghini / C. Branzaglia: 

Appassionate... / V. Baroni: Bibliografia minima. (all texts Italian) 

Âbout Art. 4 postcards as doc. / Exhs.: De → Media, Eeklo, B Jan. 1992 / Cjanive do 

Usmis, Udine I, Febr. 1992 / Mu. Vittorio Veneto I, Febr.-March 1992 

/ Galerij, Zierikzee NL, March-April 1992 

^Fanzinerie 2. – Editexpo ’93. Inv. to the 2 nd funzine expo in Portedone, 1993 

^Stick up the art. First int. exh. of creative stickers. Poster of 63x30 cm, offset, 

with text by V. Baroni / Stickerman Museum. / E.O.N. Building, 

Via Battisti 339, Viareggio 

^Graphic designs by P-M. Ciani. Exh. at the Modern Realism ( →Held, John Jr.), 

San Francisco. Inv., 1998 

Artistamps: ^Channel 1... (Block of 6 diff. stamps, blue offset on white p.) n.d. 

^100% Luther Blisset (Block of diff. stamps: on each one a computer 

animated portrait of L. B., colour computer print?) n.d. (1995?) 

^The Great Blisset (Block of 12 stamps resulting one Blisset portrait 

altogether, colour computer print?) Blisset Ink. 1995 

^4 of my Dead Masters / R. Johnson, L. Blisset, G. A. Cavellini, G. 

Dubord (Block of 8 stamps, 4 images, computer print?) 1995 

Launching the publishing house AAA / Artisti & Allibratori Associati (with V. Baroni). 

Among the 12 first publs. authors as Stewart → Home or Luther → 

Blisset, further 3 artists books (in cut A/5 size) by Baroni & Ciani 

using pseudonyms: 

^Mino Canelli: La Cultura del Caos (The Culture of Chaos) with 100 

different pages of typographical mistakes 

Êrica Moira Pini: La morte del libro (The Death of the Book) with 100 

white pages with three pistol shots 

Êvita B. Torroni: Tre allegri ragazzi morti. 100 yellow pages, a pun on 

the Italian «yellow» mystery books 

Îl mezzo e il messagio. (Large artists’ postcard publication in the form of a book to 

cut off) Authors: Domenico Castaldi, Piermario Ciani, Matteo Guarnaccia. 

21x14 cm., colour offset, 48 p. + cover. AAA. Ed., 1997 

→ TRAX 

~ 

Literature: 


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. 

Guida al network della corrispondenza creativa. (Text: Italian) AAA Edizioni. 

Bertiolo, 1997. 72-75 and 204-207 p. 

^Dal Great Completto a Luther Blisset. (Monographical anthology with ca. 30 

essays about Piermario Ciani’s art, Mail Art and editor activity by a number of 

authors. Themes: graphic, digitalisation, Mail Art, stickers, Stickerman publs., 

TRAX movemenet, author productions, etc. With a selected bibliography and 

chronology. Coordinator: Vittore Baroni.) 21x14 cm., colour offset, 256 p. + cover. 

AAA Edizioni & Juliet Art Magazine. 2000. 

John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p. 




!Cicatelli, Carlo Giovanni! (also !Cravan, Arthur!) → Chickadel, Charles 

«Cincinnati Artists' Group Effort» P. O. Box 1362 Cincinnati, OH-45201 USA 1981 

Ârtists' Pulp (Mag. in diverse size: newsprint tabloid of 38.5x28.5 cm., 8 p., further 

also a letter size assembling issue in 1982 {100}. 1981-, ir.) 

^#(1982) 

«Circle Art» 

«Cirque Diverse» 

East → Jankowski, M. / Perpetual Motion 

West → Public Arts in Print / Public Property 

→ Antaki 

Citron, Paik c/o Basic Graphic. 116 rue du Chateau Paris, F-75014 France 198? 

Ûnderground Computer (Booklet of A/4, horz., 9 leaves, printed on blue paper, {50}. 

Realized on Amiga) Paris, n.d. (~1988?) 

Ciullini, Daniele Via della Bellariva 29 Firenze, I-50136 Italy 1980 

Ôxidized Look (Mail Art mag. with images, infos and texts. A/4. phc., offset, ~18 p. 

1980-81, sm. #1-12?) 

^#3, 8-9 

°Silk Arcades Avenue. (Mag. like publ. for xerography, known the issue 0 only. A/5, 

10 + 2 p. 1981) Firenze 

Centre of New Sound Ways and New Visual Ways. «Send your works, magazines, 

audio cassettes... The Centre intends to publish magazine (June 1982) 

and audio cassette (October 1982), and organize a seires of events 

(radio programs, exhibitions, etc.)...» (See: Umbrella, Vol. 4, #5, 127 p. 

1981) 

Horror & Music. Mail & Copy Art project for a TRAX-Box, pubications in the Arte 

Postale! #26, 1982 

Clavel, Olivia 

→ Bazooka, Group 

Clavin, Hans Plein 1945 N° 16 Ijmuiden Netherlands 1977 

↑ Dennekoplaan 11. Ijmuiden - “ - 1970 

............................................................................................................................................................. 

Subvers (Mag. with works by future mail artists, issues for «voor (onder meer) kon- 

krete poezie», #2=«pornographic poetry» or #5=«phonographies»=disks 

and silkscreens. #12: «Poezie voor de ,odale liefhebber». Texts German,

French, English 24x16.5 cm., offset / colour. 1970-76, squ. #1-12) 

°L'Angerie: Visuele Poëzie. (Book with collages, 134 p.) De Bezige Bij, Amsterdam 

 

Clem, Debra ? Fort Wayne IN USA 1981 

°Alien Transmissions. Cat.: / Artlink. 1981 

 

Clerico, Hannes Hafnerstr. 3. Rosenheim, D-8200 Germany 1984 

^Mein Partner (with Hildegard → Weiß) Cat.: A/4, phc., 104 p. 1984 

 

Cleveland, Buster Interdada. P. O. Box 211. Talmadge, CA-95481 USA 1984 

°OK Post / OK Post Art Dada (div. artistamp and rub. stamp pieces in envelope) 1980 ® 

Artistamps: ^Buster Post, Budapest (Sheet of 28 diff. stamp images, red phc. on 

brown paper, not perforated) With → Galántai, Budapest, 1982 

^Buster Post, Budapest, White (The same stamp images but by white 

colour on clear plastic sheet) 1982 

Buster Cleveland died 199? 199? 

→ Inter-Dada '80 

~ 

Literature: 

Lon → Spiegelman: 1981 Interview with Buster „Dada“ Cleveland. In: Spiegelman's 

mailart rag. Vol. 1, #2. November, 1984. 6-7 p. 

Cline, Cheril 2230 Huron Ave. Concord, CA-94520 USA 1983 

↑ 1621 Detroit Ave. #23 - “ - 1981 

............................................................................................................................................................. 

My Secret Life in the Mail (Mag. Info matter with rag review and «correspondence». ® 

Letter size, mimeogr. + rubber stamps, ~10 p. 1981-83?, #1-7?) 

~ 

Literature: 

«This gentle mimeograph newsletter appears in rubberstamped pink pages. It's a 

collection of letters to the editor, publication reviews and notification of mail art 

shows. There's a rich sharing quality in My Secret Life and it's one of the better 

examples of what correspondence art can be.» (Lightworks [→ Burch]. These 

Things Too [Print review]. N° 16, Winter 1983-84. 57p.) 

Close, Patrick Neutral Ground, 1838 Scarch St. Regina, Sask. S4P 2Q3 Canada 1989 

1651 Eleventh Ave. Regina SK. S4P 0H5 - “ - 1986 

............................................................................................................................................................. 

^The Last Dance Mail Art Show. Inv.. 1986 

 

Întellectual Bagggage. Inv., 1988 

 

^...and they lived happily ever after.... Doc. One sheet of 46x30.5 cm., offset, folded. 

May 1989 

«Club Moral» (Youth Centre) Kattenberg 122 (POB 60) Borgerhaut / Antwerpen, B-2200 1981 

^Force Mental Magazine (Beside music, performance and lit. also alternative arts. 

Found in more Mail Art archives. Editors: Danny Devos and Annemie 

van → Kerckhoven. A/4, offset, ~20 p. 1982-, bim.) 

^#2, 13, 14, 15 

În Vitro. Alternative Workshop at the Club Moral, also for Mail Art. Inv., 1985 

~ 

Literature: (Force Mental. Editorial #8): «...We are a contact base for people who want instead 

of the short-air cultural mediocracy a fresh breath of extreme offers...» 

«A bi-lingual publication (English and Flemish) that is geared toward the extremities 

of artt and music. The layout is great, with a unique fragmented style that is all 

their own. #10 contains articles on Gerechtigkeits Liga, Attrition, Birth (+) Fact (X) 

Death (-) Calendar, Regata (which is computer generated text), also reviews and 

contacts. Other than Force Mental the editors AMVK (Annemie van → Kerckhoven) 

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 

Moral that presents all types of independently produced cassettes, magazines, 

records, books, art-works, films, videos, and live performances. Some of the contributors 

were Pacific 231, MB, Constrictor Magazine (→ Aiello), Peal-Off Label, 

CLEMN, 235, Angst, Camera Obscura (→Barbery), etc...» (Publication Listing. 

In: Unsound. (→Davenport) Vol. 2, N° 2, 1985. 42 p.) 

«Club Moral was formed in 1981, as a performance group and as an all purpose art 

space. The group is a combination of various elements of media, extending DDV's 

(Danny Devos) and AMVK's (→ Kerckhoven) interest in sound and image. As a 

space, Club Moral was desoigned for a wide veriety of events, from exhibitions to 

plays, performances and concnerts. Until more recently the space has become an 

archival/documentational center, rather than a place to present live shows. Force 

Mental Magazine is another project that DDV and AMVK have established, publishing 

11 issues to date.» (AMVK & DDV: Club Moral. [with featuring of performances 

and lives concerts – list of events in Club Moral from 1981-85]. In: Unsound. 

(→Davenport) Vol. 2, N° 3/4, 1985. 35-39 p.) 

Cobbing, Bob 89 / A Petherton Rd. London, N5 2QT United Kingd. 1988 

↑ 262 Randolph Av. London, W9. - “ - 1954 

............................................................................................................................................................. 

Ând (with John Rowan) (A classic among the vis. poetry publs. 1954-69, #1-5, ir. 

#1 ? 

^#2 22.5x18 cm., offset, 28 p. 

^#3 20x16.5 cm., offset,28 p. 

^#4 24.5x19 cm., 30 p. 

^#5 assembling in portfolio {500}, 25.5x20.3 cm, ~50 p. mostly offset 

°Sound Poems – Sprachgedichte. (with Ernst Jandl / Introduction and chronology by 

Dom S. Houédard) (21.5x17.5 cm., mimeogr. 46 p.) Writers Forum / In 

accompanied by „Record One“ (Poets Fifteen). London, 1965 

Edition «WF Folder» (Series of very various experimental literature publs. in form of 

loose leaves in envelope or bound brochures) Writers Forum, London, 

60s and early 1970s years 

Kurrirrurriri (Mag. 1967- y.), Writers Forum, London 

 

°Whississippi: A Whisper Piece. 20.5x16.5 cm., offset, 8 p. Writers Forum. 

 

London, 1969 

°Whisper Piece. (25.5x20.5 cm., offset, 18 p.Writers Forum (WF Folder, 6), 1971 

~ 

Literature: 

«WE CONSIDER that the positions enmóumerated here have been the main 

characteristics of the development of concrete poetry and other language arts: 

1. That the linguaistic signs is „arbitrary“ or „unmotivated“. 

(Plato, „Conventionalists“, Lessing, Butler, De Sassure and most linguisticians 

after him.) 

2. That letterforms are memmaningful, „non-arbitrary“, „motivated“. 

(Socrates in Plato's Cratylus, „Naturalists“, Victor Hugo, Claudel, Lafciado 

Hearn, Kallir, etc.) 

3. That phonetic sounds are meaningful, „non-arbitrary“, „motivated“. 

(Plato: Cratylus, „Natiralists, Hegel, Rimbaud, Mallarm, Khlebnikov, Paget, 

Johannesson, Marr, Sapir, Roger Brown, Kallir, etc.) 

Positions 2 & 3 are pro-mimetic and contradict 1. 

4. That art/poetry is abstract. (...) 

5. That art/poetry is concrete. (...) 

This largely contradicits position 4. However both 4 & 5 are countermimetic.

6. That works of art/poetry strive for autonomy. (...) 

7. That art/poetry strives for origoinality/“modernity“. (...) 

8. That art/poetry strives towards the „primeval“. (...) 

This contrtadicts 7, though both are modernist positions. 

9. That poetry is verbal alchemy. (...) 

10. That poetry is verbaé chemistry, or biology, etc. (...) 

All these positions have in turn liberated language arts from certain constraints, and 

have led to the exploration of other areas. (...) Non-mimesis is perhaps a necessary 

but non-sufficient pre-condition of autonomy. Autonomy oftenleadsto a new mimesis. 

This is why the cycle of figurative to non-figurative and back is so often repeated 

in the history of art... (From the „foreword“ to a forthcoming collection of facts 

about, statements on, and examples of, concrete visual and sound poetry, assembled 

by Bob Cobbing & Peter → Mayer)» 

(Bob Cobbing / Peter Mayer. In: Kontexts, #5 [→ Gibbs]. Devon, 1972. n. p.) 

Cohen, Ryosuke 3-76-1-A-613. Yagumokitacho Moriguchi City, Osaka, 570 Japan 1988 

↑ 1-6 Hiyochico Moriguhi-City, Osaka, 570 - “ - 1984 

............................................................................................................................................................. 

Ôsaka Int. Mail Art Exh. (Mail Art Campaign in Japan), Doc.: Poster of 

60x40 cm., offset. Osaka New Art Center, September 10-15, 1984 

Mail Art Network for the Children of the World. Doc.: Poster of 53x41 cm., 

offset, r/v. Exh.: Kyoto City Art Museum, July 9-14, 1985 

^Brain Cell (Stamp-sticker-graphic assembling, one A/3 page {150}. Silk screen 

techn. + collages. The single sheets put into an envelope and sent out 

by the editor to the contributors form the numbered issues. Each 20 

issues (e.i. #220-240) constructs a cycle, which can be laid together 

and presented as an album like assembling {50 from the 150}. The 

issues are completed by separeted contributor lists. 1985-, 25-30xy., 

~ 550#) 

^# Beside a number of div. singel issues also the cicles: #1-20, 21-40, 

81-100, 261-280, 361-380 

~ 

Literature: 

(Editor's Statement, 1985): «...It isn't everything that exchange a work from one to 

another in mail art network. It is the most important to join much more people of 

other countries. Sending to B from A, to C from B, to D or E from C, E sends back 

to A or D sends back to B or C.This is the way to spread the network. Once, people 

belived that art is the product of the privileged classes called artists, so they put up 

the framed pictures or priced them unreasonably as sales contracts. In their reasons 

they think art is material. I think art is information. The personality and creative 

power of all the persons who follow it spread as information. There is no need for 

us to stress our own individuality. It is a change of 180 degrees from the past. Mail 

Art network is the most wonderful movement that can solve the various problems 

of present art and artists: authority, exchange of information, too national art, 

mistaken holiness and so on. (...) Well, I'll title my work Brain Cell, because the 

structure of a brain through a microscope looks like the diagram of mail art network. 

Thousands of neurons clung and piled up together are just like mail art network, 

I think.» (Qoted in: Stephen → Perkins: Assembling Magazines. Internationale 

Networking Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 

/ Print: 1997. 15 p.) 

«By the time a person is six year old, her or his brain size is 90% of what it ever 

will be. (Sort of scary, isn't it?) Ryosuke Cohen's network of stamp/mail artists is 

known as „Brain Cell“. This group of neurons results in a rainbowed lithographic 

package intertwinning each thought and stamp image that Cohen receives. Send a 

rubber stamp image to Ryosuke Cohen...» (Lightworks [→ Burch], Glimmerings 

[Print Review], N° 18, Winter 1986-87, 48 p.)



Vittore → Baroni: Ryosuke Cohen. In: Arte Postale. Guida al network della corrispondenza 




Colby, Sas P. O. Box 3319 Berkeley, CA-94703 USA 1985 

°An Unusual Valentine. (Colour xerox bookwork) 9x11 cm., 8 p. S. P. Berkeley, 1979 

°Textile Innovation. (Colour xerox bookwork with plastic cover) 21.7x35.5 cm., 22 p. 

S. P. Berkeley, 1979 

°Verbal Skills. (Xeroxed bookwork) 10.2x16.4 cm.,16 p. {45}. S. P. Berkeley, 1980 

Cole, David (Paumonock Post) 421 Laurel Av. St Paul, MN-55102 USA 1994 

↑ 333West End Ave. New York, NY-10023 - “ - 1988 

↑ 19 Grace Court Brooklyn, NY-11201 - “ - 1981 

............................................................................................................................................................. 

Visual poet and correspondence artists who co-curted the first New York City visual 

and concrete poetry show in 1975. 

^m c (with Paul Zelevansky) (High quality Mail Art compilation mag. with thema- 

tical issues. Tabloid form of 43x28 cm, newsprint, or letter size, offset. 

8-12 p. 1981-84, ir., #1-7) 

1 The responsibility of artist...; 

2 Art, money and power; 

3 News and propaganda; 

4 The big picture; 

5 Camera ready; 

6 Timeless Light; 

7 Atlas. 

^#2, 3, 4, 6, 7 

^Janco-Dada Museum / The Scroll Unrolls. (Mail Art Project in Israel.) Cat.: 

in form of 88 postcards (16x11 cm.), offset print on different sorts of 

papers. Texts by Ulises Carrión and Annabelle Henkin Melzer. 

Exh.: Janco-Dada Museum, Ein-Hod, Israel. July-October, 1985 

^Sliding in Locus. A dramatic investigation within the memaning of the word. 

(Letter size, 22 xeroxed leaves) S. P. Brooklin, 1991 

Artistamps: ^Paumonock Post (Sheet of 24 diff. stamp images, b/w computer print. 

n.d. (~1985) 

^Janco-Dada Mail Art Show (Over size sheet of 16 stamps, 2 images, 

colour offset, not perforoated) dada post age. n.d. (1985) 

Ândianapolis Street Stamp Act (2 sheets, each of 20 diff. stamps with 

texts only, phc. on yellow paper, not perforated) 1991 

^Dark Matter Postage Stamps (Sheet of 18 diff. stamp images, b/w 

computer print, not perforated) 1993 

^Breathing Thin Air Winterness (Sheet of 20 diff. stamp images, b/w 

computer print, not peprforated) 1994 

David Cole died April 19, 2000 

~ 

Literature: 

(M C): «...uses index cards as building blocks, gathering „created or found material 

from visual artists and poets on matters political, sociall and economic“ Thematic 

issues.» (Review in Score, #7. [→ Hill] Letter size, offset, ~1988.) 


of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 127 p.

David Cole: The Open Letter Aesthetic. Network Values / Politics and Mail Art / 

A Diary Enlarged / I Speak a Network Language / Correspondence Dialogue / 

Collaboration AestheticsMystic Correspondence / Correspondence Aesthetics / 

Art as Spiritual Path. In: Chuck → Welch (ed.): Eternal Network. A Mail Art 

Anthology. University of Calgary Press, 1995. 65-76 p. 



«Colectivo 3. / Post Arte» (Group, c/o C. Espinoza) Apdo P 45-615. Mexico D. F. Mex-06020, Mexico 1982 

^Colectivo-3 / Post Arte (Editor: → Espinoza. Mag. in form of loose leaves in enve- 

lope. 1982-, ir. ) 

^#1-A, 2-B, 6, 13 

^Poema Colectivo: Revolution. Doc.One sheet of 35x21.5 cm, phc., + rubber ® 

stamp / La Pinacoteca Universitavia Puebla. April 1982 

^Vision Global. Inv. for an int. Mail Art Show in Mexico City. Inauguration at 

Nov. 12, 1982 (Postman's day in Mexico). Org.: „Col. Narvarte“ and 

A. Flores, B. Noval (C.R.A.A.G.), C. Espinosa (Colectivo 3.). M. Marin, 

M. Guerrero (Grupo Março), J. R. Galdaméz, C. Medina, P. Bruscky. 

^1984 despues de 1984. Maraton de Arte-Correo Doc.: one sheet of 43x16 cm., 

offset / Galeria de la Casa del Lago, Mexico. February 1985 

~ 

Literature: «Orientated principally toward the communication and less to the existencial 

protocols of the artistic „opus“, the Mail Art is: 

– A long distance dialogue without intermediaries in the message, that beaks with 

parochialism and the short vision stimulating the comprehension and solidarity 

among the peoples. 

– A testimonial act directly leagued to the near, present situations of his authors 

and addresses, overcomming the limits of frontiers, censure and artistic „new 

Waves“. 

– An artistic descentralization process in the geographical and formal aspects, 

opposed to the dominant artistic centers and facilitating the multiplicity of authors 

since every province or city and the movement of his artworks. 

– A rejection regarding the artistic market when every author distributes his 

artworks without to except retribution neither the return of they which enter to 

multiple archives and are shown in the mere adverse conditions. 

– The information and the process are in the centre of the creative act, but not the 

„opus“ for sale or speculative prestiges.» 

(Statement of the Colectivo 3. Febr. 1985. In: Clinch, #7, → Ruch) 

Collins, Patricia 128 Kingstom Road Teddington, Middlesex United Kingd. 1996 

Ârtist’s Book exchange. Inv., n.d. 

 

It's in the Box. (Assembling project without fixed deadline, 1995?-) 

 

Cologne / artists (Heinz Breloh, Eberhard Prangenberg & others) c/o Depot, Moltkestr. 27. Köln-1 1971 

^Nummer (Mag. Concept art and underground art actions. A/4, offset, 36-72 p. 

1971-72, #1-4) 

^#1, 2, 3, 4 

~ 

Literature: 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 37, 40 p. 

Colonna, Gaetano Via A. Sertsale, 9 Sorrento, I-80067 Italy 1986 

^CONTR/azione. Inv. in form of an accordion to “Mostra di Poesia Visiva” events , 

curator: G. Colonna. Sorrento, 1984 

Îtalian Graffity. Inv., Exh. at the C. A. V., Agliana, I-51031, 1985

^Mixed Art. (Peintings, poetry visual, Mail Art, poesia sonora, publications...) 

Doc.: A/4 sheet, transparent paper, phc. Also A/3 sheet, phc. 

Exh. at the Centro Culturale „P. Whistler“, Vico Equense (NA), January 

18-25, 1986 

 

Colp, Normann B.: ? ? USA? 1983 

^Hand & Mind Books. (Series of small booklets with concrete poetry by texts and 

images. 14x11.5 cm., offset, 10 p. in accordion form, 1983: 

An Old Saw / Freud's recipe / Every nicht when I go to sleep. 

Â Primer on Art Criticism. Horz. 11.5x14 cm., offset, 60 p. 1983. 

 

Colpaert, Eric St. Pietersnievustraat 114. Gent, B-9000 Belgium 1981 

^Styff (Mag. Poetry, visual art, Mail Art. A/4, offset, ~24-54 p. #0=1979, 1980-, qu?) 

^#0, 1, 2 

Combalio, V. / Suárez, A. / Vidal, M. Edition de Termas Actuales, Genova – Barcelona / Italy–Spain 1977 

Artilugi (Mag. with connections to the classics of the old avantgarde and also to the 

recent experimental & underground art. Tabl., 34x24 cm, offset. 1977-) 

Commercio, Salvatore Via S. M. Mazzarello 46. Catania, I-95128 Italy 1975 

Verticalismo (Mag. for experimental art and vis. poetry + lit. Tabloid, 34x25 cm., P 

offset, ~30 p. 1975-, qu.) 

^Mail Vertical Art / Arte Verticale Postale. Cat. in: Verticalismo, Vol. VIII #21-22. 

May 1982. Texts by S. Commercio, Guglielmo Pepe, Eugenia di Grazia, 

Antonio Corsaro. 

Commonpress 

→ Petasz, Pavel 

«Composer / Performer Edition» 2101 22nd Street Sacramento, CA-95818 USA ? 

^Source (A very well produced mag. in general for the avantgarde & exp. music. 

N° 11. / 1974: special issue for Fluxus, conceptual trends and Mail Art, 

guest editor Ken → Friedman. Int. material, also from the Eastern 

European contries. Horizontal size of 27.5x35 cm., offset, ~120 p.) 

^# 11 

«Concrete Poetry» → Arnold / Text + Kritik, #25 & 30 

«Congress» → Mail Art Congress, 1986 / Mail Art Congress, Dezentralized World-Wide, 1992 

Conquest, Norman P. O. Box 1049 Bridgehampton, NY-11932, USA 198? 

Letter Bomb (Mag., absurdities in image and text, dada, Mail Art, etc. Addendum: 

Baby Boom, a compilation booklet. Letter, phc., 198?- ) 

Conti, Marcello Via Michelini 1. Udine, I-33100 Italy 1980 

Zeta / Rivista int. di poesia. (Mag. with Mail Art, advertisements from art publishers 

and exhibition invitations. 22x16.5 cm. + A/5, offset, 1980- ) 

Cook, Geoffrey BOX 4233 Berkeley, CA-94704 USA 1996 

↑ P. O. Box 18724 San Francisco, CA-94118 - “ - 1982 

«COOJORNAT» 541 Cidade Alta, Natal, Brasil 1977 

Contexto (Suppl. to the daly news A Republica, Natal. Texts, vis. poetry, photos and 

alternative & exp. art. Tabloid, newsprint, 1977?-, weekly?) 

«Copy Art» 

→ Appendix

Corbet, Michael B. BOX 155 Perston Park, PA-18455 USA 1996 

Tensetendoned (Assembling, 1992-, sm. ~ 30#) 1992 

 

~ 



Corpá, Urb Los Cantos 38. Bafigas (Toledo) Spain 1995 

Piedra Lunar („Moon Rock“) (Assembling for experimental literature, photos and 

images by way of Mail Art. Loose contribution sheets. {50} ~34x23 cm. 

1984-95, sy. #0-7) 

~ 

Literature: 

Corpá: The Last Issue of Piedra Lunar (1995). In: Stephen → Perkins: Assembling 

Magazines. Internationale Networking Collaborations. Cat.: Half-legal, phc., 

64 p. Subspace, Iowa City. 1996 / Print: 1997. 30 p. 

Corroto, Mark (!Fa Ga Ga Ga!) Box 1382. Youngstown, OH 44501-1382, USA 1992 

Mr. X. Doc. 1987 

 

Jazz: Past / Future. Doc. 1990 

 

Detective / Mail Art Against Terrorism. (with Melinda Otto / Youngstown & Oleg 

Yudin / Leningrad) Inv. / Cat.? This project has been co-organized 

and exhibited also in Leningrad 1991 

^The face of the Congress /A portrait zine of the 1992 Decentralized World-Wide 

Networker Congress (Mag. Digest, phc., ~20 p. 1992- #1-7?) 

The face of the Congress, N° 7 = Face Femail. 

^#3, 4, 7 

^Love & Hate. Inv. Exh. at the Banana Rodeo Gallery, Youngstown. 1993 

^Ray Johnson. (with Bill → Gaglione) Cat.: Mini, phc., 24 p. Beat Coffee House. 

215 Lincoln Av. Youngstown. June 15 - July 15, 1994 

Artistamps: The Heart of a Networker / Mail Artist (Sheet of 12 stamps, 2 images, 

b/w phc.) n.d. (1992?) 

→ Mail Art Congress / Literataure: The Face of the Congress 

Corsaro, Ignazio Via Chiara 149 / A Napoli, I-80121 Italy 1986 

^Lo Straniero / The Stranger (Tabloid of 72x51 cm., newsprint, 8 p., with all kind of 

art news & incredible long address-lists from the alternative/underground 

scene from all over the world, an unsurpassed occurence among 

the Mail Art publs. More „Stranger“ exhibitions. 1986-93? 2xy. ~ 20#) 

^(1989:) #8 , (1990:) #9, 10, 11, 12 

^The Stranger /Paintings / Mail Art / Maffia Art (V. Mostra). Cat.: in: Lo Straniero, 

Anno V. N° 9. 1° 1990. (70x50 cm., newsprint, 4 p.) 

Exh.: Citta di Campagna. May 5-20, 1990 

^Man's Inner Revolt / Extrangement. Doc (~ 800 artists' addresses!) Cat.: in: 

Lo Straniero, Anno V. N° 10. 2° 1990. (70x50 cm., newspaper, 4 p.) 

!Cosey Fanni Tutti! ? London United Kingdom 1972 

Member of the neo-dadaistic London groups Ecole de l'art infantile (→ Nations) & 

the COUM (→ P.Orridge). Also rubber stamp activity. Very known as 

sex performance artist in the first half of the 1970s. 

Music recording and compilations with Chris Carter, also on video, since 1976, first 

as member of Throbbing Gristle, and following the 1981 breakup of 

TG, as Chris and Cosey (c/o CTI/Chris & Cosey. BM CTI. London, 

WC1 3XX, England) 

~ 

Literature: 

® 

Cosey Fanni Tutti (Interview about music activity) In: Unsound. Multimedia 

magazine with booklets & tape supplements, →Davenport. Vol 2, N° 3/4, 1985. 

31-34 p.)

Coste, Elis. & Michael ? Pontivy, F-56300 France 1994 

Mail Art. Doc. / Biblioth. Municipal, 106 rue Nationale. Pontivy, 1994 

 

!Cracker Jack Kid! → Welch, Chuck 

Crane, Michael Running Dog Press. Sacramento CA USA 1979 

°Stamps in use. (29 cards with orig. rub. stamps) 1977 

® 

^Contents: Objects, Piles and Boxes. Cat.: Letter size, offset, 24 p. 92 parts. 

Very original Mail Art project: the exponat-objects were placed in 11 

transportable „micro galleries“ (small gallery-models like doll's houses) 

sponsored by Micro Gallery Ltd. Open Ring Gallery, Main Art Gallery 

of California State University Sacramento. Travelling exhibitions in 

more cities of the USA in 1979. 

^Correspondence Art. Source Book for the Network of International Postal Art Acti- 

vity. (With Mary Stofflet. The first large monographical work and 

essay anthology about Mail Art. Among the authors: T. Albright, 

A. Banana, U. Carrión, T. Cassidy, R. Craven, J. M. Felter, P. Frank, 

K. Friedman, B. Gaglione, D. Higgins, J. Hoffberg, C. E. Loeffler, R. 

Rehfeldt, E. A. Vigo, etc. Bibliography, index, list of exhs., list of Mail 

Art a.k.a.s, etc.) Offset, half letter, 522 p. Contemporary Arts Press 

(→ Loeffler), San Francisco, 1984 

~ 

Literature: Ronny Cohen: A Conversation with Mike Crane. In: Flue (→ Franklin Furnace), 

Vol. 4 #3-4 (Winter 1984) «Mail Art Then and Now» issue, 40 p. 

(Correspondence Art): «More than long awaited, this book has been in the works 

for eons. It's good to see its fet spine on the bookshelf. (Critical thinking on mail art 

tends to be a thin thing and surely widely scattered.) This collection, however, reads 

like memory lane. The focus is mid-to-late '70s. As a result many substantial artists 

working in the last five years have been neglected. Nevertheless, Correspondence 

Art is loaded with articles from able spokespersons like Judit → Hoffberg, Klaus 

→ Groh, Ulises → Carrión, Anna → Banana and Edgardo-Antonio → Vigo. 

There's general, poetical, critical and at times somewhat overlapping coverage of 

the art form with subset features on artists' stamps, rubber-stamps and mail art publications. 

Steering a tad academic, the editors haul out meticulously sociological 

apendices with tables and cross-references galore. Mail art changes fast in terms of 

participants and their doings. Maybe no book can ever deliver „definitive“. This 

one takes its best shot reflelcting some substantial and informative vistas.» 

(Lightworks [→ Burch], These Things Too [Print review], N° 17, 1985, 26 p.) 

Ernest J Stroh-Symtra: „Correspondence Art“ by Mike Crane (Book Review) / Lon 

→ Spiegelman: About this Issue (Also personal opinions about Crane's book). Both 

publications in: Spiegelman's mailart rag. Vol. 1, #2. November 1984. 1 p. 

«...The book is divided into four parts with articles by Crane serving to try to tie 

things together. Actually these articles are quite informative, and probably could 

have been expanded in order to reduce the repetive bulk, much of which seem only 

opinionated laundry lists of poeople involved at various times.There are exceptions... 

Having so many voices really tends to make the book, as a whole, confusing, 

and far from the scholarly tone, which Crane seems to have wanted. (...) 

All of above does not mean that this is a thoroughly execrable and worthless 

book, these points are only brought out because at the time of publications, the book 

is already outdated, and although there is some valid and worthwhile information on 

the subject of Mailart contained here, this is not the definitive book it was purported 

to be...» 

(John → Evans: „Correspondence Art“ by Michael Crane (Book Review). 

In: Spiegelman's mailart rag [→ Spiegelman]. Vol. 1, #3. Sept. 1985. 1-2, 9 p.)

!Cravan, Arthur! (also !Carlo Giovanni Cicatelli!) → Chickadel, Charles 

Craven, Richard ? ? USA 1976 

°Correspondence (The letters of Ray Johnson). Cat.: 29x24 cm., offset poster – Also 

a facsimile: selection of 81 from 250 letters / North Carolina Museum 

of Art, Raleigh NC, 1976 

!Creative Thing! 

→ Caldera, Lesley 

Cristobal, Ricardo Coslada 26 Madrid-28 Spain 1974 

Orgon (Mag. for post-fluxus trends, graphics, concepts, collage + stamps, partly 

bound assembling. A/4, offset, mimeogr, phc., etc. 1974-77, #1-3) 

Crobar, K. 2900 C. Glascock St. Pakland, CA-94601 USA 1988 

King Cobra (Graphzine, ? size, phc. 1986?- y.) «A body blow to the solar plexus, 

a xerox molotov cocktail in yer face. No known antidote.» 

(Box of Water, #4, → Perkins) 

Crozier, Robin The Mews, Field Foot Under Loughrigg Rydal. Ambleside Cumbria. LA22 9LN. UK 1998 

↑ 5 a Tunstall Vale Sunderland SR2 7HP United Kingd. 1981 

............................................................................................................................................................. 

°Robin Crozier (~A/5 portfolio with xeroxed and original cards of div. sizes) {100} 

Second Aeon Publ. Cardiff UK, 1973 

^Portraits I. Portraits of R. Crozier. (Offset book, 19x19 cm., 70 p.) S. P. 

 

Sunderland, 1975 

^Portraits II. Portrait of ...... by R. Crozier (Xeroxed book, A/4, phc., + original 

additions, 108 p.) S. P. Sunderland. 1976 

Ârt A to Z. I-II. (Assembling, A/4, 53 leaves, {50}. 1977-78) Sunderland. Jan. 1978 

°Iceland Blue Show. Inv. A/4 phc. + manusscript by blue ink / Galleri Sudurgata, 

Reykjavik, Iceland 

^Views (Anth. like mag. 1977-80, #1-4) Sunderland Polytechnic 

 

^#?, #? 

Întermedia (The begin of publs. with xeroxed compilation matter, made by Crozier 

+ the students of the Sunderland Polytechnic School. Later issues: 

Contemporary Studies, and Ghost Writers. Published as A/4 bound 

brochures like mags. {20-40}. 24-32 p. 1978-80, #1-3) 

^White Lies (Commonpress #12) A/5, phc., 42 p., 34 participants. January 1979 

1970s-80s 

°Meat Click. (with John M. → Bennet) Xeroxed bookwork, A/5, 28 p. {400} 

Sunderland UK / Columbus OH, 1980 

^Table-project (23.5x15 cm., offset, 16 p.) Stempelplaats, Amsterdam, 1981 

One Table One table. (Orig. rubber stamps, 8 p.) S. P. n.d. ® 

^Rubberstamping an apple. (A/5 booklet {40, all copies are partly original} with ® 

rubber stamps & hand drawings, 8 p. on coloured paper) 1982 

Memo(random) / Memo(ry). (Endless corresp. project by exchange and collection 

of „add to“ A/4 form sheets) The start of the project: February 1983 

^SLIDE-Collection. / Doc.: A/4, phc., 4 p. Sunderland Polytechnic. 1985 

 

Contemporary Studies (Compilation, A/4, phc., 1985-86, #1-2) Sunderland Pt. 1985 

^Ghost Writers (Bern Porter issues), A/4, phc. 1986-89, #1-4) Sunderland Pt. 1986 

^#3, 4 

^To use or not to use. (6 A/5 leaves in envelope, hand drawing) S. P. 1989 

 

^Measuring. (on the basic of ruler pieces) Cat.17 A/4 sheets, phc., in plastic bag. 

1994 

^Wandalust. (Booklet by César → Figueirede, graphic by R. Crozier, rubber stamps ® 

by M. B. → Corbett, „who thinks Robin Crozier is all about Wanda“) 

10x7.3 cm., phc., 12 p. n.d. (1996?) 

^ValnA. (with J. M. → Bennett.) 14x11 cm., phc. 8 p., on yellow paper, also copies

with hand interventions. Luna Bisonte Ed. Columbus. (1999?) 

Robin Crozier died ........................ 2001 2001 

~ 

Literature: 

(Portraits of Robin Crozier) News and Reviews. In: Kontexts, #8 (→ Gibbs). 

Amsterdam, 1976. 15 p. 

The Way we were. Robin Crozier's Gathering and Exchange of Memories. 

In: Lightworks [→ Burch], N° 19, Winter 1988-89, 33-35 p. 



«(...) I had also been interested in concrete and visual poetry and towards the end of 

the sixties I began to make some publications of my own. But where to send them? 

However, in 1970 a magazine called Pages (→ Briers) was published in England... 

It was dedicated to promoting the avant-garde and included works etc. by some of 

those I had met through Something Else (Dick → Higgins) but also by numerous 

other creators from Europe and elsewhere that were sometimes new to me. But 

what was most interesting was the information section listing publications, magazines, 

artists, events etc. with contact addresses. So I was able to begin sending 

my publications out to establish contacts providing me with more contacts and so 

on. Soon after this a more commercial magazine Art and Artists published an 

article about Robert → Filliou. In it he said he was going to have an exhibition at 

the Stedelijke Museum in Amsterdam and was asking people to send him material 

that he will include in the show. (...) G. J. de → Rook visited the show and he and 

Robert Filliou made up pages from some of my sendings which de Rook then 

included in a publication he was putting together called „Bloknoot“. So, from early 

1972, slowly but surely, I became involved in the „Eternal Network“ (Filliou) 

which had been christened „Mail Art“ in 1971 by Jean-Marc → Poinsot who had 

organized the envoi action at the Paris Biennale. And then the snowball began 

to roll. (...) 

At one time there was a rapid growth in mail art emanating from oppressive 

regimes – South America, Eastern Europe, etc. These „cold wars“ are now largely 

relaxed and so I've noticed a rapid decrease in mail art from these areas. (...) For 

myself and my own activity, when I first began in the seventies then I was into all 

kinds of things, organizing shows, projects, publications, almost like the joys of 

spring and a fascination with new toys. (...) „Somebody out there loves me“ was a 

wonderful feeling. (...) 

I suppose that mail-art is as much a finding as a searching process. I also like 

the idea of working „with“ things, objects, structures, people. Cooperate activities. 

Recycling. Setting up structures that lead into unknown or unforseen territories. 

Chance. Serendipity. External events molding directions. I like travelling rather 

than arriving. Flux. But this is talking about art. In my daily life I'm a creature of 

habits, of ritual. 

Most mail-artists probably know you because of your emory/memorandumproject, 

where you ask a memory of a specific day from a mail-artists and in 

return send him/her someone else's memory. What was the reason for starting 

this project? 

...When somebody contacts me for the first time or perhaps when I see someone 

who I think might be interesting or whose work catches my attention I will 

send them a memo/random form as part of my initial contact with them. The form 

request „what do you rememeber about... (a particular date)“. On the back of the 

form it says „please reply on this paper to receive another memory from someone 

else.“ When I receive the completed form (which can be completed any way the 

contributor wishes) I copy (if it is writing) or transpose (if it is visual) the contribution 

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 

book is filled up I mailto the Getty Archive in the USA. (...) The reason why the 

memo books go to the Getty archive is that when I began the project I sent the 

books to Jean → Brown for her to put in her archive... However, towards the end 

of the eighties her archive moved to California to the part of the Getty archive... 

In the front of each memo books is written „Each memorandom contains random 

memories recording times passing through Robin Crozier who here records the 

memories for Jean Brown and future times past.“ (...) 

When I receive a mail from you, I always recognize your handwriting. It 

seems you never use a typewriter or even a computer. Is there a special reason? 

Well, first of all, I suppose I actually enjoy the act of writing. My hand 

holding the pen to make lines and marks which become words, sentencesand paragraphs 

which follow my thoughts line by line. I enjoy the idea that handwriting is 

unique, as personal as a finger print. On the other hand I have never been very 

interested in mechanical things... Again I think that handwriting gives me time to 

think...» 

(Ruud → Janssen: The Mail-Interview with Robin Crozier. TAM Publs.: 

TAM-950091. A/5, 10 p. Tilburg, 1995) 

Vittore → Baroni: Robin Crozier. In: Arte Postale. Guida al network della corrispondenza 




Csernik, Attila 

Cuba Mail Art 

→ Szombathy, Bálint / Mixed Up Underground 

^Desparecidos Politicos de Nueustra America / Ia Bienal de la Habana. Curator: 

Clemente Padín with the Asociación Uruguaya de Artistas Correo, 

with Eduardo Kuben, Cuba, and the Solidarte Arte Correo, Mexico. 

Cat.: 22.5x18 cm., phjc., 12 p. June, 1985. 

^Paraguay. Exp. Latinoamericana de Arte Correo. Cat.: / III. Bienal de la Habana. 

(Org.: → Gutierrez, P. J., Apdo Postal 6239. Habana, 10600 Cuba) 

^Cuba no al bloqueo. Exposicion Int. de Arte-Correo. Cat.: 22.5x17 cm., phc., 

20 p. (Org.:→ F. Ferrando, Coordinadore de Apoyo a la Revolucion 

Cubana) Montevideo, Caracas. 1992 

Inicuba (Mag. 1992- ) Centro latinoamericano de Poesía Inista. / → Inism 

c/o Apartado Postal 6239. Ciudad Habana. 10600. Cuba 

Banco de Ideas Z. (From 1994) A Cuban variant of the Image Bank (→ Western 

Front) to collect artists' work on alternative basic. Curator: Abelando 

→ Mena at the Foreign Art dept. in the Nat. Museum of Beaux Arts, 

Habana (19 # 1362 Apto 15 % 24 y 26. Vedado C. Habana. CP 10400) 

Â cargo de Alberto Biote. Cat.: 20.5x14.5 cm., phc., 20 p. (Ed. → Merz Mail, 

Barcelona, E) / Galeria 23 Y 12, Calle 23 N° 518 e.12-Habana, Cuba 

December 19, 1995 - January 9, 1996. Texts: 

P. J. Gutiérrez: La democracia absoluta 

A. A. Biote: Así ocurrió 

C. Padín: El network en Latino-america 

E-A. Vigo: Mi manera de «armar» a Damaso Ogaz 

^Havanna '95 Int. Mail Art Show in Mem. of R. Johnson. Cat.: 21x16 cm., offset, 

60 p. (on brown paper) (Org.:→ Mena, A. & → Held, J.) Museo Nac., 

Pal. de Bellas Artes, Habana Vieja. Cuba. 1995 

 

 

 

 

 

 

Cunning, Sheril 1610 Jeffrey Ave. Escondido, CA-92027 USA 1986 

Activity in artists' books, participating in Mail Art projects since th late 1978's, her 

first project was organized at Palomar College in San Diego 1978.

~ 

Literature: 

Sheril Cunning: Handmade Paper. 

Sheril Cunning: Webdance. In: Chuck Welch (ed.): Eternal Network. A Mail Art 

Anthology. University of Calgary Press, 1995. 224-228 p. 

Curnoe, Greg ? ? Canada 1989 

^Blue Book (Rubber stamp book, 36.5x15.5cm., 180 sheets, numbered copies) Art ® 

Metropole, Toronto. 1989 

Curry, J. W. (!Curved H&Z!), 729/a. Queen St. E. Toronto, M4M 1H1 Canada 1986 

Îndustrial Sabotage (Magazine with the rank «Each page is art» Digest, phc. 

~16 p., 1986?- , sm.) 

^#38, 42 

~ 

Literature: 

(Industrial Sabotage, #30): «One of the many publications from jwcurry's prolific 

mixed media poetry press CURVD H&Z. Submissions range from laconic poetry 

with graphic import to a xerox collage which appears on the back cover. Nicely 

produced and an interesting collection of work from variety of contributors. Write 

for a catalog of publications and prices...» (Lloyd → Dunn: Mail Review. In: Photo- 

Static. N° 20, Oct. 1986, 636 p.) 

J. W. Curry: Line 1 thru 4 ( and other works) In: Score, #6. (→ Hill) Letter, offset, 

1983-92 

Cushman, Barbara Fine Hand Prods. P. O. Box 26082. San Francisco, CA-94126 USA 1981 

2661 California St. #8. San Francisco, CA-94115 - “ - 1981 

............................................................................................................................................................. 

Owner of A Fine Hand, a retail store and gallery fearering Electrostatic Art in San 

Francisco in the 1970s. 

Spiral bound Color Xerox Calendars 1980-84: 

The 1980 Cooperative Color Xerox Calendar. {250} Legal, colour phc., 15 p. (with 

works of the → Bay Area Dadaists) A Fine Hand Prod., S. F., 1980 

The 1981 Cooperative Color Xerox Calendar. {250} Legal, colour phc., 16 p. (with 

works of the → Bay Area Dadaists + G. → Lloyd, W. Smith, E. Lake, 

B. Cleveland, Patrick T, I. Dogmatic, P. Beilman, L. Spiegelman, 

K. Brown, S. Colby, C. T. Chew) A Fine Hand Prod., S. F., 1981 

Color Xerox Annual. Calendar {280}. Legal, colour phc., 16 p. (with works like 

in the years 19981-82 + contributions by Le Clair, S. Lust, M. Mollett, 

A. Torridzone Igloo) A Fine Hand Prod., San Francisco, 1982 

1983 Color Xerox Annual. Calendar {385}. Legal, colour phc., 15 p. (with work 

like in the years 19981-83, + new participants as Cavellini, E. F. 

Higgins III., T. James, L. Neaderland) A Fine Hand Prod. S. F., 1983 

New Art 84. Calender {?}. Legal, colour phc., 15 p. (New participants: B. Griffith, 

B. Black, K. Brown, Dogfish) A Fine Hand Prod., S. F. 1984 

~ 

Literature: Copy Art. In: Umbrella (→ Hoffberg). Vol. 4 / #5. 141 p. 1981 

Cuttlefish, Mr. ? Hollywood, CA USA 1978 

°Letters. Inv. 1978 

Cutrell Rutkovsky, Fran → Rutkovsky 

 

«C. W. Poste» 

→ Summers, Craig 

Dako, Peter 698/a Qeen St. W. Toronto, M6J 1E7 Canada 198? 

^Casual Casual (Graphzine with Canadian and French contributors.

Digest, phc., 8-16 p. 198?-) 

^#1, 2, 3, 4, 5, 6, 7, 8, 9, 10 

Daffunchio, Jorge Cas. De Corr. 8, Paso del Rey. Buenos Aires, AR-1742 Argentina 1992 

^My Postman – send stamps with image of your postman. Inv. with an orig. artists’ 

postal stamp (graphic: postman). 199? 

Daligand, Daniel 33 rue Louise Michel Levallois, F-92300 France 1991 

^Les Fils de Mr. Hyde (Mag. with social criticism colour, texts and visual matter 

from the underground. A/4m phc., ~10 p. 1975-87, #1-33) 

^#12, 15, 30, 32 

L'art postal dedans/dehors. (with Guinochet, François). Cat. 1981 

 

^Le Timbré (Mail Art mag., with partly assembling like sheets.) 

 

A/4 size, phc.,1983-85 As a new series: 1986-, #1-17? 

^# ?, 3, 4, 5, Rimboud (1985), 

Artistamps: Topolinologie (Sheet of 24 id. stamps, b/w computer print, not perfo- 

rated) 1989 

^Daligand’s exhibition at the Milan Art Center, Inv. Milano, 1989 ? 

^Drôles d'envois: Mail Art et Art Postal. Cat.: 23x17 cm., offset, 46 p. / Centre 

d'Animation Culturelle de Compiègne et du Valois. Pl. Briet-Daubigny, 

Compiègne, F-60200. March-April 1992 

Project: How do you imagine the city of Compiègne? by D. Daligand 

Texts by E. Leroug, M-C. le Foc'h, L. Vincy, H. Fischer, R. Devichi, 

D. Daligand, J-N. Laszlo, C. François 

~ 

Literature: 

(Le Timbré, 4 issues 1984-85): «A xerox magazine put out by long time mail arter 

Daniel Daligand. Interesting documentation from a „Rimbaud“ show, writing about 

mail art, and mail art from Eastern Europe etc... it all seems to boil down to the 

quality of the contact not the quantity.» (Stephen → Perkins: Magazine Reviews. 

In: Box of Water, N° 2, 1986) 

!Dallas Swan III. ! 1030 Adams St. #1C Salisbury, MD-21801 USA 1988 

În Your Mail (Infomag. Letter, phc., 12 p. 1988-, squ.) 1988 

 

~ 

Literature: «First issue of an infozine about „alternative publication“. The editor hopes to 

collect information about anything that's out there: the emphasis is on networking 

contacts. Send him any info you've got (including just general musings about the 

scene)... Swan is also interested in anecdotal material, such as: what's the strangest 

trade anyone's ever offered for your 'zine...» (Lloyd → Dunn: Mail Review. In: 

PhotoStatic. N° 32, Sept. 1988, 1149 p.) 

Dallos, László 

→ Leopold Bloom 

Daniel, Mario Via S. Reparata 30 R. Firenze, I-50129 Italy 1975 

Album Operazio (Anth. like mag. with high quality paperworks, rubber stamps, etc. ® 

32x24.5 cm. mixed techn. 1975-, m.) 

~ 

Litearture: 



Danon, Betty Via Corvilugna 37 Milano, I-20166 Italy 1986 

Dárias, Javier c/o Sancho el Fuerte 19. Pamplona Spain 1980 

Âlogías. «Musica visual» (A/5, offset, 2x8 p.) Nueva escritura N°4. 1980. Ed. Bidea 

!Dark Hopes! 151 Ballyboley Road Larne, CO. Antrim, Northen Irelanden 1983 

^FOMT (Bulletin) (Mail Art texts and contact bulleltin in A/5 size, phc., 8 p.

1983-84, qu. #1-8.) 

^# 8 

Darnell, Wally World College East Asia. Center 28 Gokooda-Cho, Nishijujo, Minami-ku, Kyoto, Japan 1986 

↑ 839 West 4th Ave. Eugene, OR-97402 USA 1984 

............................................................................................................................................................. 

^Mail Art Ambassadors Stamp Album (with Chuck → Welch and Darlene → Altschul) 

(One of the most beautyful Mail Art publication: accordion book (8x) 

like a book in a size of 33x23 cm. by handmade „sky-paper“ and with 

18 artists' postage stamps by Welch, made as commemorative stamps 

to the Latinamerica trip of W. Darnell. Also an attendant brochure, text 

by Chuck Welch, letter size, 10 p. 1984-85 

Davenport, William / Tamara F. (Freedman). 82. Harriet St. San Francisco, CA-94103-4006, USA 1988 

↑ P. O. Box 883202, San Francisco, CA-94188-3203 - “ - 198? 

↑ 801. 22nd Street San Francisco, CA-94107 - “ - 1983 

............................................................................................................................................................. 

Ûnsound (Multimedia mag. with booklets & tape supplements, features, profiles, 

audio reviews and (also visual) publication listings. Var. sizes (~letter), 

phc. +offset. ~60-120 p. 1983-88, ~ 12#) 

^#Vol.1/ 1, 2, 5; Vol.2/ 2, 3-4, Vol.3/ 1, 2, 

~ 

Literature: 

 

«Here's a heavy-duty networking magazine all about outer edges, but particularly 

audio.There is a slew of interviews with people like Joseph Nechvatel, founder of 

the cassette magazine, Tellus, mail artist and TRAX cassette producer, Vittore → 

Baroni, and Sue Ann Harkey of „Cityzens for Non-Linear Futures“. And more. 

Personality profiles from „The Churh of the SubGenius“ publication and cassette 

/ record reviews. Loads of addresses and leads from strange cases the world over. 

Clean-looking and clearly an assidiously produced item.» (Lightworks [→ Burch], 

Glimmerings [Print review], N° 18, Winter 1986-87, 52 p.) 

(Vol. 3, #2): «This is the final Unsound, composed of 4 parts 1) 56 pg. tabloid size 

mag., includes articles/interviews... 2) 32 pg. booklet of extensive reviews, printed 

matter, cassette/record labels/makers, distributors, networking, contacts, mail artists, 

tape/record/video reviews... 3) 28 pg. boklet of adverts. 4) a high quality tape compilation 

of 24 bands. This is a worthy final issue package for a magazine/concept 

that has over the years networked alot of otherwise disparate individuals, groups, 

tandencies. „This is the last, not due financial constraints or to lack of information to 

delve into, to reveal... but for reasons of change... evolution of thought & reason. 

We don't wish to preserve the past“.» (Stephen → Perkins: Magazines. In: Box of 

Water, N° 4, 1988) 

!Dazar! / !Omahaha! (Monica Dunlap) 5305 S. 122nd Street. Omaha, NE-68137. USA 1987 

Full Moon (Spiral bound assembling, letter size, 1987, #1) 

 

Artistamps: ^Harmonic Convergence Aug 16-17 1987 (Sheet of 24 id. stamps, phc. 

on yellow paper) 1987 

^Weird Dream Post (Sheet of 12 id. stamps, phc. on green paper) n.d. 

^Co-op Post by (Sheet of 12 diff. stamps, colour phc.) n.d. 

 

^Surpasses Reality (Sheet of 4 diff. stamps, colour phc.) n.d. 

 

Debris, Kristof S. Meersstraat 41. Gijzegem, B-9308 Belgium 1988 

^Wall (Assembling in envelope, A/5 & A/6 matter. 1988-94, #1-9) 

 

^#9 

^Mail Art versus E-Mail – send reactions! Inv., 1996 

 

~ 

Literature: «The assembling editor has a larger control over quality than most of them realize. 

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 

put work in that, it shows. (...) I stopped Wall for a number of reasons. First of all, I 

came to realize the above while working the magazine, learning from my experiences. 

It wasn't like I started with a clear idea of what wanted to do, what my goal 

was in doing an assembling. (...) When I started doing mail art I'd read about those 

grand sounding assemblings that come with tapes and magazines packed in videoboxes. 

Old time mail artists showed or grave me copies of what they used to do, Dr. 

Piotr → Akoun, for example...» (Editor's Statement / 1996. In: Stephen → Perkins: 

Assembling Magazines. Internationale Networking Collaborations. Cat.: Halflegal, 

phc., 64 p. Subspace, Iowa City. 1996 / Print: 1997. 36 p.) 

Decker, Geert de (Sztuka Fabrica) Kerkstraat 290, Tielrode, B-9140 Belgium 1990 

^3-Dimension Artwork. Inv., 1990 

 

^Mail Box Blues. Inv., 1990 

Âll about Russian History, Culture, etc. Inv., 1991 

 

Âbnormal mail becomes Art. Inv.. 1992 

 

^Mysteries of the World (as a project of the Sztuka Fabrica). Inv., 2000 

 

^Mortuarum. Inv., 2000 

 

Îndependent Music & (Mail) Art Festival – 12 th Festival in Sint Niklas. Inv..2000 

^Mysteries of the World. Cat.: A/5, phc., 16 leaves + paper work supplement. 2000 

 

Deisler, Guillermo Kirchnerstr. 11 Halle a. d. Saale D-06112 Germany 1993 

↑ Riebeckplatz 12. Halle / S., 0-4020 Germany 1990 

↑ Thälmannplatz 12. Halle / S.GDR-4020 GDR 1986 

↑ Ul. Kitschewo 48. Aprt. 17. Plovdiv, BG-4004 Bulgaria 1975 

↑ ? Santiago de Chile Chile 

............................................................................................................................................................. 

Mimbre (Deisler was co-editor of this magazine for poetry & graphic, 1967-73, 

over #50) Santiago de Chile 

GRRR. (Graphic-publ. offset? {50}) Chile, 1969 

 

°Le monde comme il va. (Offset? booklet, 17x11 cm, 12 p.) Ed. Ovum (→ Padín), 

Montevideo, 1976 , C. 

Pocking Poetry. (Publ. in Bulgaria, edition and size unknown) 1977 

 

^Fe de Erratas. (S)edicion. Self edition from Plovdiv, Bulgaria. 10.8x10.8 cm., offset, 

12 p. Segunda Epoca - 1985 

^Deisler. Theaterentwürfe, Grafik, Mail-Art. Cat.: 19.5x21 cm., offset, 24 p. / Galerie 

Junger Künstler, Berlin. September 1986 

^Giullermo Deisler: Grafik. Doc. (Leaflet like accordion, 3x): 21x10.5 cm., offset, 

6 p. Text: Karla → Sachse (German). Galerie am Markt, → Annaberg- 

Buchholz. Sept. 12 - 30, 1986 

^Visual Poem / Poetry. Self edition, Halle, n.d. (~1986). 7 silkscreen leaves of 

25x27.5 cm. in BW print in hand made cover, each sheet signed. 

70 signed and numbered copies. 

^Peacedream-Project (Portfolio visual poetry / experimenta: send 100 copies...) This 

A/5 Mail Art invitation was the start for the UNI/vers assembling. 1988 

ÛNI/vers (Assembling in portfolio, a «peace-dream project». An A/5 size int. 

forum for vis. poetry with ~ 40 signed contributions pro issues {100}, 

launched 1987 by G. Deisler, G. Berchenko, J. → Kowalski & 

Ulrich → Tarlatt. 1988-95 squ., #1-35) 

^#1, 2, 3, 4, 5, 6, 8, 9, 12, 14, 15 

Feathers /Federn der ganzen Welt für meinen Flug. Doc. / Exhs. in Französicher 

Dom, Berlin, East, and Galerie am Markt, → Annaberg-Buchholz. '89 

Heimatlos. (with → Tarlatt) Cat.: with orig. graphics, {100}, Halle, 1989 

^Words Images Stamps. (Stamp Book) Rubber stamps & collages, 29.7x15 cm., 40 p. 

 

® 

{25} S. P., 30 Nov. 1989 

^Feathers / Federn der ganzen Welt für meinen Flug. Cat.: A/5, offset, 8 p. / Galerie 

am Hauptmarkt, Gotha. 64. Exhibition: March 27- April 28, 1990

^Visuelle Poesie. (with → Sachsa, K.) Cat.: + poster. Offset, A/5, 36 p. / Museen der 

Stadt Gotha, Schloss Friedenstein. Gotha. 1990 

^Figurengedichte. Offset print from zinc-plates. 18.5x12 cm., 27 leaves, bound {50}. 

(Print: Axel Möbest, Bound: Thomas Lüttich) {50} S. P., 1990 

Ûnlesbar & Sprachlos. Visuelle Poesie. 25x21 cm., silkscreen, 34 leaves {50}. 

Autoren Ed., Halle 

^Calligraphic. 7 silkscreens, A/4, in envelope {80} S. P., Halle, 1 Mai. 1990. 

^wortBILD - Visuelle Poesie in der DDR. (Anth. with ed. → Kowalski, J., with the 

curriculum of the authors) 20x15 cm. offset, 164 p. Mitteldeutscher 

Verlag, Leipzig, 1990. 

Further → GDR Visual & Experimental Poetry 

^Multiple (Bookobjext {4}). 15x10.5x0.5 cm, offset, collage. Novemebr 3, 1990 

^Collages (with G. Berchenko) A/5, 24 leaves, spiral-bound {50}, S. P., Paris-Berlin 

^5 Years UNI/vers (1987-1992). Artists' project for vis. & exp. poetry. 

 

Cat.: A/5, offset, 28 p. {100}. Halle. 1992 

5 Jahre UNI/vers (;). Zum 500. Jahrestag der Eroberung Amerikas. Text: B. → Milde 

(German) With a list of (all?) participants of the UNI/vers issues. A/5, 

offset, 12 p. + 1 original art print. October 10 - November 9, 1992 

UNI/vers Visuelle und experimentelle Poesie international (Offset magazine, also 

with colour print cover. A/5, ~30 p. {1000}, 1994, #1-2) 

Guillermo Deisler died October 21, 1995 in Halle 1995 

~ 

Literature: 



Para Guillermo - nuestro amigo (→ Augenweide, Ed. N° 21) Orig. works by 58 

artists, A/4, mixed techn., ~ 65 leaves, bound like assembling {60} Introduction 

text: Jörg → Kowalski, 1995 

«...I knew Willy postally from 1967 when we interchanged our publications Ediciones 

Mimbre and Los Huevos del Plata and our incipient mail art. Personally, I met 

him in 1971 during the International Expo of Propositions to Realize, in the CAYC, 

Art and Communication Centre, conducted by Jorge → Glusberg. The event was 

curated by Edgardo Antonio → Vigo. From that moment we were friends for ever. 

Guillermo was professor at the Visual Arts Department of the Chilean University in 

Antofagasta, a northerly city. During the state-stroke by Pinochet and the Chilean 

Army, in 1973, Willy and his family had to escape quickly from their mother 

country. After a stay in Paris, with Julien → Blaine, they established at Plovdiv, a 

Bulgarian city and, later they mover to Halle, Germany, where he died in fall, 

October 1995. 

In my first public opportunity, at the beginning of the V Biennal International 

of Visual/Experimental Poetry, curated by César → Espinosa in Mexico 

City, from 10th to 20th of January, 1996, I performed an homage to Guillermo, 

with a lecture of his poems and tales about our friendship (I recorded when 

Guillermo sent me Bulgarian official stamps that I bought in Montevideo for 

financing the OVUM's mail)...» 

(In: Ruud → Janssen: The Mail-Interview with Clemente Padín. A/5, phc., 

12 p. TAM-Publ.: TAM-960114, Tilburg, 1996) 

Karla Sachse: Gillermo Deisler. In: Mail Art. Eastern Europpe in International 

Network. (Catalogue and Anthology) Staatliches Museum Schwerin / Kunsthalle 

Budapest. Bilingual edition: German and English. Schwerin, 1996. 119-124 p. 

Guillermo Deisler. Grafik, Visuelle Poesie, Buchobjekte. (Eds.: Bärbel Zausch 

& Jörg → Kowalski) Cat.: 25x17 cm. offset, 56 p. / Staatliche Galeria Moritzburg, 

Halle. Text by G. Deisler: Einige Ereignisse... / Some events... («...It's very 

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 

accept compromisses with power, no matter of what kind it is, and the rejection of 

the use of art and the artistic work as its instrument...»). Also essays by Peter → 

Huckauf, Pierre Garnier, Karla → Sachse, Hans-Georg Sehrt, Clemente → Padín, 

Jörg → Kowalski, Hartmut → Andryczuk. 11 Januar - 23 Februar, 1997 

Vittore → Baroni: Guillermo Deisler. In: Arte Postale. Guida al network della 




Delanghe, Griet / Callens, Mario. (Demethshuis Foundaton) Rijksweg 314. Wielsbeke, B-8710. Belgium 1993 

^Dedicated to... International Artist’s Book Exh. by materials collected via Mail Art. 

Invitations in the form of letters, 1993. Exhibition at the Demethshuis 

Foundation, Wielsbeke, 1994. Also cat.: 

^That’s Me. (2 nd int. Artist’s Book Exh. at the Demethshuis Found., Wielsbeke). 

Inv., 1996. Cat.: ? 

Delgado, Fernando García. Bacacay 3103 Buenos Aires, (1406) Cap. Fed., Argentina 1996 

^Vortice / Projecto Vórtice (Magazine for visual literature and experimental graphic 

with Mail Art connnections. 16.5x11 cm., phc., 16 p. Jan. 1996 -, qu.) 

^#1, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 17 

^VORTEX3, Poesía Visual & Gráfica Experimental (With Juan C. Romero, c/o Mexico 

1626 5° J. [1100] Bs. As. – Tabloid size one sheet mag, 58x41 cm., 

folded to 8, newsprint on rotation-paper. 1998-, qu.) 

^#1, 2, 3, 4, 5, 6 

^Mail Puzzle Art. Inv., 1998 

 

Ârtistamps, International Exhibition. Inv., 1998 

 

^Publications, Int. Exhibition (about/with Mail Art). Inv., 1998 

 

^Hommage a Marcel Duchamp. Inv., 1998 

 

Barraca Vorticista. Room of projects, actions, performances & mailartists' exhi- 

bitions from April 1998 at Bacacay 3103, Buenos Aires. Among the 

first artists have been exhibited: G. Pernenczky, E. Morandi, Hugo 

Pontes, E. A. Vigo, Cavellini, artistamp show, etc. Actions by Hilda Paz, 

J. C. Romero & others. Proclamation for these events in the brochure: 

^Clamor Brzeska. ~A/5, phc. 8 p. Buenos Aires, April 1998. 

 

Â + C Books. (assembling like high quality annual publication. 18x18 cm. spiral 

bound booklets with ca. 30 leaves edited in 60~70 copies. 1998?- ) 

^#1 (1998), #2 (1999), #3 (2000) 

^Mail Art Day / Dia del Arte Correo, ‘99. Organized by the Vortice and the Postage 

Stamp & Philately's Managership of the Argentine Mail Office. 

Exhibited artists' postage stamps and coupons by 227 artists from 28 

countries. C 1000 ZAA - Buenos Aires. The “Day”: December 5, 1999 

^La Plata, Vigo’s Hometown. Inv. + Cat.: 22x17 cm., phc., 8 p. with participant list. 

Additionally: ~folio size folder (colour offset recto-verso print) with texts 

and photos about the show at the “Pasaje Dardo Rocha” in La Plata, 

December 2000. 

^Mail Art Day / Dia del Arte Correo, 2000. Organized by the Vortice and the Postage 

Stamp & Philately's Managership of the Argentine Mail Office. 

Publication: 33.5x44.5 cm. artists’ postage stamp sheet by colour offset 

print, 4x9 stamp images, perforated – works by 36 Argentine artists only. 

Edition: Argentine Central Post Office, Buenos Aires. December 5, 2000. 

Dellafloria, David (Art Gallery) Little Malop Street. Geelong, VIC, AUS-3220 Australia 1998 

Field Studies. (Yearly publications by submissed materials like an assembling, 

probably also by “normal” art. Published in 100 copies, 1990s ?)

^Post it! Momento to Momenta ’99. Inv., 1999 

 

^From the Seven Seas – International Rubber Stamp Trail. Inv., 1999 ® 

«De Media» (Club & Gallery) Molenstraat 165. Eeklo Belgium 1986 

→ Boever, Jan de 

Dencker, Klaus Peter Sieker Landstr. 77 Berlin, D-10247 Germany 1996 

Text-Bilder. Visuelle Poesie international. (Anth. ) Köln, 1972 

 

^Wort-Köpfe. Visuelle Poesie 1969-1991. Einleitung. Chr. Weiss, (A/5, offset, 216 p.) 

experimentelle texte N° 26-28. Siegen, 1991 

~ 

Literature: 



Denti, Giuseppe / Baraldi, C. / → Maggi, R. Via Messina 2. Milano, I-20154 Italy 1982 



^#13 

Deprez, Bruno (CBV Gorodok), 21 B. rue des Ecoles Kain, B-7540 Belgium 1986 

18 rue des Soeurs Noires Tournay, B-7500 - “ - 1985 

............................................................................................................................................................. 

^Pazuzu's paper (Bound assembling, A/4, in a larger, hand painted envelope {50}, 

1986, 1# only?) 

Suicide / ^The Little Big Pages.. (Supplement booklets to Pazuzu's Paper, planed) 

as the #2 of Pazuzu’s Paper) 1986 

^La Gazette de Monsieur Mose-Mose (Mail Art mag. in A/3 size, very vital outfit, 

phc., 4 p. 1986-87, #1-3 only?) 

^#1, 2, 3 

Dermisache, Mirtha / Schraenen, Guy, Kaasrui 11. Antwerpen B-2000 Belgium 1975 

^Diario (Magazine size graphic, tabloid, newsprint, 1975, #1) 

 

Despotov, Vojislav Vidakoviceva 2. Zrenjanin, YU-23000 Yugoslavia 1971 

Neuroart (with D. → Bijelc) (Object-accumulation mag., A/4, in a lessing edition: 

33→0 copies at 1-33#, the whole series hasn't been realized. 1971) 

Ûnderground Elevator (with → Szombathy, Bálint) (Folio magazine like assembl- 

ing with typewritten matter, handmade drawings and mimepgr. A/4 

leaves in a cover of 52x32.5 cm. {40 & 15}, 1971-72, #1-2) 

^Pesmos (Folio magazine with matter like Undorground Elevator, A/4, 1972, #1) 

~ 



B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the 


Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 

/Print: 1997. 52-54 p. 

Desvois, Francis 92 rue E. Ténot Bordeaux, F-33800 France 1984 

^Zero + zero = Têtê à Toto. (A nice French graphzine of the fourth generation. 

A/5 booklets + supplements in envelope of 23x16 cm. 1984-85, #1-8?) 

^#2, 3, 4, 6, 7 

Devos, Danny ? Gent Belgium 1979 

°Performance by Mail (to U. Carrión) 1979

Diagonale / Espace Critique. (c/o Fréderic Boucher) Cimade, 176 r. de Grenelle. Paris, F-75007. France 1985 

Club with exhibition room in which also Mail Art projects have been organized in the 1980s 

years by help of Jaque → Massa: 

Â mail art surprise / (Planned as an exhibition Offensive! Artists, a vos postes! 

Or: Mail Art Power / Offensive Art Postal for the Diagonal / Espace 

Critique, Paris, and the „Alternativa 4“, Cascaix, Portugal. Inv., 1985. 

^Cat.: A/5, offset, 40 p. 1986. More about theese events: → Massa. 

^Your Obsession / Erotism / Sociaty / Creation. Inv., 1985 

^Foreigners in Your Country – what is your response? Inv., 1986 

Dias-Pino, Wlademir R. Marquês de Abrantes 18-608. Rio de Janeiro, BR-20000 Brasil 1977 

°Processo: Linguagem e Comunicaçao. (Anth. 2nd edition. 21x13.7 cm., offset, 340 p. 

316 p.) Ed. Vozes, Petropolis, BR, 1973 

Virgula (A/5 assembling in envelope of 24x17 cm. Vis. poetry, graphics. 1977) 

~ 

Literature: 

 

Wladimir Dias-Pino. (Monography) 22.5x16 cm., offset, 220 p. Ediçoes do Meio. 

Cuiba BR, 1982 

Diettmar, Rolf (Artists' magazines collection) c/o Kasseler Kunstverein. Kassel Germany 1999-2000 

Ârt Jurnaux. Die Kunst der Zeitschrift. (A number of artist' publications from the 

rich archive of Rolf Diettmar was exhibited at the documenta 6, 1977, 

in Kassel, when R. Diettmar and Peter Frank led the artists' books 

department of this show. An other selection from the Diettmar-archive 

focused to the artists' magazines has been shown at the Kasseler Kunstverein 

from January-March, 2000. Rolf Diettmar, who took part in the 

preparation, died unexpectedly before the vernisage of the exhibition in 

October 1999. Jürgen O. → Olbrich finished the arrangement). Catalogue 

in the form of tabloid size news-object: 47x35 cm., offset print with 

colour illustrations, 42 p. Over 350 exponats. Essay by Elke Grützmacher, 

bibliographical annotations by Rolf Diettmar and Jürgen O. Olbrich. 

Kasseler Kunstverein, 2000. 

~ 

Source: 

Hauswedell & Nolte (Auktionhouse catalogue): Sammlung Rolf Dittmar, 

Wiesbaden. Katalog-Kunst-Kataloge / Kunst-Zeitschriften-Kunst. 

Auktion Nr. 352, Nov 14, 2000. Pöseldorfer Weg 1, D-20148 Hamburg. 

27.5x20 cm., offset, 96 p. (info@hausweddel-nolte.de) 

Dijk, Pier van ? Hengelo-Duiven Netherlands 1981 

Meeting (Commonpress #31) (with Joseph, Robert) A/4, 78 p., 80 participants, {200}. 

Hengelo / Duiven, May 1981 

°A White Sheet of Paper. Doc. 62.5x29.5 cm. poster with the list of 201 parts. 

Hengelo NL, 1982 

Dijk, Willam van Gaisbergstr. 18 Heidelberg, D-6900 Germany 1989 

↑ Bahnhofstr. 7. - “ - - “ - 1987 

............................................................................................................................................................. 

^Kopie-Kunst (Bound assembling like copy art mag. Not original pages! 

 

A/4. phc., 60-100 p. 1987-, qu.) 

^# 2, 5 

Subbild Graphzine. (A/5, phc. 1991?- #1-5?) «I am absolutely sure, that in the next 

ark of Noah only the little mags and zines will get a seat.» 

DiMichele, Bill & Julie → Hill / Score 

Dinulescu, Aurelian Bihorului N° 14. Sc. A etj. 3 ap.7. Sibiu, R-2400. Romania 1991 

^The City Fortress / Orasul Cetate. (with Alexandru Jakobházy) Poster of 

70x50 cm., offset / Galeria Arta, Sibiu. April 1991

^Hommage à Ingres. Doc. A/5, phc., 4 p. Exh.: Galeria Arta, Sibiu. Jan-Febr. '93 

^Picasso. Inv., 1994 

 

 

Diotallevi, Marcello Via Veneto 59 Fano, I-61032 Italy 1979 

^Letters to Senders /Lettere al Mittente. Cat.: 21.5x21 cm. offset, 80 p. Texts by 

Mirella Bentivoglio, Stelio Rescio, Franco Solmi. Ed. del Brandale. 

Savona I-17100, 1981 

Artistamps: °For the peace (Bloc of 6 id. stamps, colour offset) Roma, 1984 

^Self-Written Letters /Lettere autographiche. Cat.: 21.5x21 cm., offset, 70 p. 

(Text: P.→ Restany & others). Ed. del Brandale, Savona. 1988 

^Letters to Senders and Self-Written Letters. Cat.: 21.5x20.5 cm., offset, 16 p. / 

Galeria Civica d'Arte Moderna, Ferrara. May 28 - June 26, 1988 

Artistamps: Î Metanetworker in Spirit (Sheet of 100 id. stampsm b/w offset) n.d. 

^Columbus 500 Years (Sheet of 30 id. stamps, colour offset) n.d. ('88?) 

^Senza titolo / Partiture (Visual & concrete poetry. Text: Biagio d'Egidio / Italian) 

24x13.5 cm., offset, 40 p. Edizioni Tracce. Pescara, 1989 

^Progetti di volo / Flying Designs (Poetical kite-designs between Mail Art ephemera 

and graphic works. Texts by Diotallevi, Venturoli and Maria Pia Salini, 

Italian / English) 16x11 cm., offset print with colour illustrations, 90 p. 

AIA Editori (Italian Kite-Makers Ass.). Roma, 1989 

^Lettere al Mittente / Letters to Senders 1980-1990. Exhibition at the Milan Art 

Center, March 30 - April 21, 1990. Participant list on a RV sheet of 

43x23 cm., offset. 

^ZOOM. Dentro la Srittura / Inside Writing (A visual poetry progress published in 

mini-book size) 9,7x9,7 cm.,, offset, 30 leaves {150}. Ed. il Martello 

di Thor. Torino, 1990 

Artistamps: ^Mail Heart (Sheet of 16 id. stamps, colour offset) 1990 

^Ponza Island (Sheet of 32 id. stamps, colour offset) Italy 1991 

^The Lie of Sin (Block of 9 id. stamps, black & red offset on white p.) 

Italy 1991 

^Tale to the Wind (Block of 4 id. stamps in circle form, colour offset) 

Italy 1994 

În Memory of Ray Johnson 1995 (Sheet of 4 id. stamps, colour phc.?) 

^Taboo (Block of 6 id. stamps, colour offset) 1995 Italia 

^From Cinema Archeology to Mail Art. Cat.: (Direction: Fiorangelo Pucci. Curator 

of the Mail Art section: M. Diotallevi. His essay in the Cat.: The Art 

~ 

Literature: 

is in the Mail. Mail Art: a trend without borders. Italian / English) 

A/5, offset, 72 p. Palazzo Martinozzi, Fano. October 17-20, 1996 

^Gérard Xuriguera: Marcello Diotallevi. In: Cimaise N° 161, (1982) and in: 

Cimaise N° 216 (Jan.-Febr.-March, 1992). J. R. Arnaud Edition. Paris 

 

«Marcello Diotallevi plays mail art bank shots – shyly subversive, highly creative 

ricochets. He's exploring the huge, anonymous motions of the worldwide postal 

system by involving government handlers of the mail as unwitting collaborators. 

Their markings, routing and reactions to his mailed items transform and become the 

art. A system man all the way, Diotallevi's approaches have been these: 

Lettere al mittente, a 1981 project (and documentation in book form) 

involved addresseing a series of envelopes in wonderfully varied and typographically 

stylized ways – each impossibly illegible. The presumed sender (actually 

someone designated by Diotallevi) is clearly stated on the backside of the envelope. 

So, after puzzling over the front and marking it is all sorts of odd and interesting 

ways, postal officials „return“ the piece to the receiver. The project teatses and 

taunts the system and challenges the individual postal worker to deal with the extraordinary. 

The 1988 project (also published as a book) is Lettere autografiche. Here 

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 

or Madagascar and back to Diotallevi in Italy is recorded in foreign postmarks, 

handwritten scribbles, and various random imprints from postal processing 

machines. Akin to the accumulation of barnacles on a ship's hull or the making of 

wax rubbings, the work deals with direct, physical transfer. 

Both projects examine the process of mail and its becoming art. They are 

gauges of elaborate incredibly intricate distribution institutions. While for most the 

mail is a matter of licking a stamp, dropping it in the slot and waiting for the post 

person, for Diotallevi it is about the marvel of movement and journay. He's sizing it 

all up with conceptual and graphic flair.» 

(Lightworks [→ Burch], Postscript, N° 19, Winter 1988-89, 56 p.) 

Artist Profiles: Marcello Diorallevi. In: Artistamp News (→ Banana). Vol. 4, # 2. 

October 1994. 

^Marcello Venturoli: Marcello Diotallevi – Opere dal 1978 al 1996. Catalogue. 

(About „letters“, artists' postage stamps, xerographical activities, visual and 

concrete poems, etc. Italian / English) 20x20 cm., offset / colour, 20 p. Galleria 

d'Arte la Borgognona, October 2-19, 1996. Roma 

Vittore → Baroni: Marcello Diotallevi. In: Arte Postale. Guida al network della 

corrispondenza creativa. (Text: Italian) AAA Ed. Bertiolo, 1997. 70-71 p. 



^Marcello Diotallevi. C’arte d’artista, grafica e libro d’artista. 21x16 cm. colour 

offset, 20 p. + cover. Publ. by the Giada Galleria d’Arte, Fano to Diotallevi’s 

exhibition in May, 2000. 



About Diotallevi's Mail Art /Copy Art: 

^Letters from Kythera, too. Cat.: Text: Suzel Berneron. 21,5x15,5 cm., offset, 16 p. 

Stamp Art Gallery. February 1-29, 1996. San Francisco 

^Marcello Diotallevi – Mail Art. Cat.: Text by Carlo Melloni, Italian / English. 

11x22 cm., horz. offset, 16 p. L'Idioma, Centro d'Arte. April 19 - May 13, 

1997. Ascoli Piceno I-63100 

About Kite-designs: 

^Fiabe al vento / Fairy-Tales to Wind. Cat.: Text by Giorgio di Genova, Italian / 

English. 22,5x10 cm., offset / colour, 44 p. Studio d'Ars, April 20 - May 8, 

1995. Milano 

^Fiabe al vento / Fairy-Tales to Wind. Cat.: Text by Suzel Berneron, Italian / 

English. 15,5x11,5 cm., offset / colour, 24 p. «Il Gabbiano», Circolo Culturale, 

September 30 - October 19, 1995. La Spezia I-19100 

^Fiabe al vento & Lettere da Kythera. Text by Rita Olivieri, Italian / English. 

21x10 cm., offset, 8 p. Art Now Galleria, October 11-30, 1997. Capua CE 

DiPalma, Ray 226 West 21st Street #4-R. New York, NY-10011 USA 1978 

°Tux. (Orig. rub. stamps, 16 p.) 1977 

® 

^10 Cards. (Hand stamped cards in cover) S. P. 1977 

® 

^10 Pyramides (10 hand made paper sheets of 18x12 cm. hand stamped and bound ® 

with cover of 19x14 cm.) S. P. 1977 

^Quatrageous Modesty. (10 sheets of digest size + covers, handwriting, handstamped) ® 

New York, n.d. (1970s)

Ôriginal Confidential (6 pieces: sheets, covers, photo, handstamped pages, 

and collages, in a green + in a yellow cover) S. P. n.d. ~ 1978 

^Black Stamp Book (15x10 cm., rubber stamps, 248 p.) S. P. New York, 1978 

°Foreign Palm Works (Orig. rub. stamps, 24 p.) 1979 

°Dreiundzwanzig Arbeiten ( Orig. stamps, 54 p.) {100} Ed. Vogelsang, Berlin, 1982 

~ 

Literature: Rubber #9, Sept. 1978 (Statement, works) → Stempelplaats 

® 

® 

® 

® 



!Dirty Dog! P. O. Box 210208 San Francisco, CA-94121 USA 1986 

^Beware (One man graphzine, images and scattered texts. Letter, phc. 1986-88, 

#1-20?) 

^#16, 17, 18, 19, 20 

Dixon 613 Bernard Denton, TX-76201 USA 1986 

↑ Box 7818 NT. Denton, TX-76203 - “ - 1984 

............................................................................................................................................................. 

Idle Time (Xeroxed Mail Art mag. bands, contacts. Half-legal. 1984-, ir.) 

 

Idle Time Hand Book. Letter, phc. +hand made manipulations, 36 p. 1986 

~ 

Literature: 

«...I especially like the idea of xeroxing a sold black over an image from grayer 

machine to acheive a strikking two-tone fix. Just goes to show, good xerox art uses 

the idiosyncracies of the unit at hand. My work is in here, buut doesn't tand out, and 

some of the other work doesn't either; but there's some really fun stuff by Dixon, 

who was apparently more inspired by the idea of xeroxingg hands than onyone. I 

have the feeling the edition is very limited, but write anyway to Idle Time...» 

(PhotoStatic. N° 18, May 1986. Lloyd → Dunn: Mail Review) 

!Dogfish! (Robert C. Rudine) 3235 ½. Fairview Av. Seattle, WA-98102 USA 1997 

Tui Tui, an utopian archipelago, «won its independence 1985», is the poetical basic of 

the very large artists' postage stamp activity by Dogfish. He created an 

complete imaginary system of philatelical institutions (also a museum 

and a special artists' stamp department at a culture ministry) and wrote 

definition forms for his stamp publications. His work is the excellent 

embodiment of an underground coloured paraphilately which was realizable 

in the alternative art mouvement only. 

Artistamps: ^Peace (Block of id. stamps, black and red print) Vitreous Humor. 

Postage Dogfish. n.d. 

^Fetus Verboten 46 P (Block of id. stamps in red print) Pre-Natal. n.d. 

^Pre-Natal 12 (Oversize sheet of 81? id. stamps, black and red print) 

n.d. 

Âll Natals (Sheet of id. stamps, black and brown print on white) n.d. 

^Terra Incognita (Sheet of 10 diff. stamps, phc.) n.d. 

^Mail-Art-Land Atlantis (Sheet of diff. stamps, colour phc.) n.d. 

^Visit of Larry Geibel... (Oversize block of 34.5x18 cm. with 15 diff. 

stamps, colour phc. {82}) Dogfish. n.d. 

^1000 peace equais one new peace (Sheet of 8 large- and 8 square-formed 

stamps, colour phc. {30}) © Rudine 80 

^Pre-Natal New Peace (Block of 8 horz. and 4 diagonal stamps, colour 

phc., {125}) R. C. Rudine 80 

^Post-Natal 8/3 (Block of 4 diff. stamps, colour phc.) 1983 

^Post-Natal / Dupty Music (Sheets of id. stamps, brown print on yellow, 

orange, red and green paper) 1984 

^Post-Natal 85 3N (Sheet of 20 id. stamps / Dippy Music, blue and red 

print on white paper) Harley-Dogfish / Canadada Visit. 1985

~ 

Literature: 

Êarth to Venus (Sheet of 24 id. stamps, col. xerox on cream-coloured 

paper) Dogfish, Post-Natal. Post Office 91986. 1986 

^Post-Nuptial League (With → Harley. Oversize block of 35.5x21.5 cm. 

with 4 diff. stamps placed in 3 groups, which has been perforated 

individual. Colour phc., on special paper.) 1986 

^Mt. St. Helens May 18, 1980 (Block of 4 stamps, 2 images, colour 

offset) © Lynn Votaw 1981, by Dogfish. 

^Bicentenaire de la Revolution (Block of 4 diff. stamps, colour offset) 

© Dogfish, August 1989, prod. Anna Banana 

^Post Mortum / In Continuum: T. Michael Bidner (Block of 4 id. stamps, 

memory of → Bidner, colour offset with golden print over {250}) 

Dogfish. April 5, 1989 

^5th Anniversary / Independence / Archipelago of Tui Tui (Block with 

one stamp, silkscreen print (?) on golden paper which has an 

relief print in a corner. Very special manufacturing.) 1990 

^Janet & Dogfish 5th Anniversary 1990 (Triangular form stamps by 

colour offset) International Artt Post '90 

^Taurum per cornua prehende (Sheet of 15 stamps, 2 images, black phc. 

on zinabar red paper) Post-Natal XL. Dogfish. 1991 

^Tui-Tui Stamp Museum (Block of 6 diff. stamps / 2 by Harley, colour 

offset) Int. Art Post, Sheet 5/7, Vol. 4 No. 1 Banana Prods. 1991 

International Art Post 90 (Sheets (?) of stamps in four colour offset.) 

Values: 1900p, 2300p, 3000p, 5300p, 7600p, 9900p. 

Banana Prods. / Luna Meridiana Prods. /Tui Tui, Dogfish, 1991 

I. C. I. S. Telecom / Tui Tui (Block of 3 stamps in diff. colours) 

Year 1995 PTTT 

^Pacific 97 Souvenir Sheetlet (Block of 9 diff. stamps, colour offset, 

Values: 400p, 3200p, 3400p, 4000p, 6400p, 9600p, 10 Nupees, 

12 Nupees, 12 Nupees = 61 N. Banana Prods. / Day Moon Press 

«The Ministry of Culture of the Archipellago of TUI TUI of The Joyous Lake 

announces the 1992 opening of the MUSEUM OF THE ARTISTAMP. The 

Museum will be dedicated at The Palace of Ministries in Zenith City, T'ing 

Province; TUI TUI as soon as construction be completed. The Curator – Mr. 

Hoipoloi Soy Ifgod – urges all those who are or have been active in this art form 

to keep the Museum informed of your activities and expresses his ongoing and 

open ended willingness to trade Artistamps from the Collelction of the Museum 

for your work. Additional copies of your work can be donated to the Museum 

for inflated deductions from your Tui Tui taxes. – S. („Sticky“) Tlatetlqali – 

Sub-Minister for Mail Art, Ministry of Culture» 

(Leaflet of the TUI TUI Foreign Ministry. Cultural Attache, 21 padcajab, 1991) 

«Artistamps mimic and mine the world of the “real” stamp. Of course, artistamps 

are no less “real” in the physical world than the postage stamps issued by 

government postal monopolies. Stamps adhere to a corpus of atoms about to be 

cast into the mailstream; they prove by their embedded semiotics that the rate of 

payment for the attempt at delivery has been prepaid. George Orwell once essayed 

words to the effect that not even a train schedule was devoid of aesthetic intent. 

So it is with stamps of every sort. That is how we arrive at miniature masterpieces 

on paper from mere decorated receipts. 

The first postage stamp debuted in May of 1840. Besides giving Queen Victoria’s 

Britannic subjects the edifying experience of lathering her backside with lickspittle, 

the Penny Black represented a revolution in communications at a distances… In the 

case of artistamps the parody of the State sometimes rises beyond robbing the 

imagebank once belonging to the State to an act of the creation of alternative 

nations – stamps being only the outward and visible sign. (…) 

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 

visitor might contemplate Tui Tui’s twofold theory of sovereignty. First, we live 

upon floating islands. If our independence were threatened, we can raft our islets 

together and move the country! Second, our buoyant little archipelago is currently 

situated in the territory of the Duwamish Tribe of Indians. (…) we hold the space in 

protectorate. And we issue stamps. Our stamps can also be considered artistamps. 

Why? Because, I, an artist, say so! 

Shortly after Tui Tui joined the International Council of Independent States (ICIS) 

in 1987, I proposed a theory of categorize our nations. At that time it ran thus: The 

First World is the developed World; the Second, the developed socialist/communist 

bloc; the Third, the developing world; the Fourth, that of the submerged nationalities 

and indigenous peoples such as the Duwamish. ICIS members live mainly 

in the next two wolrds: th Fifth World consists of states like Tui Tui that control 

or pretend to control the sovereignty of places with a terrestrial geographical basis; 

the Sixth World is the realm of states that are personal (idiocratic), imaginary in 

place, extraterrestrial, extratemporal or purely cyberspatial. This political “Theory 

of Six Worlds” would meman nothinmg to the art history of mail art and artistamps 

were it not for the overlap of the practitioners of the Fifth and Sixth Worlds with 

those working in ther memdia of mail art and espepcially artistamps…» 

^ (Dogfish: Cindarella in Tui Tui. In: James W. → Felter: Artistamps / Francobolli 

d’artista. Monography in Italian and English. AAA Edizioni. Bertiolo, 2000. 

120-127 p.) 

!Dogmatic, Irene! (Nancy Mosen) 39 Sycamore St. San Francisco, CA-94110 USA 1978 

Dogarithms. (Each page illustrates a different song with the word „dog“ in the title. 

Titles lettered by using rubber stamps. Mini, ip, 16 p., S. F., 1973 

Rover's Romance. (Dogs in love, contributions by 17 artists) Mini, multilith, 20 p. 

Star Spanieled Boners. (More dog love from A. Ackerman, R. Johnson, M. Belt, 

E. Metcalfe, P. Smith, D. D. Hompson. J. Bohn. O. L. Nations, C. Franke, 

F. Nutzle and others) Mini, multilith, 24 p. San Francisco, 1975 

The Canus Book of Dog Records. (Contributions by Ackerman, D. D. Hompson, 

C. Bailey, M. Scott, A. Smidt, A. Banana, R. Crozier, P. Smith, P. Fish, 

Dr. Brute, O. L. Nations) Mini size, ip. with 3 colour xerox variant covers. 

1977 

Insult. (Artists at their most insulting in word and image) Mini, multilith, 28 p. 1979 

~ 

Source: John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated Bibliography of 

Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery (→ Gaglione). 


Literature: 

Irene Dogmatic: The Dinner Party: Feminist Fast Food or a Funeral Feast? 

In: Umbrella (→ Hoffberg). Vol. 2, #4. 80 p. Glendale, 1979 

Dohring, Scott Collective Foist, 287 Averill Ave. Rochester, NY-14620 USA 1988 

↑ P. O. Box 44. Penfield, NY-14526 USA 1986 

............................................................................................................................................................. 

^Foist (Mag. with «poetry, xerox matter, collage, texts, comics, reviews, announces 

in a rotatory confused progressions» Half-legal, phc., ~80 p. 1986?-, ir.) 

^#6, 7 

~ 

Literature: 

 

«Only mag I've gotten that is not folded in the middle, this alone gives the mag a 

2-for-1 feel and helps offset the standardness of the damned xerox machine. Work 

by all those people you've already heard of; Michael Voo Doo, Crag → Hill, Ruggero 

→ Maggi, Patrick → McKinnon, Steve → Perkins, Blaster (→ Ackerman) and 

Tuli Kupferberg (of the Fugs). Scott is also involved quite actively with the experimental 

arts scene up that way, so you might want to get a hold of him. Also member 

of Zois (see cassette review).»

(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 11 p.) 

(Foist, #5) «Eclectic journal combines photos, collageworks, texts in a jumble the 

viewer needs to sort through. I keep coming back to it for the reading. Luke 

McGuff's „The King is Dead“ is about the day Elvis died and is short & sweet & 

enough. Patrick McKinnon's „He lives in the airport...“, numerated like the bible, 

tells the story of a boy whose only world is that public concourse, with its ever 

shifting turning overcrowds of people. All this & more: little collages & pictures 

with lines of text, much of it politicalcritical. A varied and good collection.» 

( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 22, Febr. 1987, 707 p.) 

!Dom Tom! 

→ Garcia, Dominique 

Domonica Repubica, Mail Art: Bosch, A. / Jaen, R. Calle 24, #36. San Pedro de Macoris, DM. Dominica. 

Êspiritu sin fronteras. Inv. in the form of a flyer with orig. artistamp), 1999 

!Dominique! (!Bug Post! / !Bugmaster!) (Dominique Johns) 

406 Letitia Eve. S. Seattle, WA-98118-1137. USA. 1990 

The Standard Artist Stamp Catalogue. (An expanded catalogue piblished yearly 

in five edtitions since 1991 untill 1996. The only listing of stamps 

issued by artists with extensive information and a reproductoion of 

nearly every major stamp design in five editions 1991-1996) 

Donohue, Bonnie 

→ Mail, etc., Art 

Dorian The / Plantenga, Bart, Barbador Publications, 194 Bleecker St. N° 30. New York, NY-10012, USA 1981 

The Nice Review of the popular arts. (Mag. All possible aspects to the theme «nice», 

contributed by mail artists. Digest, phc. 1981, #1?) 

Doury, Pascal 149 rue Chateau des Rentiers Paris, F-75013 France 1980 

Êlles sont 2 sortie (Co-editor. Further→ Richard, Bruno) (Mag. partly in form of 

books, 1977-) 

^#4, 5, 7, 8, 9, 10, 11, 12, 13, 14, 15, 19 

^Théo tête de mort. (Elles sont 2 sortie, N° 12) 32x24 cm., offset, 54 p. 

 

Les Humanoides Ass. 1983 

Ôtto aime Toto (Elles sont 2 sortie, N° 16?) 29x31.5 xm., offset, 22 p. 

 

Crapule Prods. Paris, 1984 

Êlles sont Sortie / Ces livres realisés. Cat.: I-II Vol., A/6, offset 40 p. / Futuropolis 

in ARC / Musée d'Art Moderne de la Ville de Paris, 11 Av. du President 

Wilson. (A free selection of graphics only, no phylological data!) 

May 7 - June 16, 1985 

^Group Neuf-Neuf: Neuf members de Neuf-Neuf. Small collective publication of 

Frainch graphism. There are more names than nine (neuf): Casanave, 

Charlet, Doury, Faro, Galataud, Petit Fred, Miton, Nourry, Parmentier, 

François Peu, Ponti Art, Prokowsky, Veilhain, Willem. 

A/6, BW ful tone offset on glassy paper, 32 p. n.d. (~1985) 

^Dora Diamant et ses amants (14.5x14 cm., offset accordion book, 28 p. in folio 

{120}) Alain Beaulet Edition, Paris. 1986 

^L'age d'or de Dora Diamant (20.5x13.5 cm., offset, 92 p. {250}) 

 

APAAR + W. Théryen Edition, Reims. 1987 

^Maladie d'amour (with Jean-Paul Rocher) 21x13 cm., offset, 40 p. Ed. Syros 

/ Alternatives (Souris Rose), Paris. 1990 

~ 



Dragan, Sreco S. K. C. Marsala Tita 48. Beograd, Yogoslavia 1972 

c/o Faculty of Liberal Arts / Informative Center, Ljubljana, - “ - 1970 

............................................................................................................................................................. 

Project of Selective / Successive / Possibile Communication... in: Groh, 1972 

Dreva, Jerry ? Los Angeles, CA USA 1980 

°Images and Delusions of L. A. (with Joan Borgman) Inv. / Traction Gallery. 1980 

Artistamps: °Selfportraits (Sheet of 64 div. stamps, phc.) n.d. 

°Bicentennial Self-Portrait (Sheet of 16 div. stamps, phc.) 1976 

Dressler, Uwe Jordanstrasse 15 Dresden, D-01099 Germany 1998 

↑ Thaelmannplatz 48 Cottbus, (GDR-7500 →) D-03046 1985 

............................................................................................................................................................. 

Mail Art Fete (with home exhibition) 1983 

 

^Contrast. Inv. / Jugendklub Madlowin, Cottbus, 1985 

 

Frieden - Umwelt (Exh. from the archives of Dressler, Winnes, Wohlrab, 

Buhrow, Jesch) / Church «Schloßkirche», Cottbus. 1986 

Âll Bananas. Inv. to the address: Heidelbergstr. 1, Fankfurt/M., 1990 

 

Drózdz, Stanislaw Ul. Warynskiego 11 Dabrowa Gornicza-Slawków, PL 41-316 1986 

↑ Bialóskornicza 26 / 27, m. 6. Wroclaw Poland 1972 

............................................................................................................................................................. 

^dlaczego-why-pourquoi-warum. (Stanislaw Drózdz) Cat.: 21x21 cm., offset, 

12 sheets in folio. Galeria Foksal. Ul. foksal 1/4. Warszawa 1, 1975 

^Poezja Konkretna 1967-77. Cat.: 21x23 cm., offset, 96 p. / Akademicki Osrodek 

Teatralny Kalambur. Wroclaw. 1978 

°Wroclawska Poezja Konkretna. (12 cards) Politechnica, Wroclaw, 1978 

 

°Polska Poezja Konkretna. Cat.: 24 p. / Politechnika, Wroclav, 1979 

 

Dubolso, Edicoes Rua Kaquende 141 Sabara MG. BR-34500 Brasil 1985 

Papéis Higiênicos. Estudos sobre guerilla cultural e poètica de provoçao. (One page 

mag. with altern. publs. and graphics. ~A/4 folded to 6 pages. 1985, #?) 

Duch, Leonard Frank Köpenicker Str. 143 A Berlin, D-123355 Germany 1990 

↑ C. P. 922 Recife, Brasil 1978 

............................................................................................................................................................. 

°Buracoarte 2nd Ed. Cat.: 136 p., 1979 

 

Post-Office (with P. → Bruscky) (Commonpress #10, no edited) 1979 

~ 

Literature: 



Dudek-Dürer, Andrzej Ul. Kolbuszewska 15 / 1 Wroczlaw, PL 53-404 Poland 1982 

Art & Mail Art activity as the reincarnation of Albrecht Dürer, from the early 1970s 

Information – Disinformation (Metaphysical-telepatic activity) 1976 

 

Open only in red light. Doc. 1980 

 

^Metaphysical telepatyic projects for the (yearly) anniversaries of Albrecht Dürer, 

1981-88, diverse documentations, also in form of posters. 

^Metaphisical-telepatic Activity. Self edition, Wroclaw. n.d. (1984?) 20.3x14.5 cm., 

phc., 80 leaves. 

^Hoch Art. Self edition, Wroclaw, n.d. (1984?) A/5, phc., 42 leaves 

 

^Metaphysical Telepatic Project. Cat.: A/5, phc., 76 p. {30} May 21, 1984 

^Metaphisical Concert – at the Studio Pohl, Bad Zwischenahn D. Inv., 1984 

Ândrzej Dudek Dürer 1471-1985. 16 offset print postcards with collaged motives by 

Dürer and Dudek-Dürer. Wroclaw, 1985 

^Meta... Trips... Arts... (Anthology by texts and images) S.E. Wroclaw, 1985. 

20.2x14.5 cm., phc., 120 leaves.

^(Wothout title) With an essay of Andrzej → Kostolowski: A Change in the Manure 

of Art. Wroclaw, n.d. (1986?) A/5, phc., 28 leaves. 

What do you think of reincarnation? Poster. 1987 

 

~ 

Literature: Adam Sobota: Dudek-Dürer. In: N D, N° 16, Austin, 1992 (→ Plunkett), 44, 49 p. 

Duncan, Brucen. Telegraph Ave. Berkeley, CA USA 1978 

^Tele Times /Telegraph Avenue's Tight, Tuff Little Mag. (Xeroxed half-legal mag. 

with graphic matter by mail artists. 1978-, over 30#? ) 

^#30 

Dunlap, Monica 

→ Dazar 

Dunn, Lloyd The Drawing Legion P. O. Box 227 Iowa City, IA-52244 USA 1993 

↑ 911 N. Dodge Street Iowa City, IA-52245 - “ - 1989 

↑ 330 S. Linn St. N°7. Iowa City, IA-52240 - “ - 1988 

↑ 4424 E. Jefferson N°4 Iowa City, IA-52240 - “ - 1983 

............................................................................................................................................................. 

^PhotoStatic (One of the most important magazine publs. of the American alternative 

scene. Mail art, graphism, visual and audio reviews, essay and theories 

about the underground. Last issues in 1988-89 with an influence of the 

Neoism by its Karen Eliot variant; plagiarism & views about the Art 

Strike. Half-legal, phc. 1983-90, #1-40. New Series: 1993-, #41-42) 

^# 11- 42, except 26 

PhonoStatic (Mag. in the form of audio cassettes1984-90, #?) 

 

Retrofuturism (Hypermedia review issues beside the PhotoStatic, done by the 

«Tape-Beatles», sporadically appearing, from #23 of the PhotoStatic 

in its bottom third, after 1990 anew as an autonom publ.) 

^The irregular. A recombinant xero-essay (Half-legal, phc., 28 p.) → Xexoxial 

Endarchy. 1985 

The Tape-beatles (Audio-cassette mag. 1986?- ) 

 

^Plagiarism® Issue of PhotoStatic, N° 31, July 1988, with the essays: 

 

Ll. Dunn: Is Plagiarism® Necessary? 

Anatoly Zyyxx: Plagiarism is Only Natural. An Uncommon Viewpoint 

Harry → Polkinhorn: Plagiarism 

Ge(of) Huth: Praecisio. 

Thad Metz: Communiqué N° 3. 

Meet Plagiarism®: A Brave New Text 

Christopher Erin: Intellectualism vs. Emotionalism 

Mark Rose: Work is Your God 

Ralph Johnson: Plagiarism® 

The Tape-Beatles: Plagiarism. A Plan for your Future 

^Meet Retrofuturism (Thesis for the Master of Fine Arts, Graduate College of The 

Univ. of Iowa) In: PhotoStatic, N° 31, July 1988, 1095-1104 p. 

^Report from the Festival of Plagiarism. (Glasgow, August 4-11, 1989) In: Photo- 

Static, N° 38, Oct. 1989, 1420-1424 

^YAWN. / Sporadic Critic of Culture (Leaflet mag. Letter, phc. 2-4 p. 1989-92, #1-38) 

Agressive School of Cultural Workers. Box 162. Oaklade, IA-52319 

^# 1- 38 

^Retrofuturism (New series, without PhotoStatic, 1990-, ~1-20#) 

 

^#12, 13, 17 

^PhotoStatic, new series (1993-, #41, #2) 

 

^CVS Bulletin (Infozine, 1993- ) «A Drawing Legion Publ.» 

 

Lloyd Dunn stoped his publishing activity and moved to France 1994. 

~ 

Source: 

^PhotoStatic (Checklist brochure from 1988, 12 p., with detailed description of 

all magazines and audio publs. of Lloyd Dunn as well as his book/let editions

(selected): 

DiMichele & C. → Hill: Raw War (Semirandom word studies) 

Bob Gregory: The Procedure (Psychosocial realities by photography and 

texts) 

L. Dunn: The Persistence of Vision (Video images and forund text work) 

Steve Harp: The Talking Cure (Psychoanalistyc structures / paradigm of 

crimes) 

L. Dunn: The Catode Ray (Xerages takes on the mass media) 

A. G. → Fallico: My Existentialist Dreams (Collage patterns) 

Bob Gregory: 10.000 Dreams (Found texts and found pictures) 

Chris → Winkler: Cave Painting (The human figure in unfamiliar shapes) 

~ 

Literature: Lloyd Dunn (An interview about past and present projects) In: N D #14, 1991, 

20-21 p. 

Lloyd Dunn: The Work of Art in the Age of Mechanical Reproductioon and the 

Ontology of the Xerographic Image. (A hint at Walter Benjamin's 1935 article 

«extended to deal with machine-based arts generally, such as xerography, photocopy, 

video, and computer-related imaging systems») In: PhotoStatic, N° 19, July 

1986 (A five pages long text divided in between a number of images) 

«PhotoStatic is one of the most prolific xeox mags, around and my advice is to 

unreservedly take out a subscription. What you'll get is an ecllecticwhirligig of 

images, texts, reviews, sub-texts, subliminal messages, contacts, shows, machine art 

and from issue #23 you get two mags. in one, for the Tape Beatles magazine 

RETROFUTURISM is now the bottom third of PhotoStatic. #31 is an excellent 

„Plagiarism“ issue. Not much else to say except that you miss this one at your own 

peril.» (Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988) 

(PhotoStatic / RetroFuturism, edited by The Tape-Beatles): «...cranked out bimonthly 

or so, this xerographic magazine has become a touch-stone within the mail 

at community. Each anthological issue takes on themes in internationally loose, 

rambling ways – „Dis Ease/Disease“ (N° 22) and „Plagiarism“ (N° 31). Knockaout 

imagery powered by clever sensibilities. RetroFuturism rides on the bottom or outer 

edges within issues of PhotoStatic designed to be separate entities. It's hard for us to 

separate the two in any substantive way. No problem. This publication(s) a winner.» 

(Lightworks [→ Burch], Glimmerings [Print review], N° 19, Winter 1988-89, 44 p.) 


of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 95, 150 p. 

Duquette, Michael Canadada Post. 3462 A. Danforth Ave. Scarborough, M1L 1E1 Canada 1990 

↑ Suite 114, 975 Kennedy Road Scarborough, M1P 2K5 - “ - 1981 

............................................................................................................................................................. 

°Photographs / Making Photographs. Cat.: Half-legal, phc., 20 p. 192 participants. 

Toronto, 1981 

^Canadian Union of Postal Workers – Mail Art project. Inv., 1989 

 

^Postal Regulations – I Support the Postal Workers / The locals show. (Commonpress 

#42/a) Cat.: 44x29 cm., offset? 12 p. 1990 

^Picket Sign Project. Inv., 1992 

 

Âmnesty International (Artists’) Stamp Show. Inv., 1993 

Artistamps: 

 

Postal Regulations Mail Art Show (Sheet of 50 diff. stamps, colour phc.) 

A collective work, maybe instead of a Mail Art catalogue? 1981 

Durisin, Igor Suerser Weg 36 Wennigsen-2, D-3015 Germany 1988 

↑ Tomasikova 17 Kosice, CS-0400 Czechoslovakia 1982 

.............................................................................................................................................................

Cikly (Collaged graphic series, published in Neo Vol. 2, N°4 [#9] → Kántor) 1980 

International Stamp Book (Mag. with rubber stamps & prints. A/5. {20}1982, #1) 

(Further the circumstances of this publication → Giboda) 

 

® 

Durland, Steve 47 Canal Street #47. New York, NY-10002 USA 1981 

↑ 240 S. Broadway, 5th Floor Los Angeles, CA-90012 - “ - 1979 

............................................................................................................................................................. 

Tacit (Postcard size mag. with texts and images: New York art events. One sheet, 

offset. 1979-, m., edited for two or three years?) 

You Can Know More Than We Can Tell (Commonpress #22) Mini of 14x11 cm., 

42 p., 40 participants. October 1979 

°Consumption (Xeroxed bookwork) 9x11 cm., 14 p. Amherst MA, n.d. 

 

Duval, Jean-François → Placid et Muzo 

Duvivier, Françoise 18, Allée des Orgues de Flandre Paris, F-75019 France 1985 

^L'Ecran Caderneux. (Offset with text & drawings / photos, horz. size, 116 p.) 1985 

^Métro riquet / International Audio & Visual Magazine. (Mag. {early issues: ~20, 

later 500 copies}. Texts English / also French by (mostly) separeted 

brochures, entitled «Traduction francaise». The interview column and 

publications reviews of the Métro Riquet are the best English speaking 

sources for the alternative art, Mail Art and fanzine scene in France 

in the second half of the 1980s. High quality graphism. Horz. A/5 and 

25x21 cm. sizes, phc. + offset, ~60 p. 1988-90? squ., ~ #1-8) 

^#1, 6, 7, 8 

^Collages (Xeroxed brochure, A/4, 16 p.) S. P: n.d. (~ 1990) 

~ 

Literature: 

 

Daniel → Plunkett: Metro Riquet. (Interview: Françoise Duvivier talks about her 

magazine. «Metro Riquet wants and wishes to present a kind of art, often rare, 

often unknown, weird and bizarre, not ordinary, which expresses life as abundance 

which is what I have always liked...») In: N D #13, 1990, 13-15 p. 



Dziamski, Grzegorz (Maximal Art Gallery) Libelta 26 / 38, Poznan, PL 61-707 Poland 1978 

°Concrete 78. Cat.: A/4, phc., 32 p. Maximal Art Bulletin. Poznan, PL, 1978 

°From Poetry to Poesy (Commonpress #4) A/5, 50 p., 39 participants. Maximal 

Art Edition, April 1978 

^Biulletin Maximal Art (Mag. A/4 & 33x23 cm., phc., 32x38 p. 1978-80, #1-3) 

«New tendencies, critic notes, information, few pieces of mail art» 

^#1, 2 

Ârt as Revolt of Culture / Sztuka jako revolta kulturowa. Cat. in the form of 

a poster: Horz. 48x68 cm., BW half-tone offset, images and parts. list 

(44 parts.) Exh.: at the Klub SZSP Nurt, Dozynskowa 9/G. Poznan. 

Apr 20-30, 1979. 

New Art in Searching of Values. No catalogue, but an exh. poster. 1981 

 

∃, Group (Ana Rakovic, Cedomir Drca, Vladimir Kopicl) Novi Sad, YU-21000, Yugoslavia 1971 

Communication restored across radio waves... in: → Groh, 1972 

 

Ebel, Gerhild / Ahnert, C. Finoowstr. 8 Berlin, D-10247 Germany 1996 

↑ Landrain 143. Halle / Saale, GDR-4050 1991 

............................................................................................................................................................. 

^Miniature Obscure (Mini assembling {88}, with ~ 30 contributions in a box 

[cubus: 12x12x12 cm.] 1991-, ir.) 

^#1

Ebrecht-Umgestalter, Werner c/o Galerie Schollbrockhaus ? Germany 1985 

Âbgestempelt. Mail Art & Stempelgrafik. Cat.: in form of 137 postcards with ® 

continous text and images, offset, 55 copies. Text: Wolfgang Ernst. 

«Ecart, Gallery & Publications» → Armleder 

Echevery, Carlos Apartado Aéreo 11001 Medellín Columbia 1981 

^Sobre Arte (with Beatriz Jaramillo) (Assembling in envelope, A/4 xeroxed matter: 

texts, vis. poetry, Mail Art, photos. 1981-82. qu?, #1-7?) 

#3: Group Março, N. Richard, A. Velez, etc. 

#4: Texto visible, texto legible. 

#5: Lugar comun by E. Dittborn 

#6: Manuel → Marin's rubber stamp action 

#7: La fotografie en America. R. Kay, E. Dittborn, C. Flores etc. 

^# 1982 / N°7 

°Esta la huella todavia fresca. (with Beatriz Jaramillo) 21.8x21.8 cm. phc. + rubber ® 

stamps, 8 leaves. {25}. Medellín, 1981 

^Registro. Muestra Int. de Cultura Alternative, Arte Correo y Nuevos Medios. 

(Supplement to Sobre Arte, 1982 /#7) One sheet of 35x48.5 cm., offset. 

Inst. de Integr. Cult. Medellín. 1982 

°America en Papel. (Assembling, A/4 matter in envelope, 23 parts. {50}. 1982) 

!Edgar! →Bushmiller, E. A. 

Eeklo, De Media (Club) Molenstr. 165 Eeklo, B-9900 Belgium 1985 

^Frontiéres. Cat.: A/4, offset, 68 p. / Echs.: DRAC, 1 rue de Lombard, Lille, 

March 1985 / De Media, Eeklo, April-May 1985 

Egger, Walter / Hesse, Lydia, Arrowspire Press, 392 Halifax Road, Todmorden, OL14 5ST UK. 198? 

Arrowspire Press, 164 Keighly Road. Colne, Lancashire 888 OPJ UK. 1985 

............................................................................................................................................................. 

Knuckleduster Funnies (Mag. with anarchistic colour, A/4, offset. 198?- ) 

!Egon! (Sören Neumann) Förstereistrasse 2 Dresden GDR 1983 

Underground home-gallery for (unofficial) Mail Art projects in Dresden: 

Wartekritzeleien / Waiting Scrawl by → Gottschalk, J. 1983 

 

Urdeutsche Gemütlichkeit by → Stange, J. 1983 

 

Hommage à Wilheim Reich by → Jesch, B. 1983 

 

~ 

Literature: → Jesch, Birger: Wilchelm Reich Projekt, edited 1993. 

Ehrenberg, Felipe & Martha → Mayor / Beau Geste Press 

°Testimonios de Latinoamerica (Part one & two). In: La Semana de las Artes #43. 

Tabloid size publ. offset, 16 p. Instituto Nacional de Bellas Artes, 

Mexico DF. 1978 

 

«Eins von Hundert» c/o Krabbe, Peter, Wörtherstr. 22 Berlin, D-10405 Germany 1997 

↑ c/o Krabbe, P., Rolandstr. 88 Köln-1. D-5000 - “ - 1990 

............................................................................................................................................................. 

c/o Resch, Rainer, Brabanterstr. 33 Köln-1. D-5000 - “ - 1989 

↑ c/o Resch, Karolinger Ring 36 Köln-1. D-5000 - “ - 1988 

............................................................................................................................................................. 

& c/o Fabry, Axel, Rue de l'éscaut 111 Bruxelles, B-1080 Belgium 1997 

c/o Fabry, Axel, Kalschauer Weg 21 Köln, D-50969 Germany 1988 

............................................................................................................................................................. 

Eins von Hundert (Unbound A/4 assembling in spring folder with 20-25 contributors 

in each issue {100}, original graphics and paintings. Also common

projects with the American assemblings Art/Life [→ Cardella, USA] 

and Art Works [→ Artworks Comittee, Tokyo]. 1988-, qu.) 

«Eksperimenteel-Kulturele Uitgeverij» Agrippinastraat 55. Voorburg, VE. NL-2275 Netherlands 1977 

Zonnebol (Magazine for Mail Art, rubber stamp, visual poetry, and theory. ® 

Cut A/5, phc., 1977?- ) 

!Eleganza, Al! 393 Broadway New York, NY-10013 USA 1981 

Ash. (A quickly put-together xerox journal, Mail Art, vis. poetry. Digest, 1981?- qu.) 

Eleinko, Gary ? Detroit MI USA 1981 

°48226. A Mail Art Show. Cat.: A/5, offset, 24 p. 292 parts. / Focus Gallery. 

Detroit, 1981 

Elling, Tom ? ? Sweden 1979 

°Mr. Klein. (with the → Lomholt Formular Press) Cat.: A/4, offset, 116 p. 

24 parts. Gallery St → Petri. Lund, 1979 

Ely, Roger 15 b. Dorset Gardens Brighton United Kingd. 1979 

P. S. / Primary Sources on the International Performing Arts (Magazine in tabloid 

size of 43x30.5 cm., offset. 1979- bim.) 

Embo, Suzy 14 Av.. Charle-Albert Watermael Boitsfort Belgium 1975 

Sionna. Notations marginales (Mag. with art, theories, photos, graphics, travestied 

and images. Tabloid of 40x28 cm., offset on perforated computer-paper. 

1975-, qu.) 

Erdély, Miklós Virágárok u 6/B Budapest, H-1026 Hungary 1986 

The Meal / The Lunch of Batu khan. (With Gábor Altorjay and Tamás Szentjóby – the 

first happening in Hungary) Budapest, June 1966 

Last years snow and other conceptual/actionist works with nihilistic-deconstrutive 

colour in th 70s, which made Erdély a leader figure of the Hungarian 

samizdat literature and underground art. 

Moral Algebra. («...If everyone kills an average of two poeople, mankind can be 

exterminated in 32 steps...») Exh. & action in the Galeria → Foksal. 

Warsaw. 1972 

Möbius. (A series of works and actions, also an exh. in the → FMK, Budapest) 1976 

Dream Copies. (32 mm. B/W film, imagination and action) 1977 

 

Launching the workshop and group INDIGO («Interdisciplinary thought»). 1978 

^The abstracts of the thesis, Marly. (Hungarian text. / German translation in: 

Künstler aus Ungarn, Cat.: Kunsthalle Wilhelmshaven, 1980. 56 p.) 

The Avant Garde is Dead (Exh. & actions in the Club Bercsényi, Budapest) 1983 

Democratic Painting. (Parody about the «direct democracy» /Painting-action )1984 

The invisible man (postage stamps in offset, and cancellaring stamps) 1982 

 

M. Erdély died 1986 

~ 

Source: 

 

^Künstler aus Ungarn. Cat.: A/4, offset,100 p. Kunsthalle Wilhelmshaven. August- 

September 1980. Org.: Dora → Maurer & Joachim Diederichs. Introdution texts by 

István Hajdu & Jürgen Weichardt. Artists: A Mengyán; T. → Gáyor; D. → Maurer; 

P. Türk; Zs. Károlyi; J. Megyik; Gy. Jovanovics; K. Halász; A. Baranyay; T. Szentjóby; 

M. Erdély; The Studio of New Music, Budapest. Also the chronology of the 

progressive art movements in Hungary, 1966-1980. 

Êrdély Miklós 1928-1986. Cat.: Cut A/4, offset, 44 p. Text: Géza Perneczky: 

M. Erdély and his work: Deconstructive Tautology. István Király Múzeum, Székesfehérvár, 

Hungary / Bulletin du Musée Roi Saint Etienne, D series, N° 207, 1991

~ 

Literature: 

Êrdély Miklós: Mûvészeti Írások (Writings about art, Hungarian text) Offset, 

224 p. Képzõmûvészeti Kiadó, Budapest, 1991 

«...The system of extinguished values was ultimately worded in Erdély's Marly 

Theses. He declared that a work of art was invalidated meaning. A work of art is 

perceived when two empty entities, the work and the person, perceiving it – overlap, 

it is when the perceiver says „It is beautyful“, which is an empty statement. But by 

making it, the viewer can feel that some new „place“ has been free within, and this, 

at the same time, is the feeling of freedom. The elucidation of these theses is 

accompanied by zeros in Erdély's text: every step forvard in the logical process adds 

another zero to the beginning of the line. They are evident visual symbols of the 

notion that the description of how art is perceived is the description of nothingness. 

The consistent thought joins its own beginning – the statement about the emptiness 

of art. The last two sentences, however, differ from the first theses: 

0 A work of art speaks about the affairs of the world in a way that makes the affairs 

of the world disappear. 

0 A work of art speaks about the affairs of the world in a way that makes this 

speech about the affairs of the world disappear...» (Géza Perneczky: Miklós Erdély 

and his work... In: Erdély. 1928-1986. Cat.: István Király Múzeum, Székesfehérvár, 

1991) 

«E. R. G.» Ecole de recherche graphic. Bruxelles Belgium 1987 

Êxhibition Mail Art. Cat.: A/4, offset, 20 p. + 1 sheet with address list. 1987 

Eriksson, Leif 

Swedish Archive of Artists' Books 

Box 123. Leifswäg 11, Bjärred, S-23700 Sweden 1986 

My collected stamps (300 handstamped copies) Wedgepress & Cheese, Bjärred S, '78 

°New Moves Dada. A Dadaism Handbook. A/5, offset + collages, 100 p. Ed. Sellem. 

Lund S, 1978 

°The Waste Paper Act. A/5, offset, 96 p. S. P. Bjärred, 1978 

 

°Tio nya grafiska metoder. Special publ. for xerography. A/4, 15 leaves, {300}. 

«Examples of electronic impressions». Bibliography. Wedgepress & 

Cheese. Bjärred S, 1980 

^Swedish Archive of Artists' Books. Cat.: A/4, offset, 24 p. (~220 exponats, archive 

list, bibliogrphy) (Konst-och bildforskuing, N° 5-6.) Malmö. 1983 

°Artists' Books / Booked Art. Cat.: (Texts Swedish & English) A/4, offset, 20 p. 

Wedgepress & Cheese. Bjärred S, 1983 

The Yellow Error Mail Art Show. Cat. At Händer in Stockholm and Malmö, 1984 

^New Artists' Books. Cat I. 21x15 cm., phc., 20 p. (catalouge); Cat.: II. 15x10.5 cm., 

offset, 64 p. (images). / Galleri TV, Lund Universitet. Sweden, 1986 

~ 

Literature: «Leif Eriksson is one of the leading mailartists in Sweden. He was been working 

with artists' books, mailert, rubberstamp art, stampart, electrographics etc. since 

1965... In 1978 he started Wedgepress & Cheese which are the only Swedish press 

specialized publishing artists' books and other experimental printed matter. Up to 

now the press have published about 50 titles by artists from Sweden, Europe, and 

USA. The press also publish the art magazine Konst- och bildforskning since 1981. 

Parallel with the press he has The Swedish Archive of Artists' Books (SAAB), which 

include a large collection of international and Swedish artist' books, Swedish art 

magazines, mailart, rubberstamp art, and other similar artists' matters. SAAB are a 

non-profit organisation supporting research, artists, musueums, and art schools with 

information and exhibition...» 

^(Peter R. → Meyer: Mailed Art. Text to the invitation from 1984.) 

Erickson, Roger 4996 Warren St. Brooklyn, NY-11217 USA 1978 

Folding Cigar (Letter size assembling, unbound matter in cover, ca. 20 sheets by 12 

artists. 1978, known the issue N°1 only)

Erlhof-Brandes, Uta / Erlhof, Michael. Warmbüchenstr. 26 Hannover-1 Germany 1976 

^Zweitschrift (An alternative mag. with thematic issues: 1. Bilder & Fotos; 2. Neue 

Musik; 3. Architektur; 4.-5. Fremad ist der fremde; D. Buren, P. Corner, 

U. Carrión, V. Export, G. Rühm, P. Oliveros, T. Ulrich, On Kawara, 

L. Weiner... 6. How to write in Bielefeld?; 7. International Künstler; M. 

Abramovic, B. Dimitrijevic, J. Gerz, R. Filliou, J. Beuys. 8. M.U.(Z.I.K.); 

D. Roth, R. Crozier, B. Heidsieck, P. Weibel, S. Hanson, C. Morrow... 

9 Copie. Post-Fluxus poetry: concrete, visual & sonore. {200} 

Cut A/4, offset. 1976-, squ. #1-8) 

^#7, 10 

 

Erlij, Tania ? New York, NY USA 1981 

°Let Me Know You. Doc. 220x90 cm. (!) to fold, helyogravure? 24 parts. 

 


°What are y(our) rites? (with Holly Anderson) Assembling like publ. with 20 orig. 

xerographies of 22.5x23 cm., b/w & colour, {50}. 1981 

Artists' Body of Statements / or Secrets (Commonpress #44) Poster of 90x40 cm., 

blue print, Cambridge MA, 1982 

Espinoza, César Apdo Postal 45-615 Mexico DF. MEX-06020 Mexico 1982 

^Colectivo-3 / Post Arte (Mag. in form of loose leaves in envelope. 1982-, ir. ) 

^#1-A, 2-B, 6, 13 

°Revolucion. Doc. One sheet of 34x21 cm., phc., + rubber stamps, 121 parts. ® 

Mexico DF. → Colectivo-3. , 1982 

^Sell°graphias (One leave mag. for internationale vis. poetry. Horz. 21.5x34 cm. 

folded to accordion. Phc. + rubber stamps. 1982-, ir.) Ed. Colectivo-3. 

^#1 

^Poesía - Poetry / Visual - Experimental (One leave mag. with special issues for the 

vis. poetry in var. countries. Horz. 21,5x34 cm folded to 4 p. like leporello. 

Phc. 1982-, 2-3xy. ~ 12#) 

^#1, 2, 8, 9, 10, 11, 12, 14 

Founding the Núcleo Post-Arte group (César Espinoza, Araceli Zúñiga, Leticia 

Ocharán, Cosme Ornelas, María Eugenia Guerra, Jorge Rosano) to 

prepare the «First international biennial of visual and alternative 

poetry» 

^poegráfica / poetexto (One sheet visual poetry flyers, letter size, phc., 1 p. folded 

to 4. about 1984-85) 

^# i, ii, iii, iv, #?, #? 

^Postextual (Vis. poetry mag. focused on var. countries, contributions also from 

Eastern Europe. A/4, phc., 12 p. 1986- qu.) Nucleo Post-Arte, Mexico 

^ 1986/#2 

^Primera Bienal Int. de Poesía Visual y Experimental en Mexico 1985-86. 

 

Cat.: 21.5x17 cm., phc., 28 p. Texts by the Nucleo Post-Arte. 

Exh.: Pinacoteco de la Universidad Autónoma de Puebla. 

Apr 18 - May 9, 1986 

^Primera bienal int. de poesía visual y experimental en Mexico 1986-1987. 

 

Cat.: 21.5x17 cm., offset, 8 p. /Exhs.: , National Cinetheque, National 

Polytechnical Institute, Gandhi bookstore, Mexico, + travelings shows: 

Centro Cultural «José Martí», Central Alemada. 

Dec 30. 1986 – Jan. 17. 1987 

ÎI. bienal int. de poesía visual y alternativa en Mexico. Cat.: Letter, offset, 24 p. 

(Volume I.) /Exhs.: Pinacoteca of the University of Puebla, Mexico 

1987-88 

ÎI. bienal int. de poesía visual y altern. en Mexico. Cat.: 27x22 cm., offset, 32 p. 

(Volume II.) Universidad Veracruzana, Galeria Ramon Alva de la Canal. 

1987 

ÎI. 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, 

Conservatorio de Musica, Polanco, 1987-88 

ÎI. bienal int. de poesía visual y altern. en Mexico. Cat.: 28x20 cm., offset, 24 p. 

(Volume IV.) Capilla Alfonsia Biblioteca Universidaria, Leon. 

December 3-15, 1987 

ÎI. bienal int. de poesía visual y altern. en Mexico. Memoria Documental. (Theory 

volume: articles + «inventario documental») 27.5x21 cm., offset, 56 p. 

Org.: Nucleo Post-Arte & others. 1987 

ÎII. Int. Bienal of Visual, Exper. and Altern. Poetry. Doc.: Info sheet + Poster. 

/ Ciudad Mexico. 1990 

ÎV. Int. Biennal of Vis. & Exper. Poetry. Inv., 1992 

^ V. Int. Biennal of Vis. & Exper. Poetry. Inv., 1995 

^Bienal Int. de Poesía Visual / Exper. en el Palacio Legislativo. (Curated by Poesía 

Vixual-Mexico: C. Espinoza, M. A. Corona, A. Zúñiga, A. Espinoza) 

Doc.: poster of 56x43 cm., + «declaration» letter. Mexico. April 1996 

~ 

Source: 

 

 

César Espinoza: The Biennials of Visual and Experimental Poetry in Mexico. 

(Essay with detailed data about the history of the Mexican visual poetry/visual 

poetry in the Mexican Mail Art and the (I-VI) biennials of visual and experimental 

poetry in Mexico. An English translation of the origin Spainish text in Internet 

publication of the Light and Dust Poets to the VI Biennial (entitled: Index for the 

U.S. and Canada – a cooperative presentation of the 6th Biennial, Kaldron 

On-Line, → Kempton, and Light and Dust Mobile Anthology of Poetry). 1998 

 

 

 

 

Literature: 

(Postextual) «Very compact visual-verbal and concrete newsletter with an international 

focus. While the pieces are usually over-reduced to facilitate getting a 

lot in 12 pages, the choise of works is impeccable emphasizing the most exciting 

and innovative of language art and avoiding the cliches. Many short essay texts on 

subjects such as zaum and the stridentists (everything is in spanish). Anyone who is 

serious about the visual-verbal movement should spend some time with this...» 


(Primera Bienal...): A sizeable and comprehensive collection of b/w v/v work. The 

quality and variety here is stupendous, and I recognized many familiar names from 

all over the network, as well as many new ones. It's interesting to note that there is 

also a lot of work from Eastern Europe represented too, as well as form all over the 

world. Obviously the focus is on concrete poetry, which seems to have evolved 

over the years into a sort of hybrid medium with xerage (Miekal And points this out 

in issues of Xerolage [→ Xexoxial]). From my experience, the networks of poetry 

and xerox work are inextricably entwined & therefore so are their futures. This 

crossflux of disciplines (or undisciplineds) gives the hybrid medium an unmatched 

vitality today. There is evidence for all this in this volume, and I'd encourage you all 

to get one.» ( L. → Dunn: Mail Review. In: PhotoStatic. N° 23, April 1987, 742 p.) 

Evans, John 199 E. 3rd Street #2B New York, NY-10009 USA 1992 

↑ Ave. B. School of Art. Box 1004, Stuy. Sta. New York, NY-10009 - “ - 1983 

............................................................................................................................................................. 

~ 

Literature: John Evans: Correspondencing by Tattoo. In: Flue (→ Franklin Furnace), Vol. 4 

#3-4 (Winter 1984) «Mail Art Then and Now» issue, 8-10 p. 

Fabry, Axel Kalscheurer Weg 21 Köln, D-50969 Germany 1996 

& Rue de l'éscaut 111 Bruxelles, B-1080 Belgium 1996 

............................................................................................................................................................. 

Co-editor of → Eins von Hundert (1996-) 

!Fa Ga Ga Ga! 

Mark → Corroto

Fakkeldij, Henk ? Utrecht Netherlands 1981 

°The Meeting. Doc. A/4, phc., 3 leaves, ~50 parts. Utrecht, 1981 

 

Fallico, Arturo G. 22700 Mt. Eden Road Saratoga, CA-95070 USA 1985 

↑ Via Boccaccio 123 Firenze, I-50133 Italy 1981 

............................................................................................................................................................. 

Headache of Fine Arts by Mail. (A few sheets assembling {200}, 1981?- #1-20) 

Artistamps: 

^Male Art (Sheets of stamps of 8.5x6.5 cm. with photos, phc. on yellow 

or ocher paper) ? 

Fluxus West / Ray Johnson (Sheet of 9 id. stamps, phc. on blue) 1990 

~ 



!Fan Mail! Box 66 Echternach, L-6401 Luxemburg 1999 

Îreland Today. Cat.: A/5, offset, 24 p., with silkscreen cover, 304 parts. 

 

Exh.: At the County Mayo Ireland, August - October, 1999 

Fawcett, John S. ? Stors CT USA 1979 

°Stamp Out Art. Inv. on A/4, phc. / Univ. of Connecticut. 1979 

 

«FAX Art» Selected list of the early FAX projects organized by Mail Art / Copy Art authors (1982 - 1990): 

The World in 24 Hours. (The first fax art project.) Org. by Robert Adrian. Sept. 27 - 28 as the part 

of the Ars Electronica. Vienna, Austria, 1982 

pARTiciFAX. Org. by Lisa Sellyeh, Peeter Sepp, Mary Misner, Michael → Bidner & others with 

parts. from Africa, America, Asia, Australia & Europe. Collective Art X. Toronto, 

June 1984 

TELEFAX ART. Org. by Maria Grazia Mattei, June 21 - July 1, Artz & New Technology Exh. 

Pavia, Italy, 1984 

pARTiciFAX. Electronic Mail Project. Grismby Public Art Gallery. 25 Adelaide Street, Grimsby, 

Ontario, L3M 1X2, Canada. (416-945 0045) Show and project: 1-30 June, 1984 

Machina / Memory Landscapes. Paradise. Org. by Maria grazia Mattei. Turin, Italy, 1985 

Amico di Telefax. Org. by Maria Grazia Mattei, May 25 - June 2. Turin, Italy, 1985 

Planetary Network & Laboratory Ubiqua. Org., by Roy Ascott, Don Foresta, Tom Sherman, 

Tomasso Trini & Grazia Mattei. Venice Biennale, Italy, 1986 

Lines of the Horizon. Org. by Mit Mitropoulos. Novemeber 27-Thessaloniki Greece, 1986 

40.000. Org. by Andreras Raab. October 1 - 20. Palazzo Venezia, Rome, Italy & Hotel Ivoire 

Int., Abidjan, Ivory Coast. 1987 

Telefax-Rome-Nairobi. June 21 - 25. Galeria Alzaia, Rome, Italy & Gallery Watatu. Naoirobi, 

Kenya, 1988 

Telefoto di Gruppo. September 23. Camarino, Italy, 1988 

Fax for Pax. Org. by Giovanna Colavevich. October 24 - 25. Palazzo della Provincia. Catanzaro, 

Italy, 1988 

Cavallo Telematico (Telematic Horse). Org. by Gianni Loperfido. Nov. 14. Palazzo dei Diamanti. 

Ferrara, Italy & Italian Institute of Culture. Dakar, Senegal, 1988 

Artefax 1 – Electrosensibilidad. Org. by Mauricio Guerrero. February. School of Painting Sculpture 

& Graphics, Universidad Automa Metropolitana. Mexico City, 1989 

Alla Ricerca dell'ARCa (In Search of the ARC). Org. by Giovanna Colacevich. April 17. 

Between the studios of Agostino Milanese, Rome & Constantino Morosin, Calcata 

Italy, 1989 

Artefax II. Org. by Mauricio Guerrero. July 24. Galeria Metropolitana, Mexico City, 1989 

Lines. Org. by Stephan Barron & Sylvia Hansmann (France). September. Greenwich Meridian 

from the UK to the Mediterranean. 1989 

Mondo Faxo: Wall Lords of the 20th Century. Org. by Tony Coleing & Adrian Hall, October. 

Projects UK, Newcastle, UK & Artspapce Sydney, Australia. 1989 

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 

Zona d'Embarco. Org. by Giovanna Colacevich & Augostino Milanese. Febr. 3. Metateatro, 

Gli Angeli, Rome, 1990 

City Portraits. Org. by Karen O'Rourke & the Art Reseaux Group. April 29. Galerie Donguy, 

Paris, 1990 

Celebration Earthday – Global Telematic Network & Impromtu. Org. by DAX, Pittsburg PA, 

USA. April 22 between Austria, Brasil, Canada, Japan, Portugal, Russia & USA. 

1990 

1st International Fax Art Biennal. Org. by Tangente. June 16. Eschen, Lichtenstein, 1990 

Manufaxtura. Org. by J. C. Anglade, P. Dupuis & S. Hänsgen. October. People to People, 

Prague CZ, 1990 

The Globe Show. Org. by Paul Sermon, Rajinder Chand, Clair Dearnaley, Chris George, Jim 

Lockwood, Prakash Parmar & Richard Biddle. Oldham City Art Gallery, England 

& artists in Austria, Italy, Japan, Spain & USA. 1990 

FAX 605.688.4973. Org. by UPC Arts & Exhibbits. Nov. 5 - 30. South Dakota State Univerity, 

Brookings, 1990 

The Exquisite FAX. Org. by Craig Ede, St. Paul MN, USA, 1990 

~ 

Fax projects in this book: 

→ Árnyékkötök / → Bericat / → Bleu / → Bohár / → Bruscky / → Galántai / → Padín / →Pellini 

/ → PTT Museum, Bern / → Ruch (Poesie Sonore) / → Tisma 

~ 

Literature: 

A Chronology of Some Interactive FAX Projects. (1982 - 1996) In: → Árnyékkötök. 

#19. 24-29 p. Budapest, 1997 

Guy → Bleus: Telecopying in the Electronic Netland. (Essay-Statement with the 

chapters: The World is a Fax-Village; The myths of facsimile; Facsimile; Copy; 

Fax art; The first int. fax art projects; The transmitted or received telecopy is 

always an original; Since fax art is electronic mail art; Faxing can transform the 

notion of time; Opponents of telefax; From an ideoloogical or ethical point of 

view; To fax or not to fax is not the question.) In: → Árnyékkötök. #16, 10-13 p. 

Budapest, 1996 

(FAX-Statements:) Marie Paule Cassagne: Ephemerides – oeuvres fantomes 

(France); Lilian A. Bell: Fax Statement (English); Paulo→ Bruscky: The Fax: 

From the Scientific Discovery to Artistic Make. In: → Árnyékkötök. #16, 35 

& 46-50 p. Budapest, 1996; Susan Gold: Response (English); Georg → 

Mühleck: Fax Art, Postman and Lonesome Conwboys; Karen O'Rourke: Notes 

on Fax-Art (English); Marisa Gonzalez: Fax-Art: Notes for a Dialogue 

(English). In: → Árnyékkötök. #19. 1997 

Fedi, Fernanda Laboratorio 66. A. Naviglio Grande, 54. Milano, I-20144 Italy 1998 

Activity on experimental literature and artists' books since the 1980s. 

 

~ 

Literature: John → Held Jr.: New Directions: Into the Nineties (The Chapters: Computer and 

Fax: Opening Geopolitical Boundarie). In: Chuck → Welch (ed.): Eternal Network. 


^Gio Ferri (ed.): Fernanda Fedi. Criptogrammi e scritture etrusche 1989-1996. 

(Anthology of texts, critics and images) ~A/5, offset, 88 p. Ed. Prometheus / 

Testuale Scrittura e Visualità. Milano, 1996 

Êmilio Isgrò: Dalla parte dei vivi (Fernanda Fedi: Libri). In: L'immaginazione, 

N°136. I-73100 Lecce, February 1997. 

«Feh! Press» 

(Morgana Malatesta & Simeon Stylites), 200 E. Tenth st. #603, New York, NY-10003. USA 

^Feh! (Mag. Digest and letter sizes, phc., 20-40 p. 1987-, squ., ~ 20#)

Tomy W. Arnold: «an anti-poetry 'zine» 

^#3, 4, 5, 15, 16, 17 

^Meshuggah /...odd opinion, insufferable folly, vacuous nonsense and lies 

(Literature mag. with image illustrations, letter, phc., 1991- squ. ~15#) 

^#1-14 

^Stylites, Simeon: Groan (Morose Poetry) (Xeroxed publ. with an introduction by 

Blaster Al Ackerman, digest, phc., 32 p.) Feh! Press, New York, 1994 

^The Blaster Al Ackerman Omnibus (Collected texts, digest, offset, 228 p.) 

~ 

Source: 

Feh! Press, New York. 1995 

Books etc. from Feh! Press (Leaflet with listing & featuring of publs. 

Favorated book authors: Al Ackerman, Bob Black, Francesca Bongiorno, 

Jerm Boor, M. Malatesta, William Nesbit, Andre Savage, S. Stylites) 


Felipe, Francisco Apartado156.016 Madrid, E-28080 Spain 1988 

Artists' Books and Mail Art activity from the early 1980s 

 

 

 

Felter, James Warren 2707 Rosebery Ave. West .. Vancouver BC. V7V 3A3, Canada 1992 

↑ Simon Fraser Univ. / British Columbia, Burnaby, V5A 1S6 - “ - 1976 

............................................................................................................................................................. 

Ârtists' Stamps and Stamps Images. Cat.: Letter, offset, 36 p. / Simon Fraser Uni- 

versity Burnaby, British Columbia, Canada V5A 1S6, 1974. The exhibition 

was completed and shown in cities of Canada and the western 

United States, and also at the Cabinet des Estampes, Museum of Art 

History, Geneva, Switzerland, further at the Project Studios One (P.S.1.) 

in New York City from Dec 1, 1979 until Jan 27, 1980 and at the 

Museum of Contemporary Art in Utrecht. This exhibition series was 

the first surview on artists' postage stamps and relatives. The artists: 

Canada: ............ I. Abolints, P. Bell, D. Mi Besant, The Couch House 

Press ( and its friends), C. Daouset, M. Dot, J. W. Felter, M. 

Hayden, S. Hilman, La Group des Beaux Arts. J. Long, N. E. 

Thing Co., Nelvana Limited, A. Neumann, C. Pratt, Art Rat, 

H. Savage, Unknown, Graphic Design Students / Vancouver 

School of Art. 

France: ............. G. Ashley 

Germany: .......... K. Berkhardt, C. Camu, B. Löbach, D. Roth 

Great Britain: ... A. Jones 

Hungary: ........... E. Tót 

Netherlands: ..... D. Evans 

USA: ................ D. Atchley, D. Cook, W. Farley, Fluxus, R. Fried, 

K. Friedman, M. L. Heivly, E. F. Higgins III., J. Smith, 

P. Tavenner, R. Thomas, M. Wilson, R. Watts 

Press Release Completion in 1979-80 for the show at the Project Studios One in 

New York City (doc. in 1+4 letter size sheets): 

(not included in the catalogue): 

Canada:............. J. Smith, E. Varney (1st and 2nd Int. Stamp Ed.) 

France: .............. D. Evans 

Germany:........... P. Below, 

Italy: ................ G. A. Cavellini 

Netherlands ....... D. Evans (with further stamps) 

Switzerland ........ J. Armleder, C. Gavera, J. W. Felter (with special 

Helvadada stamps), G. Minkoff, 

USA: ................ C. Burch, L. T. Chew, Harley, Higgins III. (with a 

number of newer stamps), S. Larance, J. Smith, Al Sousa

°Stamp Art. Catalogue of the artists' stamp collection at the Simon Fraser Gallery, 

Burnaby, Canada. 21x20 cm., offset, 34 p. Hedendaagse Kunst. Utrecht, 

1980 

Felter is curator of the 2nd and 3rd Biennials of the International Artistamp Exhibit 

at the Davidson Galleries in 1991 and 1993 

Înternational Directory of Artistamp Creators. (1 st Ed.: Computer print, letter, 82p.) 

Five/Cinq Unlimited Publ., Vancouver, 1993. Updated 2 nd edition: 1994. 

International Directory of Artistamp Creators. (New Edition) The sourcebook for all 

information about artistamps. Computer-aided publ., bound by hand. 

Introduction, definitions, list of producers, exhibitions / collectionsoverview, 

indexes, etc. 

FIVE/CINQ Unlimited, ISBN 0-9697355-0-3. Vancouver, 1996 

Ârtistamps / Francobolli d’artista. Monography in Italian and English, 21x14 cm., 

B/W offset, 216 p. AAA Edizioni. Bertiolo, 2000. 

With chronology of first editions, selected expositions and a bibliography. 

Introductions: 

→ Baroni, V.: The postage stamps’ revolt 

Felter, J. W.: Great art must be licked! 

. Featuring of the following artists: 

→ Banana, Anna / Artistamp News 

→ Barbot, Fernand E. J. 

→ Baroni, Vittore 

→ Bleus, Guy (Essay: The thrill of collecting artistamps) 

Bryson, Kenneth J. (Decatur, USA) 

“Buz Blurr” (L. → Russell) 

→ Byrd, Gregory T. (“Toast Postes”) 

→ Cavellini, Guglielmo 

→ Ciani, Piermario 

→ Cole, David 

De Luna, Michael Hernandez (Chicago, USA) 

→ Diotallevi, Marcello 

“Dogfish” (Robert C. → Rudine) (Essay: Cindarella in Tui Tui) 

→ “Dominique” (Dominique Johns) 

Dworski, Susan (Venice, USA) 

Eker, Andries D. (Balkbrug, Netherland) 

→ Felter, J. W. 

→ Fricker, Hans Rudi 

Grenville, Bruce (Auckland, NZ. Essay: Voyages to imaginary countries) 

→ Harley (“Terra Candella”) 

→ Higgins III., Ed F. (Essay: Small is big) 

Highberger, Dennis J. (Lawrence, USA) 

Hosszú, Michael (Paris, F) 

Jackson, Sandy (San Diego, USA) 

→ Jensen, K. Frank 

→ “Joki” (Jo Klaffki) 

→ Kent, Eleanor (“Fractal Post”) 

→ Kholopov, Alexander 

→ Lamanova, Natalie 

Montes, Rene (Mexico City) 

→ Padín, Clemente 

Focardi, Franco Piri (Rignano sull’ Arno, Italy) 

→ Smith, Joel 

Smith, Steve (Dulfport, USA) 

Sør-Reime, Geir (Stavanger, Norge) 

“State of Being” (Reid → Wood) 

→ Summers, Rod (Essay: Artistamps from the computer) 

Thompson, Michael (Chicago, USA)

→ Varney, Ed (Essay: The artistamp anthology sheet) 

→ Welch, Chuck (“Crackerjack Kid”) 

Artistamps: Canadada 1974. (Shet of b/w stamps) 

^MRAUR 5 (Sheet of 36 id. stamps/calligraphy, b/w phc.) n.d. (~1975) 

MRAUR 5“ (Sheet of 40 id. stamps in triangular form, colour offset) n.d. 

^ Postes MRAUR (Sheet of 24 id. stamps, b/w phc.) n.d. 

^MRAUR Postes 5 (Sheet of 30 id. stamps/Hindu , b/w phc., {300}) n.d. 

Karl Schwesig Commemorative Stamps (Sheet of non-official stamps 

from the Camp at Gurs in Vichy France, 1941-42.) n.d. (1989?) 

^Ray Johnson 1927-1995 (Sheet of 20 id. stamps b/w phc., {100}) additional 

rubber stamp: Inconsequential is... Fluxpost. 1995 

~ 

Literature: 

«The word „stamp“ as used in this exhibit refers to what might be termed the 

pseudo-postage stamp; that is, analternative stamp opposed to the normal 

government publications designed for use in the official or government postal 

services of the world. Indeed, several „artists' stamps“ (as opposed to postage 

stamps) were issued during government postal strikes. Examples are the Blue Stamp 

by Yves Klein of France and the stamps of Allen Jones of England. Others appear 

so much like postage stamps that they have traveled through the official services, 

mostly undetected. (...) 

Many artists, like Carl Daouset in Canada and Dieter Roth in Germany, have 

produced Stamp Art as a part of a collection or folio of different works... Donald 

Evans makes his stamps for a personal fantasy world. He began in 1957... There are 

probably as many reasons why „artists' stamps“ have been created as there are artists 

who have created them. But the Curator, and the public, is often more concerned 

with the objects than the reasons, and though the reasons differ, the objects do 

represent a growing international medium of artistic expression. 

The „history“ of Stamp Art is contemporary. FLUXUS, an international 

artists' group devoted to research art, explored in the 60s not only the medium of 

Mail Art using the government postal systems, but through FLUXPOST Projects 

created a para-postal system which from time to time – often with hilarious results – 

functioned along with regular geovernment postal services in several nations. (...)» 

(J. W. Feltern: Introduction to Artists' Stamps and Stamps Images. 

Catalogue, 1976) 

«James W. Felter was the first art curator to twig to the phenomena of artists using 

the postage stamp format as an art medium. His early research (1969-74) resulted in 

the first exhibition of works in this medium at Simon Fraser University's Gallery in 

1974. (...) (The search) was assisted by two early mail artists who visited SFU in the 

early 70s, Dana → Atchley,.. and Ken → Friedman, who was involved with the 

FLUXUS movement. Both spread the world by telling artists to contact Felter at 

SFU. The resulting exhibition presented works by 35 artists and 7 artist groups from 

Canada, France, Germany, England, Hungary, Japan, mexico, the Netherlands and 

the USA. (...) 

(Profiles. James W. Felter. Mraur Post [with many biographical details]. In: 

Artistamp News [→ Banana], Vol. 6, #1, Feb. 1996. 6-7 p.) 

Fenyvesi Tóth, Árpád. Vörösmarti u. 11. Balatonfenyves, H-8646 Hungary 1978 

Launching the Contart Edition / postal arte creativa in 1977-78 (Contart: → Rehfeldt) 

to create selfmade postcards and distribut it by the means of special art 

(of) correspondence. This effort was the most important venture to establish 

the Mail Art in Hungary after the very individual initiatives of Endre 

→ Tót and Gábor → Tóth about 1971-76. 

^New Signalistic Strip (manifest & exhibition). Doc. / → FMK, Budapest, 1978 

Graphic oeuvre by the mixture of estranged comics strips and elements 

of the visual poetry (using instant print and rubber stamp compositions).

Send me unnecessary photos. International Mail Art Project by means of invitation 

postcards (please paste on the photos and return... ) entitled “Contrainformation” 

in the years 1979-80. Doc. in 1987 only? 

Hand & Idea (what to be found out). Doc. 1980 

^Képregények – Image stories. Invitation in the form of an accordion publ. by offset 

print (5x postcard). Pincegaléria Óbuda (Budapest), Sep. 1987 

^The figure eyaculatió. (Mini graphzine, phc., cut A/3 folded to 8 pages. 

1994-95, sm., about 15 issues, not dated and not numbered) 

^# 13 div. issues 

 

 

 

 

Ferdinande, Guy 67 rue de Eglise, Lonpré, F-59840 France 1996 

^My Fairest Love Story. Inv., 1996 

 

^We are all citizens of the world. Inv., 1997 

 

^The Instant... Inv., 1997 

 

^The World. Inv., 1999 

 

Ferrando, Bartolomé C /. Faura 11. La Eliana, E-4618 (València) Spain 1989 

↑ C /. Zapadores 14-8a. València-6, E-46006 - “ - 1977 

............................................................................................................................................................. 

^Texto Poetico (The very important assembling like mag. for experimental & visuale 

poetry in Spain, strong avantgarde style. „La pintura es una poesía muda 

y la poesía es una pintura parlante. Plutarco.“ Unbound A/5 offset matter 

in portfolio, 1977-89, ~y., #1-9) 

^#6, 7, 8, 9 

Festival Poesía Experimental. (Org. with David Pérez) Cat.: 22.5x16.5 cm, offset, 

94 p. Diputació de València, Sala Parpalló. 1982 

Artists: J. Hidalgo, A. Spatola, B. Heidsick, A. L. Totino, J. Gerz. 

Îdazkerak / Escritura. Cat.: A/5, offset, 16 p. (with curriculum and lists of exhs. & 

publs. /Exhs. in València and Bilbao, Aula de Cultura. 1985 

^Jocs de Lletra / Propostes Poètiques, Llibres-Objecte... Cat.: 20 sheets of 17x17 cm., 

offset, in portfolio, + poster of 70x50 cm. /Exh.: Galeria Postpós, 

March - April 1987 / Centre Cultural d'Alcoi, December 1990 

^Performances Poéticas. 9 cards + text-accordion in portfolio (text by Ferrando: La 

performance como lenguaje). Offset, S.P. València, 1988 

^1er Festival Int. de Performances i Poesía d'Acció. Orgs.: F. Gonzàlez, B. Ferrando, 

J. La Roda. Cat.:, tabloid, newsprint, 24 p. / Castell de Peníscola, 

València. 1989 

Artists: F. Aguiar, E. Andersen, M. Anfruns, J. Blaine, J. M. Calleja, 

B. Ferrando, G. Fontana, C. Jerez, R. Martel, Texto Poetico (Group) 

ÎI Festival Int. de Performance i Poesía d'Acció (Org. with Francesc Gonzàlez). Cat.: 

30.5x22.5 cm., offset, 32 p. / IVAM, Centre del Carme, València, 1991 

Artists: A. Alarcón, P. Albani, P. A. Arcand, A. Ben Dhiab, E. Ferrer, 

Flatus Vocis Trio, E. Miccini, E. Mileu, R. Santibáñez, J. Swidzinski, 

J. Tarragó, V. Torrens, I. Valcarcel 

ÎIIer Festival Int. de Performance i Poesía d'Acció. (Org. with Francesc Gonzàlez) 

Cat.: 21x22 cm., offset, 30 p. / IVAM, Centre del Carme, València, 1992 

Artists: H. Chopin, L. Contreras, M. Eichenberger, B. Ferrando, 

M. Hoffman, J. Juhász R., B. Knoeller, R. Martel, M. Mori, L. Peiró, 

S. Pey, S. Shimoda, N. Vilar 

^Poesía Objecte. 2 brochures and 24 cards in plastic box of 20x12x3 cm. C. A. M. 

València, n.d. (1996) 

^Performances Poètiques. VHS Video-cassette in plastic box. (Ex-ercisis; In memo- 

riam Fluxus; Sintaxi; Xifres; Sobre la informació) C. A. M. València 

(1996) 

Înstalaciones Poéticas. Cat.: 26.5x21 cm., offset (colour), 24 p. / Sala de Exposici- 

ones de Ibercaja, València, 1997 

~

Source: 

~ 

Literature: 

^DADES. (Dates about B. Ferrando) Cut A/5 offset brochure, 24 p. Caja del 

Ahorros del Mediterráneo (València), n.d. (1996?) 



^Texturas, N° 6 (Monographical issue about B. Ferrando with contributions by 

A. Serna, J. M. → Calleja, R. de la Calle, V. Torrens, V. Infantes, L. Barber and 

others) A. Serna. Apt. de cor. 2201. E-01080 Vitoria-Gasteiz, 1996 



Ferrando, Federico c/o Coordinadore de Apoyo a la Revolucion Cubana ? 1992 

Cuba no al bloqueo. Exposicion Int. de Arte-Correo. Cat.: / Montevideo, 1992 

Ferrer, Albert / Hac Mor, Carles. Apt. de Correus 30.133 Barcelona E-08034 Spain 1996 

l'avioneta (Magazine for Spanish vis. & concrete literature. Monographical issues? 

One sheet of 100x70 cm. folded to accorodion: (2x8x) 35x12.5 cm., offset 

(16 p.). 1995?-, m? ~18#) 

Ferro, Antonio ? Napoli Italy 1977 

°Post Cards. (Assembling of 10 signed postcards mounted original into a brochure of 

22x24 cm., 24 p. {200}. The artists: H. Tress, E-A. Vigo, R. Rehfeldt, A. 

Ferro, R. Peli, L. Yurkovich, G. G. Marx, H. Zabala, U. Attardi, P. Pappa.) 

Experimenta 1977, Napoli 

°Mail Art Message. (Manifesto in Italian, English and Spanish, signed by A. Ferro, 

U. Attardi, M. Aliverti, P. Beato, & H. Zabala. A/4, mimeogr. 8 p.) 

Centro experimenta, Napoli, 1977 

°La Post-Avangardia. Arte marginale. Cat.: A/5, offset, 64 p. / Centro Experimenta. 

Museo del Sannio. Benevento I, 1978 

Fierens, Luc Grote Nieuwedijkstraat 411 Mechelen, B-2800 Belgium 1996 

↑ Boterstraat 43. Hombeek, B-2930 - “ - 1984 

............................................................................................................................................................. 

^Paralell International Creative Mag. (Mag. with texts and drawings & magazine 

reviews. Flemish. A/4, phc. 1984-, bim., #1-5?) 

^# III/1, 2, 3, IV-V. 

^Hommage à... Cat.: A/4, phc., 44 p. 1986-87 

 

^Postfluxpostbooklet (Mag. A/6, phc. 1987-91? #1-22? ) 

 

^#1, 2, 3, 9, 10, 11, 20, 22 

^Recycled FLUX Poems (Xeroxed brochure, A/5, 28 p.) Post Neo Publications. 

Melbourne. 1987 

^Homage to FLUXUS. Invitation card to an A/4 project. 1988 

 

^Children’s Mail Art. Inv., 1988 

 

^Youth and Mail Art. Inv., 1992 

 

^Visual Poetry. Inv. Nov. 1998 / Exh. at the Galerij C. de Vos, Aalst, Belgium: 

17 Feb – 24 March, 2002. (307 parts. From 40 countries) 

Cat: 21x21 cm., phc., 40 p. Text by Klaus Peter Dencker (English). 

~ 

Literature: 

 

«...my poetry has the same viewpoint as my Art, I live in a „world“ and I feel the 

chaos and the fragments of life and death and the feelings of joy and passion... 

(L. Fierens: Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art – 

Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 7. item) 



Figueiredo, Cesar (Art & Tal) Apartado 4134 Porto Codex, P-4002 Portugal 1992 

^Writing as a potencial mean of visual expression... (Postcard size communication 

project – visual poetry) Invitation cards with poetry works, 1988 

^69 ANALgerie Books (Edition of mini-artists'-books by recycled graphic matter 

from div. authors) ~1995 

^#5 (R. Martin), #14 ( N. Klassen), #22 (G. Perneczky) 

^69 Livros ANALgésicos. (Em Homenagem a A-J. Santos, M. de Graça Varella, 

G. Deisler) Cat.: A/6, offset, 20 p. 1995 

~ 



Filliou, Robert Pouillac, Peyzac de Morestier Les Eyzies, F-24620 France 1982 

Ample Food for Stupid Thought. (About Mail Art?) Something Else Press, 1965 

Researche on the Eternal Network. In: File, Vol. 2, N°3, September, 1973. 7 p. 

To all the Members of the Eternal Network. In: Sources, Vol.1, N°11, Jan. 1974. 52 p. 

°The set of ideas. (Booklet, 21.5x13 cm.,, offset, 16 p.) Sintax Ed. Calgary, 1981 

Ôurs is a Dream without Dreamer (Manifesto. A/5 accordion, 4 p. text Germ. / Engl.) 

Hamburg/Berlin. 1985 

Finch, Peter ? Cardiff United Kingdom 1972 

°Second Aeon (Mag. for concrete poetry, criticism and information. «Small presses.» 

Cut A/5, offset, ~150-250 p. ~1970- about 20 publs.) 

°Typewritten Poems. (Anth. by 22 authors, 52 p.) Second Aeon. Cardiff / Something 

Else Press. New York, 1972 

Finlay, Jan Hamilton, Stonypath Dunsyre Lanarkshire, Scotland, UK. 1988 

Passport. A Morning Star Publication (16 Upper Grove Place, Edinburgh, UK EH3 ® 

8AU): An interesting solution to publish diff. rubber stamps: ca. 60 orig. 

artists' stamps on the pages of a passport. No mail artists: Lavrence 

Weiner, J. H. Finlay, Titus Nolte, Herman de Vries, & others. On the 

ococasion of a visual poetry exhibition by the Finlay circle, 750 copies. 

1999 

~ 

Literature: 

→ Burch, Charlton: This Means War, Laddie!!! The Cantankerous Battlecards of 

Ian Hamilton Finlay. In: Lightworks [→ Burch]. N° 20-21, 1990. 58-59 p. 

Finnish Mail Art in the 90s: 

“Art Cafe” Aska, SF-99550 Finnland 1992 

^The North. Inv., 1992 

 

Malén, T. / Jakola, T. Kangaskatu 20, Lahti, SF-15850 Finnland 1995 

^The World Today. Inv., 1995 

 

→ Helsinki Mail Artists 

Fischer, Roberto / HaHa! Casserinetta 10, Lugano, CH-6900 Schwitzerland 1984 

^La passeggiata quotidiana alla posta. (Topographic effort, Sunmer 1983, 83 copies) 

Map of Lugano, phc., 42x29.5 cm., folded to 6, in an offset cover of 

21x10 cm. With certificat label on the back side. 1983 

^Nobody is perfect. Series: Minimal Rock. n.d. (1984?) Mail Art and graphism with 

punk colour. 10.5x7 cm., phc., 16 p. on blue paper. 

^Les Dents Jaunes. Collection „Sinn + wahn“. Material 4. n.d. (1984?) 10x14 cm., 

phc., 10 leaves 

^Watson. Collection „Material 16“. Lugano, 15 Mai 1984. 10x10 cm., phc., 8 leaves 

on diff. colour paper, spiral bound, 70 copies.

Fish, Pat P. O: Box 777 Santa Barbara, CA-93102 USA 1985 

^Lemurian Rumors. Artist's book: Horz. 10.5x14 cm., phc., 16 p. blue cover. 1984 

The Big Golden Book of Flash / Tattoo (Commonpress #77) Letter size, 1986 

^The 99 Day of Narcissism. Exh. at the Kunoldstr. 34, Kassel. Inv., 1986 

→ Cardella, Joe = Art/Life 

Fishbein, Sue c/o Analog Prods. 146Freelon, N° 4 San Francisco, CA-94107 USA 1979 

°How International Mag. like publ., also for photocopied matter. Known a accordion 

issue in size of 128x12 cm. (fold 17x). Edited from the last 60s? 

(Vol. 13, #1. in 1979) Analog Productions. San Francisco. 

^The Monty Cantsin Songbook (with Barbara Fogel, Deborah Kransberg, Maris 

→ Kundzins & David → Zack) Xeroxed brochure with texts and 

more graphics, no songs! Letter, fold vertical! (28x11 cm.) 32 p. 

Analog Production. San Francisco n. d. (~ 1978) 

°Dotted lines and the use of force. An apparatus. 28x11 cm., phc., 40 p., in plastic 

cover. Analog Prods. San Francisco, 1979 

°That's my windbreacker in the vestibule (An Infection). Letter, b/w & colour xerox, 

46 p., in plastic cover. Analog prods. San Francisco, 1981 

The Invention of a Use and Post No Bills two further artists' books at the Analog 

prods. San Francisco, 1981 (announced in Umbrella 4/#4, 95 p.) 

Fischer, Allen 18 Hayes Court, New Park Road London, SW2 3DN United Kingd. 1975 

Spanner (Underground lit. mag., also music. A/4, mimeographic. 1975-, over 20 #) 

Spanner, special visual issue: Jan. 1981 

 

 

Fischer, Hervé 143, Blvd. de Charonne Paris, F-75011 France 1980 

Launching the group Collectif d'Art Sociologique with the members: Hervé Fischer 

(sociology), Fred Forest (video art), Jean-Paul Thénot (psychoterapy) 

Paris, 1972 

(German translation of the 1st Manifesto and further texts as Fischer: 

Hygiene der Malerlei, as well as Thénot: Künstlerische Praxis und 

soziologisches Eingreifen, and Forest: Die Soziologische Praxis, etc. 

with a matter of photo-illustration in: Magazin Kunst, #4, 1975) 

Ârt et Communication Marginale. Tampons d' Artistes / Art and Marginal Commu- ® 

nication. Rubber Art – Stamp Activity / Kunst und Randkommunikation. 

Künstlers Stempelmarken. (Text in French, English and German. This is 

the first book publication about the rubber stamp art and one of the 

earliest monography about the mail art like alternative activity at all. 

A very important source work and anthology). Offset, 246 p. Edition 

Balland (Paris). France, 1974 

~ 

Artists: 

K. Adamus (CZ), Albrecht/d (D), Alexander (F), Alvess (P), B. 

Amiard (F), C. Amirkhanian (USA), E. Andersen (DK), Anonyme (F), 

Arman (F), J. M. Armleder (CH), G. Attalai (H), 

I. Bak (H), E. Barbieri (I), Bauhaus Panchounette (F), L. Bec (F), Ben 

(CH), T. Berg (USA), M. Bertrand (F), P. Bettencourt (F), J. Beuys (D), 

Biga (F), J. F. Bory (F), J. Boursault (F), C. Boutillon (F), K. P. Brehmer 

(D), M. Buthe (D), 

G. Camesi (CH), L. Cane (F), J. Charlier (B), D. Chartny (CZ), G. 

Colombo (I), Fletcher Coop (USA), R. Crozier (GB), R. Cyprich (CZ), 

Dadaland (Bill Gaglione, USA) / Anna Banana (CDN), Ph. Dadson (NZ), 

J. Daumeter (D), Devichi (F), I. Dogametic (USA), O. Dressler (D)

Galerie ECART (CH), Ecole de l'art infantile (GB): R. Klassnik (GB), 

O. L. Nations (USA), Man O' Man (USA), Cosey Fanni Tutti (GB) 

P-Orridge (GB), Felipe Ehrenberg (MEX) 

J. C. Farhi (F), W. Farley (USA), R. Filliou (F), H. Fischer (F), 

A. Fisher (GB), R. Francken (F), C. Frazier (USA), K. Friedman (USA), 

J. v. Geluwe (B), General Idea (CDN), J. Gerz (D), Gilbert & George (GB), 

Giner (F), L. Gosewitz (D), T. J. Gramse (D), K. Groh (D), H. Preiss (D) 

G. Hendricks (USA), D. D. Hompson (USA), H. R. Huber (USA) 

Image Bank (CDN), Jalabert (F), R. Johnson (USA), Journiac (F) 

H. W. Kalkmann (CH), On Kawara (USA), J. Kearny (GB), Y. Klein (F), 

J. H. Kocman (CZ), P. Kowalski (F), 

N. L. Ukeles (USA), L. Beke (H), B. B. Lavier (F), C. Law (USA), 

L. Levine (USA), P. Lucchini (CH), B. McCallion (USA), 

H. Maccheroni (F), D. Mailler (F), J. O. Mallander (SF), T. Mancusi 

(USA), Manzoni (I), D. Mayor (GB) D. Meyer (D), G. Minkoff (CH), 

Yoshio Nakajima (J), M. Nannucci (I), S. III. Oldenburg (F), M. Olesen 

(CH), Oxo M. F. G. C. O. (USA), 

R. Palmer (USA), J. Palumbo (CDN), J. L. Parant (F), P. C. I. F. Co (NZ), 

G. Perneczky (H / D), P. Peter (?), Postes (?), Peiter Post (?) 

R. Rehfeldt (GDR), J. C. Romero (AG), G.J. de Rook (NL), D. Rot (D) 

Rubber Stamp Catalogue (USA), C. Rychner (CH) 

Sarkis (TR), Schwind (B), Secret Exchange (NZ), T. Sladden (CDN), 

P. Smith (GB), W. L. Sorensen (DK), Sooosno (F), D. Spoerri (R / D), 

S. Steinberg (USA), J. Steklik (CZ), H. Szeemann (CH) 

Tampon-manie (?), P. Tavenner (USA), J. P. Thenot (F), A. Thomkins 

(CH), Tip Top Magazine (USA), Tobas (F), E. Tót (H), A. Tullio (F) 

T. Ulrichs (D), J. Urbán (H), F. Vaccari (I), J. Valoch (CZ), P. Vandrepote 

(F), C. Viallat (F), E-A. Vigo (AG), W. Vostell (D), J. Wojnar (CZ), C. 

Wüllner (D), H. Zabala (AG) 

Cahier de l'Ecole Sociologue Interrogative (Quarterly, 1980-, ) 

°Experiences de Presse. (Essays, texts, French and English + bibliography + magazine 

review) A/4, offset, 193 p. Office Franco-Allemand: Rapports et Documents 

#1. Paris, 1981 

°Histoire de l'art est terminée. (Essay) 22x14 cm., offset, 218 p. Balland. Paris. 1981 

~ 



Flores, Aaron (Victor?) Archive Int. de Arte Correo. Mexico D. F. Mexico 1979 

°Operacion Garage. Cat.: 22x17 cm., offset, 28 p. 61 parts. (1st Mail Art exh. in 

Mexico) Mexico DF, 1979 

°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. 

n.d. 

»FMK» Fiatal Müvészek Klubja / Club of Young Artists, Népköztársaság útja 112. Budapest H-1062. Hungary 1989 

Selected (underground or Mail Art) exhibitions and events: 

Exh. from the Mail Art Archive of David → Zack. 1976 

The visit and Action Evening of Anna → Banana and Bill → Gaglione . 1978 

New Signalistic Strip / → Fenyvesi Tóth, Árpád. 1978 

A Visit to Budapest / → Crosier, Robin. 1979 

^Names & Addresses. Verbal, Visual and Aural Works / Lecture of → Carrión. 1979 

^Rubber Books & Post / From the «Other Books and so...» archive by → Carrión. '79 

Sent Art (Mail Art Presentation) → Galántai – Artpool. 1980 

→ Cavellini in Budapest. Show & Festival / → Galántai – Artpool. 1980 

Êverybody with Anybody (Hung. rubberstamps, with Galántai) Cat.: 68 p. 1982 

^Hungary can be yours (Commonpress N° 51 by → Galántai, exh. forbidden) 1984 

Êxperiment Art: Print, Drawings, Photo, Collage (with int. Mail Art) Cat.: A/5, 

offset, 112 p. Sept. 1984 

Înternational. Experimental Art. Cat.: A/4, offset, 196 p. Oct. 21 - Nov. 21 1985 

Guy → Schraenen (Antwerpen) presents his A. S. P. C. Archive. 1987 

Hungary can be yours (Reconstruction of the forbidden exh. from 1984) 1989 

 

 

 

 

 

® 

 

 

® 

 

 

 

 

 

«Foksal, Galeria» (W. Borowski & A. Turowsky) Ul. Foksal 1/4. Warsaw, PL 00-366 Poland 1982 

Established in 1966. Statement: «The underlying cause was the resistance to the 

„uniformism“ of art in Poland in the fifties as well as the conformism 

of the presudo avant-garde... we questioned the vality of the art exhibition, 

in that we demanded that it „ought to lose its secondary and 

neutral character in relation to the art work and ought to become an 

artistically active form.“» (In: Three-trois, 1973) 

 

Tadeusz Kantor's exhibitions, happenings, theories and actions in the Foksal, 1966-70 

Êlimination of art from art (Manifest, 1966. Author: Wieslaw Borowski). 

(In: Program Galerii Foksal PSP, 1967) 

^The Living Archive (Manifesto). 1971. An important document for the dematerialisation 

of changed art values and art presentation in the Polish avantgarde. 

(In: Three-Trois, 1973) 

^Hungarian Artists, Group Exhibition. (T. St. Jauby, M. → Erdély, Gy. Jovanovics, 

E. → Tót, L. Lakner, Gy. Pauer) Cat.: A/4, offset, 6 leaves. 1972 

^Gallery Against Gallery (Manifest, author: Andrej Turowski) . 1973 

~ 

Source: ^Program Galerii Foksal PSP. 42.5x25 & 40x25 cm., offset, 20 p. 1967. 

 

 

 

^Three-Trois. Facts (1966-1972). (Collected manifests and documents) A/4, offset, 

36 p. Galeria Foksal PSP. February 1973 

^Galeria Foksal P.S.P. (Exhibition presented by the Richard Demarco Gallery, 

Edinburgh, August-September 1979. Cat.: 27x21 cm. offset, 28 p. Contents: 

Introduction / Gallery – Institution? / The Development of Art – Transformation of 

the Gallery / The History and Status of the Gallery / The Basic Talk of the Gallery / 

The Inevitability and Failure of the Archives / Diary / A Survey of Major Exhibitions 

/ Illustrations. 

Literature: 

(The Living Archives, Manifesto) «Artistic activities, when they are under way, 

remain invulnerable to their showing off; they also set in doubt the reasons to be 

percepted. An active thought wishes to exist beyond the manipulations of: artists 

themselves / display managers / the greedy audience. (...) 

By establishing the LIVING ARCHIVES we deny: the Laboratory of ART / 

the workshop for artistic ideas / as well as WE DENY ANY AND ALL FORMS

OF PRESENTATION OF WORK. 

WE ALSO DENY ALL THE ARCHIVES, since any archives present 

history. WE DO NOT PRESENT HISTORY BUT WE KEEP THE THOUGHTS 

ISOLATED. The LIVING ARCHIVES offer the frames which are not institutional 

or cultural for any artistic activity. We do not collect materialls in a scientific or 

methodic way... The LIVING ARCHIVES set worth a model for a working, work 

mainaining its neutrality... The LIVING ARCHIVES are a current reaction to the 

artistic / nonartistic / antiartistic phenomena...» (In: Three-Trois, 1973, 24 p.) 

«The new aim, or the new structure of the Gallery could only be defined in terms 

of the free flow of all creative endeavours. But the principe of non-interference in 

artistic activities seemed to be incompatible with their institutional context. The 

shift required not only a realization of the new state of affairs, but above all a redefinition 

of some organizational principles. The desicion of was taken to arrange 

„Living Archives“, able to respond to the changes in art. That is why it was within 

„Living Archives“ that arose the already sore problem of artistic documentation as 

a new market success and an object of active speculation... The latter emphasis of 

„Living Archives“ and „Documentation“ was purposefully blown up in order to 

contest unambiguously, not the Foksal Gallery's own activity, but that of the 

emergence pseudo-avantgarde institutions seizing the experiences of new art and 

reducing them to a current concept implied in each new label, while retaining the 

obsolete general manifestos which alloved for the subsequent development of the 

Foksal Gallery outside the „established compromise“. (Gallery / Institution? 

In: Galeria Foksal P.S.P. Exhibition in the Richard Demarco Gallery, Edinburgh, 

1979. 7 p.) 



Fonseca, Lucia 

→ Prado, Gilberto / Wellcomet Boletin 

Fontana, Giovani Via Colleprata 374 Alatri, I-03011 Italy 1987 

^dismisura / (with Alfonso Cardamone) (A classic among the European experi- 

mental lit. magazines, good known also in th Mail Art scene in the 

1970s. 23.5x 17 cm. offset, 120-160 p. 1972-84, #1-73) 

^# 67-73 

dismisuratesti. Additive booklets to «dismisura». 17x12 cm. offset ~40 p. 197? 

^Le lamie del labirinto (Dismisuratesti #3, to «dismisura» 54-56) Concrete poetry. 

17x12 cm., offset, 42 p. Ed. Dismisura, Frosinone, 1981 

Âudio Art (with → Frangione, N.) Cat.: A/5, offset, 16 p. + poster / Teatro della 

Villa Reale, Monza . 1984 

°Scrittura lineari. 22.5x14.5 cm., offset, 220 p. Ed. Hetea. Alatri, 1986 

 

^La Taverna di Auerbach (Mag, 1987-, y.) Alatri 

 

^#1 

^Tarocco meccanico. Romanzo sonoro. (23x14.5 cm., offset, 134 p.) Supplement to 

the news Altri Termini, N° 14ª. 23x14..5 cm., offset, 134 p. Napoli, 1990 

~ 

Literature: (Dismisura, #67/73): «I wich I could read Italian 'cause this handsome magazine 

looks like it has some really interesting stuff, poetry, prose, visuals, national and 

international contacts, reviews and a whole lot more. An elegant production.» 

(Stephen → Perkins: Magazine Reviews. In: Box of Water, N° 2, 1986) 

Literature: 



Fortini, Attilio Via Dossone 2 Gandasso, I-24060 Italy 1994 

Mail Art Pr. and Performance Tour. Doc. / Istituto Veronica Gambara, Brescia 

/ Mail Art Incontriamoci. Bologna, 1994 

«Fotokopie, Museum für» / Mülheim an der Ruhr → Urbons, Klaus 

«Found Street Press» Tomoyasu, Larry, 2260 S. Ferdinand Ave. Monterey Park, CA-91754 USA 1992 

↑ 14492 Ontario Cir. Westminster, CA-92683 - “ - 1989 

............................................................................................................................................................. 

Selected publs: (All publs. have a small size ~ A6, print technic = photocopy) 

^Tomoyasu, Larry: Photos/Story (Experimental literature in 16 p.) 1994 

 

^Dweller, Cliff: New World Songbook (Headline Poem) 24 p. with exper. lit. 1994 

^Kostelanetz, R.: Selected Shoerter Stories (Broch. 4 p.) 1994 

 

^Bennett, John Also: Typewriting in a Swimming Pool (Br. 24 p.) / Luna Bisonte. '95 

^Roddan, Nrooks: Grocery Texts (Poems of Adhesion) Xerox, 22 p. 1995 

 

^Shores, Michael(→ Mark, A. / American Living): Maya. (Xerox, 16 p.) 1995 

Fox, Harry (!Blood Bliss!) 1511 East Fowler Av. Suite R-142. Tampa, FL-33612 USA 1992 

↑ 8802 Ilona, #5 Houston, TX-77025 - “ - 1985 

............................................................................................................................................................. 

Collage works, elaborated envelopes, artists' stamp and rubber stamp accumulation, 

also in form of artists' book, and other very visual Mail Art paper works 

in the 1980s and 90s years. 

^KUNST Post (Compilation of mail matter, very visual, 20 copies only! 22x14 cm., 

phc., 16 p. 1984?-, monthly?) 

^# Nov, 1984. 

Fox, Michael 

→ Hildesheim, Goethe Gymnasium 

«Fraction Studio» 13 rue Maurice Creuset. Cesson, F-77240 France 1984 

^Minimart production. International Series Mail Art Books. (Mail Art publs. by 

Morandi, Mittendorf, Tillier, Stuckens, Frangione, Janssen & others. 

Thematic issues. A/5, phc., 16 p. n.d. 1985?-,) 

#1 (L'animal) 

Francke, Kees Dillenburgstraat 4, Rotterdam HB, NL-3071 Netherlands 1986 

The Workers' Paradise. Exh. Artists' College B.E.R.M. . Berlin, GDR. Sept. 1986 

The Workers' Paradise. Exh. in the Studio of → Sonntag, J. in Dresden, Nov. '86 

^The Workers' Paradise. Inv. in the form of a colourful card / Cat.: A/5, offset, 

20 p. Exh.: Centrale Bibliothek, Rotterdam. February, 1987 

The Workers' Paradise. Exhibition at the Museum Schwerin – a reconstruction in the 

course of the large show “Eastern Europe in the International Network” 

July-September, 1996 

Kees Francke died June, 2002 

 

Â Mail Art Tribute Kees Francke Exh. with a cat. in colour phc. (org. by Darlene 

→ Altschul) at the “Raadskelder”, Sluis, NL-4524 CD. Feb, 2003 

François, Charles, R. A. T. Quai Churchill, 35. Liege, B-4020 Belgium 1992 

Sociologist working as trainig manager for Apple Macintosh, active in Mail Art since ® 

1982 (there is well known his „Rat“ logo – the drawing of a running rat – 

in form of rubber stamp or as computer drawing). R.A.T. is an acronym 

for Research in Art and Telecommunication, also reffered to as R.A.T.O.S., 

Research in Art and Telecommunication On-line Service. 

RATOS (Host System: RATOS, Sysop: Ch. FRANCOIS, by appointment, also known 

as one of mail art's first host operated computer Bulletin Board Services 

from 1989) 

RATOS (Additional xeroxed info mag. to the RATOShost-system, A/4. 1990?- )

Artistamps: 

~ 

Literature: 

Sacred Run Net Run (Sheet of 12 id. stamps, phc. on white) R.A.T. 1990 

«The industrial world is presently on the verge of a widespread development of 

the telematique. It is quite unlikely that ever completely eliminate the paper support; 

the paper support will simply find itself in a constant and instananeous dialogue 

with the electronic medium, which will otherwise dispose of its own support (tapes). 

rather, it is the combination of paper support and electronics systems which will 

prevail in the world of tomorrow, and, as a consequence, its specific sensitivy.» 

(Ch. François: Statement. In: Sarah → Jackson: Books Build Bridges / Copier Art – 

Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 8. item) 



Charles François: Networking, Technology, Identity. In: Chuck → Welch (ed.): 

Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 

117-123 p. 

Frangione, Nicola Via Ortigara 17 B Monza I-20052 Italy 1987 

↑ Giulianova (TE) / Padua - “ - 1981 

............................................................................................................................................................. 

°Osservationi critiche sula funcione del nervo ottico nella semiotica dell'arte. 

(A/5, phc., offset, 110 p.) {1200}Armadio e Officina. Monza,1977 

°The Relativity of Language as the Enigma of Art. (A/5, offset, rubbers, perforations 

90 p.) Armadio Officina. Monza, 1979 

°Arte marginale e socialita. Cat.: on a poster of 80x59 cm., with doc. & a list of 

~170 parts. / Armadio Officina, Monza, 1980 

°Snapshot. (Magazine on Mail Art basis, ~60 parts. 17.3x12.5 cm., phc. {100} 

1980?-, #1-2?) Armadio Officina. Monza I, 1980 

°Zen and Art (Commonpress #26) A/5, offset, 88 p., 83 participants. {100} Editions 

Armadio Officina. Monza, February 1980 

^House of Artist. Doc. One sheet of 60x84 cm., offset. 1981 Inv., 

^Mail Music. Repeated invitations for cassette submissions, leatest 5 actions, ~1980-83 

Participants get a L.P.33 at the end of every action as “catalouge” 

Mail Music (Compilation on a L. P. record, 1000 numbered copies, 1982-83) 

^Poesie Visive... etc. (A/4, phc., 11 p. in offset cover {300}) 

 

Armadio Officina N° 5. (S. P.) 1982 

Âudio Art (with → Fontana) Cat.: A/5, offset, 16 p. + poster / Teatro della Villa 

Reale, Monza. 1984 

^Children and Art. Inv., 1994 

~ 

Source: 

«The Mail Music project is of sound materials received and then compiled in a 

L.P. record. The pieces received are metarial such as: cassettes, sound bobbins, 

sound films, etc. They space in different fields, from the sound and phonic poetry to 

electronic music, concrete music. The compilation has character of episode unique 

since the pieces follow one another superimposing for a few seconds. (...) This is 

one of the most important projects of the sound „Mail Art“ and the first realization 

as a record...» (Editor's Statement / 1982-83. In: Stephen → Perkins: Assembling 

Magazines. Internationale Networking Collaborations. Cat.: Half-legal, phc., 64 p. 

Subspace, Iowa City. 1996 / Print: 1997. 44 p.) 

Frank, Joachim, Workspace Loft. Inc. 287 S. Manning Blvd. Albany, NY-12208 USA 198? 

↑ 845 Park Ave. Albany - “ - 1979 

............................................................................................................................................................. 

Scientist, writer, visual and conceptual artists, also involved in Mail Art and in processing 

images by computer . 

^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) 

^# 1-13 

^Post Historic Documents. (with Louise Krasniewicz). Cat.: in: Prop #12. July '84 

~ 

Literature: 

(Prop, #9-10): «If the other back issues have as much to offer as this one, they are a 

bargain at $1.50 (back issuues are all that's left unfortunately). The writing and 

visuals in #9/10 are gutay, bizarre, political,, original, the layout simple & creative. 

A large-type story runs in a line from pg to pg throughout the book, experimental, 

phots in the centerfold, strange drawings by the editor's kid, contributors notes, & a 

flexi disc – all inside a 28pg booklet.» 


Joachim Frank: The Expanding Network: Toward the Global Village. In: Chuck → 


1995. 113-116 p. 

Frank, Peter P. O. Box 24 A 36. Los Angeles, CA-90024-1036, USA 1990 

↑ 712 Broadway, 5th Floor New York, NY-10003 - “ - 1986 

↑ 80 N. Moore St. #12 C. New York, NY - “ - 1979 

............................................................................................................................................................. 

Fluxus in New York. In: Lightworks (→ Burch), N°11-12, Fall 1979, 29-45 p. Fluxus 

Postal Modernism: Artists' Stamps and Stamp Images. (Essay in: Art Express,Vol. 1, 

N°1, 1981. Reprinted in: M. Crane / M. Stofflet (eds.): Correspondence 

Art. Contemporary Art Press. (→ Loeffler) S. F., 1984. 425-449 p. 

^Something Else Press, an annotated bibliography. (→ Higgins, Dick) Offset, 90 p. 

McPherson & Co., P.O. Box 638, New Paltz, NY-12561, 1983 Fluxus 

«Franklin Furnace» 112 Franklin St. New York, NY-10013 USA 1980 

^Franklin Furnace Archive Artists' Book Bibliography I-II-II. (1977, 78, 79) 143 + 

144 + 143 unbound note cards of 10.5x15 cm.,m offset {500}. 1977 

^Flue (At first info leaflets in tabloid size of 43x29 cm. with 4-8 p., or of 64x48 cm. 

in 2 p. Later voluminous magazine with catalouge parts and theories, 

cut letter size, 56-60 p. All publs. in offset. 1980-, bim., / qu.) 

Editor: Martha Wilson. 1980 

^# Vol.1/ 1,2, 4, 5; Vol.4/ 3-4, Vol.5/ 2 

Four part exh. devoted to Bookworks from Eastern Europe and the Soviet Union: 

1.) The Roumanian Contribution to Dadaism and Surrealism (Curated 

by Valery Oistenu, November-December 1981) 

2.) Avant-Garde Books form Russia ca. 1910-1930 (curated by Gail 

Harrison Roman, Dec. 1981 - Febr. 1982) 

3.) Russian Samizdat Art 1960-1982 (org.: Valeri & Rimma → Gerlovin, 

Febr.-March, 1982) 

4.) Contemporary Eastern European Bookworks (selected from the 

Franklin Furnace Archive by Krzysztof Wodiczko, 1982) 

^Mail Art Then and Now, & essay anthology. In: Flue Vol. 4,#3-4 (Winter 1984): 

Editorial: Mail Art Then – Ad Reinhardt and Gilbert & George 

Ed Plunkett: From Pre- to Post-Postal Art 

John Evans: Corresponding by Tattoo 

Valery Oisteanu: Illegal Mail Art (a poetical essay) 

Ray Johnson Speaks – The Way it was 

Ken Friedman: Mail Art History: The Fluxus Factor 

Anna Banana: Mail Art: Canada & Western U. S. A. 

Lon Spiegelman: A History of Los Angeles Mail Art (1978 Trough 1983) 

Carlo Pittore: N-tity 

Mark Bloch: The P.A.N. Project. 

E. F. Higgins III.: On Mail Art: Doo-Da Postage Woorks 

Ronny Cohen: A Conversation with Mike Crane

Fatima Bercht & Josely Carvalho: Solidarity Art by Mail. 

Artists' Books: Japan. Cat.: Exh. from March 15 - April 20, Franklin Furnace, 1985 

Lettrism and Hypergraphics. The Unknow Avant-Garde 1945-1985. (Ed.: Jean-Paul 

Curtay) Exhibition and Cat.: with chronology, exhibition checklist and 

critical essay by Curtay from Fanklin Furnace. November 1985 

 

 

~ 

Literature: Russian Samizdat Art: 1960-1982. In: Umbrella (→ Hoffberg), Vol. 5, #2, 25-26 p. 

and in: Flue, Vol. 2, #2, Spring 1982 

«Franklin Furnace, the largest public collection of material published by artists, has 

as its house couple issues the publication has taken on a commercial and magazine 

format. Plans are to have it avaible on a retail basis. Issues are thematic...» (Lightworks 

[→ Burch]. These Things Too [Print review]. N° 16, Winter 1983-84. 55 p.) 

(The Mail Art Then and Now exh. in the Franklin Furnace coused a very polemical 

discussion in the camp of the participants. More about the Franklin Furnace Mail 

Art Pannel in New York:) 

→ Spiegelman, Lon / Umbrella, «special exlcusive mailart edition» (with the 

article Review of Postal Art Panel by Faith Heisler and the open letters by 

Carlo → Pittore, Lon → Spiegelman, Chuck → Welch, J. P. → Jacob, Ken 

→ Friedman, R. → Saunders, Joachim → Frank, and others. In: Umbrella 

(retracted issue), Vol. 7, N° 2. 1984 

→ Wamaling, Mark / Entartete Kunst, in: Newark Press, Letter, phc., 8 p. 1984 

→ Welch, Chuck : Corresponding Worlds: Debate and Dialogue. (See the paragraph: 

The Franklin Furnace Mail Art Fiasco) In: Chuck Welch (ed.): 


187-197 p. 

Edward Gomez: Artists' Books: Japan. In: Umbrella (→ Hoffberg). Vol. 8, #1. 

1-3 p. 1985 

«Lettrism and Hypergraphics... After 35 years of semiobscurity in Europe, lettrism 

has been rediscovered and assessed and seems to be today as a sort of Super-Futurism. 

Included are the first „metagraphic“ artists' books from 1950, photographs 

from 1953, a reconstruction of what is probably the first video installation, phonetic 

poems by Isou and his followers from 1845 on, and the near complete work of the 

first artists who worked on magnetic tape, François Dufrene, as well as more recent 

and contemporary works by artists from France, Italy and Germany... 

(In: Umbrella [→ Hoffberg]. Vol. 9, #1. 5 p. 1986) 

Franzen, Piet / SIDAC CBK Leiden + Sidac Studio, Hoge Woerd 77, Leiden Neatherlandes 1999 

↑ Harmenjansweg 9 Haarlem, NL-2011 / P. O. Box 311, Haarlem, NL-2000, 1978 

............................................................................................................................................................. 

^Sema-cahier (Correspondence like paper-works in envelopes, sent out as a little mag. 

{each issue in 6 copies, altogether 350-500?}. Mostly A/4 paperworks 

in envelope of 22x15.5 cm. mixed techn. 1978-84, ir.?, publications not 

numbered, about 80 issues?) 

^ 7 div. Issues 

^Circular, Mail Art project. Inv., 1981 

 

^Clay Stamp. Inv. completed with a bag to retour..., 1981 

 

art-works / art & archives. Ongoing project for the foundation of an Mail Art etc. 

archive in the Stadsbibliotheek, Haarlem. 1982-83. 

^1. Mai, 1983. Cat. published in 1986 only!: 17x24 p., offset, 96 p. with a very rich 

image material and the texts: Ulises → Carrión: Mail Art and the Big 

Monster; Paul Hefting: Mail Art. The exhibition was held at the Postal & 

Telecommmunication Service. Den Haag, 1983. 

^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 

~ 

Literature: «Sema-cahier (art & project) is a small hand-made booklet, in an edition of only 6 

copies. Glued together pages bearing red and black crayon lines, pieces of cotton 

wool and torn holes create a visual and tactilesequence. Subscription: ƒ15,- 

(In: Artzien [→ Gibbs], Amsterdam. Vol. 2, N°2-3, Dec 1979–Jan. 1980.. n.p.) 



«Fred & Howard's Hausfrau Haven» («Largest card store in the state») 

769 South Third. German Village Columbus, OH-43206. USA. 1987 

^Fifth Annual International Mail-in Postcard Art Show. (To the Hausfrau Haven's 

15th anniversary.) Invitation postcard. Maybe the only Mail Art 

project in which some artists could make money (Prizes: $500, $250 

and $100). Columbus Arts Festival / Ohio State University. May 1987 

^Sixth Annual International Post Card Show. Invitation and notifying card about 

the winners: Piotr Szyhalski, PL; Luc Fierens, B; Beth Soyland, USA; 

Susan Hessler, USA. / Hausfrau Haven / P. Library / State Univ. 1988 

«French Graphism» → Appendix 

Fricker, Hans-Rudi , Büro für künstlerische Umtriebe auf dem Land. 

Hüttschwende Trogen, CH-9043 Switzerland 1985 

Ârtistic Activities in the Country-side. Cat.: Horz. A/4, offset, 6 leaves. 

 

Exh.: Schulhaus Hüttschwende, Oct 2 - Nov 13, 1982 

^Mail Art Icon. Inv. (Please paint or draw or... an Icon, a saint's image...) 

Cat.: A/5, phc., 36 p. 1983-84 

^Tourism Review (A Mail Art mag. on Fricker's «tourism» idea by him self with the 

protocol of the so called «malicious tours» – the network as reciprocal 

visits of mail artists. A/5. offset + rubber stamps, 24 p. 1985, #1) 

^Networkingmaterial. (Text and image documentation in German and English) ® 

Cut A/4 size, phc., ~200 p. ISBN 3-923971-11-7. Designbuch Verlag 

Cremlingen, → Löbach / Galerie für Visuelle Erlebnisse, Weddel, 

Band 10. On the occasion of the exhibition of Fricker in Museum für 

moderne Kunst, Weddel. March, 1986. 

^No Budget Tours (Tourism Guide). Elaborated Lufthansa Timetable from Summer 

1986 with an insert: 30 phc. sheets of 20x10 cm. Texts: Proposals for 

visiting at 30 network artists all over of world. 30 copies for the participated 

artists only. n.d. Artists' book outfit. (1986-87?) 

^Mail Art is not Fine Art it's the Artist who is Fine. (A rubberstamp book, each copy ® 

dedicated for a mail artists. Handstamped outfit, A/4, 148 p. {150}) 

Designbuchverlag, Cremlingen /Akt. Kunst, #12. 1987 

Î am a Networker (Sometimes). Mail Art und Tourism im Network der 80er Jahre. 

Cat.: A/4, offset, 128 p. / Kunstverein St Gallen, CH-9000, July-August 

1989. Texts by C. Padín, P. Petasz, S. Segay, R. Nikonova, G. G. Marx, 

V. Baroni, I. Kántor, C. Welch, M. Stirnemann, Ch. François 

^ Mail Art – a Process of Detachment / Mail-Art – ein Ablösungsprozess. (About 

→ Art Strike and the necessity of a Decentralized Mail Art Congress 

to clearing the role of the Networker. A/5, phc., English / German. 8 p.) 

S.P. Trogen, «The 72nd day of the Art Strike» (March 13, 1990) 

Ârt-Stamp / Andere Briefmarken aus dem mail-art-Archiv des Büros für künstlerische 

Untriebe. Cat.: A/4, phc., 36 p. Oberstufenzentrum Grünau, Witten- 

bach CH. March 1991 

^Schilder. Doc. 44x31 cm., offset, 4 p. Exh.: Kunsthalle, St. Gallen. April-May 1993 

^Mail Art PTT-Museum Bern – Stampsheets in accordion book. 4 stamp sheets for the 

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 

22 cm. (A collective work by HR Fricker, G. Ruch & M.V. Stirnemann) 

~ 

Artistamps: ÎCON Commemorative (Sheet of 16 diff. stamps, colour phc. {30}) 

...to the mail-art friends I met in New York City Feb 1984 

Âlphabet (Sheet of 56 diff. stamps, colour phc.) New York, 1984 

Zaummaterial / Alphabet (Sheet of 30 diff. stamps, colour offset) 1985 

âuf der Suche nach Edelweiss zu Tode gestürzt (Block of 12 stamps, 

dark blue/w offset) with additional rubber stamps: Damned To 

Be a Talent / TAMned To Be A Tourist, etc. n.d. (1986) 

^First Decentralized... Congress 1986 (Oversize sheet of 24 diff. stamps, 

green offset on white paper) 1986 

^Mail Art The Big Deal 4 (Sheet of 9 id. stamps, b/w prints with blue 

rubber stamps) n.d.? 

^Miss Zaum (Block of 16 stamps, blue print on white paper, + indigo 

rubber stamps: Edition Laufender Hund, etc.) Issue 88. 

^Hiroshima / USAirmail 45 (Sheet of 24 id. stamps + 4 stamp text, red 

and blue print on white paper) n.d. 1985-1988? 

^Glasnost / Angstlos / DDR 90 (Block of 9 id. stamps, monochrom print 

/blue or green or red/ on white paper) n.d. (1988) 

^(Block of 12 id. stamps, blue print on white paper) 1989 

^Shozo's Issue (Block of 4. id stamps in the head of Shozo Shimamoto, 

blue and red phc. {30}) n.d. 

^Schilder für Troisdorfer Ortekataster (Sheet of 15 diff. stamps, black 

and blue print on white paper, not perforated) 1997 

^Shilder für Troisdorfer Ortekataster (Block/Cover of 12 diff. stamps, 

blue and green print on white paper, perforated) 1997 

→ Mail Art Congress 1986 and 1992, see in the «literature», too! 

~ 

Literature: 

«...xerox is the medium of the nomad and the poor. I am a nomad and poor 

(sometimes). I mark my way with copies (copier-graffity), the bookwork keeps 

the copies together... The image I used for this „person“ [that is the famous 

„shadow-head“ icon used as brand by Fricker – eds. note] comes from a fotoportrait 

of my self. I blowed up the eyeball with two light reflexes on it and added a tie... 

then I distorted the image in the xerox-machine...» (H-R. Fricker: Statement. 

În: Sarah → Jackson: Books Build Bridges / Copier Art – Bookworks. Cat.: 

TU ° NS. / National Postal Museum Halifax, 1986. 154. item) 

^H. R. Fricker (and other authors): I am a Networker (Sometimes). Mail Art und 

Tourism im Network der 80er Jahre. Cat.: A/4, offset, 128 p. / Kunstverein St 

Gallen, CH-9000, July-August 1989. 

«Is the scissored frenzy of scribbing, glueing, rubber-stamping and passing paper 

from one artist to another dying down, fading off in some high tech electronic 

horizon? Afterall, this is the age of the FAX and Federal Express, modems moving 

messages out into digital space towards computer-knit bulletin boards and exchange 

services. Let's not even mention how expensive its gotten to mail things. Oh, screw 

it: Pick up the phone and make the call. H. R. Fricker, the Swiss mail artist seems to 

have at least some thoughts along these lines. He sees mail art as a bit mummifiedmaybe 

way past the point of it all. He ties the action of sending to mail art shows 

and to other mail artists as akin to mourning – that beneath the action is the realization 

that mail art is the forsaking of a productive role of art-making within general 

society. If mail art has become the process of sending regrets and second thoughts, 

it is of diminished meaning for him. Fricker, in 1986 along with Günther → Ruch, 

called for a Decentralized International → Mail Art Congress. He advocated small, 

informal, personal meetings between artists and a sharing of strategies and art in 

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, 

1990. 69 p.) 

^F. R. Fricker: Territory and Individual Expression. In: Artistamp News / Artist 

Profiles Continued (→ Banana). Vol. 3, #1-2. February 1993 



^Mail Art. Netzwerk der Künstler / Reseau d'Artistes. Cat.: 21x21 cm., offset, 

40 p. Texts: H. R. Fricker, K. Krönig, G. → Ruch, M. V. → Stirnemann. 

PTT Museum, Bern. February 1994 

^Vittore → Baroni: H. R. Fricker. In: Arte Postale. Guida al network della corrispondenza 




^James W. → Felter: Artistamps / Francobolli d’artista. Monography in Italian and 

English. AAA Edizioni. Bertiolo, 2000. 136-137 p. 

Friedman, Ken Norwegian School of Management. Box 4676 Sofienberg. Oslo, N-0506. Norway 1995 

↑ Fluxus West. P. O. Box 600. Canal St. Station, New York, NY-10013. USA 1986 

↑ 66361 Elmhurst Drive San Diego, CA-92120 - “ - 1977 

↑ ? San Francisco - “ - 1971 

............................................................................................................................................................. 

The New York Correspondence School Weekly Breeder (An important experiment 

to find the best form of a Fluxus publ. It became more and more voluminous 

and by the end was a confusing accomulation of all kind of 

typographical matter. Also wrong, «dadaistic» dates of the issues, 

e.g. 1953. Friedman was the first editor of the zine.) 

Letter size, after 1971 with changed editors: 

1971= Friedman: #1-11, 

1972= Stu Horn: further 12 issues, 

1972-74= → Bay Area Dadaists: 7 newer issues (+ a «20th anniversary 

issue» in 1992) See a list of these issues → Bay Area Dadaists 

International Contact List of the Arts / Fluxus West & Image Bank, Vancouver. 1972 

Omaha Flow Systems / Joslyn Art Museum, Omaha, Nebraska. April 1-24, 1973. 

(The first large Mail Art Show with unlimited participation at all.) 

Org.: K. Friedman / Inv., Docs., Literature. 

Înternational Sources (Concept and Mail Art anth. in: Source Magazine, N° 11, 

1974) → Composer / Performer Edition 

Artistamps: °Fluxpost Commemorative Issue (Bloc of 25 id. stamps,offset) 1974 

New Wilderness Letter (Fluxus-like mag. with graphics exclusively by the editor 

only. Letter, offset, ~4-6 p. {500}. 1978?-, #1-8?) Lincoln NE 

Ârt Café. Revue. (Fluxus like graphical mag. with drawing, photos, menues, etc. for 

Art Café, 151 Second Ave. New York. 1985, #1-2?) 

 

^The Fluxus Performance Workbook. (in: El Djarida, N°9, [G. → Nordø], Trondheim, 

Norge, 1990) Offset, 64 p. {2500} Artists: 

G. Akasegava, E. Andersen, Ay-O, R. Bozzi, G. Brecht, H. Christiansen, 

A. Cox, A. M. Fine, K. Friedman, L. Heflin, Hi Red Center, D. Higgins, 

T. Ichiyanagi, J. Jones, B. af Klintberg, M. Knizak, A. Knowles, T. Kosugi, 

G. Maciunas, R.. Maxfield, L. Miller, Y. Ono, N. J. Paik, T. Schmit, 

M. Shiomi, B. Vautier, R. Watts, E. Williems, L. M. Young, I. Bloom, 

P. Hovdenakk, G. Nordø 

~

Literature: K. Friedman: Flowing in Omaha. In: Art & Artists, Aug. 1973, London, 6-9 p. 

K. Friedman: Mail Art History: The Fluxus Faktor. In: Flue (→ Franklin Furnace), 

Vol. 4 #3, 1984, 18-24 p. 

Michael Crane: Exhibitions and Publications. / Omaha Flow System. In: M. Crane / 

M. Stofflet (eds.): Correspondence Art. Contemporary Art Press (→ Loeffler). 

San Francisco, 1984. 302-304 p. 



K. Friedman: The Early Days of Mail Art. In: Chuck → Welch (ed.): Eternal 

Network. University of Calgary Press, 1995. 3-16 p. 

«...Fluxus seems to have earned a place in history. Lots of books have been 

published, most of them by people who aren't Fluxus artists. With Mail Art, it seems 

to be different. Almost all books, magazines, articles are written by mail artists... 

The first people to write about Fluxus were the Fluxus artists ourselves, 

describing our ideas, our works (...) The second wave of writers on Fluxus was 

typified by Fluxus friends and enthusiasts. This included critics... curators and 

gallerists, archivist... By the 1990s, art historians and critics began to discover 

Fluxus and intermedia and make the major focus of their work. (...) Most important, 

the Fluxus writers knew their own history and many have been broadly conversant 

in general culture, culture theory and art history. This makes a qualitative difference 

between Fluxus and Mail Art. Few mail artists know their own history well. They 

tend to oppose historical writing and thinking. They are often anti-experimental and 

judgmental about intellectual issues, believing that scholarship, theory and intellectual 

process are the antithesis of the network spirit. As a result, they don't know that 

many of the authors writing on Fluxus have also written on Mail Art... Only a 

handful of Mail Art writers make sense to outside scholars. You can count them on 

your fingers – Chuck → Welch, Mike → Crane, Judy → Hoffberg, Anna → Banana, 

John→ Held, John→ Jacob. (...) Mail Art people have their own, strongly held 

opinions. When you combine strong opinions with a lack of historical knowledge, 

what outsiders write on Mail Art, can seems strange... Mail Art is a minor field for 

art historian and art journals. You don't get much credit for working on Mail Art but 

you can get a lof of anger. (...) 

...I remember your reply to Guy → Bleus's FAX-project in which you 

explained why you don't take part in Network Telefax Art Projects. Do you take in 

Internet Art Projects? 

No, I don't, but not for any particular reason. There haven't been many well 

thought out art projects on Internet... Web sites make visual art possible. But most 

artists using the medium aren't doing work that interests me. If the work isn't interesting, 

I won't take part just it's presented in cyberspace. 

Since the beginning, the term „mail artist“ has been used in relation to 

correspondence. Now everybody is talking about „networkers“ and „networking“. 

Somehow I see that the focus isn't as much on art as it is on communication... 

...I don't use the term „networking“ to describe art... The idea of a network 

of people doing Mail Art correspondence art or E-mail art as „networkers“ or 

„tourists“ bothers me... What makes one network different than another? The focus 

and content of their communication. When a network begins to focus primary on the 

fact that it is communication, it becomes a group of pen-pals, a small-town social 

club...» 

(Ruud → Janssen: The Mail-Interview with Ken Friedman. TAM Publs.: 

TAM-960104. A/5, 22 p. Tilburg, 1996) 



Fröhlich, Dirk Buchlabor, Priessnitzstr. 19. Dresden, D-01099 Germany 1993 

↑ Buchlabor, Louisenstr. 70 b. Dresden, GDR-8060 1989

............................................................................................................................................................. 

^Spinne (Bookworks as assembling {20}, also in chest, as #13. Mostly A/4, 

~25-30 leaves, 1989?-, ~ 50#) 

^# 13, 17, #Oct-Dec. '93, 

«Fröhliche Wohnzimmer, Das» → Widhalm, Fritz 

Froidefond, Bernard / → Suel, Lucien. 102 rue de Guarbecque-Berguette, Isbergues, F-62330, France 1972 

^Starcrewer (Mag. Literature and poetry fascinated by irrational stuff in general and 

influenced by W. Burroughs and the USA underground trends especially. 

The first series edited by Froidefond: 1972-73, second series by Suel: 

78-81, here A/4, offset, ~32 p. #1-14) 

^# 12, #?, 

Froidefond, Bernard & Joceline. Les-Eyzies-de-Tayac France 1976 

L'Oeil Lisant (Portfolio with unbound matter like assembling, graphic with avantgarde 

texts & theories. Offset, 27x18 cm. 1976-, qu.) 

 

«Fruit Basket Upset» 1183 E. 10 th Street, Chico, CA-95928 USA 1985 

Alternativ book shop / archives, also exchange “center” for many kind of visual arts, also for 

Artist’s Books and Mail Art projects. Connections to American and European Youth Culture. 

~ 

^World Book Archive. Invitation & a one sheet doc. (hand coloured!) with 

participant list. Show at the “1078 Gallery” in Chico. 1986 

Fulgor C., Silvi Via Pagino 1. Frontone, I-61040 Italy 1989 

^Magic and Mystery. Mail Art Show N° 1. Cat.: A/4, phc., 20 p. (Endless project, 

therefore additional documents also in the next years...) Exhibitions in 

the Galleria Performance, Fabriano / Centro Culturale, Moie / Saletta 

Roveresca, Mondavio (all near to Ancona). Summer 1989 

Furnival, John Route One, Box 244 Roswell, New Mexico-88201, USA 1985 

Fürstenau, Klaus Peter Bergerstr. 122 Frankfurt-1, D-6000 Germany 1984 

The Dictionary (Commonpress #53) 17.2x12.4 cm., 156 p., 99 participants. 1984 

Artistamps: ^Cavellini 1914-2014 / President of USE (2 sheets identical sheets of 

div. autoportraits stamps, colour offset, printed over with diff. 

texts by each sheet with black, the 2 sheets are numbered by 

rubber stamps) Marked: «1984 by Klaus Peter Fürstenau» 

Furtado, Mario, CIDAC Av. Pinheivo Chagas 77. / 2° Esq. Lisboa, P-1700 Portugal 1989 

^Vivere il Mediterraneo – Lisboa-Messina Doc. A/3 sheet, phc. (with Tonno 

Perna, Via Ettore Lombardo Peregnino 93, Messina I) 1989 

Fusco, Rosario François Caixa Postal 06. Cataguases / Minas Gerais, Brasil 1986 

Cataguases (Monthly supplement to the news Journal Cataguases. Strong avant 

garde outfit, experimental texts and alternative graphics, also Mail 

Art contributions. 35.5x29 cm., offset, 8 p. 1986?-, m.) 

Gaard, Frank 4116. 39th Av. So. Minneapolis, MN-55406-3434, USA 1993 

↑ 3131, 1st. Av. S. Minneapolis, MN-55408 - “ - 1992 

↑ 1611 Eliot Av. S. Minneapolis, MN-55404 - “ - 1991 

↑ 5228. 43rd Av. South, Minneapolis, MN-55417 - “ - 1990 

↑ P. O. Box 1265. Minneapolis, MN-55458 - “ - 1988 

↑ 133. E. 25th St. Minneapolis, MN-55408 - “ - 1974 

............................................................................................................................................................. 

Ârtpolice (Epoch-making graphzine of the American underground scene. In the first

~ 

Literature: 

years often 43x28 cm. (double-letter) issues in offset print, sometimes 

as loose leaves. Later letter and digest size brochures (also in horizontal 

form) with litho and xerox technic and with comics like additive booklets. 

1874- 94, qu., with all supplements ~ 80-100#) 

^ 34 div. issues 1980-1994 

«Artpolice is the bunch of Minneapolis animals that draw real good. Their stuff is 

gruff and low-down in the best sense of the terms. This collective of artists woork 

like an alchemist, culling one of the lowest common denominators in visual communications, 

namely, comics... Thematically their strips deal with depravity and lost 

essence and somehow there's almost a whriting religuous and pseudo-religious 

quality about their work...» (Lightworks [→ Burch], Art Alternatives in Print, 

N° 13, Fall 1980, 50 p.) 

(Artpolice, Vol. 16 N°3): «The Artpolice imagery is always striking, but not only 

striking, lots of subjects are hidden behind these disturbing drawings of violence, 

sex, poverty and other items. The Artpolice graphics are always in black and white 

and very contrasted, uncluding such contributions as Andy Baird, Frank Gaard, 

Denise Monaghan, Craig Smith and many others» 


Troublesome Art & Bothersome Ideas. (About Artpolice, Vol. 17, N°3, Winter 

1990-91, a special edition in co-operation with Lightworks.) In: Lightworks 

(→ Burch), N° 20-21, 1990 34-39 p. 


of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 89, 148 p. 

Gaglione, Bill Stamp Art Gallery. 466, 8th St. San Francisco, CA-94103 USA 1995 

↑ 2090 17th Ave. San Francisco, CA-94116-1244 - “ - 1989 

↑ Abraca-Dada, 2311 Lake St. San Francisco, CA-94121 - “ - 1986 

↑ 1183 Church St. San Francisco, CA-94114. - “ - 1975 

............................................................................................................................................................. 

Dadazine (Digest, half-legal or letter size mag. with ? issues in 1969 & 1975-78) 

Daddaland, San Francisco. Some issues: 

#1: 22 p., n.d. (1969?) with the rubber stamp imprint: THIS IS A ® 

SPECIAL RUBBER STAMP ART OF DADA(D)AZINE. 1969 

°#1: An issue published in Fall 1975 

#2: 12 p., with contributions by J. Zontal and Dawn Gaglione. 1976 

#5: Offset, 8 p. (produced as an insert for a la → Mamelle publ.) 

The Only Paper Today, San Francisco, 1978 

Daddaland Postcard Show. Mostly Flowers Gallery, San Francisco, 1972 

^VILE (Mag. 1974-78, #1-7. Editor for the issues 1-6 Anna Banana. The issues ® 

4 & 6 have been signed by Bill Gaglione as co-editor, issue 7 was 

edited and published by Gaglione) 

1 = Vol. 1. N°1, Febr. 1974 (announced as February 14, 1985). 

Letter, ip., 56 p. 

2 = Vol. 1. N° 4, «The Editors Vile». Sept. 1974. Letter, phc., 48 p. 

3 = Vol. 3. N° 1, Dec. 1975. Letter, offset, 66 p. 

4 = Vol. 1. N° 2 + Vol. 2. N° 1, «International Double Issue». 

Summer 1976. Letter, offset, 100 p. 

5 = Vol. 3. N° 2, Summer 1977. Letter, offset, 98 p. 

6 = Vol. 6. N° 3, 1978. Fe Mail Art. 18x25 cm., offset, 107 p. 

7 = Stamp Art. Winter 1979. Letter, rubber stamps, np. (Rubber stamp 

assembling, ed. by B. Gaglione, prod. manager: Joel Rossman) 

^#2, 3, 4, 5, 6, 

DadalaND / bill gAgli One. (Photocopied digest size 16 p. booklet on account of the

visiting Michael → Gibbs) San Francisco, n.d. 

The Last Dada Manifiesto. Digest, phc., 24 p. (Text attributed to Indian Ralph) n.d. 

°Visual Poem Book. Inv. Letter size sheet, offset. Dadaland. San Francisco, 1977 

^Typewriter Stamp Poems. 21.5x16.3 cm., ofset, 10 p. {50}, Edtion Book as Artwork, 

→ Schraenen. Antwerpen. 1978 

°VILE #7 = Stamp Art.(Assembling of orig rubber stamps, 24x16 cm., 376 p. {300}. ® 

180 parts. Bibliography. Banana Prods. San Francisco, 1979 

Stamp Art (Rubber stamp assembling, spiral bound {150} by 57, 90, 80, 120 artists, ® 

1981-84, #2-5) San Francisco 

Care 11 = Stamp Art Magazine #5, San Francisco, Summer 1984 

® 

Launching the Stamp Art Gallery in San Francisco, Nov. 11, 1990. Curator: ® 

John → Held, Jr., colaborators: Darlene Domel, Barbara Moore & 

Ted → Purves. Exhibition activity with a retrospective character tending 

to the golden age of the Fluxus, Mail Art, artists' postage stamps and 

rubber stamp art in the 70s and 80s. 

Artistamps: ^Networker Congress 92 (Sheet of 20 id. stamps, phc. on white paper, 

with additional rubber stamps) 1992 

Stampzine (Start a new rubber stamp assembling, 1994-, y?) 

® 

~ 

Artistamps as posters or advertisements for the exhibitions in the Stamp Art Gallery 

or in related places: 

^Picasso Gaglione: Tampon Trouvé (Sheet of 9 id. stamps, black and 

red on white) TAM Gallery, Tilburg. Sept. 15 - Oct. 15, 1995 

^Women in the Post (Sheet of 16 id. stamp images, black and red on 

white, not perforated) Oct. 30 - Dec. 1995 

^Ken Friedman Rubber Stamps (Sheet of 20 id. stamps, black and red 

on white) November 4-29, 1995 

^Netlandia Event (Sheet of 36 diff. stamps , black and red on white) 

A. P. Owen & J. Held in the D. Mare Gallery, November 1995 

Înternational Artistamps (Sheet of 25 id. stamps, red on white) 1-30 

Dec. 1995 

~ 

Selected exhibition catalogues & rubber stamp / Mail Art editions: (Also on the basis of the 

edition list «Stamp Art Gallery», offset, 20 p., San Francisco, 1996) The most 

publs. {ca. in 50 copies} are letter size & spiral bound, unless otherwise noted: 

~ 

Joseph Beuys. Cat.: (Grounds of the material of the Daddaland Postcard Show in 

the Mostly Flowers Gallery, San Francisco, 1972) 14 p., 1992 

New York Correspondance School Weekly Breeder. 20th Anniversary Issue. 

(Editor Tim → Mancusi's introduction to the history of this zine, which 

played a pivotal role in the zine explosion of the 70s and 80s. Contributors 

by Ray → Johnson, B. Griffith, B. → Cleveland, J. Berner, J. → Evans.) 

34 p. 1992 

S. Gustav Hägglund: Rubber Stamp Art. (Stamp art works first exhibited at La 

→ Mamelle Art Center, San Francisco in 1981) 24 p. 1993 

Graf → Haufen. (Doc. of a stamp art performance / environment exh. from Berlin 

exhibitied anew in the Stamp Art Gallery) 39 p., 1993 

Henning → Mittendorf: Hand Carved Stamps. (Introduction text & rub. stamp 

works) 62 p., 1993 

Scott Helmes: Visual Rubber Stamps Poems. (Poetry activity by a large collection 

of «antique» rubber stamps) 29 p., 1993, 

Mike → Crane: Stamps in Use. Cat.: Half letter size, 36 p., 1995 

B. Gaglione & J. → Held: The Fake Picabia Broothers: L'Art Tampon – Reflections 

on the rub. stamp exh. in the → Musée de la Post, Paris, 74 p., 1995 

J. H. → Kocman: Stamps and Other Residure 1970-1979. Cat.: 76 p., 1995 

^J. H. Kocman. Works: 1970-1979. (Brochure with essay by T. → Purves, 

P. Gaglione, G. → Perneczky. Digest size, 10 p. + 8 postcards) 20 p., 1995

~ 

Source: 

Literature: 

Art from the Rim: The New York Correspondence School of San Francisco Artistamp 

Travel Diary. (An account of the Artists Postage Stamps exh. in 

Salem, Oregon and a like show in the Stamp Art Gallery, with photos & 

a perforated artists' stamps sheet) 28 p., 1995 

Stephen Ronan: Tampon Trouvé (The Found Stamp). (Essay & stamps) 18 p. 1995 

Kurt Schwitters: Stamp Drawing 1918-23. (With essays by Charlotte Eisner & 

Geoffrey Cook + reproductions) 26 p., 1995 

^Cavellini 1914-2014. (The rubber stamps of Cavellini, 27 pieces. Text by J. Held.) 

Cat.: 36 p. Exh.: November 27-December 31, 1995 

Serge → Segay. (Hand-carved stamps and an interview with the artist: Rubber Trip 

Over the Whole World) 34 p., n.d. 

Endre → Tót. Cat.: with reproductions & a perforated stampsheet. 46 p. 1995 

Gugliemo Achille → Cavellini. Cat.: (Text by J. Held, + rub. stamp impressions + 

a special stamp sheet by Gaglione) 72 p., 1995 

Ken → Friedman: Fluxus Rubber Stamps. Cat.: Essays by J. Held, G. M. Gugel 

berger, A. Philips + reproductions of stamps and a perforated Fluxus West 

stamp sheet by K. Friedman) 110 p., 1995 

Baba Dada: Stampstomper. Cat.: (Rub. stamps contributed by 37 artists) 54 p.1995 

M. B. Corbett: The Complete Stampworks. Cat.: (Essay by J. Held and the very 

large contemporary rub. stamp activity of Corbett) 120 p. 1996 

Ray → Johnson: Bunny Dead. (A compilation of articles, exh. announcements, etc. 

to the death of Mail Art pioneer Ray Johnson on Jan. 13 1995) 112 p., 1996 

Andrej → Tisma: Collected Writings, 1986-1995. (Anth. of twenty essays accompanied 

by rubber stamp designs and photos by Tisma) 96 p., 1996 

^Robert Watts: Artistamps, 1961-986. (J. Held's essays and an interview about the 

first sheets of artist postage stamps + postcards and philatelic sculp turs of 

Watt. Featuring of the Watt-archive by L. Miller & S. Seagull) 66 p., 1996 

^Flux Post Kit 7. Cat.: (Texts by → S. Perkins & B. Gaglione) 60 p., 1997 

John → Held, Jr.: The Bay Area Dadaist. (An Introductory History... + Bay Area 

Dada, 19970-1984: An Annotated Bibliography of Primary Sources. Letter, 

phc., 74 p. Edition Stamp Art Gallery. San Francisco, 1997 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 64, 77-78 p. 

(Stampzine): «...I had just got back from Europe and I was in eastern countries and I 

sow what was going on, they were doing those type of magazines, I was 

aware of that, but I saw a lot of it, and I said wow! Again it was the money 

factor, who had money to publish? So it was a nice way to put a publications 

together. 

Stephen Perkins: So you connect assemblings with the Eastern block? 

Bill Gaglione: Most of the publications that I saw there were assembling type 

publications, so I was influenced by that. In the 1970s we toured Eastern 

Europe. 

SP: 

BG: 

Which magazines? 

Off hand I can't remeber, they were so obscure. Pawel → Petasz type magazines 

or rubber stamp magazines, → Galántai in Budapest, he showed me a 

lot of stuff. Again when I got back I said I wanted to do an issue of VILE, 

but I don't want to go through the hassle of getting the grant, actually Anna 

(→ Banana) did most of that. And I wanted to do color and it was strictly 

rubber stamps and it was a weird size. I got to give credit 'cause I had to cut 

each page 300 times and then stamp it 300 times. It's a really nice issue, it's 

thick, it's huge, I think 185 artists sent pages. Another aspect of assemblings 

was that I liked the collating, because I used to call all my friends and it's a 

nice social way to get together, instead of just sittting there drinking or 

getting stoned, which we did, but we worked and it was fun... Also, whoever

SP: 

BG: 

contributed got a free issue, that was a nice way of distributing that book. 

So had you contributed to assemblings before? 

Oh yea, Kostelanetz, a lot of stuff in Europe, all through my sort of quote 

„mail art career“, I've liked them the best 'cause I alway used rubber stamps, 

it's a real home made feel, real artsy fartsy... Then I did the magazine called 

Stamp Art in the '80s. Here's the first issue, we started in 1980-81 and I did 

five publications. It was the same thing, they were all hand stamped, that was 

my only requirement, I told people you can do anything you want but each 

page has to be hand stamped at least once, and the rest you could do anything 

you want.» 

(Interview with Bill Gaglione. In: Stephen → Perkins: Assembling Magazines. 

Internationale Networking Collaborations. Cat.: Half-legal, phc., 64 p. Subspace, 

Iowa City. 1996 / Print: 1997. 34 p.) 



Gagnon, Jean-Claude, Image Hunters / Chasseurs d'Images. 359 Lavigueur, Apt. 1. Quebec QC. G1R 1B3, Canada 

^Réparation de Poésie (Assembling magazine in box or bag {100}, mostly with 

24x18 cm. or digest size contributions. Thematic issues, each with ca. 

40 contributions. Additional and unregular also digist size, photocopied, 

~32 p. text-bulletins in French with info about projects, magazines, etc. 

and graphic. 1991-, ~y.) 

Early issues: #1 Le folklore poetique {60}. 

#2 A Changing Decade {100}. 

#3 Li(e)vres d'artistes {50}. 

#4 Poetic Surfaces {100}. 

#5 Chasseurs d'images {100}. 

#6 Poésie extraterrestre {100}. 

#7 Livre d'artiste {100}. 

^ # 5, 10 

~ 

Literature: 



Gajewski, Henryk P. O. Box 15561 Amsterdam NB. NL-1001 Netherlands 1985 

↑ c/o Box 1051, Maastricht BB, NL-6201 - “ - 1984 

↑ Galeria Remont, P. O. Box 744 Warszawa, PL 00-950 Poland 1977 

............................................................................................................................................................. 

°Eliza Gajewski (Artists' Book) 18.5x14.5 cm., offset, 40 p. {500} G. Remont, 1975 

Other Child Book (1977-81). Cat.: / Znak Gallery, Warszawa. 1977 

 

Art Text (Contemporary Polish and foreign texts about new art trends. A/4. offset. 

1977-, 5-6xy.) Ed. Galeria Remont. 1977 

TransREMONTexpress (Infomag of the Gallery Remont, sometimes reprints from 

the early 70s art publications. Cut A/4, offset. 1979-?) 

Children (Commonpress #20, not edited yet) 

 

Rubberstamp Workshop Remont (A co-operation project of the Galeria Remont, ® 

Warszawa and the Stempelplaats, Amsterdam, March 21- 24, 1979. 

curators: Henryk Gajewski, Piotr → Rypson, Wieslaw Szweryn & Aart 

van → Barneveld) Cat.: A/6 horz., orig. rubber stamps, 60 p. + offset 

print documentation, 16 p. 59 parts. Stempelplaats, 1979 

Post (Art infos, Mail Art news, etc. from the circle of the Gallery Remont. 

 

A/4 leaflet, xerox, 1980-81, #1-14) 1980 

Âudio Child ’83. (cassette project) Inv., 1983 

 

Identity (1984-86). Cat. 1984. (Completing and event. exh. of the project at the 

Amazonic Archive of R. → Maggi, Milano, ^ Inv., 1985) 

Networking Paper. Iidentity Communication Exchange. (Correspondence like mag.

~ 

Literature: 

Mail Art matter in visual contributions and texts, sent to the participants 

only. Very limited edition = 15-18 copies. A/5, phc. 1985-87, #1-9?) 

Amsterdam 

«...Artists were invited to make works in book form, with no limitations other than 

that the work should be clear to children between the age of 4-10 years, and that it 

should be enlightening, not doctrinal. More than 250 artists from 29 countries sent 

in projects of specially designed books. The opening of the exhibition took place in 

May 1979 at the Palace of Culture & Science, Warsaw Polytechnic, and Galeria 

Remont... Several artists from Holland participated in the project (...) The following 

article by H. Gajewski accompanied the exhibitions in Holland...» 

(Introduction and accompaning article to the Other Child Book project. In: 

Artzien [→ Gibbs], Amsterdam. Vol. 2, N°1, November 1979. n.p.) 

Other Child Book Exhibit. In: Umbrella (→Hoffberg), Vol. 2, #4. 93 p. 1979 

Galántai, György / Klaniczay, Julia, Frankel Leó u 68/B H-1023, PF. 52, Budapest H-1277. Hungary 1978 

& Artpool Center, Liszt Ferenc tér 10. I. em. 1. Budapest - “ - 1992 

artpool@artpool.hu 

............................................................................................................................................................. 

Launching the inofficial gallery in the cemetery chapel Balatonboglár, H (1970-72) 

Launching the underground Archive & Edition Artpool, Budapest. (1979- ) 

 

^The Artpool Archive. (Announcement and invitation to send contributions.) A/6 size 

offset print accordion booklet, r/v., with 18 p. 1979-1980 

^Pool Letter / Pool Window (One page infomag, A/4, xerox sometimes with manual 

interventions. 1980-82, #1-30) 

^#1-30 

^Sent Art. Doc. (Offset poster on brown paper,, 51x35 cm. part. list.) → FMK. 1980 

^Textile without Textile (Assembling in portfolio {300}, A/4, phc. matter, #1 only) 

Edited with the Savaria Museum. Szombathely H, 1980 

Ârt & Post (with R. → Swierkiewicz ) Cat.: A/5, offset, 8 p. / Újpesti Mini Gal. 


Ârt-Umbrella-Postcard-Show. Cat.: A/5, offset, 40 sheets {97} / Helikon Gal. 


Êverybody with Anybody (Orig. Hung. Rubberstamps{300}) Cat.: A/5, offset + ® 

orig. rubber stamps, 68 p. /→ FMK, Budapest. February 26, 1982 

^World X Art X Post. (Artists' postage stamps) Cat.: 20.5x29.5 cm., horz., offset, 

68 p. With the reprinted text of Peter → Frank's essay: Postage 

Modernism: Artists' Stamps and Stamp Image. / Fészek Klub, Budapest. 

April 1982 

Artistamps: ^Cooperation (With G. → Lloyd. Sheet of 35 diff. stamps, colour 

xerox) Printed in Hungary © 1982 G. Galántai Ginny Lloyd 

^Budapest Issue (With G. → Lloyd. Sheet of 25 diff. stamps, colour 

xerox) © 1982 G. Galántai Ginny Lloyd 

Ârtpool's Ray Johnson Space (Action till 1993) Doc. → Liget Gal. 1982 

Ârt Letter / AL (Avant Garde magazine about art and politic, edited in the «Year 

of the Communication». Hungarian texts with English summary. 

A/5, (#10 & 11 in A/4)phc., ~148-60 p. 1983-84, #1-11) 

^#1-11 

Budapest-Wien-Berlin Telephon-Konzert (Metacommunication) April 15. 1983. 

Artistamps: International special 73 83 (Sheet of 20 diff. stamps, colour offset) 

Artpool's Stamp Edition. Budapest, 1983 

Ârt Pool's Art Tour (Sheet of 15 diff. stamps, colour xerox) 1983 

^Hungary can be yours (Commonpress #51) planed for an exhibition in→ FMK, 

exh. & Cat.: 1989 only: 24x22 cm, offset, also colour, 30 p.) 1984 

În the Spirit of Marcel Duchamp. Doc. A/4m phc., 6 p + 1 sheet supplement 

/ Liget-Galéria + ELTE University, Budapest. December 1987

^Bélyegképek / Stamp Images (International artists' postage stamps. Org.: Judit 

Geskó) Cat.: Cut A/4, offset, 24 p. Text: Géza Perneczky: Artists' 

Stamps. + References + exponat list, 281 items [Hungarian + English]) 

Musum of Fine Arts, May 29 - September 25, 1987. Budapest. 

Ênvelopes. Doc. One A/4 sheet, phc. / Liget-Galéria. June 1987 

 

Correspondence Container. Doc. A/4 sheet, phc. / Burg Jansenplein, Hengelo, 

NL-7553, Netherlands. June-July 1988 

Launching the Artpool as Artpool Rechearch Center supported by the City Budapest: 

Liszt Ferenc tér 10. PF. 52. Budapest, H-1277. 1992 

Ârtpool 1992. Docs. about exhibits, events, archive activity, publications, etc... 

(Spiral book, A/4, phc. + offset, 56 p., like publs. also in the next years) 

^FAX Your Art Today. (Artpool's FAXZINE, +36-1-121 08 33) Cat.: A/5, phc., 

20 p. Budapest. August 24-25-26. 1992. 

^Danube Connection Wien-Budapest. Inv., 1993 

 

^Network Bridge / Spielkammeret → Jensen. Cat.: A/5, phc., 28 p. / Artpool. 1994 

Ârtpool: Networker Post. Artistamp Stamp-Sheets by the Network for the Network. 

(100 loose artistamp sheets in phc. reproduction by 100 invitated artists 

in A/4 size portfolio.) 1994 

^Polyphonix 26 – Budapest. International festival for visual and sound poetry curated 

by the Artpool and the group Polyphonix (Paris). October 2-6, 1994. 

Publication: A/4, offset, 12 p., + cover (detailed program brochure). 

^Ray Johnson Memorial Space. (A/4 poster) Exh. at the Museum Ernst, Budapest, 1997 

~ 

Literature: 

Mail Art News /Textile without Textile and other activities of the Artpool. In: 

Umbrella (→ Hoffberg), Vol. 5, # 2, 35 p. 1982 – about the Everybody with 

Anybody stamp action in: Vol. 5, # 3, 65 p. 

«Art Letter / AL is a Hungarian avant garde magazine of art, litareture, architecture, 

music, etc... Each issue includes a summary of contents in English. AL chronicles 

the wide range of activities of the Artpool gallery and art archive, both projects by 

György and Júlia Galántai, lectures, articles, translations, films, interviews, performances 

etc... Tolerated by the authorities but unable to publish legally, AL seeks to 

continue the avant garde tradition established in Hungary during the 1920s. I'd say 

they're succeding!» (Stephen → Perkins: Magazine Reviews. In: Box of Water, 

N° 2, 1986) 

 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 16, 82-83 p. 

^Vittore → Baroni: Archivi / György Galántai. In: Arte Postale. Guida al network 

della corrispondenza creativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 

212-213 and 216-217 p. 




Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 21 p. 

Galdamez, Jesus R. ? San Salvador El Salvador 1979 

°Exp. Int. de Arte Correo. Doc. One sheet of 28x40.5 cm., recto/verso, offset, 

with the list of 63 parts. San Salvador, 1979 

Galingani, Alberto Via Sercambi 22. Firenze, I-50133 Italy 1979 

Art in Opposition (A MailArt magazine with the statement: ...publicazione gratuita 

e anonima di espressione e communicazione marginale, aperiodica...

Very loose, collage like layout. Peli, Crozier, Gaglione, Carrión, Rypson 

& others. A/4, phc., 6-20 p. 1979-, #1-5?) 

Garbin, Ornella Viala Marche, 40 Monzese (Milano), I-20093 Italy 1997 

^Collage (Late Mail Art compilation magazine in a small {~32} edition. Also cat. 

publs. for Mail Art projects as „Angeli“/1997 & “The Four Elements” 

/1998. ~A/5, phc., ~ p., middle 1990s, about 10 issues) 

^ #8 

Îl Diabolo – Mail Art Project. Inv., 1995 

 

Angeli. Inv., 1997 

 

^The four elements: air, water, land, fire. Inv., 1998 

 

Garcia, Dominique (!Dom Tom!) 10, rue des Gardes Paris, F-75018 France 1990 

↑ 112 rue de Chateau Paris, F-75014 - “ - 1987 

............................................................................................................................................................. 

^01 / 02 (Series of computer graphic books like magazine {100}. 

 

A/5, phc. or offset? ~ 60 p. 1987-88, #1-2) 

^Videotexto. (Offset brochure, A/6, offset, 20 p.) S. P. n.d. 

^Mon Stres (Magazine? A/5, phc.,, 16 p. 1990-, 1#) Sortie du Zine Edition. 1990 

 

 

^2 Styles. (Horizontal size A/4 brochure, spiral bound, 32 p.) Ed. Sortie du Zine 

(+ Dom Tom) n.d. ~ 1990 (with Captain Cavern, Caramell, Lionel 

Garcia, Lombardi, Paquito Bolino, Patalo, Veuve Clito, Y5/P5) 

Garcia, E. G. / Gil, R. G. / Mata, J. L. c/o Escula de Artes Aplicadas. Soria / Castilla León, E-42004 1990 

Â Quinientos Años de la Llegada de Colón a America. Cat.: Cut A/4, offset, 96 p. 

Text: Mata, J. L. Sala de Exposiciones, Dec. 1990 - March 1991 

Garcia, Frank 

a. k. a. !Il Zozo! Terrain Vague Prods. 

44 rue De Meaux, Appt. 18. Paris, F-75019 France 1989 

^LPDD / La Pomme de Discorde (Graphzine, partly hand made, in A/5 size, photo- 

copy + painting, 12-28 p. 1989-, #1-10?) 

^#1, 2, 3, 4, 5, 7 

La Pomme Discorde & Lune Product. A/5 graphic booklet with experimental work by 

Fabrice Poincelet printed on yellow pages. January 1990. 

~ 

Literature: 

(LPDD, #5): «This „Duel“ issue 5 is a special meeting with Françoise → Duvivier 

and Jacques Abeille, both illustrating a different theme: „The woman“ and „the 

man“... Having this possibilities to do collages on this theme „the man“, I wanted to 

epresent him as only a body and a piece of disgusting meat and more in reaction 

against the sexist images on women thru the male media. We can see Jacques 

Abeille presents here, the women as a bitch thru his own drawings. 

(LPDD, #7) «Every issue of LPDD presents verious artists, sometimes one. This 

issue 7 features graphics of → Leblanc, → Dom Tom, Julie Doucet and others + 

superb coloured by Il Zozo himself.» 


Garcia, Patrick / Manuel, Pierre, CCP. 2803, 74 W. Toulouse, F-31000 France 1976 

°Erres (Magazine for experimental literature and art. «Scènes, textes,, reseaux». 

27x29 cm., ~100 p. 1976-77, #1-7) 

Garnier, Ilse + Pierre Saisseval, F-80540 France 1996 

^Fibel - Eine Elegie. (A/5 booklet, phc.?, 56 p. {101}) Suppl.: Bibliomanische Bei- 

lage (on endless perf. computer-paper) Hybriden → Andryczuk, 1993 

~ 


over 500 illustrations, 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 241-245 p.

Gaspari, Walter ? Chiuduno Italy 1980 

°Fetiche Journal (Xeroxed mag. for prose and concrete poetry, 17.5x12 [#0= double 

size]. G. Fontana, F. Beltrametti, R. Kostelanetz, M. Perfetti, D. Daligand, 

& others. 1980. #0-5) 

Gaston, Elisiabeth 334 Sppringfield Road. Belfast, BTI2 7AG, Northen Ireland United Kingd. 1991 

^Paradise. Exh. Cat.: A/5, phc., 28 p. + 2 postcards. 1991 

 

«Gay Group Lübeck» c/o Heinrich Ratkowski. Soellbrock 1, Lübeck, D-2400 Germany 1986 

^Gay Art. Inv. for homosexual matter in Mail Art, 1986 

 

Geluwe, Johan van The Museum of Museums Bouckaerstr. 8. Waregem, B-8790 Belgium 1986 

^Hart Slag Vol. II. (with → Kindt, J.) (Mag. 24.5x18 cm. & A/5 sizes. offset, 

28-76 p. 1977-, qu.) 

^# Vol.3/2 

^The Museum of Museums. Cat.:, A/4, offset, 24 p. Exh.: I. C. C. – Cat.: N°: 204. 

Antwerpen, 1981 

Museums (Commonpress #40, not edited yet) (1981) 

 

^Museums on Postcards. Inv. (Send 2 identical postcards of an outside or inside 

view of museums...) 1983 

^Luc De Blok... (23.5x21.5 cn., offset, 16 p., the visual documentation of the corresp. 

between Geluwe & de Blok) Gent, B. 1986 

Ârchitecture is... Doc.: Poster, 60x42 cm, offset. / Art + Architecture, Bookshop, 

Jacobijnenstr. 8 Gent, B. October-November 1986 

^Flamish Post-Primitivism. (Exh. at the Foncke Gallery, Gent B) Inv., 1993 

^Das Kabinett des Konservators. Cat.: 22x17 cm., colour offset, 28 p. Essays: 

Michael Fehr and Filip Luyckx (German and English). / Karel Ernst 

Osthaus Museum. Hagen, D. 1996 

~ 



«General Idea» 

(A. A. Bronson / Jorge Zontal / Felix Partz & others) 

788 King Street West Toronto, M5V 1N2, Canada 1988 

↑ 241 Yonge Street, Toronto, M5B 1N8, - “ - 1972 

............................................................................................................................................................. 

^FILE (The famous post-fluxus mag. from Canada with a great influence on neo- 

dada, Mail Art and any kind of cultural radicalism. A very known issue 

was that from Dec. '72 with a long «Christmas» artists' address list – a 

kind of network! – or the Automn '75 «Glamour» issue. Also the artists 

of the → Western Front got featuring in the FILE in it's classic 70s 

periode. 35x27 cm. offset. 1972-89, ~ 3xy. #1-29) Art Metropole, 

Toronto 

^# Dec.'72, Febr.'74, Autom'75, Summer'80, #29 (final) 

°S/He. 20.5x12.8 cm., offset, 12 p. {500}. Art Metropole. Toronto, 1976 

°Menage à trois. Bio-biblio-videography. 26.7x20.4 cm., offset, 24 p. {500} Art 

~ 

Literature: 

Metropole. Toronto, 1978 

«In the years 1968-70, General Idea had come together, as a loosly communal 

group of artists, who were collaborating on various projects in Toronto, most 

notably, the Miss General Idea Pageant. This group consited of Jorge Zontal, 

Michael Timms, a.k.a. A. A. Bronson, Ron Gabe a.k.a. Felix Partz, Mimi Page and 

Granada Gazelle. (...) ...at the same time burning out many of the originators and 

transforming mail art into something els. First was File Magazine, with its Life 

magazine format and lists of names, addresses, and imagery requested by various 

artists File was in contact with. The firsat File came out 1971, with a photo of Mr. 

Penaut and the Toronto Skyline from Ward's Island in the background, on the

!Genesis P-Orridge! → P-Orridge 

cover. The second and third issues of File came out in 1972, furthering the expansion 

of the network, including artists in Canada, U. S., Europe, South America, 

and Australia. » 


Art. Contemporary Art Press [→ Loeffler]. San Francisco, 1984. 245 p.) 

GENERAL IDEA premiered their latest TV programme Test Tube at De → Appel 

(Amsterdam) on 8 November... (The whole text of this production was reprinted in: 

Artzien [→ Gibbs], Amsterdam. Vol. 2, N°1, November 1979. n.p.) 

(FILE #28): «The Megazine FILE got a start in the early 70 as house organ for a 

budding coterie of artists excited about making art and sending it to another doing 

the same. Heady, nutso, exuberance was cuptured in those early, classic issues. As 

the editors A. A. Bronson, Jorge Zontal and Felix Partz gravitated more toward the 

„official“ art world so did FILE. But never too seriously. Number 28 is the first of 

two issues to deal with money and art and it takes all sorts of oblique shots 

beginning with Warhol dollar bills as endpapers and including portfolios from 

Barbara Krüger, Antonio Muntadas, Group Material and Richard Prince... FILE, 

invariably stunning in design (this issue by Alan Belcher in addition to General 

Idea), tweaks the nose of high falutin' art and culture. But, as a clever, pesky and 

precisious child, it teases and torments. FILE is and has become a sort of Mad 

Magazine of the hot shit New York art world...» (Lightworks [→ Burch], 




!Gerbaud et Toffe! (Philippe Gerbaud & Toffe Jacquet), 5 rue Volta, Paris, F-75003 France 1983 

Âu Sec! Suprême d'images. (A typical case of French graphzine. A/5, offset, 

64-76 p. 1983-, y. #1-4?) 

^#3 

Gerlovin, Irina (Rimma) & Valery. 285 Quaker Rd. Pomona, NY-10970 USA 1996 

↑ 302 Spring St. New York, NY-10013 - “ - 1982 

↑ Obere Donaustr. 101-3-9. Wien, A-1020 Austria 1979 

............................................................................................................................................................. 

^Russian Samizdat Art 1960-82. Cat.: Letter, phc., 14 p. / → Franklin Furnace, New 

York, February-April 1982. Traveling shows: Rochester, Washington, 

Vancouver, Seattle, Pittsburg, etc. 

^Russian Samizdat Art. (Book. Editor: Charles Doria) Offset, 210 p. The major part 

of the book is written by the Gerlovins and covers samizdat activity 

from then '60s to 1979. Willis Locker & Owens Publ. New York, 1986 

^Collective Farm (Assembling with Mail Art like Russian samizdat matter from the 

emigration. Interesting form: envelopes bound into books and the orig. 

assembling matter laid into these envelopes. Numbered copies, signed 

contributions. Var. size. With works by Komar & Melamid, V. Bakhchanyan, 

Rimma & Valery Gerlovin, C. Pittore, B. Cleveland, R. Kostelanetz, 

A. Abramov, Lev Nussberg, B. Buczak, P. Rypson, G. Hendricks, 

T. Hsieh, E. M. Plunkett, No-Grupo, V. Baroni, J. Blaine, Makarevic, 

J. Furnival, Dupuy, Peter Frank, C. Schneemann, etc.) 1981-1987. 

Altogether 6 issues: 

#1. Kolkhoz. Letter size matter (diff. print technics with manual elaboration) 

in folder, 34 sheets, 150 copies. December, 1981 

^#2. Letter to the USSR. 20 + 2 envelopes of 24x10.5 cm., with very diff. 

Mail Art like material. 100 copies. 1982

^#3. Post-Office Dinner. Original material in 25 envelopes of 20x15 cm. 

100 copies. 1982. 

#4. Wonderkids («famous artworks influented by children's art, are completed 

by children of contemporary artists»). 10 + 1 envelopes of 

30.5x15 cm. 100 copies? (no data) 1983 

#5. 5 Year Plan. 10 + 2 envelopes of 38x25.5 cm. with printed material in 

letter size. 100 copies, publication in 1987 only. 

#6. Stalin Test. Co-editor: V. Bakhchanian. Contributions in 14+2 envelopes 

of 14x11.5 cm. by Russian artists only. 80 copies. 1986 

→ Russian Underground, Moscow. 

~ 

Literature: 

«Rimma & Valery Gerlovin are two Russian artists who now live in Vienna. They 

would very much like to hear from you and find out what you as artists are doing. 

Rimma makes objects, usually boxes in the form of cubes, which open to reveal 

further information inside, but also does play-poems on a wall. Valery Gerlovin 

makes objects, using brbead, mechanical building sets, earthh and toys. They 

recently had an exhibition in Vienna and from March 1980 they willbe in the 

United States...» (In: Umbrella [→ Hoffberg], Vol. 3, #1, 4 p. 1980) 

J. A. Hoffberg: Russian Samizdat Art: 1960-1982. (Concerning the exh. in the → 

Franklin Furnace, New York, also about the Aeronautic & Collective Farm magazines 

by the Gerlovins) In: Umbrella (→ Hoffberg), Vol. 5, #2, 25-26 p. 1982 

Gerz, Jochen 41 rue Buffon Paris, F-75005 France 1977 

↑ 25 rue Vandomme Paris. 14-e - “ - 1968 

............................................................................................................................................................. 

Agentzia (with → Bory, J. F.) (Generous edited French magazine for vis. poetry. 

J. Blaine, J. F. Bory, J. Gerz, P. Garnier & others. 21x18 cm. & other 

very var. sizes, offset, ~60 p. 1968-, m., over 10#) Ed. Agentzia, Paris 

Gette, Paul-Armand. 18, rue Bouchardou. BOT, 27-61 Paris, 10-e. France 1966 

Possible address also in Malmö (→ Malmö artists) 1966 

............................................................................................................................................................. 

Eter / New Eter (Very early assembling like publication with concrete poetry and 

visual matter {100 copies}. Colaborators: R. Altmann, Fontanel, J. P. 

Raynoud, Rotella, R. Sabatier, J. Spacogna, O. Svanlund and others – 

at the New Eter: Boltanski, Raoul Hausmann, G. J. Lac, P. Skelby, J. 

Valoch, Ben Vautier, Xenakis and others. Edited in Paris and Malmö, 

the exact assignation of the early publications is not decided in the 

literature. 27x22 cm., at first 20, later 6-10 loose leaves in folders.) 

Eter: Malmö? 1966-1967 #1-5. May be the first issues were edited 

in Paris. 

Eter [Contested]: Paris, 1968, #1-3. 

New Eter: Malmö, 1969-1973, #1-6. 

Êter #1, 2 (in copies) 

~ 

Literature: 

 

^Paul-Armand Gette: Printed Matters 1945-1993. Versuch eines Catalogue 

Raisonné. Neckargemünd, 1993. (Small brochure with 16 pages, offset. Beside 

the listing of the magazine Eter 13 other edition works in this catalogue.) 

Giacomucci, Ubaldo (Galleria Tokonoma) Via Liguria 6, Pescara, I-65100 Italy 1981 

^Bambu (Magazine & assembling {100} with changed editors. Unbound A/5 matter 

in portfolio/envelope, ca. 30 sheets per issue. Mail Art only. 1981-92?) 

N° 0: by Ubaldo Giacomucci, Italy...................... 21 parts. 


N° 2: by Robin →Crozier, England...................... 17 parts. 

N° 3: by Ubaldo Giacomucci, Italy...................... 33 parts.

N° 4: by Angelo →Vitale, Italy............................ 43 parts. 

N° 5: by Jörg →Sonntag, Germany...................... 36 parts. 

N° 6: by Wally →Darnell, from Saudi Arabia..... 42 parts. 


N° 8: by Ubaldo Giacomucci, Italy...................... . ? parts. 

N° 9: by César →Espinoza, Mexico..................... 22 parts. 

N° 10: Mabugaboo by Angelo →Vitale, Italy...... ..? parts. 

N° 11: ? 

N° 12: by Margaret Ochocki, England....................? parts. 

N° 13: by Guy →Bleus, Belgium........................105 parts. 

N° 14: by M. B. Corbett, USA.................................? parts. 

^#2, 12, 13 

^Polaroid art-core. N°1. (with Jean-Paul → Morelle) Cat.: A/5, phc., 14 leaves, 

Exh.: at Nicoletta Franco, Proposte d'Arte, Verona. 1986 

Ôriginal Porno Photos ( Request letter, 1986) 

~ 

Literatur: 

«...Never met the Italian artist Ubaldo Giacomucci, but always liked his 

mailings. Yet I don't know what Ubaldo really meant when he used the malay word 

„Bambu“ for the first edition of this assembling magazine in 1981. Anyway, Bambu 

is a totally new concept in the field of small press & assembling magazines. It is 

based on the original idea of combining a Commonpress (every participant sends as 

much – more or less identical – pages to the magazine edited by another artist) and 

an assembling (every participant sends as much – more or less identical – pages to 

the editor as necessary for his/her edition (can be 75 100 150 or more). The number 

of pages of an (Bambu) edition depends on the number of participants...» 

(Guy Bleus: Bambu 13. 1982-1992 Anniversary Edition. Collector's Bambu 

History and participants list. A/5 assembling matter in box, ~105 leaves + A/5 

booklet, 8 p. + cover, 1992) 

Gibbs, Michael (KonTexts Publ.), Overtoom 444 Amsterdam, NL-1054 Netherlands 1988 

↑ Eerste van der Helstr. 55. Amsterdam - “ - 1979 

↑ 31 Pinhoe Road Exeter (Devon) United Kingd. 1969 

............................................................................................................................................................. 

^KonTexts (Mag. for experimental literature & vis. poetry. Div. sizes of 20x16, 

28x11 cm., and in tabloid. Mimeogr. /offset, 1969-77, #1-10) 

Exeter-Amsterdam. The issues: 

#1, ? 

#2, 22.5x20 cm., mimeogr. Concrete poetry. C. MacCarthy, B. 

Cobbing, D. S. Houédard, P. de VreeN. Zurbrugg & others. 

{250}. Leamington Spa UK, 1972 

#3, ? 

#4, 20.5x16 cm., mimeogr. Poems and texts. D. Graham, B. 

McCallion, K. Friedman, J. Giorno, etc. R. Kostelanetz: 

The New Poetries in America (Essay).Beau Geste Press 

(→ Mayor). Devon UK, 1972 

#5, 15x20.5 cm, mimeogr. East European poets: J. Valoch, J. H. 

Kocman, G. Tóth, K. Adamus, + P. Finch, U. Carrión, R. Lax 

& others {250}. Beau Geste Press (→ Mayor). Devon UK, 1973 

#6-7, A/4, offset. Vis. & exp. poetry, language art: L. Weiner, 

BP. Nichol, W. Dias-Pino & others. U. Carrión: The new art 

making books. {400}. Amsterdam, 1975 

#8, Tabloid, offoset. Poetry in Action: H. Chopin, J. MacLow, 

A. Lora-Totino, G. Monach, M. Dermisache c others. {500} 


#9-10, ~A/4, mimeogr., offset, rubber stamps, + collages. 

«Langwe Jart»: D. Higgins, BP. Nichol, J. L. Castillejo, E. Tót, 

& others {500}. Amsterdam, 1977

^#5, 6-7, 8, 9-10 

Ginger Snaps: A collection of cut-ups, machine prose, words & image trips. 

(with Hammond Guthrie) Mimeogr. anth. {300}, Kontext Publ. 1972 

Baron Samedi (with Keen Graham) (Magazine. Arts, literary ephemeras. 26.5x21 

cm., offset. 1973, #1-2) Exeter 

°Connotations. 21x15.3 cm., offset, 32 p. Second Aeon Publs. Cardiff UK, 1973 

°Extinction. (Booklet, 15x10.5. cm., phc., 28 p.,) {25} In-Out Production → Carrión, 


°Accidience. (Booklet {125}, 100 p. Daylight Press, Amsterdam, 1975) 

 

°Scriptimages: investigations int writing and language. (with Servie Janssen, Rod 

→ Summers & Jenne van Eeghen) (Brochure, 48 p.) Maastricht, 1975 

°Pages. (17.5x11.5 cm., mix. techn., ~200 p. {100}. Kontexts Publ. Amsterdam, 1976 

°Limits. A/4, mimeogr., 40 p. {200}. Kontexts Publs. Amsterdam, 1977 

 

°Kontextsound. Publ. to the «Text in Sound» Festival, Stedelijk Mus. A'dam, 1977 

Deciphering America: a travelling collection. (Anth., 120 p.), Kontexts Publ. 1978 

^Selected Pages. (Offset brochure, 48 p. {300}), Kontexts Publs. 1978 

 

^Wounded Book (Bookwork {100}, 28 p., collage + rubber stamps, Kontexts Publ.) 

1979 

Ârtzien (with Harry →Ruhé / Gallery «A») (Mag. for intermedia and alternative art 

+ vis. poetry. Analytical texts, interviews, exhibition reviews, etc. 

21.4x17 cm., mimeogr., later offset. ~36 p. 1979-82, sm. #1-25) 

^# 1-25 

Artzien Audio Cassette. (With the works by Hezy Leski, Dirk Larsen, Michael Gibbs, 

Harrie de Kroon, Inez Vandeghinste, Ulises Carrión, Robert Joseph & 

Pier van Dijk, Remko Scha) To the sound-issue of Artzien, Vol. 2, N°9. 

Amsterdam, September 1980 

°The Absent Words (vis. poetry, concepts, drawings), Cat.: {350} Introduction by 

Jörg Zutter, + Biography / Stedelijk Museum, Schiedam, NL, 1980 

°Some Volumes from the Library of Babel. (A/5, offset, 24 p.) Ex Libris, 

 


~ 

Source: ^Kontexts Publications 1969-79. (Edition checklist and featuring the magazine 

issues with an introduction by M. Gibbs: 10 years of Kontexts) Mimeogr. 12 p. 

Giboda, Igor Gallery 55. Palkovica 8. Kosice, CS-4001 Czechoslovakia 1983 

International Rubber Stamp Book (Bound assembling {30} for rubber stamps only, ® 

A/4, 22 p. 1983, #1) This uncommonly publication has been edited 

and distributed in a time, in which one all kind of network like activity 

was forbidden in Czechoslovakia. The publication of a second issue 

couldn't success more and the editor left Czechoslovakia before long. 

The same thing happened to Igor → Durisin, a friend of Giboda, who 

made an attempt with a relative publication entitled International 

Stamp Book. There is interesting, who sent contributions to this 

International Rubber Stamp Book from all over the world: 

J. M. Bennett, A. G. Cavellini, P. v. Dijk, Dogfish, L. F. Duch, 

I. Durisin, Nancy Frank, J. Furnival, B. Gaglione, Gibodada, M. 

Groschopp, W. Kalkman, Luis, R. Maggi, C. Pittore, Post Ov. Art, 

M. Scott, G. Strada, J. Tromitek, E-A. Vigo (The author of this book 

found a copy at Lon → Spiegelman in Los Angeles, too.) 

~ 

Literature: 



Giersch, Martina & Steffen. Tharandter Str. 27 Dresden, GDR-8028 1982 

Mobil ohne Auto. Doc. / Maria-church, Pirna / Church Weinberg. Dresden, 1982

Gilbert & George Art for all, 12 Fournier Street, London E1 United Kingd. 1971 

Network / Mail Art like productions: 

Souvenir Package. (Cellophane enclosed card with bits of dried grass), 1969 

Â Day in the Life of Gilbert & George. 20.2x18.8 cm. offset brochure, 16 p., in a 

rubber stamped and addressed envelope {1000}, London. 1971 

^Having a lovely time. Wish you were here. Lots of love (Postcard, handmade signed 

and addressed) London. 1972 

«Greeting Cards» Series. (Cards with certificat texts), 1973 

 

~ 

Literature: Mail Art „Then“: Did you know that New York School painter Ad Reinhardt and 

British conceptual artists Gilbert & George did mail art? In: Flue 

(→ Franklin Furnace), Vol. 4 #3-4 (Winter 1984) «Mail Art Then and 

Now» issue, 3 p. 

Gillet, Gamla Fyristorg 6. Uppsala Sweden 1994 

^Mailed Art i Uppsala, Poster of 100x70 cm., offset. June-September 1994 

Gilmor, Jane Ellen ? Cedar Rapids USA 1980 

Ruins (Commonpress #25) Half-legal, 68 p., 63 participants. January 1980 

 

Gini, Gino Laboratorio 66. A. Naviglio Grande 66 Milano, I-20144 Italy 1985 

Via Montecatini 15. Milano, I-20144 - “ - 1981 

............................................................................................................................................................. 

^L'immagine mitica. / Arte Postale!. Doc. poster + part. list, A/4, offset. 90 artists 

with 200 works. / Centro lavoro arte, Milano, 1979 

^The Mythical Image.Doc. One sheet of 15x13 cm, offset. /Gall. Apollinaire, 

Via Brera 4, Milano. June 1981 

^The Mythical Image. Mail Art (with F. Legrottaglie) Cat.: 24x17 cm., offset, 24 p. 

/ Palazzo Comm., S. Vito dei Normanni. November 1982 

Mail Art History. (With R. → Maggi) ^ Inv.,1984 / Doc. Exhibition at the Centro 

Lavare Arte in Milano, May 1984) 

^The Mythical Image. Projects, proposals, situations, substitutions, interventions, 

hypotheses, ironies, utopias. Photocopied brochure in self edition, n.d. 

A/4 size, 11 leaves. 200 copies. (~1986) 

^Notes & texts on Mail Art, docs. of exhibitions 1978-1984. (A/4 matter with articles, 

notes, lists, and catalogue pages in xeroxed copies, a sending to the 

Soft Geometry Archive, Köln, November 1993) 

Ârtists' books, fairs, exhibitions & the archive «laboratorio 66», mostly in xeroxed 

copies, a sending to the Soft Geometry Archive, November 1993 

^Pagine e dintorni, libri d'artista (with Emma Zanella Manara) Cat.: 21.5x21.5 cm., 

offset, 70 p. / Sede di Gallarate I. September-October 1991 

Îl viaggio dietro le forme della forma 1976-1992 (Gino Gini's artists' books, an 

anthology) Cat.: 20x14 cm., offset (colour), 56 p. Curated by Gio Ferri. 

Ed. Myself, Via Buschi 27, Milano. 1993 

Ârchivio Libri d'Artista / Selected exh... Doc. 20.5x10 cm., 6 sheets / 6 exhs. in the 

Laboratorio 66, Milano. October-November 1994 

^Gino Gini – Mostra Antologia (Pittura, scrittura e visualità, libri d' artista 1976- 

2000, Mail Art 1978-1983.) Cat.: 21x21 cm. col. offset, 72 p. 

Exh.: Civica Galleria d'Arte Moderna Comune di Gallarate, 

Mar 26 - Apr 23, 2000 

~ 

Literature: 

 

Âmadeo Anelli: Gino Gini: Libri. In: L'immaginazione, N° 140, I-73100 Lecce, 

July-August, 1997 

^Gino Gini: In forma di Libro / Le technice operative intorno al libro d'artista. 

In: In Forma di Libro. Rassegna internnazionale di libri d'artista. Cat. (With a list 

of artists' books exhibitions curated by Gino Gini 1987-1998) Ed. Archivio Libri

d'Artista „Laboratorio 66“ Milano & Ass. Culturale Valdarmo. Commune di Angera 

/ Arsago Seprio / Cavaria con Premezzo / Somma Lombardo. April-May, 1998 

^Gio Ferri: Gino Gini. In: Esercizi di Pittura. „Voli Barocchi“ e „Il cielo sopra lo 

studio“. Cat. A/3 folded to 4, col. offset. Galleria Avida Dollars Centro Culturale. 

Via Orti 14, I-20122 Milano. June 1998. 

Glaç, Mirall de Poesía XXX. Apart. de Correus 426, Terrassa (Barcelona) E-08220, Spain 1992 

^Poesía Visual. (Coordination: Calleja & Mirall de Glaç) Cat.: 21.5x11 cm, offset, 

28 p. Poesía XXX, Terrassa, Barcelona. September 1992 

«Glassboro State College» (Bob Cardano, Attila Matusek, Des McLean, Ilene Poff & others) 

Art Dept. Glassboro State College, Glassboro, NJ-08028, USA 1984 

^Half-life Network (Electrocopy assembling {150}. Letter size, ~30-40 leaves in 

bag. 1984-, y. ~10#) 

^#1, 2, 3, 4, 5, 6, 9 

Âmerican Blasphemy. Doc. One legal size sheet, phc. / Des McLean Art Dept. 

+ Glassboro State College. January 1987 

Glaw, Johannes-Werner Güthstr. 68. Güthersloh, D-4830 Germany 1989 

^Bookmarks Mail Art I-II-III. Cats.: 2x A/4 sheets / 2x A/5 sheets / A/5, phc., 

20 p. 1989 

Glusber, Jorge, 

Centro de Arte y Communication (C.A.Y.C.) 

Elpidio Gonzales 4070. Buenos Aires, Argentina 1971 

^C. A. Y. A. C. (Infomag. Letter size leaves, offset, one or more sheets for a sending. 

Sometimes also whole catalogues in the form of accumulation of singel 

leaves. 1971-77? ~weekly, numbered pages, over 800 issues) 

°Art and Computers in Latinamerica. (Text: Spanish / English, 22x16 cm., offset, 

34 p.) CAYC. Buenos Aires, 1973 

°Video Alternativo. Cat.: of the Fourth International Open Encounter. Viedos by 

Arakawa, H. Fischer, W. Vostell & others. 22x16.5 cm., offset, 40 p., 

CAYC, Buenos Aires, 1976 

~ 

Literature: 

Michael Crane: The Spread of Correspondence Art / 1968-73: ...South America... 

In: M. Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art Press 

(→ Loeffler). San Francisco, 1984. 150 p. 



Gluschenko, Alexander 18-1-3. 1-i Peschany Per., Moscow, 125252 Russia 1996 

Gogolyák, Sándor Save Pepovica 4 Odzaci, YU-25250 Yugoslavia 1995 

Mail Art (Book publication), 1984 

 

Ârtistic Embargo Stamps. Doc.: A/3 sheet, offset + postcards Exh.: Centre 

Culture, Odzaci. May 1995 

Goins, Brad P. O. Box 2432, Station A. Champaign, IL-61820 USA 1985 

^Raunch-O-Rama (Mag. for music anf network. A/5, phc., ~12 p. 1985?- squ. 

#1-18?) «Raunchy music... The beautiful is always strange (Baudelaire)» 

^#9, 12, 15, 17 

Strixbok. A letter-size 9 p. unbound xerox publ. with «Strindberg» graphics. 1987 

~ 

Literature: (Raunch-O-Rama, #14, #15): It's about time I gave this one a real review. Rauncho-rama 

keeps an eye and ear to the ground od new music (tape and vinyl), and also 

on performance, small press, and correspondence ectivities. The revioews in ti are

Gojowczyk, Hubertus → Goyowczyk, Hubertus 

casual but that does not mean they are without insight; I admired the to-the-pointness 

of it all. The prpeofessed stance here are anti-academic and anti-corporate art, 

because Goins feels there are too many strings attached in such relationships for real 

expression. At the same time, it does not „ignore the influence of classical and tradi 

tional popular forms of music. Interview, reviews, graphics, punchiness, informative.» 

( L. → Dunn: Mail Review. In: PhotoStatic. N° 25-26, Summer 1987, 875 p.) 

(Strixbok): «“A graphic meditation on the life and failure of August Strindberg and 

other playboy philosophers“ is basically a series of xerages which center around 

images of Strindberg and others in his life. The images are really nicely composed 

and the way the faces glare out of black is arresting. Some of the references & bits 

of text are lost perhaps if you don't know Strindberg (or at least they were for me) 

but the pages are attractive. (Un)bound looseleaf with a twine tie.» ( Lloyd → Dunn: 

Mail Review. In: PhotoStatic. N° 25-26, Summer 1987, 875 p.) 

Golkowska, Wanda Laka Mazurska 13 / 5. Wroczlaw P-51-164 Poland 1996 

Earth Collection (1979-83). Exh. / doc. 

 

Kalendarium for Kurt Schwitters (with M. Koscielak) . 1987 

 

^Hom. à H. Stazewski / Doc.: Poster, letter, photos. / Gal. Rekwizytornia / Teatr 

Wspólczesny, Wroclaw, Poland. 1989 

 

^Hom. à H. Stazewski. Cat.: 21x10.5 cm., offset, 4 p. / Galerie L'Idee, Zoetermeer, 

Netherlands. July 11-29, 1990 

 

^Hom. à H. Stazewski. Doc. Digest, offset, 4 p. /Cont. Art Workshop, 542 West 

Grant Place, Chicago, IL 60614. September 1995 

 

Gómez, Antonio Apardo 186, Merida E-06800 Spain 1996 

^Paint it Green. Inv., n.d. 

 

~ 

Literature: ^Dmitry → Bulatov: A Point of View. Visual Poetry: The 90s. An Anthology. 

Russian. Ed. Simplicii. Kaliningrad, 1998. 49 

Gomez, Edward P. O. Box 3208 New York. NY-10185 USA 1985 

Think Art Doc. 1985 

 

Gómez, Joaquim Arde Libertad 1. Merida, E-06800 Spain 1996 

Gonzales, Ricardo → Ibiza, Mail Artists 

!Gossip, Mr.! 3 Chatsworth View, Curbar. Nr. Sheffield, S3O 1XD United Kingd. 1990 

Êgomania. Cat.: A/4, phc., 36 p. 1990 

 

Gottschalk, Jürgen Studio Riesa Efau. Adlergasse 16 Dresden, D-01067 1997 

Hochschulstrasse 34, Dresden, D-01067 1997 

↑ c/o Siebdruckwerkstatt / Silk Screen Studio. Dresden, GDR 1981 

............................................................................................................................................................. 

Visuelle Erotik (planed for the Theaterclub, exhixbited in Gottschalk's studio 

only) 1981 

^Waiting / Warten. Inv., 1982 

 

Gottschalk was sentenced to 2½ years in prison because of his Mail Art activity 

in the years 1984-1985 

Gottschalk was expelled from the GDR into West-Germany 1985. He came back 

anew to Dresden in the 1990s and opened his Silkscreen Studio 

„Riesa Efau“ 1997. 

^Phönix-project at the Siebdruck-Werkstatt / Silkscreen Studio. Inv., 1997 

^The unbearable Arrogance of Money / Die unerträgliche Überheblichkeit des

Geldes. Cat.: One sheet of A/3 horz., r/v, folded to two, phc. 239 

parts. Text by Tony Lowes: Der universelle Hunger Aufruf. 1998 

^Visuelle Erotik. (The old project from 1981 in an exhibition?) Inv., 1998 

 

Goubert, Filip Pamelstraat 49 / 5. Liedekerke, B-1770 Belgium 1991 

^Doewa Art (Assembling in cover, A/5, ~20 leaves. 1991-, 2xy.) 

 

^#1, 2 

^Brussels sprouts-free. Inv., ~1992 

 

Goulart, Claudio Zwanenburgwal 90 Sous. Amsterdam JH, NL-1011 Netherlands 1986 

^Between you and me. ~A/5 school exercise book with rubber stamps {40}, 18 p., ® 

Amsterdam. 1981 

°A stamp is. 14x16.5 cm., rubber stamps, 36 p. {12}. Amsterdam, 1981 ® 

~ 

Literature: 

Hanny Keulers: „The Opening“, an event by Claudio Goulart at Bedaux. 

(In: Artzien [→Gibbs], Amsterdam. Vol. 3, N°1, January 1981. 24 p.) 

Gould, Dennis c/o Freedom Bookshop, In Angel Allee. 84b Whitechapel High St. London, Ei 7QX, UK. 1982 

^Riffraffpoets (Poetical anarchist mag. A/5, offset & litho. 1982-, #1-4) 

 

^# 3 

~ 

Literature: Géza Perneczky: With Love and Sabotage (About Neoism and Radicalism in the 

Mail Art) In: The Magazine Network. The trends of alternative art in the light of 

their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 152-175 p. 

Goyowczyk, Hubertus (also Gojowczyk) Windmühlenstr 41. Krefeld-Bochum, D-4150 Germany 1988 

^Worte ohne Bücher und Bücher ohne Worte. Cat.: 26x21 cm., offset, 72 p. 

 

/ Herzog August Library, Wolfenbüttel. May-June 1980 

Greenberger, David P. O Box 1230 Saratoga Springs, NY-12866, USA 1979 

^The Duplex Planet (Mag. Digest, offset, ~12 p. 1979- m., over #120) 

 

^# 83, 91, 92 

~ 

Literature: «(The Duplex Planet) issues document the views and meanderings of the residents 

of a nursing home in Jamaica Plan, Massachusetts. The editor selects a generale 

theme to discuss, e.g. „aversion“ in #13, and the dialog rolls on from there. It's 

homey and heartwarming, but also, not a little strange....» 

(Lightworks [→ Burch], Art Alternatives in Print, N° 13, Fall 1980, 51 p.) 

^Catherine Susan: Overheard at America's Lunch Counters, #7. (Quotes from The 

Duplex Planet illustrated by drawings.) 14x11 cm., offset, 64 p. Cherry Stone Press, 

Seattle (4715 16th NE, WA-98105). 1987 



Gribling, Frank c/o Kunsthistorisch Instituut te Amsterdam Netherland 1973 

^Mail Art. Cat. A/4, mimeogr. 16 p. Texts: Dutch. One of the first Mail Art 

exhibition with this name at all. Materials from C. Blok, A. Peetersen, 

H. v. Eelen, E. Wolf, Art & Project te Amsterdam, Galerie J. Weingarten. 

The exhibited artists were students of the university as well as 

known conceptual and Fluxus artists: Jan Dibbets, Gilbert & George, 

On Kawara, the editors of the magazine K.W.Y. (Lourdes Castro, Christo, 

Jan Voss, etc.), Nam Jun Paik, Ben Vautier, etc. Amsterdam. Oct., 1973 

Groh, Klaus P. O. Box 1206 Edewecht, D-26182 Germany 1995 

↑ (I.A.C.) Roter Steinweg 14. Edewecht-Friedrichsfehn, D-2905 1979

↑ Roter Streinweg 2a Edewecht-Friedrichsfehn, D-2905 1977 

↑ Bismarkstr 22. (Int. Artists Coop.) Oldenburg, D-2900 1972 

............................................................................................................................................................. 

Âktuelle Kunst in Osteuropa. (Book, an image and documentation anthology. Its 

material was collected by the Czech artists Petr → Stembera, Praha. 

This publ. indicated the first motivation to get to know each other and 

take contact with each other for the young Eastern European concept 

and underground artists. Its consequence was the building up of an 

artist network in the first half the seventies. The book was withdrawn 

by the editionhousbecause of political reason shortly after the publication. 

23x24 cm., offset, n. p., ~240 p.) DuMont Aktuell, Köln, 1972 

Introduction by Groh (1971). Further essays and texts: 

Josef Kroutvor: Möglichkeit, Experiment, Ideen und Kreationen 

(Prag, 1971) 

Stano Filko: plan project art (Bratislava, 1968-69) 

Gábor Attalai: L–P–C– art. (Land-, Project-, Conceptual Art) 

(Budapest, 1971) 

Artists: 

G. Attalai (H), I. Bak (H), P. Bartos (CSSR), A. Berezianski (PL), 

H. Bernea (R), S. Bogdanovic (YU), E. Brikciuus (CSSR), M. Campulco 

(?), D. Chatrny (CSSR), J Chwalczyk (PL), V. Cigler (CSSR), 

H. Demartini (CSSR), B-S. Dimitrijevic (YU), Z. Dlubak (PL), S. Dragan 

(YU), S. Drózdz (PL), A Dzieduszycki (PL), Grupa ∃ (C. Drca, V. Kopici, 

A. Rakovic, YU), M. Erdély (H), S. Filko (CSSR), 

T. Gáyor (H), W. Golkowska (PL), Z. Gostomski (PL), M. Grygar (CSSR), 

P. Ilie (R), R-V. Jacobi (R), Gy. Jovanovics (H), Z. Jurkiewicz (PL), 

T. Kawiak (PL), J. Kocijancic (YU), J. Kocman (CSSR), Grupa KôD 

(M. Mandic, S. Tisma, D. Erb, S. Bogdanovic, YU), S. Kolibal (CSSR), 

J. Koller (CSSR), Gy. Konkoly (H), B. Kozlowska (PL), J. Kozlowski (PL), 

J. Kroutvor (CSSR), G. Kulijaš (YU), 

A. Lachowicz (PL), N. Lach-Llachowicz (PL), L. Lakner (H), J. Major (H), 

K. Malich (CSSR), M. Matanovic (YU), D. Maurer (H), L. Méhes (H), 

M. Michalowoska (PL), A. Mlynarcik (CSSR), M. Moucha (CSSR), P. Neagu 

(R), R. Nemec (CSSR), D. Nez (YU), L. Novák (CSSR), L. Nusberg (UDSSR), 

Grupa OHO (M. Matanovic, M. Pogacnik, D. Nez, A. Salamun, YU), Gy. 

Pauer (H), A. Pálfalusi (H), G. Perneczky (H), M. Pogacnik (YU), L. Popiel 

/J. Fedorowiczz (PL), B. Poznanovic (YU), J. Rosolowicz (PL), 

Z. Ságlová (CSSR), A. Salamun (YU), K. Sokolowska (PL), R. Sikora (CSSR), 

J. Steklik (CSSR), P. Stembera (CSSR), T. Szentjóby (H), M. Todorovic (YU), 

E. Tót (H), G. Trbuljak (YU), J. Valocj (CSSR), T. Walter (PL), H. Waniek 

(PL), A. Wisniewski (PL), R. Wittman (CSSR) 

^Reale Concepte. (Mimeogr. 12 p. + objects {50}) New Reform, Aalst B (→ Hondt), 

1972? 

Launching the International Artists’ Cooperation, February 1972 

^Help! Jorge → Glusberg is wanted by the Argentinian police. Inv., 1972 

Î. A. C. (International Artists' Cooperation) Informations. (Maybe the first xeroxed 

infomag of the international Network. Mail Art news only {300}. 

A/5, 4 p. 1972-77, ~bimonthly, #1-28) Oldenburg / Friedrichfehn 

^#4, 5, 8, 9, 20, 23 

^Ready Made Poetry at the New Reform Gallery, Aalst, B. Inv., 1973

I. A. C. (Very small «monographical» publications with post-fluxus, art language, 

Mail Art conept, etc. artists: «All alternative artists/authors of the 70s.» 

A/7, phc., 1973-75. #1-52) Oldenburg 

°Sentences. 21.3x15 cm., mimeographed texts + rubber stamps, 44 p. Edewecht, 1974 ® 

°Art-Impressions. 18x13.5 cm., offset, 24 p. Beau Geste Press. Cranleigh UK, 1975 

^My Best Friend. Cat.: A/5, phc., 56 p. / IAC-Focke-Edition N° 7. 1977 

 

°Fluxus Briefmarken (Selected repros by xerox, 28 p.) Edewecht, 1978 

 

^Can the Artist Help Survive? (Commonpress #13) A/5, phc., 16 p. with a yellow 

cover, 31 participants. Edewecht, March 1979 

Â Crazy Dada Idea. Cat.: A/5, phc., 52 p. 1980 

 

^Landscapes and Stampcapes – exhibition at the Gallery Tokonoma, Pescara I, 

(→ Giacomucci), Inv., 1983 

^Papers – exhibition at the Galeria O. N., Poznan PL. Inv., 1983 

 

Ârtists' Books / Künstlerbücher - Buchobjekte (with Havekost, Dierks, & Schröder) 

Cat.: 19x19x26 cm., offset, 1420 p., ∆-format! / Bibliographie und 

Information System der Universität Oldenburg.. 1986 

~ 

Literature: 

«The forms and appearance of classical dada are dead; and the world has also 

changed. Much of that era is dead too. 

Dada is no „-ism“; therefore, it is wrong to talk about a dada comeback. It is 

correct, however, to see that the great dada thought contains more than has been 

transmitted, or preserved in the form of objectivized relics, that is, traces of thoughts 

and actions which were extracted from their former context and therefore have lost 

their original value. Dada can and should only be seen in its global context. The era 

at the beginning of the century was ready for the breakthrough. For the first time 

human possibilities were analyzed. Dada rendered help and showed how human 

potentials and qualities sould be utilized. 

Dada lives everywhere. Dada is a phylosophy of life which is not dependent 

upon a certain epoch. Whoever lives in dada lives as a human individual, always 

aware of the fact and the responsibility he has as an individual toward others...» 

(Klaus Groh: Thoughts on Dada and Mail Art and the New Dada. In: M. → 

Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art Press [→ Loeffler]. 

San Francisco, 1984. 70-75 p.) 

^Klaus Groh: Mail Art – ein soziales System. In: Mitteilungen des Instituts für 

moderne Kunst, Nürnberg. Nr. 34/35, Januar 1985. 



«...No-ism in my convinced opinion means, Mail Art never will become a 

special Art-Style. Mal Art just is a medium to transport art or was a super-welcome 

medium to transport art in depressed countries from that time when the iron curtain 

still was closed! Mail Art you can compare with any other media like camera or 

brush. All old and new fixed Art Styles or ...Ism can be transported by the postal 

person to person communication. So Mail Art too! And of course many single 

persons & groups are involved in that easy system. With Mail Art really everybody 

can be an artist, but – you can see – with big big differences in Quality!, because 

there are principies of art in any way (...) 

Could you explain the thought behind „Try to Try“. It seems that „to try“ is 

important to you as I remember another thought of you which was „Try = Life“ 

To try is the permanent decision in all action of life. The human decision 

should not only be an animal self-reaction, it should be accompanied by thinking 

about all consequences and about all alternatives. So mostly there is to each human 

act an alternative act with similar matching situation...» 

(Ruud → Janssen: The Mail-Interview with Klaus Groh. TAM Publs. 

Tilburg, 1994)

^Judith A. Hoffberg: Conversation with Klaus Groh. In: Umbrella, Vol. 20, No 3-4, 

1997. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, the Anthology. Santa 

Monica, 1999. 55-57 p. 

Groschopp, Michael Wernigeröderstr. 44 Magdeburg, GDR-3015 1986 

Lateinamerikanische Graphik und Postkunst Exh.: Insel-Galerie. Magdeburg, 1982 

Groot, Jenny de Rudolfstraat 60, Hengelo WK, NL-7553 1996 

↑ Elisabethstraat 69, Hengelo, JD NL-7555 1989 

............................................................................................................................................................. 

Transport & Transit Junctions. Inv., 1989 

 

^Femail Art – portrait of yourself/mother/grandmother/daughter/sister... as Queen of 

hearts! Inv. 1996 

Guderna, Ladislaw / Varney, Ed. 2268 W. 45th Ave. Vancouver B.C. V6M 2J3 Canada 1979 

Scarabeus (Mag. Graphic works and photos, mostly by the editors {200}. 18x15 cm., 

offset. 1979-, #1-3) Gallery Press, Toronto - Vancouver. 

Artistamps: Diverse stamp sheets by b/w offset (Mail Art Guderna, Global Postale, 

etc.) Vancouver, 1980-1984 

Guerrero, Mauricio (Artefax) Paileros N° 48. Mexico D. F., MEX-15300 Mexico 1993 

^The Tree of Life / El Arbol de la Vida. (Artefax III.) Doc. 8 p. on the backside of 

a poster of 84x60 cm., offset, in portfolio. November 1993. 

^The Tree of Life. A second exhibition (Artefax V.) in: Museo de Arte Carrillo Gil / 

INBA. Poster of 54x42 cm., offset. Mexico. October 1995 

Guerini, Giampaolo Stampa Allternativa. Via San Giovanni 2, Bergamo, I-24100 Italy 1979 

^Théatre de Silence (A suppl. to the Stampa Alternativa by Guerini. Vis. poetry + 

Mail Art. 24x17 and 17x12 cm, offset, also phc. 1979?-, qu. about 10#) 

^#2, 12 

Guest, Tim 

→ Art Metropol 

Guglielmi, Anna Villa Colleoni 7. Verona, I-37031 Italy 1985 

Lotta Poetica (Magazine for vis. and exp. literature. Anna Guglielmi took over the 

editorial work of the «Nuova series» of Lotta Poetica from → Sarenco 

and de → Vree 1982. Also new outfit: texts Italian and English, 

27x21 cm., offset, ~40 p. 1982-, sm.) 

Further→ Sarenco 

~ 

Literature: 

«Lotta Poetica productes. This motherlode comes on like a freight train, 

carrying forward art experiments within and about the Fluxus and quasi-Fluxus 

modes. European with a preponderance of documentation from Italy and France 

with texts in English and Italian. Number 18 pulls off an exquisite interview with 

Ray → Johnson by Henry Martin. Number 21 documents art by Brecht, Chairi and 

→ Chopin among others. The issues present the work upfront, unburdened with 

analysis. Oftentimes the artists' work is shown de facto or via interviews and 

writings. Drawback: Too often the art of the editorial board is heavily featured. Not 

to say that the work of people like → Sarenco, Arias-Mission, → Miccini, → Bory, 

and → Blaine is without charm and fascination. Sound-related art and visual poetry 

get special and on-going treatment. A set of LPs under the title „Radiotaxi“ is 

available.» 


Guglielmi, Federico P. O. Box 744. Bologna Centrale. Bologna, I-40100 Italy 1996 

Grafton 9. / Via Paradiso 3. Bologna, I-40122 - “ - 1996

............................................................................................................................................................. 

^Luther Blissett / Rivista di Guerra Psichica... (Mag. 25x17 cm., offset, 36-48 p. 

1995 - 1996, #0, 1-2, 3.) Distributed at Grafton 9, Bologna 

^#0, 1-2, 3, 

The last firewirx display / Luther Blissett project. Inv. 1996 

 

Gular, Claudio / Pons, Flavio / Vera C. Barcellos & others., rua Garibaldi 782, Porto Alegre (R.S.), Brasil 1977 

^Nervo Optico. Publicação aberta a divulgção de novas poeticas visuais. (One sheet 

mag. with conceptual photos and polit art. 33x23 and 33x46 cm. leaves, 

offset. 1977-78, bm., #1-20?) 

^# 10 

Gunderloy, Mike 6 Arizona Ave. Rensselaer, NY-12144 USA 1982 

^Factsheet Five (Network info-mag. about all kind of alternative publs. After a 

modest begin – some xeroxed pages as inforag – a very successful 

letter size magazine, offset, ~80 p. 1982-87 quarterly, 1987-91 bimonthly, 

and altogether #1-44 in this first sequence. Since 1991 a new 

series with Luce Hudson and Seth Friedman as editors.) 

^# 25, 26, 27, 33-34 

~ 

Literature: 

«...this magazine of mostly mag. reviews is encyclopedic in its coverage of the 

incredibly diverse range of material out there. Really essential. My only criticism 

(and something Mike Gunderloy, the editor readily acknowledges) is that the 

art/visual/verbal/collage magazines dont really get a very substantive or empathetic 

coverage... I have just received the latest issue #26, and this situation has been 

ammended a bit with the addition of a 2pg column of review by Bob Grumman on 

experimental books, although his emphasis is more on the textual than the visual 

mix. C'est la vie!» (Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988) 



«Gutenberg Museum» Mainz Germany 1989 

Âmericans in Print. Zeitgenössische Buchkunst in der USA. (Org.: Eva-Maria Hane- 

butt-Benz & Beate Szerelmy) Cat.: Letter, offset, 44 p. May-June '89 

Gutiérrez, Pedro Juan APDO Postal 6239 Habana, 10600 Cuba 1996 

^Paraguay. Exp. Latinoamericana de Arte Correo. Cat.: 22.7x17 cm., offset, 8 p. 

(57 participants) Text: Gutiérrez / III. Bienal de la Habana. 1989 

~ 



Guttierrez, Roberto 1762, rue du Vieux Pont de Sèvres Boulogne, F-92100 France 1978 

^Plages (Irregular published periodical in the form of voluminous books by mixed 

technics and assemblings in colourful portfolios. It is a luxerious edition 

of alternative paper-works, experiment texts and arts, also Mail Art. 

Partly signed original works in the issues. A/4 size, ~100-200 p., at the 

start stitched, later with loose leaves in spring folders or as box edition, 

sometimes with inserts or additional objects as T-shirt or accordion-inset. 

Edited in 700 copies, from the N° 32 in 1000 ones. 1978- qu., ~75#) 

^# 21, 41 

Hahn, Blair / Kulczycky, Casanndra Los Angeles USA 1984 

^Yippee yi yo cahier (Assembling magazine in box or sacking bag. Letter, ~60 leaves, 

1984, #1-2) 

^# 2

Hainke, Wolfgang Forstweg 14 Ganderkesee-2. D-2875 Germany 1988 

Ângebot des Monats (A series of commercial postcards printed over by silkscreen) 

Exh.: Wort für Wort (Word by Word) Kunstverein Kassel, October 30 - 

November 11, 1983. 

^Modelle / Notierungen. (Note-books of the author – 6 xerographical booklets of 

A/5, 36 p.) 1983 

The Bremen-Kassel Connection (A collective work by W. Hainke, J. O. → Olbrich, 

A. → Schnyder, & Inge Trauer). 21.5x32 cm., 10 perforated sheets + 

2 text sheets {50}. 1986 (Înv. to the exh. at the Kunoldstr. 34, Kassel) 

→ Olbrich, Jürgen O. / Actions and Exibitions at the Artspace Kunoldstr. 34, Kassel 

Hamann, Volker (!Anthroart!) Kamillenstr. 10. Berlin-45. D-1000 Germany 1990 

↑ Aminallee 8 Berlin-33. D-1000 - “ - 1988 

↑ Feurigstr. 61 Berlin-62. D-1000 - “ - 1981 

↑ In der Lehmkaul 2. Rösrath, D-5064 - “ - 1980 

............................................................................................................................................................. 

Ânthropology (The only Mail Art magazine about an alternative anthropology with 

analytical texts and underground images. {~100} A/4, phc. ~80 p. 

1981-82, #1-2) 

^Non System Pictures Words. Collected photocopied pages with essay like texts. 

A few copies only. A/4, phc., 44 p. n.d. (1980?) 

^Ghana Mail Art. Inv. to the Thokoke (?) Show, 1984 

 

^Ghana Mail Art Show. Doc. / text, list + 16 postcards. An Anthroart Action: 

Feurigstr 61, Berlin-62 / Acra. 1985 

Âfrica Arise. (with →Ayah Okwabi, Ghana) Cat.: A/5, phc., 12 p. Edited in 

~ 

Literature: 

Frank- 

Berlin, 1988. Project in Ghana / Germany, 1987 

^Volker Hamann: / Barbara Wolbert: Brücke zwischen zwei Welten... Übernahme 

aus Afrika in der deutschen Alternativkultur. Offprint from «Notizen», Nr. 28, Okt. 

1988, Institut für Kulturanthropologie & Europäische Ethnologie. Universität 

furt. 461-470 p. 



I'm a Networker, Ha Ha... (A mailart reflection by Anthroart) In: Artistamp News 

(→ Banana). Vol. 4, #1. March 1994 

Vittore → Baroni: Cultura di rete. Lo scambio è il/nel messagio. In: Arte Postale. 

Guida al network della corrispondenza creativa. (About the „Network Future 

Direction“ diagram of Hamann. Text: Italian) AAA Editori. Bertiolo, 1997. 236 p. 

Hambleton, Richard (!R. Dick Trace!) 200 W. 57th St. New York, NY-10019 USA. 1981 

↑ Investigation Department. Box 403, Station 1. Vancouver B.C. V6C 2N2. Canada 1978 

............................................................................................................................................................. 

Artist Identification Aid Chart / Postcards. Mail actions in 1974 -76. 

 

I. D.'s World Post (A book of postage stamps in 2 editions of 25 / 25 copies: 

b/w and color-xerox. 1978 

Edition (Mag. Letter size, offset. 1978?-, ?#) Intermedia Press, Vancouver 

^Mr. Ree Search Continued. (Doc. volume of the with Mail Art combinated street 

action 1975-1979. Text by Hambleton. Two editions: the first one had 

an introduction in English & French, + quotations about the Mail Art 

by J. M. Poinsot, K. Friedman, U. Carrión, the second one in English, 

French, German, Italian and Japanese, + English quotes about Mail Art 

by Crozier, Below, Zack, Rehfeldt, Hambleton, Ko de Jonge, Poinsot, 

J. A. Hoffberg, J. Dowd, L. Thompsay & J. Miller, Tavenner, Crowcroft,

P. Carter, A. Banana, Lad. Guderna, Cavellini, Todorovic, Scott, Mappo, 

Spiegelman, Crane, Friedman, Cleveland, Pat Larter, F. Colpitt, Carrión, 

L. F. Duch.) Cat.: offset, 120 p. ~300 parts. Investigation Department. 

Vancouver-New York, 1979 

^Suicide. Inv.: Two half-legal leaves, phc., invitation text with an answering- form. 

Deadline: June 1981 

~ 

Literature: 



Hamill, Tom 743 Oakland #13 Oakland, CA-95611 USA 1989 

↑ P. O. Box 603 Mechanicsburg, PA-17055, USA 1985 

............................................................................................................................................................. 

Âlea (Mag. for experimental literature with works by Kempton, Polkinhorn, Gibbs, 

Kostelanetz, etc. Letter, phc., ~30-48 p. 1985-, y.) 

^# 3 

Hamilton, I. G. 

→ !Private World! 

Hampl, Josef Werkgroup Ratlla. Hoofdstraat 51 Pieterburen, NL-9968 Netherlands 1992 

^Ratlla-Zig-Zag-Project. Cat.: A/5, phc., 12 p. / Postmuseum Munnikeholm, 

Groningen NL, October 1992 

!Han Psi! (Laurent Maginelle). 45 rue Vaillant-Couturier, Escaudain, F-59124 France 1985 

^Heart and Soul (Mail Art mag. with A/4 and A/5 assembling issues {15 copies 

only!}. The brochure form: phc. + mixed techn., ~20 leaves. Sometimes 

thematic issues, e.g. N°7 = „Silence and Disorder“. 1986-, ir.) 

^# 1, 2, 3, 4 

!Hapunkt FIX! Reisstr. 26. Berlin-13, D-1000 Germany 1985 

^Fix News / Fair Info Xchange (Mag. with Mail Art info-matter, A/5, phc. ~16 p. 

1985-, ir.) 

^# 2 

^Telephonbook – send me 90+9 pages from your local-telephonbook. Inv., 1985 

^Fair Info Xchange Telephonebook (One shot bound assembling by pages of the 

local telephonebooks of the participants {99 copies, also with any 

varians of 32-34 p.}. A/4, mix. techn., normally 35 pages + cover, 1985) 

^Recycling Mail. (“Add to and return” project) Doc.: Invitation letters and circulars. 

A booklet publication was planned in fall 1986. “...I started to spread 

around copies of the pages of the folders. I asked people to work on 

these pages & return them... Some of this stuff is lost in the network...” 

(Circular by Hapunkt Fix, 198) 

~ 

Statement: 

«Hallo mail-artists! Send me a number of copies of your current projects/exhibitions/archives. 

I'll spread them around. Hello independent labels! Send me a bunch 

of your catalogues. I'll spread them around as well! Hello you! Send me one IRC to 

get up to 100g (=1.2 lb) of information or two IRC's to get up to 250g!» 

Literature: 

«Hapunkt Fix is the mastermind of FIX, Fair Info Exchange, which he describes as 

„a project to spread around news...“ (...) In the future he plans also to publish a FIX- 

Telephonbook. In his commitment to the Mail Art movement, Hapunkt is presently 

planning an exhibition in his apt. which will change every few weeks, a Mail Art 

shirt project, & The Mail Artists City Archive, in which mail artists sending him 

info on the geographical & social surroundings of their lives (including maps, 

tourist info, photographs) will receive in exchange a small book on Berlin written in 

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 

In the Mail (Mag. for xeroxed and collaged images. Digest, phc. 1987-, m.) 

!Harlekin Art! (M. Berger) Wandersmannstr. 39 Wiesbaden, D-65205 Germany 1990 

Artistamps: ^Geschenke (Sheet of 32 diff. stamps, b/w offset) Harlekin. n.d. 

Â Mail Art Project for the 3rd Dimension (with → Olbrich, J.) Cat.: in box 

of 21x21x21 cm. (~210 leaves of 20x20 cm., offset / + supplements.) 

Exh.: June 21 - Jule 7, 1990 

^1...2...3 Dimensions. (With Jürgen O. → Olbrich) Cat.: 24.5x17 cm., offset, 36 p. 

/ Art Nürnberg 6., Messezentrum, Mail Art Projekt. June 1991 


Harley Terra Candella. Box 2219 Guerneville, CA-95446 USA 1995 

↑ P. O. Box 170579. San Francisco, CA-94117 - “ - 1989 

↑ Box 268. Oberlin, OH-44074. - “ - 1985 

............................................................................................................................................................. 

Artistamp activity beginning with the Valentin Issue (Unicorn holding envelope) 

by the „Tristan Local Post“ in 1975. After a series of unicorn and 

selfportrait images, the inscription „Candella Pavane“ (originally the 

title of a shadow puppet play) appeared at the First New York Stamp 

Invite Issue with the participating of E. F. → Higgins III / Doo-Da 

Post September 1977 and on the Candella Pavane / First Issue by 

Harley January 1978. The „Terra Candella“ marking appeared the 

first time on a three stamps issue November 1978. Predominantly 

drawn stamp images in the 1980s (e. g. Bathers Issue, Oaxa Issue). 

The very first collage works by diverse fragments & patterns as dominant 

motives of images were compilled into the stamps at the Cleveland 

State Show Issue January 1982. Beginning from the 1990s, Harley 

used these non-figurative collages of various patterns for his stamp 

images very often and built up an oeuvre with high coherence. The 

stamp sheets have been made usually in 25 - 30 signed and numbered 

copies + additional prints of 50 sheets or less – both unperforated and 

perforated, sometimes in a reduction of 50% or 65 %. Also a number 

of these additional prints came into the network. 

°Self-portraits. Inv. on letter size offset sheet. Also exhibition. Oberlin, 1981 

First Internationale Mail Art Congress. Organized by Harley as president of the 

congress in Cleveland at the Image Resource Center from 1-10 April 

1983. There were planned exhibitions, discussion panels and papers, 

as well as international exchange of information and contacts. 

(Invitation in: Umbrella, [→ Hoffberg] Vol. 5, #5, 125 p. 1982) 

^Correspondings Worlds: Artists' Stamps. Cat.: Half-legal, offset, 42 leaves / in 

envelope. Oberlin College / Allen Memorial Art Museum Oberlin OH. 

Curator: Harley. January 1987 (The first curated exhibition of artists' 

stamps at the museum level in the USA.) 

Ît's in the Mail: Artistamps. Cat.: Digest, phc. (also colour), 24 p. / California 

Museum of Art. Luther Burbank Center for the Arts, 50 Mark West 

Springs Road, Santa Rosa, CA-95403. May-July 1995 

~ 

Artistamps (very selected): 

^Valentine. (Sheet of 16 stamps, unicorn holding envelope, Offset, blue 

print on buff paper) 10 cents. Tristan Local Post. 1975 

^First New York Exhibition Issue. (Sheet of 16 stamps, unicorn holding 

fish. Offset, magenta & blue-green on white paper.) Tristan Local 

Post, Oberlin Ohio, 13 cents, First New York Exhibition, Harley 

Francis II. Also first day cover for the Carl Solway Gallery Show 

of Harley. 1975. 

^Harley 1977. (Block of 14.5x18 cm. with 8 stamps, self-portrait of the

artist. Black & ochre on white paper) Tristan Local Post, 1977 

Candella Pavane. First Issue. ( Sheet of 6 diff. stamps by stylized masks. 

Colour xerox.) Tristan Local Post {16}. 1978 

Terra Candella. (Block of 3 diff. stamps, mythological figures. Black, 

half-tone and red on var. background colours.) Tristan Local Post, 

1978, Terra Candella, Shettlet $3.00 

Îndian Issue. (Block of 10x6 cm. with one stamp. Black and pink on 

white paper, with Georgian and Armenian inscriptions) 1980, 

Terra Candella. (As souvenir sheet in January 1980) 

^First Diplomat Mission. (Block of 16x23 cm. with 8 stamps, 2 diff. images: 

the artist with his wife / the artist. Black, half-tone & yellow) 

Tristan Local Post, de Terra Candella. Europe – 1980 

^Stampworks. (Issued only on postcards of 23.4x10.2 cm, bather and palm 

tree. Black and turquoise on white. For the exhibition of Harley's 

stampworks in the Cleveland State Gallery.) Terra Candella, 1982 

^Cleveland State Gallery Show. (Sheet of 21 diff. stamps with collage 

images. Offset, 4 colours.) Also first day covers, January 8, 1982 

^Ghost of Hiroshima. (Sheet of 16 stamps. Black offset print on cream 

paper) Terra Candella, 1982 

^First Artistampex London (Sheetlet of 16 diff. stamps . Black oofset 

print on ochre.) Terra Candella. London - Ontario - Canada. 1984 

^Bathers I. (Sheetlet of 9 diff. stamps. Indigo print on white.) Terra Candella 

$1. 1985 

^Bathers II. (Block of 10x17.5 cm. with 6 diff. stamps. Red print on 

white) Terra Candella 50. 1985 

^Post-Nuptial League (with → Dogfish. Oversize block of 35.5x21.5 cm. 

with 4 diff. stamps placed in 3 groups, which has been perforated 

individual. Colour phc. on special paper.) 1986 

^4 Colours Xerox. (Sheet of 25 diff. stamps, 4 patterns on each images. 

Colour photocopy, 4 passes process.) Terra Candella. 1986? 

^Corresponding Worlds... (Block of 15.5x13 cm. with 4 stamps. Emblem 

and inscriptions. Offset, black, pink & yellow.) For the artists' 

stamp exh. in the Allen Memorial Museum, Oberlin, Jan.-Feb. '87. 

Also first day cover issue with rubber stamps from Oct. 15, 1986 

Ôaxaca. (Sheet of 25 stamps. The artist with friend. Red print on white.) 

Oaxaca '88, 50, Terra Candella. 1988 

^Proof. (Sheet of 16 stamp fields, from among which only 9 are fulled 

with diff. images. Full colored frames between the double (!) 

perforation. Colour photocopy. No printed marking or text ) 

Rubber stamp: Royal Mail Terra Candella. 1988 

Argentina. (Sheet of 25 diff. stamps with collage images. Colour offset. 

For Edgardo-Antonio →Vigo.) Terra Candella 7. 1991 

The Year of Tibet 2018. (Sheet of 18 diff. stamps with collage images + 

3 fields for joint issue with Tui Tui graphic and text / → Dogfish. 

Colour offset.) Terra Candella 29, 1991 

First AIDS Seal. (Sheet of 35 stamps with diff. collage images. Colour 

offset.) Terra Candella, AIDS 5+5. 1991 

It's in the Mail. (Sheet of 35 stamps with identical texts and diff. collage 

images. Colour offset.) For the exh. in the California Museum of 

Art, 1995, originally 125 sheets. Terra Candella 32. April 1995 

Ode to Schwitters. (Sheet of 20 diff. stamps, vertical ordered collages. 

Colour offset.) Terra Candella 32 c. 1995 

^Stampfrancisco Issue. (Sheet of 16 diff. stamps, collage images. Colour 

offset.) Terra Candella Exh. at Stamp Art Gallery, San Francisco. 

April 6-30, 1996. Also block of 16x10.5 cm. with 4 diff. stamps. 

^Square within Square. (Sheet of 16 stamps with diff. collage images. 

Colour offset.) Terra Candella 32 c. 1997

~ 

Rubber stamps used by the Terra Candella Post Office: altogether about 80 stamps 

in ca. 20 years – the earliest dated one is from 1978 (Tristan Local Post, 

Stamp Art). Characteristic inscriptions: Bureau de Post de Terra Candella 

/ Travelling Post Office de Terra Candella / Vienradzu Gleznotajs 

no „Terra Candella“ / The Netherlands Royal Diplomatic Mission of 

Terra Candella / Unicornourum terrae Candalae pictor / H S H Harley 

the painter of unicorns of Terra Candella official business / etc. Also 

Armenian, Indian, Cyrillic and Hebrew, etc. inscriptions with like texts 

which ones generally say The painter of unicorus of the land of light 

Terra Candella. 

~ 

Source: 

~ 

Literature: 

Harley's archive from 1975-1995 is held (with works of hundreds of other artists) 

in the Fine Art Library of Oberlin College in Oberlin, Ohio. 

Robert Rudine (→ Dogfish): It's in the Mail – Artistamps and the Mail Art 

Movement (About the by Harley curated exh. in the California Museum of Art) 

In: Artistamp News (→ Banana), Vol 5, #1, June. 1995. 3 p. 

«1975 marked a major development in my stamping activities. It was the year that 

the late art historian Ellen Johnson, gave me the exhibition catalog from James 

Warren → Felter's first major exhibition of non-official stamps by artists and SFU. 

(...) I had never seen any mention of this vast body of work: all stamps, all art. 

I bundled up my stamps and covers posthaste and shipped them off to Vancouver. 

Consequently, my work was included in this exhibition that toured Canada, the 

USA and Europe. From this happenstance introduction into the Mail Art Network, 

my mailing list expanded to world-wide contacts with well over 2000 artists. For 

the first time in my life, I had some sense of a peer group...» 

(Harley: Profiles. Harley. Terra Candella. In: Artistamp News (→Banana), 

Vol 6, #1, Feb. 1996. 3 p. – Reprint from Esse Quam Videri: To be, rather tahn to 

seem. In: It's in the Mail. Cat. Santa Rosa, 1995) 



Harris, Dorothy Patrick 

→ !Arto Posto! 

Hartwich, Knut / Goes, W. c/o Pickstrasse / Apotheke Sellin – Rügen, GDR-2356 1986 

The Man and the Sea – Ch. Baudelaire. Doc. Exh.: in Bergen-Rügen (forbidden by 

the GDR authorities!), 1986. (Înv., 1986) 

«Harvestworks Inc.» 596 Broadway, Suite 602, New York, NY-10012 USA 198? 

^Tellus / The Audio Cassette Magazine (Thematic cassettes, e.g.: Flux Tellus. 1990-,) 

^# 24 

Hasucha, Christian ? c/o Galerie 68elf, Bismarkstr 68 Köln, D-50672 Germany 1995 

Înterventionen. Cat.: 18.5x14.5 cm., offset, 8 p. / Gal. 68elf, Bismarkstr. 68. Köln 

September - October 1995 

!Haufen, Graf! (Klaus / Karsten Rodemann) + Ruf, Ines. Fürbringerstr. 17. Berlin D-10961. Germany 1999 

↑ Neoist Propaganda Inst., Postlagerkarte 032457 c. Berlin-12 - “ - 1986 

↑ Artcore Edition & Gallery, Weisestr. 58. Berlin-44, D-1000 - “ - 1984 

↑ Havelmalensteig 6. Berlin-22, D-1000 - “ - 1982 

↑ c/o Fürbringerstr 29. Berlin-61, D-1000 - “ - 1980 

............................................................................................................................................................. 

^Found Art. (Xerographic art) A/5, phc., 48 p. {50} with one orig. page, Artcore, '84 

Înformative Art. Cat.: A/5, phc., 48 p. {100}. 1985?

^Klein Sassen. Eine Assoziationsreihe von Graf Haufen, 5 Febr. 1985. (Booklet with 

concrete poetry. On the occasion of → Kallnbach's Kleinsassen project. 

A/6, phc., 23 leaves. Havelmatensteig 6, Berlin-32. 1985 

^Black Mail. A series of manipulated postage stamps: all human figures have been 

coloured over black. Known as singel stamps as well as items in philatelic 

collector albums prepared by Haufen. ~1985 

^Smile (Neoist magazine, texts and images, partly with lettrism. A/5, phc., ~50 p. 

Two issues in 1986 as Volume 64 and Volume 63 – in this order!) 

^Künstler gestalten Räume / Artists install spaces. A/5, phc., 48 leaves + 1 collage 

work. 200 numbered copies. Org.: Graf Haufen, Ona Nuk, Roland 

Szefferski. Exh. at the Artcore Gallery, March-April, 1986. 

^Mail Art Workshop / Artcore Gallery '86. (Assembling like broch., A/5, mix. techn. 

/ handmade, 20 p. {100 numbered copies}). Artcore Ed., ACE-12. 

(Also as Congress '86 material) Berlin. August, 1986 

^Selbstportrait (Photocopy-degeneration). Not entitled, not dated (1986?), brochure 

of A/5 size, phc., 34 leaves. 

^Photocopy animation. Not entitled, not dated (1986?). Small booklet of 12x10 cm., 

phc., 48 leaves. 

^Neoism Now Show. (Documentation to the similarly named publication) Cat.: 

A/5, phc., 4 p. (Address list of 99 participants who are all specified as 

Monty Cantsins!) Exh.: Artcore Gallery, Nov-Dec, 1986 

^Book Art. Inv., 1986 (Maybe, the show was not realized – no catalogue) 

^Die Post kreativ genutzt – Ein Abriß zur Geschichte der kreativen Postnutzung. 

(Mail using creative – an essay about the history of the creativity in 

mail traffic) 3 brochures (24 / 16 / 52 p.) with textx and images and 

original mail art works. A/4 size, phc., all material in an envelope. 1987 

^Blood & Gold (with Ines Ruf) (Postcard assembling in box {50}, 1987-88, #1-8) 

1 Blood & Gold; 2 Passion; 3 Propaganda; 4 Zero / Not; 5 Body; 

6 Flaming Steam Iron; 7 Neoism Now; 8 Plagiarism. 

^# 1-8 

^(Monty Cantsin:) The Possible Catalogue (Neoist matter, A/5m computer print, 

~ 400 p.) Artcore Ed. ACE-16. Berlin. 1987 

^(Monty Cantsin:) Neoism Now. The First Neoist Anth. and Sourcebook. (A/5, phc., 

152 p. ) Artcore Ed. ACE-19. Berlin. 1988 (more → Neoism) 

^Space, Shutte & Roll (Intermedia mag. A/4 xerographical brochure, 20-25 p., 

+ audio cassette in millboard cover of 40x26 cm. {100} 1988, #1-3) 

^# 1, 2 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Haus, Arno Ginnheimer Landstrasse 148 Frankfurt-50, D-6000 Germany 1981 

^Frankfurter Ideen. The magazine of the creative communication. (Mag. with design, 

photo, peformance, Mail Art, etc. A/4, offset, ~80-90 p. 1981, #1-5) 

^# 4 

«Hausfrau Haven» → Fred & Howard's 

Heiden, Carola van der Niews Rijn 46. Leiden, NL-2312 OG. Netherlands 1995 

^Box in a Box. Exhs.: Alkmar /A'dam / Wormerveer / Lekkerkerk / Krommenie 

/ Leiden / Hasselt / Voorshoten 1994-95. Cat.: A/6, offset, 20 p. 

+ div. suppls. Texts (Holland / English): 

C. v. d. Heiden: Box in Box Project... collection of curiosities. 

G. Bleus: Mail Art never sleeps. 

Heindesign Stempel-Mekka. Böhmerstr. 18, → Eilperstr 76, → Hochstr. 73, Hagen, D-58042 1991-98 

The only “rubber stamp art” shop in Germany – large offering of rubbers / store catalogues / 

collective and individual exhibitions for mail artists, rubber funs and children. 

Êxhibition room opening. Inv., 1991 ® 

Êxhibitions: Art Naphro / Janet → Hofacker “The Illustrated Woman” /Sally Mericle ®

“Mars Tokyo / H. & A. → Mittendorf / Love Potion N°9 / Diana Arsenau, 

Inv., 1992 

^Crazy about You. Inv., 1993 ® 

^Tim Mancusi’s rubber works. Sticker-Inv., 1994 ® 

Ôpening the Eipelstrasse room. Inv., 1994 ® 

^3 rd International Stempel-Mekka. Inv., 1994 ® 

4 th International Stempel-Mekka. Inv., 1995 ® 

^5 th International Stempel-Mekka Exh. – Osthaus-Museum, Hagen. Inv., 1996 ® 

Heirman, Hugo / Panamarenko / Vercammen Wout, P. O. Box 138. Antwerpen, B-2000, Belgium 1967 

Happening News (Mag. edited by the Antwerpen happening scene, text and image 

accumulation like collage. A/4, offset. 1965-66, #1-6) 

Held, John Jr. P. O. Box 410837 San Francisco, CA-94141 USA 1996 

↑ 7919 Goforth Dallas, TX-75238 - “ - 1988 

↑ Gallery Modern Realism, 1903 Mc Millan Av. Dallas, TX-75206 - “ - 1984 

............................................................................................................................................................. 

Fine Arts Librarian at the Dallas Public Library, later colaborator of the Stamp Art 

Gallery in San Francisco. Numerous articles on Mail Art and relatives. 

°Diary of Correspondence. (An index of corresponding members) 36 p. Mid York 

Library System, Utica NY, 1979 

^Mail Art about Mail Art (Commonpress #55) Cut digest, offset, 34 p., ~400 parti- 

cipants. Texts by J. Held, J. P. → Jacob, D. → Zack. Modern Realism / 

Exh.: Richland College, Dallas, 1984 

^Summer Mail Art. Inv., 1984 

 

^Mail Art for Kids. Cat.: Letter, offset, 10 leaves. Exh.: Dallas Museum of Art 

in cooperation with the Dallas Public Library, Dec 30, 1984 

^When I was a Cowboy. Cat.: Digest, offset, 16 p. Exh.: OFF Centre Centre, 

Calgary / Modern Realism / AKA Gallery, Saskatoon (1986) 

Artistamp activity from 1985, mostly b/w phc. works on white or ocher paper, sometimes, 

the perforation doesn't follow the position of the stamp images. 

Also co-operative works with other artists (e.g. help in perforation). 

Artistamps: Ân International Survey of Mail Art (Block of 6 id. stamps, b/w phc., 

not perforated) On the back side of an invitation card, 1985 

Înternational Artists Cooperation: Mail Art Shows, 1970-1985. Cat.: Letter, phc., 

146 p. (A show about shows. The resulting Cat.: / book lits about 1300 

Mail Art exhibitions with notes on sources and a list of participants.) 

Dallas Public Library, 1985 

^Mail Art Postage Stamps – Coll. of J. Held. Doc. One 36x58 offset sheet / Glassel 

School of Art – Museum of Fine Arts, Houston. Nov.-Dec. 1986 

^Hiroshima (The Bomb). («Japan Travel Diary, July 28 - August 14, 1988») Cat.: 

Digest, offset, 28 p. 1988 

^Tartu Shadows / Procedings of the int. Mail Art symposium in the USSR. Cat.: 

Digest, phc., 12 p. / Modern Realism, Dallas. October 1990 

^Mail Art: An Annoted Bibliography. (Digest, offset, 534 p. Voluminous handbook 

with 2199 items, + author, title & subject index) «Suppressed» introduction 

by → Ackerman. Scarecrow Press, Metuchen NJ / London, 1991 

Înt. Mail Art Symposium in the USSR: John Held Jr. visits the Soviet Union and 

(...) Estonian artist Iimar Kruusamae. In: N D #14, 1991, 15-19 p. 

^FAX Congress and Show. Inv. to the Dallas Public Library. 1992 

FAX 

Înt. Networker Culture. Exh. Poster of 61x46 cm., offset. / Univ. of Texas, 

Org. & Text: John Held. Dallas / Richardson. April 1993 

^John Held at the Artpool in Budapest. Info-letter, 1994 

 

^Faux Post: an Int. Exh. of Artists’ Postage Stamps – Visual Art Resources, Eugen OR 

Inv.-flyer, 1995 

^The Bay Area Dadaist. (An Introductory History... + Bay Area Dada, 19970-1984: 

An Annotated Bibliography of Primary Sources). Letter, phc., 74 p.

Edition Stamp Art Gallery (→ Gaglione). San Francisco, 1997 

^L'Arte del Timbro / Rubber Stamp Art. A Century of Rubber Stamp Art. Birth and 

implications of a new art medium. A/5, offset, 176 p. Editor: V. Baroni. 

AAA Edizioni, Bertiolo I, 1999 

→ Gaglione / Stamp Art Gallery 

~ 

Seurce: 

 

^4468. Modern Realism (Mini size stock-catalogue, xerox, 8 p., with 83 items 

+ list of exhibited artists, published by J. Held in the middle of 80s) Dallas, n.d. 

Artists exhibited: Arto Posto, Mitzi Cartee, Julie Dyslexis, Gummiglot, Honoria, 

Willie Marlowe, Graciela G. Marx, Ashley Parker Owens, Fran Rutkowsky, 

Tarzana Savannah, Jenny Soup, April Wade. 

Literature: 

(Int. Artist Cooperation: Mail Art Shows 1970-85): «...This is a wonderful resource 

for mail art researchers, even though it is a bit difficult to retrieve information 

because of the lay out.» (Stephen → Perkins: Catalogues. In: Box of Water, N° 3, 

1987) 

Înterview with John Held. In: N D, N° 10, Austin, 1988 (→ Plunkett), 9-13 p. 

Ruud → Janssen: The Mail-Interview with John Held Jr. Part 1. A/5, 18 p. TAM 

Publs., TAM-950095. Tilburg, 1995 

Vittore → Baroni: John Held Jr. In: Arte Postale. Guida al network della 


John → Held Jr.: Networking: The Origin of Terminology. Further: New Directions: 

Into the Nineties (The Chapters: Open Networking: Sacred Run / Thinking Openly: 

Art Strike 1990-1993 / Open Ethics? / Computer and Fax: Opening Geopolitical 

Boundaries / Conclusion). In: Chuck → Welch (ed.): Eternal Network. A Mail Art 

Anthology. University of Calgary Press, 1995. 17-22 p., 103-111 p. 



Helm, B. c/o Kulturhaus der Energiearbeiter, Rhinstr. 139a. Berlin, GDR-1136 1988 

Lecheln und lecheln lassen – Postkunts gegen verordnete Ruhe. Doc. 1988? 

Helm, Glenn 700 W. Brown St. #10. Tempe, AZ-85281 USA 1986 

^Censorship Works. (Xeroxed bookwork, mini, phc., 24 p.) S. P. Phoenix, 1986 

Înternational Folk Art. (Letter, 10 phc. leaves + 1 colour xerox sheet) S.P. 1986 

Helmes, Scott 862 Tuscarora St. St Paul, Minnesota USA 1982 

Rubber stamp activity since 1974. Collector of antique stamps. Since end of th 1970s ® 

also in the Mail Art scene with rubber stamped interventios and poems. 

^Read & Pass out. (Rubber stamped coloring book by original rubber stamps and ® 

hand written texts, a few copies only.) Letter size, ~20 leaves. 1985 

Âugust, 1986. (Visual poetry) Digest size, phc., 16 p. The Zelot Press, Vandergrift 

PA-15690, 1986 

~ 



Helsinki, Mail Artists. c/o Museum of Contemporary Art Helsinki Finland 1992 

^Mail Bang! Postipamaus! (org.: Asko Mäkelä, Ilkka Juhani & Takalo Eskola) 

Supportad by Post & Telecom. Cat.: 23.5x23.5 cm, offset, 48 p 

(cover in form) Helsinki. November 1992 - January 1993

«Helyettes Szomjazók» (Group), c/o Elek, István, Hárfa u. 59 / I. Budapest-VII. Hungary 1985 

^Világnézetiségi magazin / World-out-looking Mag. (Handmade mag. with texts and 

images from the underground {~30}. Texts in Hungarian. A/4, silkscreen 

and mimeographic, ~60 p. 1982-85, #1-6) 

1. Megjelenik minden hó 14-én, 1982 

2. Világnézetiségi Magazin, 2. száj 

3. Hülye, aki elolvassa, 1984 

4. ? 

5. Henri Michaux: 3 vers, 1985 

6. Üde elvágyódás, 1985 

^# 1, 2, 3, 5, 6 

Â Stenker (Journal object in tabloid size of 59.5x42 cm., a handmade «daily news» 

with silkscreen and mimeographic {50}, 12 p. 1985, #1 only) 

Â Hejettes Szomjazók Tudatfelszabadító Hadmüvelete. (a planned and forbidden 

exh. in the Kisgaléria, Komárom H.) Poster/Inv. in A/3, offset, 1986 

Êl Greco (Graphic-protfolio {83}, 12 sheets A/4., colour mimeogr. + xerox) 1992? 

Hemi Post 

→ Mittendorf 

Henry, Clarice c/o 1125 Broadway, Hewlett-Woodmere Library, Hewlett, NY-11557. USA 1985 

Between the Pages Doc. Letter, phc., 2 sheets. Hewlett-Woodmere Public Library, 

Hewlett, April-May 1984 

Herman, Christian / Holtz, Sheila 18 Benner Road, Royersford, PA-19468 USA 1995 

c/o Amie Oliver Farmville, VA- ? - “ - 1989 

↑ 4350 MC Pherson St. Louis, MD-63108 - “ - 1984 

............................................................................................................................................................. 

Velocity / Estudio. Contributor-sponsored alternative arts magazine (One of the most 

beautiful Mail Art publ. {100} by photocopied pages and assembling 

matter. Every issue featured an individual contributor: 

Velocity Annex / Estudio Annex. Letter size, phc. + mix. techn.) 

Velocity (ed. by Christian Herman): 1984-88, #1-9 

Estudio (ed. by Sheila Holtz): 1988-1990, #10-13 

^Velocity. An International Mail Art Show. Cat.: Letter size, phc., 50 leaves. 1986 

~ 

Literature: 

(Velocity): «...One issue I have has an indispensible interview with found artist Bern 

→ Porter who's been doing it for 50 years or so, fascinating and thorough. Packed 

with your favorite underground visuals and ephemera. As is the case with a lot of 

the assemblings, you take what you get, so the notion of „editing“ is throown out the 

window.» (Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 15 p.) 

«...Throughout its seven year tenure, the basic format and reaison d'etre of the 

magazine remained unchanged. We wished to provide a venue primarily for visual 

artists, but also for poets, visual poets, multidisciplinary artists and writers. Media 

varied from photocopy to hand-colored, hand-collaged and appliqued originals, to 

various forms of printmaking, cut-outs, fold-ups, etc... Contributors provided 105 

copies of the artwork or writing which, when received by mail, were then arranged 

and assembled into an edition of one hundred copies... Each issue had a featured 

artist – a regular contributor who agreed to provide eight to ten pages (x 105) for 

the „Estudio Annex.“ In addition, each issue had a cover artist, a contributor who 

provided front and back covers with original artwork in a variety of print media... 

We received considerable feedback, generally positive, interested, and 

inquiring. For example, I was contacted by a young fellow involved in an 

Assembling magazine which exclusively featured artwork by children and teenagers. 

He himself was in his mid-teens and organized the entire project on his own. 

I found his interest and support both inspiring and gratifying. 

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 

in it as active participants. Since mail art shows and projects usually involve a 

„theme“, we decided, several issues into publication, that we would utilize this idea 

also. Some of the themes explored in subsequent issues were „Truth,“ „Glory,“ 

„Money,“ and „The Goddess.“ In my opinion these were some of our best issues...» 

(Sheila Holtz: Editor Statement, 1996. In: Stephen → Perkins: Assembling 

Magazines. Internationale Networking Collaborations. Cat.: Half-legal, phc., 64 p. 


Herrmann, Dieter P. Moritzstr. 17 Wiesbaden-1, D-6200 Germany 1988 

↑ c/o Bauverlag GMbH. Postfach 1460 Wiesbaden-1, D-6200 - “ - 1983 

............................................................................................................................................................. 

Înfrarot (High quality magazine in style of the French graphism with int. contribu- 

tors. Every issue has a certain subtitle: wild pictures, bad pictures, telepictures, 

degenerated pictures, imitated pictures, etc. A/4, silkscreen 

and offset, 1983-88, #1-8) 

^# 7, 8 

Înfrarot & seine Bande. Cat.: A/5, silk screen, 26 p. Exhs.: Galerie du Confort 

~ 

Literature: 

Moderne, Poitiers / Galerie alte Hauptfeuerwehrwache, Mannheim / 

Nova Galeria Newton, Barcelona / Nouvelle Galerie Atomium, 

Toulouse. 1987 

«By far one of the most exciting visual arts mags. that have come through my mail 

for awhile. This issue (#7) devoted to the theme „tele-images/pictures“. Whoever 

the editors are (can't see a name) they have done a great job of pulling together 

some strong work from 14 contributors, presenting it full page, imaginatively and 

grafically, with lost of colour & silk-screened to boot! (...) 

13 contributors make this (#8) issue of Infrarot magazine a perfectly decadent 

descent into a beautyfully silk-screened world of eros and death, with every 

permutation between. Another unsettling creation by the editor Dieter Herrmann.» 

(Stephen → Perkins: Magazines. In: Box of Water, N° 3 & 4, 1987 & 88) 


of their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 138-139, 

144 p. 

Hess, Hans-Jürgen Neuanbau 5. / 12-3. Schwarzenberg, (GDR-9430 →) D-08340 Germany 1996 

^Die Mauer / The Wall. Doc.: A/4 sheet, phc., + postcards / Gal. Schwarzenberg. 

1990 

Âlphabet project. / Scriptual Graphic. Cat.: A/4, with 31 silkscreen printed 

leaves + cover, 25 parts. Also a special edition of the Cat.: with orig. 

works {70}. Schwarzenberg / Annaberg-Buchholz (→ Milde), 1992 

^Herbarium I-II. ( assembling in portfolio {100}, A/4, ~50 leaves. 1995-96, #1-2) 

Exh.: Schlossgalerie Schlettau, Annaberg. Ed. Ljub, Schwarzenberg / 

Chemnitz ( → Milde), 1996 

^# 1 

Spuren. Hommage á Guillermo Deisler. A/4 portfolio with graphics by E. Koenig, 

H-J. Hess (each 10 pages), texts by Koenig, Hess & B. Milde. {10} 

Edition Ljub, Schwarzenberg / Chemnitz (→ Milde), 1997 

Heude, Philippe !Alexandre Iskra! 16 Res la Sarette, 143. / Ave. de Hambourg, Marseille, F-13008 1984 

^L'Amateur d'Images (Magazine. Mail Art compilation by underground graphics. 

A/5, phc. 1984-, squ.) The first issues in 30-40 copies only 

^# 5, 7 

Heyden, Carola van der. Kolfmakerstaag 3 / Nieuwe Rijn 46, Leiden, VE, NL-2311 Netherlands 1995 

^Box in Box project – 10x10x10 cm. Inv.-flyer, 1995

Higby, Frank ? London United Kingdom 1977 

A collection of artists' postcards. (by Albrecht/d, Anon, Beuys, Below, Elsässer, 

Harrods, Heindorff, Higby, Knoedler, Nortvedt, A. Schmidt, Staeck, 

Thomas, Tite). Spiral bound instant print publication in A/4 size {75}, 

24 leaves. London, January 28, 1977 

Higgins, Dick P. O. Box 27. Station Hill Road, Berrytown, NY-12507 USA 1984 

↑ P.O. Box 842 Canal St. Sta. New York, NY-10013 1977 

↑ 238 W. 22nd St. New York, NY-10011 1965 

............................................................................................................................................................. 

The Something Else Newsscards / Newsletters (Small informations about press, 

authors and new publications for the friends of the editor. The newscards 

often as supplements to the newsletters. An early form of the 

contact net between editor and readers) 

The Something Else Newscards (1965: #1-9, 1966-72: #10-15) 

The Something Else Newsletters (1966-73, #1-20) 

October 25, 1998 1998 

~ 

Literature: Peter → Frank: Fluxus in New York. In: (Lightworks, N°11-12, Fall 1979, 29-45 p. 

D. Higgins: A Child's History of Fluxus. In: Lightworks (→ Burch), N° 11-12, Fall 

1979, 26-27 p. 

Peter → Frank: Something Else Press, an annotated bibliography. (Offset, 90 p.) 

McPherson & Co., 1983 

«The state of wxchanging feeling by mail is lírical art best. And since your friend 

cannot see your body language, it goes best if you synthesize your feeling into a set 

of sympathic objects, pictures, gestalts. Encode expressively, and spin your myth. 

Nothing ventured, nothing gained...» 

(Dick Higgins: Reflections on the History of Correspondence Art. In: M. → Crane / 

M. Stofflet (eds.) Correspondence Art. Contemporary Art Press [→ Loeffler]. San 

Francisco, 1984. XII-XIV.) 

«...I have probably seen forty or fifty actual exhibitions of mail art, and NOT ONE 

OF THEM was interesting to see. There were good things in each of them of course, 

but the effect of looking at them was weak. Why? Because they did not reflect the 

function – they always treated the sendings as final artifacts (sometimes ranked 

according to the prestige of the artist). But mail art pieces are virtually never final 

artifacts – they are conveyors of a process of rethinking, community-building and 

psychological and intellectual extension. Thus it is, I think, a distor-tion to think, of 

mail art as a commercial commodity of any kind. Because it is typically modest in 

scale usually and it is usually technically simple, the finest piece may come from the 

greenest, newest or the least skilled artist. There is no rank in mail art so long as the 

artist thinks and sees clearly. (...) 

I think mail art may be history – it has been with us at least since Rimbaud's 

burnt letters – but only a Dan Quail (a proverbially obtuse right-wing politician 

here) would say, as he did in 1989, that „History is Over!“ And as long as there 

are people-artists-living alone here and there, confronted by problems (professional, 

formal, human or social), Mail Art is likely to have a role to play in helping to alleviate 

those problems. What we must not do is allow ourselves to take ourselves too 

seriously-tendentiousness is a natural health hazard for the mail artist. The freshness 

and unpredictability of the medium are part of why, if mail art works at all, it really 

does. Just as we must always reinvent ourselves, according to whatever situations 

we find ourselves in, we must always reinvent our arts. And that includes mail art.» 

(Ruud → Janssen: The Mail-Interview with Dick Higgins. A/5, 20 p. TAM 

Publs., TAM-960105. Tilburg, 1994)

^Ken → Friedman: In Memoriam: Dick Higgins, 1938-1998. In: Umbrella (→ 

Hoffberg), Vol. 21, No 3/4, 1998. Reprinted in: J. A. Hoffberg: Umbrella 1978- 

1998, the Anthology. Santa Monica, 1999. 157-163 p. 

!Higgins, E. F. III.! (Sam Scotland) DOO DA Postage Works. 153 Ludlow /6. New York, NY-10000. USA 1985 

^Piece of Licorice and other White Elephants. (22x14 cm., offset, 128 p.) 

 

Sam Scotland ed., Glotco Paraphemalia. New York. 1972 

Doo Da Post. Artists' postage stamp activity which made Higgins the most known 

artists of this genre in the internaztional Mail Art field. Mostly portrait 

images which has been painted original in oil and photographed for the 

colour photocopy procedure. Perforated sheets of ~16 stamps, mostly 

identical images. Since the 1970s. 

Nudes on Stamps (Commonpress #18) Digest, 8 p. with 128 artists' postage stamps, 

120 participants. DOO DA Postage Works, August 1979 

^3 rd International Doo Da Postage Works Show. Inv.-card, 1982 

 

On Mail Art: Doo-Da Postage Works (Essay about artists' postage stamps and their 

creators). In: Flue / Franklin Furnace, Vol. 4 #3, 1984, 37-39 p. 

~ 

Literature: Ê. F. Higgins III.: Artists Stamps. In: Print Collectors Newsletter. Nov.-Dec., 

1979. 

«The world of stamps beyond the latest 20-center flourishes. Artists are making 

their own postal-type stamps and within that arena Ed Higgins is a primemover. His 

highly collectible sheets of 16 commemoratives (perforated, color Xerox and 100% 

rag paper) are $32. @ postpaid. A mail artist series (two sheets of stamps in an 

edition of 200) is $40, signed and numbered. And, forall you high rollers, here's 

your chance for philatelic fame: portraits by commission. Ed ask for an actual 

sitting (no photos). For $300. you get one 16“x18“ oil painting and 20 sheets of 

stamp. Become a part of the World Post.» (Lightworks [→ Burch], DooDa Postage 

Works, Art Alternatives in Print. N° 14-15, Winter 1981-82. 57 p.) 

«DOO DA, to the best of my recollection, comes from the song Camp Town Ladies, 

or Zippety Doo Da. I had realized ya gotta have a name of a country on it if it's 

gonna be a stamp, and Doo Da sounded like a good one to me... Somewhere in 

there, I started using the „Wingnut“ as a logo for Doo Da Post. This comes from the 

Midwest slang of a „wingnut“ being somewhat off the wall... I moved to N. Y. in 

1976 and printed my first color Xerox stamps. Many of my early stamps incorporated 

reproductions of my paintings... To date I've done some 250 or so different 

editions of Doo Da Stamps, usually in signed, numbered editions of 100.» 

(E. F. Higgins III.: Stamp Artist Profiles. Doo Da Postage Works. In: Artistamp 

News [→ Banana]. Vol. 2, #1. August 1992) 

«... I got involved in the mail art network about 1975-'76. At the University of Colorado, 

I was working with paintings & printmaking, working from „2-D“ objects as 

my models. Posters, Postcards, Play money, Stamps, envelopes, etc. I produced the 

first sheet of Doo Da art stamps in 1975. Right around that time a visiting artist. 

Edwin Golik Golikoff, a N.Y. Artist, living in Denver, told me about mail art, 

Buster → Cleveland, Ray → Johnson, Anna → Banana, etc. I started mailing the 

stamps, collages etc. around then. 

What were the first reactions of the people you started to mail your works 

to? 

That would be hard to figure, as I wasn't there, when they got their mail. 

Mail art is neither a wrapped gift to a friend at their birthday Party, nor a Rauschenburg, 

in a show, in a Museum, in a collection, reproduced in an Art Business 

Magazine, commented about by „Art Critics“ etc. etc. Judging from the responses, 

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 

various influences affecting these artists. Golikoff used a typewriter, & puns in 

many of his letters & postcards. Ray Johnson, his gray copies of drawings, gossip, 

& puns. His surreal puns, sometimes understood. Concrete poetry, newspaper & 

picture collage, pornography, manifestos, self-documentation, self-historification, 

self-promotion, were some of the things sent, received, & seen in mail art show 

catalogues. One of these things were stamps; on the letters from real countries, 

artists stamps, & rubber stamps. Due to my background interest, I gravitated to 

corresponding, with these concerns, to other artists & shows having this as a format 

or main idea. (...) 

I was a painter & printmaker, and carried these disciplines into my mail art 

activity, most notably, painting Doo Da Stamps. Often these 16“ x 18“ paintings 

were photographically reduced, and printed as sheets of stamps with the color 

copier, perforated, & used in mail art. As a printmaker in the traditional methods, 

the color copier was an explosive discovery to me. No longer did time & money 

restricted the imagery, edition, distribution etc. To spend 2 hours each pulling an 

edition of Etchings, tends to discourage mailing off a dozen or so to friends, and 

push one more into the $ Art Gallery system. (...) 

ARTISTAMPS, like their traditional cousins, „Govn't minted miniature 

prints“, share significant similarities - the main one being, I think, the imagry on 

them, i.e. „relating to the people, lands, ideas, nature, accomplishments, celebrations, 

religions, etc. of the country.“ The correspondence carried by the regular 

stamps, becomes the correspondence, carried by the Artistamps in mail art, that 

joyous dance of the muses amongst us...» 

(Ruud → Janssen: The Mail-Interview with E. F. Higgins-III. A/5, 14 p. 

TAM Publs., TAM-960138, Tilburg, 1994) 

^Vittore → Baroni: E. F. Higgins III. In: Arte Postale. Guida al network della corrispondenza 


^James W. → Felter: Artistamps / Francobolli d’artista. (With the essay by 

Higgins III:: Small is big) Monography in Italian and English. AAA Edizioni. 

Bertiolo, 2000. 

«Hildesheim, Goethe Gymnasium» (Michael Fox) Hildesheim Germany 1985 

^Nacht / Night. Cat.: A/4, phc., 72 p. 300 copies. Spiral bound. June-July, 1985 

^Nature – Second Mail Art Project. Cat.: A/4, phc., 88 p. spiral bound. Exh.: at 

the Rathaushalle, Hildesheim. June 1-21, 1987 

Hill, Crag 1015 Clifford St. Pullman, WA-99163 USA 1997 

↑125 B. Bay View Drive Mill Valley, CA-94941 - “ - 1993 

↑ 491 Mandala Blvd., N°3. Oakland, CA-94610 - “ - 1983 

............................................................................................................................................................. 

Î Chings & Prototypes / Language as an oracle... (Digest, phc., 24 p.) → Xexoxial. 

^Score (with B. Di Michele & L. Schneider) (A visual-verbal/concrete literary 

magazine by a very generous presentation, along with Kaldron 

[→ Kempton] these 2 mags probably attract the most interest from the 

west coast exp. poetry of the US. Additional one-sheet publications 

entitled Scorebroadsides, numbered alphabetical. Letter, offset, ~32 p. 

1983-92, #1-12. From #13, 1997, new series which has been edited in 

Pullman WA) 

The issues: 

#1 ? 

#2 ? 

^#3 Visual works by K. Kempton, DiMichel, R. Kostelanetz, C. Hill, 

K. S. Ernst, V. Baroni 

^#4 Works by Karl Kempton and Loris Essary

^#5 Anthology of works by H. Pollkinhorn, K. Robertson, S. Helmes, 

Di-Michele, S. G. Hagglund, J. W. Curry/W. Maki, J. W. 

Curry / J. Adler, M. Rosenberg, J. Blaine, J. M. Bennett, C. 

Hill, V. Baroni, M. And 

^#6 Visual works by J. W. Curry 

^#7 Publ. Review / Wisual works by C. Hill, M. Winkler, J. Bennett, 

G. Barwin, G. Evanson, K. Young, T. Green, B. DiMichele, 

K.S. Ernst, K. Kempton / Essays by b. Grumman (Picturing 

verbalizations...) and H. Polkinhorn (The Visual Poem). 

^#8 The Bern Porter/Jürgen O. Olbrich issue with found poems and 

found art pieces + notes and remarks on this matter by the 

authors: J. R. Colombo, W. Hillgirt, C. Hill, C. Pittore, DiMichele, 

B. Grumman, T. Beckett, M. Duchamp, M. Melnikov) 

^#9 Letters / Forum / Reviews / Received & Recommended / Visual 

works by J. Keppler, G. Huth, D. Caroll, J. Blaine, K. Kempton, 

F. Aguiar, J. Byrum, B. DiMichele, L. Dunn, L. Currie, 

T. Hamill, B. Andrews, G. Barwin, B. Grumman, C. Hill, 

R. Wolf-Rehfeldt, J. Olbrich, M. Basinski, P. Johnson, M. 

Almeide 

^#10 Anthology of visual works from Portugal (essay by F. Aguiar), 

Mexico (teyt by H. Polkinhorn), Australia (text by P. Spence) 

and USSR (essays by G. Janacek and L. Hejinian) 

^#11 Anthology of works by M. I. E. Child, L. Schneider, J. Berry, 

R. Martin, G. Cook, D. Webb, D. Powell, W. Branch, C. Hill, 

LR. Gorman, R. Maggi, G. Beining, S-P. Martin, T.W. Flynn, 

S. Segay, K. Kempton 

^#12 Works by C. Baker, J. Martone, B. Grumman, M. Basinski, B. 

DiMichele, R. Martin, A. Nielsen, A. J. Gnazzo, J. Brannen, 

E. A. Miller, W. Fetterman 

New Series from 1996, «The only American magazine entirely devoted to 

visual poetry» (Editors: Spencer Selby & Crag Hill, in Pullman WA): 

^#13. International anthology. 

^#14. International anthology. 

^Scorebooklets (A series of digest size offset text publs. ~1216 p.) 1980s 

 

Score Sheets/ Scorebroadsides (Series of letter size recto/verso phc.-ed leaflet 

publs. ~60 #) 80s 

^Mail Art Proposals: News – Sionews / Selfaddressed envelopes / Mail Art Cookbook. 

Inv..letter, 1985 

^Corporate Profile. (Xerographical works, letter, 22 p. in portfolio) 

 

Alea Ed. → Hamill. Consord CA. 1984 

Î'm. (Offset, 12 p.) Scorbooklet #2. n.d. 1980s? 

 

Score Review (Single sheet outputs of the poetry magazine Score,letters, essays and 

graphics. Letter size, phc. 1980s, ~30 #) 

^Dict. / A reading of the dictionary... (A reading of the dictionary, illustrated. 

Half-legal, phc., 50 p.) → Xexoxial, Madison, 1989 

^Core. A Symposium on Cont. Visual Poetry. (Responses to a questionaire on visual 

poetry, edited with John → Byrum) Generatorscore Press, Mentor OH, 

1993 / Mill Valley, CA. 1993. Responses / statements by the following 

authors: 

F. Aguiar, C. Baker, D. Barone, V. Baroni, M. Basinski, G. R. Beining, J. M. 

Bennett, W. Benson, C. Bernstein, J. Berry, F. W. Block, J. Brannen, L. Bremner, 

B. Campbell, S. Cena, D. Cole, P. G. Collier-Weidenhoff, J. J. Cory, Dadata, 

D. Davidson, A. de Araujo, K. P. Dencker, B. DiMichelle, J. Drucker, K. Ernst, 

B. Fox, P. Ganick, R. Golchert, L. Gorman, B. Grumman, A. Hatherly / E. M. de 

Melo e Castro, D. Higgins, W. Hood, G. Huth, Anni I, E. Kac, B. Keith, K. Kempton, 

R. Kostelanetz, B. Leirner, P. Limnios, J. Lipman, R. Maggi, S-P. Martin, 

S. McCaffery, D. Meadows, E. Minarelli, S. Smith Nash, G. Perneczky, S. Pid,

~ 

Source: 

Literature: 

H. Polkirnhorn, R. Prost, M. Rosenberg, S. Selby, J. Spahr, C. Stetser, M. Stüssi, 

T. Taylor, A. Vallias, E. Was, D. Wellman, K. Young, 

^Score Publications ( Leaflet with a list of booklets, broadsieds & circulars, music 

casettes and albums, special editions as well as with the featuring of the Score 

magazine issues. Book authors: Sha(u)nt Basmajian, Bill DiMichele, Peter Ganick, 

Bob Grumman, Dick Higgins / Harry Polkinhorn, Craig Hill, Geof Huth, Laurie 

Schneider, ) Oakland, 1992 

(Score): «Along with Kaldron (→ Kempton) these 2 mags probably attract the most 

interest from the west coast visual-verbal/concrete world. Tastefully edited with 

lots of white space and usually 4-6 pages by each artist (Hurrah!) and starting to 

runan occasional essay or 2. If the vcisual-verbal is your bag, begin here. Collect 

all these issues. (He probably is into selected trading, inquire.)» 


(Score, #9): «For the past 5 years Score has served as a forum for language 

experiments. It is non-theoretical, non-academic and simply lays the works out for 

all to see. The orientation is visual poetry – a nebulous term – butas Dick Higgins 

notes, „poetry which is in the intermedium between literature and visual art.“ This 

issue is a beauty – tip-ins and clever overall design.» (Lightworks [→ Burch], 




Hitchcock, Steve 224 C Avenue Coronado, CA-92118 USA 1979 

↑ 6266 Madeline St. Apt. 97 San Diego, CA-92115 - “ - 1977 

............................................................................................................................................................. 

^Cabaret Voltaire (Mag. with neodada/Mail Art materials. Mini size of 14x10 cm., 

phc., ~100 p. in each issue. 1977-, qu.) Also thematic issues: e.g.: 

#2.) Mistakes & Errata; #3.) The Drawing-Completion test; 

#4.) New Music Internationale; #5.) Decadence; etc. 

#1, 3, 5 

°Gray Matter. Inv. Letter size offset sheet / State University. San Diego, 1978 

Ethics and Art (Commonpress #24. not edited yet) 

~ 

Literature: 

Steve Hitchcock: Mail Art Communication. In: M. Crane / M. Stofflet (eds.): 

Corres pondence Art. Contemporary Art Press (→ Loeffler). S. F., 1984. 273-276 p. 

 

Hofacker, Janet 

→ Illustrated Woman 

Hoffberg, Judit A. ↑ P. O. Box 3640 Santa Monica, CA-9094 USA 1995 

↑↓ P. O. Box 40100 Pasadena, CA-91114 - “ - 1978 

↑ Umbrella. P. O. Box 3692 Glendale, Ca-91201 - “ - 1978 

............................................................................................................................................................. 

Ûmbrella (A spec. magazine for int. news about art periodicals, books, artists' 

 

books, catalogues and efemeras es well es events of the avantgarde and 

alternative art scene, also Mail Art section, network info exchange, etc. 

Letter, offset on spec. blue paper, ~32 p. 1978-84 bim., from 1985 2xy.) 

^# A complette collection 

°Artwords & Bookworks. (with Hugo, Joan) Cat.: Letter size, offset, 46 p. Texts by 

Michael → Crane, Joan Hugo & Judith Hoffberg / Inst. of Contemporary 

Art. Los Angeles, 1978 

Umbrella Mail Art Show. Inv. Announced in the magazine Umbrella. 1979 

°Artists' Publications in Print, #1 & 2. Cat.: Tabloid, offset, 30 p. A. A. P. N.

Glendale CA, 1979 / 1981 

U.S. Post Office Stratifies the Postcard (Essay about the Postal Service and the 

strategy of Mail Art) In: Umbrella, Vol. 2, #4. 77 p. July 1979 

Alternative Art Publishing Conference. A journal about the New York scene and the 

conference in the Visual Studies Workshop (→ Lyons), Nov. 5-6, 1979, 

Rochester. Among the featured publishers and institutions Nathan 

Lyons, Richard Minsky (Center for Book Arts, London), Ulises Carrión 

(Other Book & So), Tom Ockerse (Rhode Island School of Design), 

David Buchan (Art Metropole, Toronto), Dick Higgins (Something Else 

Press), Clive Philpott (MOMA), Martha Wilson (Franklin Furnace), 

Felipe Ehrenberg (Beau Geste Press, Devon), Chuck Hagen (Magazine 

Afterimage), Judit Hoffberg (Umbrella), the problems of art magazines, 

the book distribution, criticism, exhibitions, etc. Appeared in Umbrella, 

Vol. 2, #6, 125-131 p. Glendale, November 1979. 

^Freedom – Mail Art Show. Inv. Exh. at the Armory Center for the Arts, Passadena, 

curator: Judit → Hoffberg. 1992 

^Cross + Currents. Bookworks from the edge of the Pacific- Cat.: Letter, offset, 56 p. 

Spiral bound. / Umbrella Ass. Texts: J. A. Hoffberg, → Buzz Spector, 

Harry Reese. Exh.: University of California, Santa Barbara, Nov. 1990 

/ California State Univ. Hayward, Oct. 1991 / Selby Gallery, Sarasota, 

Febr.-March 1992 

~ 

Literature: 

 

 

^Giny Lloyd: Judit Hoffberg and the Umbrella. German translation in: Materialien 

an der Fachhochschule Würzburg, 1981-82, edited by Hubert Kretschmer. 


(Statement): «This is the first issue of Umbrella, which is a new vehicle for art 

news, reviews and resource information. We know that we cannot be comprehensive 

, but we are trying to give you as much news as possible in a clear, concise 

format. 

We feel that we are presenting you with an information resource that appeals 

to art historians, artists, librarians, and anyone else who is interested in what is happening 

in this most explosive period of art development. 

We also offer a means of inter-communication with our column called INFO 

EXCHANGE, which we are offering to you as a service. Please take advantage of 

this column...» (Umbrella, Vol. 1, #1, Jan. 1978) 

«To paraphrase the stockbrocker's ad, „When Hoffberg writes, book and mail artists 

listen.“ This is the motherlode. Tons of leads, reviews, contacs and good resources... 

In fact, all sorts of artists have been doing covers and centerfolds for Umbrella. It's 

a happy day when this magazine hits the inside of the mailbox. Better yet when one 

digs in. (Lightworks [→ Burch]. These Things Too [Print review]. N° 16, Winter 

1983-84. 59 p.) 

«The Judith A. Hoffberg Collection of Bookworks has been acquired by the 9 

campuses of the University of California and will be housed at the Art Library of 

UCLA in Los Angeles. The collection of over 2000 artists' books and periodicals 

also includes the archive of exhibition catalogs, reference tools, correspondence 

files, as well as unformation files on the growth and development of the whole field 

of bookworks since the early 1960s... 

(In: Umbrella [→ Hoffberg]. Vol.8, #1. 7 p. 1984) 

Judith A. Hoffberg: Mail Art Today: Self-Sustaining or Self-Destructing? In: M. → 

Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art Press (→ Loeffler). 

San Francisco, 1984. XX-XXI. 

^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 

History of Art and the Humanities and similar problems) In: Spiegelman's mailart 

rag (→Spiegelman). Vol. 1, #4. December 1986. 15-16 p. 

(Umbrella) «A newsletter which reviews artist's books, magazines, and other activities. 

Energetic coverage of the coffee table book scene, and a little bit of the 

independent stuff, too.» 

(→ Dunn: Mail Review. In: PhotoStatic. N° 28, Jan. 1988, 961 p.) 



^Judith A. Hoffberg: Umbrella 1978-1998, the Anthology. (With a large collection 

of articles and artists' works from twenty years Umbrella.) 23x18 cm., offset, 164 p. 

Umbrella editions. Santa Monica, 1999 

Hoffmann, Klaus c/o Städtische Gallerie & Kunstverein Wolfsburg, D-38440 Germany 1979 

c/o Bonner Kunstverein. Adenauerallee 7, Bonn 1. D-5300 - “ - 1979 

c/o Schlleswig-Holsteinisches Landesmuseum, Schleswig - “ - 1969 

............................................................................................................................................................. 

^Napolium (sic!) spiel ich niemals mehr... (Napoleon-Miniaturen from the Collection 

Klaus Hoffmann) There is a Pre-Mail Art project which was started in 

1963, may be the first «add to and return» action. Postcards with an 

Napoleon drawing of Louis David have been sent out to the artists all 

over the world. About 130 ones came back with interventions by P. Alechinsky, 

E. Baj, J. Beuys, L. Castro, Christo, J. Dibbets, R. Filliou, R. 

Hamilton, D. Higgins and many others. First exhibition in the Landesmuseum 

Schleswig 1969, later in 9 further museums in div. German 

cities. Last exhibition and catalog (A/5, offset, 24 p., text German): 

Bonner Kunstverein, Bonn. June, 1979 

«Hoger Inst. voor Visuele Kommunikatie» Weg naar As, 50. Genk, B-3600 Belgium 1989 

^20 x Communication (20 years of Stedelijk Hoger Inst.) Cat.: 20.5x20 cm., offset, 

44 p. Hoger Inst., Genk, 1989 

Hol, Jim / Munday, Georgette New Agency. 46 Denbigh St. London, SW1 United Kingd. 1979 

The Agent. (A participatory mag., the contributions consist of words, pictures and 

money. Daughters of Dada, O. L. Nations, P. Petasz. E. Tót & others. 

A/5, offset. 1979-, m.?) 

Holfter, Stefan J. Dresbacherrstr. 13. Overath, D-51491 Germany 1992 

Ênvelope Art. Posters of 62x84 cm and 60x78 cm., phc. 1992 

 

^Mail Art for Hospital. Inv. with a small collage-work, 1992 

 

Holmes, Mimi / !Miz Mimi! Art Missionary. 2233 McBurney. Florence, AL-35630 USA 1986 

↑1308, 21 St. Haleyville, AL-35565 - “ - 1983 

............................................................................................................................................................. 

^Secrets of the Hearts / Help! We're running out of mummies. Cat.: Half-legal, 

phc., 10 p. Haleyville, two projects ~1983-84 

^Draw the Face (1985), Describe the Missing Person (1987), “add to and return” 

projects by Mail Art, Invs. 

^Things – 3rd Haleyville Mail Art Show. Cat.: Half-legal, phc., 12 p. Traveling 

show: exhs. at the Haleyville Public Library, Florence, Arab, Hartstelle, 

Blount County Schools, Univ. of Alabama, etc. 1986 

^Noise Mail Art. Cat.: Half-legal, phc., 4 p. Florence, 1987 

 

^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, 

1989 

 

Holt, Helen Berkeley Office, 1649 Dwight Way. Berkeley, CA-94703 USA 1986 

^Mail Artists' Int. 1986 Calendar. Cat.: Letter, offset, 24 p. Berkeley Office 

Holtz, Sheila 4350 MC Pherson St. Louis, MD-63108 USA 1988 

Estudio (Assembling {100}, thematic issues, 1988-89, #1-5) The continuation of the 

Velocity and Estudio by Christian → Herman) 

Home, Stewart BM Senior London, WC1 3XX United Kingd. 1991 

↑ 41. Irvin House, Uamvar, Stat. Poplar London E14 6QG 1985 

↑ 84 / b. Whitechapel High St. London E 1 ? 

↑ 11. Bromwich Hse. Houson Terrace, Richmond Hill, Surrey, TW10 6RU ? 

↑ 31 Norfolk Farm Rd. Pyrford Woking, Surrey, GU22 8LH 1984 

............................................................................................................................................................. 

Neo-Smile (Collective edited Smile issue: S. Home, B. Allen, P. Horobin, A/4, 8-14 p. 

1984) Scottland, North-Ireland, England, 1984 

Smile xerox (Early attempts marked as «xerox», 1984, #1-3) 

 


SMILE (xerox 1) (A/4, phc. 10 p. „Lesson 2, establish the name Smile“ 

1984) 

SMILE (xerox 2, ritual) (A/4, 8 p. 1984) 

SMILE (xerox, contents childish drawings & photoboth pictures, 

A/4, 6 p. 1984) 

^Smile (Mag., the leading organ of the Neoism a'la «Karen Eliot». A/5 and A/4, offset, 

some early issues are photocopied. Analytical texts, a few images. 

London, 1984-89, #1-11) 


^SMILE 1. (A/4, 20 p. Stewart Home in T-shirt cover. Febr. 1984) 

Statement / Notices / Doing the obvious is more radical than you'd 

imagine / Concrete poems by Home / The complete guide to becoming 

an avant-garde artist 

^SMILE 2. (A/4, 20p. Stewart Home cover. Apr. 1984) 

Editorial / Information / Manifesto of the Generation Positive / 

Observations sur le Generation Positive / Concrete poems / 

Ha Ha Ha or wey the generation Positive is always right / Ultimatum 

der generation Positive 

^SMILE 3. (A/5, 16 p. Burroughs cover. June 1984) 

Editorial / Monty Cantsin / The Neoist cultural consporacy is a quest 

/ 333 and other poems / First International Neoist Manifesto / 

Meaning and intention and the Neoist conspiracy / Data 

^SMILE 4. (A/5, „Do it yourself“ issue, screenprinted cover only. Aug. 1984) 

^SMILE 5. (A/5, 16 p. Home in checkered cloth cover. Oct. 1984) 

Addresses / The Generation Poositive presents an examination 

of the work of Stewart Home / Neoism / Total Anticopyright / 

Great triumphs of the human spirit / Poems / The Generation 

Positive presents a list of names / ... the multiple name aesthetic / 

... presents magazines breeding like rabbits / The Second International 

Neoist Manifesto of Post Positivist Revolt 

^SMILE 6. (A/5, 16 p. Dog picture cover. Dec. 1984) 

Smile 6 addresses / The Third International Neoist Manifesto of 

Post Positivist Fluxation / The Meaning and purpose of the Neoist 

cultural conspiracy revelead / Monty Cantsin / First Manifesto 

of the Neoist Performance / Poems / Neoism / The Neoist network 

and the Mail Art phenomena / Smile / Saying of a famous artist 

and plagiarist

^SMILE 7. Neoism: Dance the Monty Cantsin (A/4, 20 p. 1985) 

Addresses / Blood, bread and beauty / Neoist artefacts / Correspondence 

script / Stewart Home / Neoist poetry 

^SMILE 8. Smile back at the ruling class (A/4, 20 p. Bottle cover1985) 

Open letter... / Poetry and revolution / Supression of reality / 

Artists Strike / Praxis manifesto / Towards the self referential 

in art / Basic banalities / marginal culture from de Sade to the 

present / Art or praxis? / Nihilism, philosophy without meaning 

^SMILE 9. Take your desires for reality (A/4, 20 p. Demo cover. 1986) 

The destructuion of meaning and the meaning of destruction / 

Beyond chaos, beyond coherence / The art of ideology and the 

ideology of art / From Dada to Class War / Glamour / Postmodernism 

in black and white / Anarchist / Empty words / 

Notes on context and methodology / Networking / Second 

Manifestation of Praxis / Conditions surrounding creativity 

^SMILE 10. Sex without secretions ( A/4, 20 p. Cola cover. 1987) 

Desire in ruins / The refusal of creativity / Artist' placement 

and the end of art / Destruction in art, destruction of art / Multiple 

names / The avant-garde of presence / Third Manifesto 

of Praxis 

^SMILE 11. Plagiarism special (A/3 tabloid, 8 p. 1989) 

Demolish serious culture / 20 questions you could ask about 

the Art Strike 1990-1993 /Rowards an acognitive culture / 

Gender, sexuality & control / Pataphysics / Book review 

^The Assault on Culture. Utopian currents from Lettrism to Class War. A/5, offset, 

120 p. Aporia-Press & Unpopular Books, London, 1988 

^Plagiarism. Art as Commmodity and Strategies for its Negation. (Offset, 30 p.) 

Aporia Press, London, 1988. Tetxts by Karen Eliot, Tex Beard, Bob 

Jones, John Berndt, Simon Anderson, Ralph Rumney, John Zerzan, 

Valery Solamas, Klaos Oldanburg, John Carlin, Anon, Gustav Metzger, 

Stewart Home 

^The Festival of Plagiarism. (Document of the London «Festival of Plagiarism», 

1988) A/5 offset, 24 p. No Copyright / Sabotage Ed. London, 1989 

Ârt Strike Handbook. (An anthology of manifestos, articles and interviews by Home 

and others) A/5, offset, 40 p. No Copyright. Sabotage Ed. London, 1989 

^Re:Action (4 pages mag. with Neoist texts and polit art matter. A/4, phc. 1991-1999, 

# 1-10, sy.) 

^# 1-10 

^No Pity. In the tradition of Skinhead, Suedehead & Bootboys. (A/5, offset, 144 p.) 

AK Press, Edinburgh, 1993 

^Neoism, Plagiarism & Praxis. (A/5, offset, 208 p.) AK Press, Edinburgh /S. F. CA. 

/ BM Senior, London. 1995 

^Green Apocalypse (with → !Blissett, Luther!) (A/4 offset brochure, 48 p.) 

→ Unpopular Boooks, / Neoist Aliance, London. 1996. 

Texts by H. Rollin, R. Essex, R. Hunt, The Independent, Re-Action, etc. 

→ Neoism / Literature: István → Kántor: Some of the Monty Cantsins. 

→ Smile mania 

~ 

Literature: 

(Smile, issue 1, 1984. Statement): «Hello and welcome to Smile the official organ 

of the generation positive. This magnificent new artistic movement is so avant-garde 

that at present it only has one member, myself. Consequently this first issue consists 

solely of my own work. 

The basic tenets of the generation positive can be summed up in the two 

words „positive plagiarism“. 

Comsequently I encourage all reraders to get the work contained in this issue 

published again under their own name.»

(Stewart Home in Smile #10, 1987): «The whole of post-modern life is mediated by 

a series of abstractions. Creatively pleasure, imagination, desire, all have a role to 

play in the maintenance of the capitalist system. The show is over. The audience 

start to leave. Time to collect your coats and go home. You turn around. No more 

coats. No more homes. Abolish pleasure. Refuse creativity. Smash the imagination. 

Desire in ruins. The present is absolute. Everything now!» 

Ed Baxter: Rueing meaning ruin? (About the exh. Ruins of Glamour, Glamour of 

Ruins in Crisenhale Gallery, London, Dez. 1986) In: Records Quarterly Magazine, 

Vol, 2, N°1, March 1987, 33-36 p. 

Ed Baxter: A Footnote to the festival of Plagiarism. In: Variant #5, Summer / 

Autumn 1988, 26-29 p. 

Grant Kester: SMILE. («For Neoists, to be artists on a sociaty in which „culture“ in 

all its forms is a primary agent of political domination is an inherently contradictionary 

act») In: New Art Examiner, Oct. 1987, 18-18 p. 

(Orientation for the Use of a Context and the Context, for the Use of an Orientation): 

«Karen Eliot is a name which refers to an individual human being who can be 

anyone. The name is fixed, the people using it aren't. Smile is a name which refers 

to an international magazine with multiple origins. The name is fixed, the types of 

magazines using it aren't. The purpose of many different magazines and people 

using the same name is to create a situation for which no one in particular is 

responsible and to practical examine western philosophical notions of identity, 

individuality, originality, value and truth. 

Anyone can become Karen Eliot simply by adopting the name, but they are 

only Karen Eliot for the period in which the name is used. Karen Eliot was materialised, 

rather than born, as an open context in the summer of '85. When one becomes 

Karen Eliot one's previous existence consists of the acts other people have undertaken 

using the name. When one becomes Karen Eliot one has no family, no 

parents, no birth. Karen Eliot was not born, s/he was metarialised from social forces, 

constructed as a means of entering the shifting terrain that circumscribes the „individual“ 

and „society“. 

The name Karen Eliot can be strategically adopted for a series of actions, 

interventions, exhibitions, texts, etc. When replying to letters generated by an 

action/text in which the context has been used then it makes sense to continue using 

the context, i. e. by replying as Karen Eliot. However in personal realisationships, 

where one has a personal history other than the acts undertaken by a series of people 

using the name Karen Eliot, it does not make sense to use the context. If one uses 

the context in personal life there is a danger that the name Karen Eliot will become 

over-identified with individual beings. 

We are perhaps heading towards the abolition of the personal; perhaps everything 

is social and the personal (the individual) is just illusion. This area of activity 

must be debated, examined.» 

(The Karen Eliot manifesto by S. Home appeared as a flyer ca. 1985-86 

and reprinted in a number of underground publications in the next years, at last 

[without the final paragraph] in Home's Smile N° 11, 1989, 1 p.) 

Peter Suchin: Review of Stewart Home's THE ASSAULT ON CULTURE. 

In: Variant #6, Spring 1989. 

(Smile issue 11 editorial): «Neoism was founded by Al Ackerman, Maris Kundzin, 

and David Zack in Portland, Oregon, on 10th November 1977. These three attempted 

create a situation in which a definition of Neoism would not make sense. As the 

movement spread across North America and Europe, Neoist activities became 

centred on Apartment Festivals; at first these were small gatherings held in partici-

pants homes, later they were organised around alternative galleries, cinemas and 

urban spaces. By the time the 64th Apartment Festival (Berlin December '86) took 

place, Neoism had a considerable history and the participants found it difficult to 

sustain the movements' anti-theoretical orientation. The Berlin festival was Neoism's 

finest hour but it also marked the end of the group. The Millionth Apartment Festival 

in New York (November '88) was a complete failure. 

When Graham Harwood and Steward Home organised the First Festival of 

Plagiarism in London (January/February '88), they wanted to break free of the 

bohemian taints which were attached to their Neoist comrades. And so at the heart 

of the plagiarist movement there lies a polymedia celebration of those cultural 

practices which transgress the logic of the commodity and its exchange value. 

Plagiarists emphasise the collective nature of all cultural productions and the central 

role played by the audience in this process. Recognising that the task of revolutionary 

propaganda is to discredit all received ideas without offering a single alternative 

thought with which they might be replaced, plagiarists separate the ideas of the 

avant-garde from avant-garde personalities and then bring both into disrepute. Thus 

much of this plagiarist issue of Smile is given over to an exploration of so called 

redical culture from the fifties and sixties. 

As well as destroying the traditions of the dead generations, we are also 

intent upon attacking our own power. After plagiarism comes the Art Strike, there 

years of silence between 1990 and 1993. 

Your immortal friend, Monty Cantsin. Smile, BM Senior, London WC1N 

3XX» 

(In: Smile N° 11, 1989, 2 p. Remarkably Home does not make mention of 

István Kántor – also a founder of Neoism – in this text, who was the first user of the 

name Monty Cantsin.) 

(The Festival of Plagiarism): «...This is a very unglossy interpretation of the events, 

as Home unflinchingly details the successes and failures of the many events associated 

with that Festival. The writing, while a bit dens, is capable of formulating 

arguments of real clarity and power. Home seems to be one of the main theorists of 

the activities that have sprung up in the wake of Neoism. These include the recent 

interest in plagiarism and art strike actions, ones which merit, to my way of 

thinging, a good deal of attention. Home addresses issues which seem terribly apt 

perhaps because of where the technical project of human development leaves us – 

with xerox machines and tape recorders and legislation against their fullest use. 

(A lot like a god giving us genitalia and then telling us it's bad to use them.)» 

( Lloyd → Dunn: Print Reviews. PhotoStatic. N° 36, June 1989, 1340-1341 p.) 

(The Assault on Culture): «...To see this book merely as art history would be incorrect. 

Home is an activist and intends this work to be simultaneously a description of 

certain models of assaults on culture, as well as an example of such an assault...» 

( Lloyd→ Dunn: Print Reviews. PhotoStatic. N° 38, Oct. 1989, 1438-1439 p.) 

→ Held, John, Jr.: Mind the Gap. Bridging Art and Life During a One-Week Mail 

Art Performance Party in London. In: Lightworks [→ Burch]. N° 20-21, 1990. 42- 

45 p. 

Simon Ford: The art of legitimation: The on-going transformation of the avantgarde 

from counter-cultural force to dominant institution. Stewart Home interviewed 

by Simon Ford. In: Edinburgh Review, 1991, 87-97 

Géza Perneczky: With Love and Sabotage (About Neoism and Radicalism in the 


their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 152-175 p. 

Ian Sinclair: Who is Stewart Home? In: London Revies of Books, 23 June 1994,

21-22 p. 

Home on the deranged. In: Rouge, issue 17, 1994? 26-27 p. 

Don Webb: No Pity (by S. Home). In: American Book Review, Vol. 18, N°1, 

April/May 1994 

(PP): (Interview with) Stewart Home. In: Kinokaze #2, Summer 1994, 23-28 p. 

Trystan Page: The Art of Provocation. In: Perspectives #7, Spring 1994, 28 p. 

Home, Stewart: About Art Strike. In: Chuck → Welch (ed.): Eternal Network. 


Hompson, Davi Det P. O. Box 7035 Richmond, VI-23221 USA 1973 

An International Cyclopedia of Plans and Occurences. One of the first Mail Art exhi- 

bitions in the USA organized by Hompson for the Anderson Gallery, 

Virginia Commonwealth University in Richmond, using the correspondence 

network lists: fluxus, NYCS (→ Johnson), Image Bank (→ Western 

Front), and the I.A.C. (→ Groh). Cat.: March 15 – April 10, 1973 

d'Hondt, Roger (New Reform Galerie) Schoolstraat 17. Aalst, B-9300 Belgium 1972 

^Tendenzen van een Nieuwe Kunst. Cat.: A/4, mimeogr. 34 p. 1972. Artists: Attalai, 

Gerz, Goos, Groh, Heyrman, Kalkmann, Linnartz, Löbach, Nannucci, 

Perneczky, Schwind, Stembera, E. Tót, J. Urban, Valoch, 

^Reale Concepte. Texten – concepten en projects van Klaus → Groh, K. (Letter, 

mimeogr. + collage/objects, 12 p. {50}) 1972 

 

^Wij Hebben ook Ideën. Of Aktuele Kunst uit Oost-Europa. Cat.: Spiral bound, cut 

A/4, mimeogr., 24 sheets. 1972 Artists: Attalai, Baginski, Bak, Beke, 

Chwalczyk, Dalibor, Dimitrijevic, Filko, Gazdik, Golkowska, Haka, 

Klivar, Kocman, Koller, Marcola, Miler, Natalia L L, Perneczky, R. 

Sikora, Sosnowski, Stembera, Stosic, Todorovic, E. Tót, Valoch 

Hong Kong Mail Art. LS Division, City University. Ken Koebke, 83 Tat Chee Ave., Kowloon Tong, Hong Kong 

^The Frankenstein Mail Art Exhibition – Mail Art, haiku, limerick, questions... etc. 

Large project / internet home-page: www.cityu.edu.hk/ls/research/frankenstein 

Inv., 1996 

Hoocker, Richard Santa Fe Council for the Arts, 109 Washington Ave. Santa Fe, NM-87501 USA 1983 

Âirmail Eros. Cat.: Digest, phc., 44 p. / Center for Contemporary Arts, Santa Fe. 

November 1983 

Horiike, Tohei 853-2 Tadanuma-cho Shimizu-City, Shizuoka-Pref., 424-03 Japan 1979 

^Free Space for All – Step Ahead in Shizimu '76. (Co-editor: Akihiro Sakai) 

Cat.: 31x22 cm., instant print, 58 loose leaves. Works by 28 Japanic 

and 23 international artists from the Mail Art scene. (In view of the 

chronological development, this publ. is the N°0 of the later peroiodical 

ART communication.) 1976 

ÂRT communication (Mail Art periodical by matter of Japanic, European and 

American artists on ~30-40 loose sheets in envelope. 31x22 cm., 

instant print, 1977-79, #1-2?) Freedom Research Center. Shimizu City 

^ #1 

Rubber Stamp Art. 21.5x14 cm., offset, 16 p. (Full page reproductions of images ® 

created by rubber stamps of Bill → Gaglione in San Francisco.) 

Ed. Shimizu. San Francisco, 1979

Horobin, Pete Data. 37 Union St. Dundee, Scotland, DD1 4BS, United Kingd. 1985 

°Destruction / Creation - Action - Open sandwich. A performance doc. 9 orig. photos 

mounted on cardboards of 14x9 cm. Handwritten titles. Dundee, 1981 

Actions. Description and distribution of documentation in the form of A/4 size photo- 

copied sheets in envelopes. Dundee, 1981 

DATA DD1 4BS. Text publication in the form of A/4 size brochure, phc., 10 leaves. 

The author calls himself «The principal player». Dundee, Nov. 1981 

RAT ART – RAT ART TRAP – GALLERY... (4 Postcards from DATA) ~1981 

^Struwel Peter Scrapbook. (A cooperative work of Robin → Crozier, Geoffrey Young, 

A. Barrio, Spudz/Cees Franke, Pete Horobin and Peter → Below. Below 

started a German children book for an «add to things and images» action 

in 1977. After the intervention of Crozier, Young, Barrio and Franke, 

in January 1981 the book was given to Pete Horobin, who destroyed it 

in the sense of a Destruction/Ceeation action. After this final result, the 

pile of loose pages have been photocopied and bound to a new book in 

10 copies by Peter Below.) A/4, phc., 101 leaves + cover. Mixed Media 

/ Kriptonic Press. Würzburg. February, 1981 

Small DATA publications (14.5x10.5 cm, photocopy.): 

Severn Scripts, 9 leaves, April 1982 

Actions, Lyon. 44 p. March 1982 

 

ACROBAT LIVE. (On the occasion of Horobin's visit at Jürgen → Olbrich in Kassel) 

Diary like documentation with many inserts bound to a book. A/4, phc, 

+ inserts by mixed techn., ~100 leaves. December 1-31. Kunoldstr. 34, 

Kassel. 1982 

ACROBAT TOAST x 33. – Kunoldstrasse 34. LIVE. (A series of fotos with Jürgen 

→ Olbrich & Pete Horobin during of an «toast-action» in Kassel) 

Poster of 32x46 cm., blue print. Dated at 9. 12. 82 / 17:30. Kassel. 

^Bread Data to Bread Bank. Inv., 1982 

 

DATA Communication / Daily Action. Diary lyke daily documentation: A/4 size 

photocopied leaves for each day with hand written texts, fragments of 

printed matter, collages, drawings, or photos about objects, cloths, body 

parts, etc., ~ 30 sheets in each envelope which one was printed over by 

offset with the title form. Monthly distribution during the year 1983. 

^Smile (Neoist mag., often with correspondence material and contacts by special 

(completed) DATA forms by Horobin, also exh. catalogues and sociological 

matter. A/4, A/5, phc., 6-68 p. 1985-88, #1-9) 


SMILE (A/4, phc., 6 p. Teeth cover. 1985) 

SMILE (A/4, 10 p. Teeth cover / different contents. 1986) 

ATTIC SMILE (A/4, 12 p. 1986) 

^SMILE „FOMT CIRCULAR“ (A/5, 20 p. Texts by D. J. at FOMT. 

1986) 

SMILE C. N. (A/5, 16 p. materials by Snowwhite Jung & 

David → Zack. 1986) 

^SMILE „sell your archive“ (A/4, 30 p. 1987) 

^SMILE UB40 (A/!, 28 p. 1987 

SMILE (A/5, 4 p. Karen Strang's matter. 1987) 

SMILE „Lifes a bitch“ (A/4, 68 p. Accompanies exh. on suicid. 1988) 

^DATAcell. (Brochure with an appeal to send «data» and with mostly graphical 

Neoist «data» material, A/4, phc., with orig. photos and rubber stamps, 

16 p.) 25 Normand Road, Dysart Fife, Scotland. 1985 

^Non-Participation Festival. (A/3 size poster with text only, phc. on yellow paper. 

Statement and appeal to the diverse forms of non-participation 

+ statement of an Alternative Garden Festival in Glasgow and the 

Programm of the Free University of Glasgow during the Summer 

months of 1988) Dundee, 1988 

→ Neoism / Literature: István → Kántor: Some of the Monty Cantsins.

~ 

Since the start of the Art Strike (1990) Pete Horobin is not more available. His contact-partner: 

Attic Data. c/o Marshall Anderson. 7 Wemyss Buildings. High Street. Kiskcaldy Fife. Scotl. UK. 


~ 

Literature: 

«Each day is an event. Each day culminates in an action. Each action is a series of 

gestures. Each gesture is the manifestation of concept through a medium. Each 

action is photocopied and distributed. Each daily action records my life. Through 

these daily actions I ruie my level of awareness. An awareness of time and history. 

By distribution each action is shared. The awareness is shared. I wish to ruie the 

level of awareness in others. This process I have chosen to name DATA. D – Date / 

A – Action / T – Time / A – Art.» 

(P. Horobin: DATA. Leaflet. Published in Cairn, #5. May 1980, 9 p.) 

«Pete Horobin is seeking information, pamphlets, periodicals, photographs, tapes 

etc. in the field of art and communication for the first private archive of Alternative 

Art in Scotland. He is sincere and forthright, and has done some remarkable work 

in mail art books, postcards and indictments of the Scottish art schools and Scottish 

art. Since there are no „free“ magazines with a sympathetic ear in Scotland, DATA 

needs more outlets. An alternative publishing system for Horobin's images, 

opinions, daily actions, worods and concepts, DATA uses the Mail Art Network to 

get his messages across...» 

( jah: News. In: Umbrella [→ Hoffberg], Vol. 4, #2, 32 p. 1981) 

(Non-Participation Festival, Scotland 1988): «The Festival of Non-Participation 

is a decentralised cultural festival being held in Scotland during 1988. The festival 

will provide an open situation in which various groups and individuals can organise 

events. (...)» 

(Only the titles of the various possibilities of non-participation): 

NON-PARTICIPATING IN SOMETHING ELSE 

Home taping evenings / Art = Non-Participation / Non-Participation = Occupation / 

Non-Participation = Unemployment / Fast days: Nov. 4th. 5th. & 6th. / Walking 

Weekend: May 28th–29th. Cicle days: July 10th & 28th. August 12th. 

NON-PARTICIPATE BY PARTICIPATING IN SOMETHING ELSE 

Stay at home days: April 13th. May 17th. Sept 22nd. / Switch of TV days: 

March 2nd. April 20th. May 18th. 



their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 152-175 / 170 p. 

!Horus! 

Horvath, Al 

→ Mounier, Patrick 

Falling Down Press, Dead Fish Prod. 

P. O. Box 99315 / Erceview St., Cleveland, OH-44199, USA 1975 

White Heap (Mag. with experim. poetry & art, partly assembling {50}, Letter, 1975-, ) 

Horwitz, Suzanne «Synapse» Visual Art Press. The Philadelphian I. A 5. 

1401 Pennsylvania Av. Philadelphia, PA-19130 USA 1986 

Words and Images: A Survey of Contemporary Artists' Books. (org. with Alexandra 

Lerner and coordinated by Michael Strueber, a travelling exh. with 

works by 125 artists opened at the Philadelphia Art Alliance on 18 

May 1981 and showed also in the Pittsburg Center for the Arts and 

the Southern Alleghenies Museum of Art. An catalogue has been

published with an essay by Peter → Frank.) 

^Philadelphia Indep. Publishers of Artists' Books. (with Sandra Lerner) Cat.: Letter, 

offset, 32 p. 1982 

^Vampyr: being a diary, fragments of his visit (A graphic album with Stephen Spera) 

24.5.x19.8 cm, offset, 48 p. Synapse, Philadelphia, n.d. (1980s) 

~ 

Source: Horvitz, S. / Lerner, A.: Philadelphia Independent Publishers of ARTISTS' BOOKS. 

Letter, offset, 32 p. (An artists' books catalogue) 

Houédard, Dom Sylvester 262 Randolph Ave. London, W9 United Kingd. 1971 

Kroklok (with Bob → Cobbing and Peter Mayer) (A classic of the alternative and exp. 

literature mags. A/4, mimeograph. 1971-, ir.) Writers Forum, London 

Houser, Christina 2512 N.W. Marshall, #15 Portland, OR-97210 USA 1995 

Êxquisite Corpse – send 4x6 inch fragment of human body. Inv.-letter, 1995 

Ôh Idol, my Idol... (with Terry Durst, Seattle, one shot assembling {30}, letter size, 

bound, 1996) 

Huber, Joseph W. Göhrenerstr 13. Berlin, (GDR-1058 →) D-10437, Germany 1996 

Nature is Life – Save it (International Art Project, «mail it») Doc. 1977 

^Bild-Wort-Montage. Doc.: A/4 leaflet folded to 4, offset. Nagelwerk, Berlin, 1987 

^SCHILDERungen. (Photo/postcard series, A/4, phc., 16 p.) Ed. Karte'll, Berlin. 1995 

Texturen. (Postcards series with „German visual poetry“) Ed. Karte'll, Berlin, 1996 

Joseph Huber died 2002 in Berlin 2002 

Huckauf, Peter ? Berlin Germany ? 

Spontanistische Collagen. Cat.: / Meta-Galerie, Berlin, 1984 

 

Floß & Wüstung. Alphabet des Augenblicks (Offset, 36 p.) Ed. Gertraud Scholz 

Verlag Neue Freiheit Berlin (?) 

→ Transfurism 

~ 

Literature: 



Huemer, Peter Fichtenstr 11 Pasching, A-4061 Austria 1990 

^Kopiegraphie / Mischtechnik - Arbeiten 1987-1990. Cat.: A/4, offset, 42 p. 

/ Galerie → Maerz, Linz, 1990 

^Dazwischen... In: Cat.: «Zwischenbilder, Copygraphy + Electr. Graphic» Linz, 

Österr. Landesmuseum, 1994. 23-24 p. 

^Copy Book Art International. (with Thomas Meyer) Exh.: Gal. → Maerz, Linz. 

Cat.: A/4, phc., 120 p. {500} (with orig. copy-pages, like assembling) 

Text: P. Huemer: In Search of a Book that was never written. 1996. 

Huigin, Sean O. c/o Writers Forum London United Kingdom 1976 

°Curtal Sails. (Assembling like anth. with works by J. Adler, H. Burke , C. Cheek, 

S. Clews, B. Cobbing, P. C. Fencott, B. Griffits, J. Pike, L. Upton, etc. 

A/4, mimeogr. 54 p.) Writers Forum. London, 1976 

«Humanitarian Fond» → Zhukov, Leonid 

«Hundertmark, Galerie & Ed.» Brüsselerstr. 29. Köln, D-50674 Germany 1988 

↑ Reinoldstr. 6 Köln-1, D-5000 - “ - 1983 

↑ Blumenweg 12. Berlin-42. D-1000 - “ - 1975 

............................................................................................................................................................. 

Gallery and editionhouse activity in Fluxus, visual poetry, conceptual art and diverse 

trends of alternative art. Since 1970s. 

^Konkrete / Visuelle Poesie. Cat.: A/6, phc., 16 p. 1992

«Hungarian Visual Poetry» → Visual Poetry, Hungary 

Hunker, Tracy P. O. Box 8421 Columbus, OH-43201 USA 1979 

Testube (Magazine about art + technology, 1979- ) 

 

!Hunter, Rev.! → Wamaling, Mark H. 

Huston, Mail Artists, Rubberstamps, Box 740 E. 19th St. Houston, TX-77008 USA 1987 

Ân Envelope and its Contents. Doc. One xeroxed sheet of legal size. / Missouri 

Street Gallery / Montrose Art Aliance. April 1987 

Hyatt, Michael (Hyatt Gallery) 933 S. Leseur St. Mesa, AZ-85204 USA 1986 

↑ Gallery 1331. 721 Pine St. Santa Monica, CA-90405 - “ - 1984 

...................................................................................................................................................... 

^Music Orwell, 1984. Inv.-flyer, 1984 

 

Ôlympia Kalender / Mail Art, Inv. on postcard: „Olympic Games“. (1983) 1984 

Ôlympic Games, Music & Orwell's 1984. (with M. Hyatt, L.→ Caldera, M. Mollett, 

R.→ Meade) Poster of 53x31 cm., offset. Exh.: Base 2 Gall. Los 

Angeles, & Hyatt Gall. 1331, Santa Monica. July-August 1984 

!Ibírico! Retablo Str. N° 1- 4. C Alcorcón (Madrid), E-28921, Spain 1997 

↑ AMAE Aptdo. N° 47, Alcorcón (Madrid), E-28921, - “ - 1995 

............................................................................................................................................................. 

Î. Mustra Int. de Mail Art. Cat.: A/4, offset, 16 p. (English /Spain) Centro Civico 

Social, Alcorcón. January 1990 

^Pinturas - dibujos - grabados. Cat.: A/5, colour offset, 8 p. Text: E. S. de Soto. 

/ Centr. Civico y Social, Alcorcón. December 1991 

^Mail Moz-art. (with Miquel Arranz → Sanchez) Cat.: 21x17 cm., offset, 24 p. 

/ ILMO. Ayuntamiento de Alcorcón. Delegacion de Cultura. 1991-92 

^Rooms. (Xeroxed matter + collages) Horz. mini size, 16 p., {100}. Introduction: 

Ma-Luz Bermejo. Ed. Koine / Libros. n.d. (1992?) 

Ûniverso racional. (Accordion book with additional documentations, also as flyer 

with 6 leaves, phc.) Alcorcón, 1993 

^100 años MIRÓ. “III. Muestra Int. de Mail Art Ciudad de Alcorcón” Cat.: 

23.5x16.5 cm., offset (colour), 24 p. / ILMO. February 1994 

Â. M. A. E. / Asociacion Mail-Artistas Españoles. (Mag. with Mail Art infos and 

exhibition invitations. Also short featurings. A/5, phc., ~26 p. 1995-97, 

m. #1-16) 

^# 1-16 

^Visual & Experimental Poetry Show – in Santo Domingo, Republic Dominica. 

→ Inismo 

~ 

Literature: 

Inv.-letter, 1996 

«...In 1995 I decided to create an Association which includes the most active 

Spanish Mail Artists, and for this end, I consulted them, one by one, by mail (of 

course). The response was excellent and unanimous: They support and encourage 

my plan. I was greatly surprised, because of the independence which is a feature in 

Artists, in general... Now, AMAE is recognized in my country, where I receive a lot 

of information from Institu-tions which is materialized in the Bulletin, jointly to 

Visual and Experimental Poetry, News, a Who is Who, etc. etc. and transmitted to 

all the networkers in Spain and out.... One of the purposes of the Association was 

fulfilled.... 

What other purposes does the Association have? 

Other purpose that AMAE be after too, is a section in his bulletin (?WHO 

IS WHO?), in which come out all the Spanish Mail Artists (two in each edition), 

and in this way, we get to know each other better. Subsequently to publish a guide 

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 

countries). And who knows, maybe a Mondial Guide of mail artists, why not? 

Probably Ruud, your mail interviews are yet the beginning... Also AMAE helps to 

keep in touch all the M. A. of the Kingdom. 

To organize exhibitions... Actually, AMAE prepares one in SANTA DO- 

MINGO (Dominican Republic), but not of mail art, VISUAL & EXPERIMENTAL 

POETRY, at the „CASA DE TEATRO“, which is the meeting place of Dominican 

Artists and Intellectuals... I will travel there, carrying the works of European Poets 

(Although most, Spanish)... 

I don't think the other forms of communication, like e-mail, fax, etc. will 

scroll down mail art. Some people will feel at ease connecting by other forms than 

mail (could be since smoke signals to Tam-tams....). Mail art has its own system... 

The sending, the waiting for, the surprise comes on an unexpected day... but then, 

you touch the enveloppe which is 3-Dimensional, you'll open it, etc. etc. From the 

sending to the receiving, a time process (sometimes, long or short, be implicit). (...) 

How involved are you in the Experimental Poetry and/or Visual Poetry? 

About 20 years ago, visiting a JOAN BROSSA exhibition in Barcelona 

(BROSSA is the undisputed leader of the Spanish experimental Poetry), and as a 

Plastic Artist, I was interested by this strange way to capture and to visualize the 

Poetry.... And it was from then, when I began to investigate in this way... Actually 

I take part in all the important exhibitions of Visual and Experimental Poetry in 

Spain, and all over the world. 

(Ruud → Janssen: The Mail-Interview with Ibírico A/5, 16 p. TAM Publs., 

TAM-970173. Tilburg, 1997) 

Ibiza, Mail Artists c/o Escuela de Artes Aplicadas de Ibiza. Baleares, E-07800 Spain 1988 

Êstamp Ibiza. Inv.-card to the Museum of Cont. Art, 1983 ® 

^Columbus. A Quinientos Años de la Llegada de Colón a America. Cat.: Cut A/4, 

offset, 72 p. June-July 1988 

Â 500 Años... de Colón. Segunda Convocatoria. Cat.: A/4, offset, 38 p. 

 

Exh.: Escula de Artes Apl. de Logroño (Org.: Ricardo Gonzales) 

May-June, 1989 

!Icarus! (Llys Dana publ. / Jaques Juin?) Bremen Germany 1980 

°All Ready Cut 4U. (Assembling like accordion publication) 1980 

 

«I. C. C.» / Internationaal Cultureel Centrum. Meir 50. Antwerpen, B-9000. → Schraenen 

«Idea X.Change» 

(→ Peters, Ursula / → Mela, E. / →Patrick, Tom / → Cellini, James) 

8 Balboa Av. San Rafael, CA-94901, USA 1985 

Îdea X-Change (Collected edited Mail Art mag. Half-legal, phc., ~18 p. 1985-, ir.) 

IALA by U. Peters / Dada-Relief Front by E. Mela / Eat It Up by 

T. Patrick / Art & Soul by J. Cellini 

^# 1 

Igloo, Alex (!TorridZone!) (Dislokate Klammer) 444 Sixth Avenue, Brooklyn, NY-11215, USA 1985 

P. O. Box 400, Old Chelsea Station. New York, NY-10001. - “ - 1978 

............................................................................................................................................................. 

Smegma (with → Scarletina Lust) (Neo-dada magazine with Mail Art, an accumu- 

lation of images and texts, sometimes with disk-supplement. Letter and 

half-legal size, offset, also colour print. 1978-, y.) 

°Bob Dylan Mail Art Exh. Cat.: Half-legal, phc. 39 p., ~160 participants (Also was 

selling a T-shirt to commemorate the exhibition.) Exh.: Galleria dell' 

Occhio, (→ Pittore) New York. 1983 

~ 

Literature: John → Held, Jr.: L'Arte del Timbro / Rubber Stamp Art. A/5, offset, 176 p. 

Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 28 p.

«Illusion Production» 15 rue Pierre Curie Mondville, F-14120 France 1982 

Sensationnel le Journal (Handmade graphzine by silkscreen, mimeographic, and 

with textile, postcards and audiocassette supplements. A/4 & A/5, 

mixed techn. 1980= N° 0, 1982-, y.) 

Ârt Boundage. Inv.-flyer, 1982 

 

~ 

Literature: Ljmite, N° 28 (→ Billé) 

!Illustrated Woman! (Janet Hofacker) 485. N. Oaktree Ln. „C“. Thousand Oacks, CA-91360. USA 1994 

Rubber stamp artist with a large collection of “historical” rubbers. Artist’s postcards. ® 

«Image Bank» 303 E. 8th Ave. Vancouver, V5T 1S1 Canada 1977 

(by Michael Morris & Vincent Trasov / a method for the exchange personel informations and 

research between artists 1969-79 / associated with the → Western Front Society, Vancouver) 

............................................................................................................................................................. 

Image Bank Postcard Show (80 postcards in a box) Coach House Press for the 

Image Bank Exhibition at Fine Art Gallery, U. B. C., 1971 

Înternational Image Exchange Directory (Unpaged talonbooks, a directory listing 

the names and addresses of hundreds of artists around the world, along 

with their specific requests for images and correspondence. Compiled 

Jan. 1970 – Nov. 1872, published also in the File Magazine #1, 2 & 3 

(→ General Idea). With address lists, short notes and many illustrations, 

booklet of 8.5x13 cm., offset, ~200 p.) Talon Books, Vancouver, 1972 

Image Bank Network Sampler (Box format edition with 20 publs., prints and 

ephemera, documenting ideas & fantasies) S. P. Vancouver, 1976 

Îmage Bank Postcard Show – 1977. (48+1 cards in box) Coordination: Panama 

Design Studio N.Y. Edited by Image Bank. Vancouver, 1977 

Das Sofortbild Polaorid. Cat.: 29 p. Exh.: in Aktionsgalerie, Bern, travelled to 

numerous centres in Europe. Org.: Rudolph Jaggli, Oct. 1977 

Image Bank Exhibition / Centre Culturel Canadien, Paris. Org.: Yves Pepin, 1978 

L'Estamp Aujourd'hui 73/78. Cat.: / Bibliotheque Nationale Paris, France. Section C, 

Cartes Postales (Cards designed by Image Bank, Dadaland, R. Filliou, 

Allen Jones & others) Paris, May-June 1978 

Ie Festival International de la Carte Postale d'Avant Garde 1979. (Image Bank 

post cards in the exh. at a vitrine bookstore) Paris, June 1979 

Ârt & Correspondence from the Western Front. Cat.: 72 p. (further → Western Front) 

The National Museums of Canada, Vancouver, 1979 

~ 

Literature: 

Art-Rite's «Image Bank» issue, #17, 1978 (→ Canepa, Anna) 

Immos, Frans ? Amsterdam Netherlands 1978 

°You and Me. Inv. / Other Books and so... Amsterdam, 1978 

 

°Vocab. English / Xaoh – Xaoh / English. (Orig. rub. stamps, 10 p.) Stempelplaats. ® 


«Inconnu» 

(Group, Edition) (Bokros, Péter / Molnár, Tamás / Pálinkás, József) 

Izabella u. 92. II. 17/a Budapest, H-1064 Hungary 1989 

↑ Völgy u. 29/a. Budapest, H-1021 - “ - 1986 

↑ Téglagyári út 7/b. Szolnok, H-5000 - “ - 1981 

............................................................................................................................................................. 

^Hard Magazin (Cartoons & graphism, A/4, offset, 1979, #1 only) Szolnok H 

Înconnu (Polit art underground mag. A/5, mimeogr. 80-110 p. 1981-82, #1-2) 

 

 

Punknow Ed. Inconnu Group, Szolnok H 

^#1, 2 

Galeria Arteria (non-official exhibition & «fair» activity with all kind of alternative 

arts) Bercsényi-Klub, Budapest, 1983 

Âlkalmi Eseményújság (Occasionally News of Events) (Polit art mag. A/4 horz.,

phc., ~26 p. 1984-86, #1-3) Inconnu Press / Arteria Editor 

^#1 

«Inismo» in Italy 

Literature: 

Âlí Ghaderi: L'Inismo o la „coscienza“ della parola. / Eugenio Giannì: Appunti 

di estetologia inista. / François Proïa: L'Inisme et les mondes virtuels. 

In: Bérénice (→ Bertozzi). Vol. 1, N°1, Roma, March 1993. 30-32 / 73-78 

/ 107-111 p. 

^Letteratura odeporica e arte postale iniste. (A special issue of Bérénice with ca. 

30 articles about the diverse activities of inismo. Authors: G. A. Bertozzi, 

G. Agresti, Ibírico, G. Mattioli, Maria L. Bermejo Baquero, Julio Carreras 

and others) In: Bérénice (→ Bertozzi). Anno II. Roma, March, 1994 

«Inismo» in Spain (Internationale Novitrice Infinitesimale / Código Universal Infinito) 

Magazines: 

^Koine also Grafe Koine, Koiné, Koinè, Koine-INI, KoinèINI, Kóinè. (The «central» magazine 

of the Spanish inism mouvement with visual literature, short manifests, and 

with featuring of exhibition or festival events. Hand made interventions by collages. 

~A/5, phc. / offset, ~8-32 p. 1985-, squ. ~30#) Editors: Duval / Molero Pryor / Gutman 

Figueiredo / M a -Luz Bermejo / Morante & others. c/o Las Suartes 33 B-c, 

Collado Villalba (Madrid) E-284300, Spain .....................................................1985 

(In #24: Inismo & Andalucia; #25: El Inismo en España; N° Mayo 1991: Origines 

del Inismo. «Christmas & Mail Art» issues: Dec. 1991, Jan. 1992, Dec. 1992). 

^#Aug. 1990, #May 1991, #14, 16, 18, 19, 20-21, 22, 23, 24, 25, 

Inicuba Centro Latinoamericano de Poesía Inista (Mag.) ..............................................1992 

Înizial 

c/o Apartado Postal 6239. Ciudad Habana. 10600. Cuba 

Revista Inista de Poesía (Mag. A/5. 1992-, sometimes idientical with the Koine) 

................................................................................................................1992 

^#1, 3 (Koine #25), 

^Boletin de Noticias Inispania / Info Ini. (Mag. A/5, phc., ~10 p. 1992?- Boletin..., from April 

1994: Info Ini ) c/o Koine, Villalba ...................................................................1992 

^#6, 9 

^Fanz Ini / La Fabrica de Signos (Mag. A/5, phc., 12 p. 1993-). .....................................1993 

c/o Antonio Pielago, San Gregorio 19. Galapagar (Madrid) E-28260 

^# Marzo 1993 (#1 ?) 

Înia Kelma / Taller Andaluz de Poesía Inista (Mag. A/5, phc., 16 p. 1993-, qu.) .................1993 

c/o Juan Orozco Ocaña, Nueva 4. Montellano (Sevilla), E-41770 

c/o Pedro Romana, 1. 4° 2a Cordoba 

^#2, 3, 4, 5, 6, #? from 1996 

Aina Inia (Mag. ) ? ............................................................................................................199? 

^Mondragon / Taller de Poesía (Mag. A/5, phc., 6-8 loose leaves in cover, 1993- ) .............1993 

c/o (Graciela Garcia?) San Francisco, F-32 3-A. Turon / Asturias, E-33610 

^#1 

^Zebra / Vértice poesía inista galega. (Mag. 21x17 cm., phc., 16 p. 1993 ?)................1993 

c/o Pedro Gonzales (A Zebro Inista), Caritel (Ponte Vedra), E-36829 

^#1 

Zeinue / Zeinu∋ (Mag. A/5, phc. 1993-) c/o Vitoria N° 19. Areta (Alava), E-01400 .............1993 

^Grafe Koine La Fabrica de Signos. (New series) (Mag. A/5, phc., 22 p. 1994-, ir.) Ibírico, 

M. Prior & Ma-Luz Bermejo. c/o Las Suertes 33. Bajo-C. Collado Villalba 

E-28400 .............................................................................................................1994 

^1994/#1, 2, '97/9, '98/9-10, 

Îni Vox Revista de Prensa. (Mag. A/5, phc., 8 p. ~#1-12)..............................................199? 

c/o Grupo Inizil (Jorge Barreto. R. São Francisco do Piauí, 498, Casa 6. & Neli 

Vieira. R. Jaime Costa - BL A-20. Apto. 11. Santo André, CEP 09230-420, Brasil)

Exhibitions: 

Êxposicion Internacional Bibliografica de Poesía y Literatura Visual-Experimental. Doc.: A/5. 

Org.: Mail Art Archive Turon. / Sala de Exposiciones Casa Municipal de Cultura, 

„Teodora Cuesta“, Mieres. June 21 – July 12, 1991 

^ Ibírico. Pinturas - dibujos - grabados.Cat.: A/5. Text: E. S. de Soto. / Centr. Civico, Alcarcón 

1991 

^Premio Inista de Poesía – Gabriele-Aldo Bertozzi. Doc. Exh.: Galeria Arnal, Villalba, 1992 

c/o Group Zeinu (###), Jabier Herrero, Vitoria N°19, Areta, E-01400 

Înismo y Vanguardia (Org.: Zeinu∋ / Koine / Inispania) Doc. Exh: Circ. de Bellas Artes, 

Madrid, 1993 

^Joan Miró 100 Years... Exh. et the Alcorcón Cultural Center. Inv.-letter, 1993 

Êxposicion de Poesía Inista. (by KOINE, M. Prior, Bermejo, M. Bermúdez, Ibírico), 1993 

Cat.: A/5, offset, 16 p. Texts: Ibírico: Vanguardia e inismo 

Koine: Breve Historia del Inismo Español 

F. J. Molero Prior: Soportes, limites y tiempos poeticos 

Works by M. B. Fernandez, M. Bermejo, F. J. Molero Prior, Ibírico, 

M. Bermúdez, M. Luz Bermúdez 

^Nuevos Soportes Poeticos. Ibírico, Molero Prior, Maria-Luz Bermejo (Integrantes de Grafe 

Koine) Doc.: Accordion. / Galeria Azteco, Madrid. May 21 – June 2, 1994....94 

^1o Encuentro Internacional de Poesía Inista. Doc.: A/5. Organiza: Inia Kelma, Zeinue, Grafe 

Koine / Casa del Cultura de Colleldo Villalba (Madrid), Oct. 3-9, 1994 

^10 Años de Inismo Español. Exp. de Poesía Inista, Grafe Koine. / Collado Villalba, 1995 

Cat.: Text: J. Camarero: Principia Semiotica Inista. 

~ 

Publications: 

Îbírico: Rooms. (10.5x14.5 cm,horz., phc. + collages, 16 p.) Intr. by Ma-Luz Bermejo, 

Grafe Koine / Libros, 1992 

^Zeinu(∋): 1. Manifesto. 1992 (Colour offset, 4 leaves) Zeinue, Taller Vasco de Poesía, 1992 

^Zeinu(∋): Esto no es una crisis. 5 A/4 leaves / Marqués de Casa Riera, Madrid, 26 Marzo 1993 

^Campal, Jose Luis: Gran Oferta. (Vis. poetry,12 p.) Grafe Koine / Libros.Villalba-Madrid, 1993 

^Gonzales, Perez: Gabineta Inista. (21x11 cm., phc., 10 p.) Koine / Libros. Villalba-Madrid, n.d. 

^Gonzales, Pedro: Libro dos Sinais. (12 p.) Grafe Koine / Libros. Villalba-Madrid, 1993 

^Gutierrez, Pedro J.: Doce Poemas Inistas. (21x11.5 cm, phc., 14 p.) Koine/Libros, Villalba,1993 

Ôcaña, Juan Orozco: Escrito en el Aire. (Phc., 8 p.) Grafe Koine / Libros. Villalba, 1993 

Ôcaña, Juan Orozco: I. N. I. Signo. (Phc.,, 16 p.) Nueva 4, 41770 Montellano (Sevilla), n.d. 

^Primer Manifesto Inista de Grafe Koine / La fabrica de signos. (by Ibírico, Mª Luz Bermejo 

Molero Prior) 4 p., xeroxed yellow paper, Collado Villalba- Madrid, 1993 

^2° Manifesto Inista de Grafe Koine. (by Molero Prior?) 2 xeroxed leaves, Villalba, 1994 

^Premio Inisto de Poesía / by Gabriele-Aldo Bertozzi. ( 8 p.) Koine Taller 3. 

Artists: Molero Prior, M. Luz Bermejo, M. Bermedúz, Ibírico. 1994 

^Diaz, Lisiak-Land: Inias. (21x11.5 cm, phc., 16 p.) Grafe Koine / Libros. 1994 

^Herrere, Jabier: Inista Almanatea (21x11.5 cm phc., 16 p.) Grafe Koine / Libros. Villalba, 1994 

^Feme inismo. (21x11.5 cm., phc., 20 p.) Introduction: Ma-Luz Bermejo, vis. poems by L. Aga- 

Rossi, M-L-. Bermejo, L-L. Diaz, E. Galan, M.- Martinez and A. Sema. Grafe 

Koine / Libros, Viallaba-Madrid, 1994 

^Bermejo, Ma Luz: Marcel Duchamp y el Inismo de Molero Prior. Ed. Koine, Madrid, 1994 

Înismo & Inismi: 10 Años de Inismo Español. (20 p.) Grafe Koine, Collado Villalba / Madrid. 

1995 

^Camarero, Jesús: Principia Semiotica Inista. In: Inismo & Inismi, Koine, 1995. 

^Herrero, Jabier: Poema Inista (5 drawings + text sheet: Filosofia para una nueva poesía) Handmade 

techn., Phc.,, rub. stamp. c/o Vitoria N° 19, Areta Alava, E-01400, 1995 

^Molero & Roman: Alquigramia. (21x11.5 cm., phc., 16 p.) Grafe Koine / Libros, Villalba, 1995 

^42 Inist Poems (Unicat?) M. Pryor - 29; M. Bermudez - 4; Mª Luz Bermejo - 3; M. Aidisa - 3; 

F. Reyes - 1; M. Blanco - 1; E. Galan - 1) A/5 leaves, phc. Villalba, 1997 

^Barajas, Hector: Mexico Inista (Visual works only, 12 p.). Grafe Koine / Libros. February 1998 

^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 

^Bertozzi, Gabriele-Aldo: Ausschwitz alta tension. (xerography, 12 p.) Grafe Koine / Libros. 

Madrid. May, 1999 

~ 

Literature: 

M. P. Alberdi: Manifiesto mundial de une nueva corriente creadora: INI (Internazionale 

Novatrice Infinitesimale). In: Seminario Puerta de Madrid, 

December 13, 1980. Alcalá de Henares, Madrid. 

Laura Aga-Rossi: Qu'est-ce que l'Internationale Novatrice Infinitesimale? 

In: CICK-Téchne, Paris-Firenze. 1981, 45 p. 

«EL INISMO fue creado en Paris al igual que el Futurismo y el Letrismo. El 3 de 

enero de 1980 se reunieron en el Cafe de la Flore los poetas Jean-Paul Curtay, 

Laura Aga-Rossi, y Gabrielle Aldo-Bertozzi, con la presecia de Isidore Isou, padre 

del Letrismo, plantenndose desde el primer momento la busqueda de nuevos caminos 

poeticos. Aislados de los anteriores, pero coinciswentes en munchos planteamientos 

con el grupo italo-frances, se desarrolló en el Madrid de la Transicion una 

nueva vanguardia, deseosa de romper con el pasado. 

En 1984 Miguel Valdivia y Francisco-Juan Molero Prior dejan la revista 

Rafagas, al no coincidir los planteamientos de esta publicacion con lo que deseaba 

hacer; fundando el taller de Poesía, Taller 3, junto a Maria-Luz Bermejo. A los 

pocos meses sacan una evista bajo el nombre de Koine, la cual se transforma en el 

vinvulo de espresion del incipiente Inismo hispano, en el cual abundan los exiliados 

hispano-americanos, como el caso de Maria Pilar Alberdi. 

De forma táita se produjo un pacto entre el grupo hispano-americano y el 

italo-frances sobre el empleo del término INISMO, as como las basca teoricas de 

nuevo movimiento...» 

(F. J. Molero Prior: Origines del Inismo. In: Koine Ini, N° May 1991.) 

Gabriele-Aldo Bertozzi: Inismo Spagnolo e Argentino. Chieti, Solfanelli, 1992 

«El Inismo en lengua española se inicia con el grupo argentino, formado por Julio 

Carreras, Maximillano Mariotti, Estaban Olocco y Daniel Doñate entre otros. De 

ellos destaca Julio Carreras, creador de „Cuentos Ini“ (Roma, Lucarini Editrice, 

1987) y propulsor del primer Manifesto INI Argentino. Carreras mantuvo una fuerte 

amistad con la también argentina, afincada en Alcalá de Henares, Pillar Alberdi. 

Ella, a través de la revista „Mundo de Papel“ fue la introductora del Inismo en 

España, al poner en contacto por medio de su pubéicacióm a poetas de ambos lados 

del Atlántico. 

Fueron por lo tanto los poetas argentinos, algunos de ascendencia italiana, 

quienes, en contacto con el Inismo italiano difundieron este movimiento en el área 

de Lengua Española. El papel desempeñado por Pilar Alberdi y su revista „Mundo 

de Papel“ es fundamental al poner en contacto a Julio Carreras y a Hugo Fiorentino, 

con poetas españoles como F.Reyes, Encarna Galán, M. Valdivia o Francisco 

J. Molero Prior. Mundo de Papel tuvo una corta vida, pero en sus seis números 

uncluyó a poetas como Bertozzi, Moreno Marchi o. A. Merante, creándos las bases 

del Inismo peninsular. 

El Inismo Español aparece con la formacion en 1985 de Taller 3. Los componentes 

del grupo venían de otros colectivos, fanzines y revistas de la llamada 

„Movida Madrileña“. A ninguno de ellos terminaba de convencer lo que estaban 

haciendo en sus respectivos grupos, porlo que creyeron necesario crear un Taller de 

Poesía. Huían de las politazadas revistas de la época. Valdivia y Molero Prior se 

conocieron por medio de la revista „Rafagas“. Al grupo inicial se unieron Encarna 

Galán y Francisco Igeño. 

Taller 3 creó en ese mismo añ la revista „Koine“. El primer número publicó 

una separata dedicada a la Vanguardia izaliana, que se complementaríacon otra, 

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 

1986. A fines de es año Taller 3 da un giro importante en su rumbo y se integra plenamen 

te al movimiento Inista. Esto coincidió con la publicación de una series de 

trabajos del grupo de Roma, así como la difusión del Primer manifiesto ini Español. 

Los inisias españoles colaboraron en el Segundo Manifiesto Internacional. Molero 

Prior, con la publicación de su ensayo „Sucesiones poéticas“ contribuyó a la reelaboración 

del Inismo. 

El abandono de E. Galán y la drogadependencia de M. Valdivia estuvo a 

punto de deshacer el grupo. Superada la crisis, Taller 3 publicó un número doble 

bajo el titulo genérico de Inismo & Inismi. 

La introducción del Inismo en país portugués fue lento. Al principio simples 

contactos informativos entre algunos poetas y Koine, luego un puente por su intermedio 

entre el Letrismo portugués y el INI. Ello sucede a través de poetas como C. 

→ Figueiredo, A Pimenta o F. → Aguiar. Juntos, los inistasespañoles y portugueses 

organizan en Collado – Villalba la 1e Feria Internacional Inista. Poco después publican 

el II manifiesto INI español, que coincide con sendas exposiciones en Oporto 

y Lisboa. 

Nuevos poetas se integran al movimiento: J Gutman, N. Amaro, F. Duval. 

En mayo de 1990 Nel Amaro y Taller 3 organizan su idea de arte embotellado y 

su lanzamiento al río Turón. El el verano de 1990 los inistas españolesparticipan 

en las exposiciones europeas con que se celebran los 10 años del Inismo en el 

mundo.» 

(Ma-Luz Bermejo Baquero: El Inismo en España y Portugal. In: Koine Ini, 

N° Aug. 1990. Also as small flyer in: Koine, N° 22, April 1992) 

^Lisiak-Land Díaz: El Inismo en España. In: Bérénice (→ Bertozzi). Vol. 1, N°1, 

Roma, March 1993. 88-93 p. 

«GRUPOS INISTAS ESPAÑOLES 

El movimiento inista español, como lo ilustra muy bien Bertozzi, se divide en los 

grupos siguientes: 

– Inismo Madrileño: KoinèINI. Es el priomero en orden cronológico (fines de 

1986-inicio de 1987), con su principal animador Molero Prior, justamente considerado 

fundador del Inismo Español; 

– Inismo Asturiano: Colectivo «Auxilios Mutuos S. L.», operante desde 1990; 

– Inismo Cordobés: INIC, aparecido en 1992; 

La fecha final de la obra de Bertozzi es el 30 de abril de 1992, mientras tanto otros 

grupos se van formando, como el: 

– Inismo Vasco: ZEINU (∃), cuyo Primer Manifiesto lleva la fecha 1992 (posiblemente 

en verano) y tiene como principal representante a Jabier Herrero. 

– Inismo Gallego: Banda performamtica do Sul, grupo que se ha puesto en contacto 

con los demás sóéo recientemente. Sin embargo, vale la pena tener en cuenta 

la dualidad voluntad/creación o si se prefiere proyecto/realización del grupo, aunque 

sea aún temprano para establecerlo....» 

(Lisiak-Land Diaz: El Inismo en España. In: Koine, N° 25 / INIzial N° 3, 

September-October, 1993, 3-18 p.) 

→ Îbírico: Vanguardia e Inismo. In: Exposicion de Poesía Inista. Centro Civico 

San Jose de Valderas, Alcorcon. Febr. 3-18, 1993 (Cat.: A/5, offset,16 p.) 

I. Encuentro Int. Sobre «Lenguajes Artisticos Inter-Medios» In: Boletin de Noticias, 

N°6.) 10 p. (Texts, exhs., congress programms.) Ed. Zeinue, Areta 

(Alava). Nov. 1993 

Garcia, Graciela: El inismo busca romper las barreras del lenguaje. In: Mondragon, 

N° 1, April 1993.

→ ^Padín: El Inismo: Nueva Tendencia Poetica. (Leaflet, 2 p. from March, 1994) 

«Institute of Contemporary Arts» Nash House. The Mall. London, SW1 United Kind. 1968 

The Magazine of the Institute of Contemporary Arts (Mag. 1968- ) 

 

«Inter-Dada '80» c/o Stephen Caravello / Susan Meier. 546 North State st. #3. Ukiah, CA-95482. USA 1980 

~ 

Literature: «North America's first International Dada Festival will be held in Ukiah, California 

in May, 1980. Under the auspices of the Mendocino Arts/Crafts Economic Development 

project (MAED) and Mendo-Dada (MAD) the festival will be a four-day event 

(1- 4 May) encompassing the more dada-esque branches of contemporary arts as 

practiced by more than on hundred artists from Europe and the Americas. 

The festival will serve two primary purposes, according to MAED spokesperson 

Stephen Caravello, one of which is to enhance mendocino County's blossoming 

reputation as an artistic community... Caravello's other motivation in helping 

Inter-Dada '80 is related less to economics, and more to promoting art for its own 

sake. (...) 

Chairman for the festival, Buster → Cleveland, says that a sizable number of 

organizations are already lending support and planning to participate in the festival, 

including... Mendo-Dada, Umbrella and Wet Magazines, San Francisco's La Mamelle 

Gallery (→ Loeffler), Anna → Banana and Dadaland (→ Gaglione), Arturo 

Schwarz and → Cavellini...» 

(Inter-Dada 80. In: Umbrella (→ Hoffberg). Vol. 2, #3. 62 p. 1979.) 

«Response to the Inter-Dada '80 Festival scheduled for next May... has been so great 

that the staff has been increased to handle all the mail. An International Dada Dance 

Contest will be held, with prized to be awarded. Kurt Schwitterss' play, Collision, 

will be performed, as will Ionesco's The Bald Soprano in multi-meida fashion by 

Stephen Caravello and Ukiah Players... 

(Inter-Dada 80 Update. In: Umbrella Vol. 2, #4, 82 p. 1979. Later updates 

in Umbrella: Vol. 3, #1, 4 p. / #2, 25 p. / #3, 49 p. 1980) 

Inter-Dada Mail Art Show. (Theme: Dada in the 80s.) Organized by Buster → 

Cleveland. Ukiah, California. Invitation in: Umbrella, Vol. 3, #2, 1980 

°Lon → Spiegelman: California Dada. Report and documantation on the Inter 

Dada '80, Los Angeles. Letter, offset with collages + rubber stamps, 38 p. {200}. 

Los Angeles, 1980 

«Inter-Dada '84» 

to quote „Harry Bates“, San Francisco, September 2-9, 1984, organized by Ginny → Lloyd (Box 

1343, San Francisco, CA-94101) and Terrence → McMahon (Fault Press, 33513, 6th St., Union 

City, CA-94587) featured a get-together-dinner at LaMamelle (→ Loeffler), two nights of performances 

at the Victoria Theater and in the 20x20 Gallery, and included film, video, and sound 

poetry evenings, a Dada fashion show and a Dada dance contest. There has been opened also an 

Interdada 84 Mail Art Show at the 16th Note featuring over 300 artists from over 25 countries. 

Besides a number of USA and Canadian artists participated same ones from Europe, too, e.g. 

→Cavellini from Italy, and Jürgen → Olbrich from Germany. The headquarters of the festival was 

at the Maelstrom Bookstore, 572 Valencia St., San Francisco. 

~ 

Literature: 

Înter Dada '84. Letter size offset print brochure, 8 p. (first one perforated), 

+ colour offset poster of 58x43 cm. Essays: 

Terrence McMahon: Insufficient Dada 

Ginny Lloyd: Who needs the MX when there's INTERDADA? 

Eited by → Lloyd Prods. / The Fault Press, San Francisco, 1984 

Înter Dada '84 San Francisco September 2-9 (The Program). Introduction by 

T. McMahon. Letter size, phc., 16 p. + orange cover.

A series of reports in → Spiegelman's mailart rag. Vol. 1, #2. November 1984: 

L. Spiegelman: Spiegelman leaves ½ his beard at InterDada '84. 5, 8, 20 p. 

L. Alien: Mollett lands on InterDada festival. 9, 15 p. 

John Leslie Fox II: Tought on InterDada '84 (with photos). 9-12, 15 p. 

John → Held Jr.: A report on InterDada '84 (with a detailled account of the 

festival program). 18-20 p. (A reprint of the article from Vol. 3, N°1, 

Dadautumn issue of the Newark Press by Mark → Wamaling) 

Editorial: Mailart News and Notes / InterDada '84. 13 p. 

«...The center piece of Interdada 84, as in 1980, was the return appearance of Cavellini. 

Lloyd called many times to encourage him, and Carlo → Pittore, the visiting 

Europe, added increased fervor as only he is wont to do. Finally the great man was 

convinced. Cavellini's appearance was central to both the spirit of the Festival and 

added a sense of historic continuity. 

An appearance by Ray Johnson was also scheduled, but family matters 

forced him to cancel at the last moment. Another „nothing“ by the father of the 

movement. 

Even without Johnson, this event had to be one of the liveliest, if not the 

largest, gathering of mail artists at one time in the United States. A gathering that 

not only celebrated the spirit of Dada inherent in mail art, but also the publication of 

the first book on the artform, Correspondence Art by Mike → Crane...» 

(John Held: A report... In: Spiegelman's mailart rag. Vol. 1, #2. Nov. 1984) 

Vittore → Baroni: Dadaismi. L'avanguardia addomesticata. In: Arte Postale. 

Guida al network della corrispondenza creativa. (Text: Italian) AAA 

Edizioni. Bertiolo, 1997. 88-91 p. 

I.S.E.L.P. (Institut Superieur pour l’Etuide du Langage Plastique) 

31. Boulevard de Waterloo, Bruxelles Belgium 1974 

Exhibitions for the different alternative art forms held at the ISELP: 

Art and Computers, 1974 

 

Chromos, 1976 

 

Humor and Caricatures, 1977 

 

Strip Cartoons, 1978 

 

The Builders of the Imaginary, 1979 

Artists‘ Rubber Stamps, 1981 

 

® 

!Iskra, Alexandre! → Heude, Philippe 

Jacks, Robert (New York - Austin TEX - Sidney AU) ? 

9 Bayview St. Lawender Bay, 2060 NSW Australia 1988 

↑ Fine Art Dpt. Melbourne University, Parkville 3052, Victoria, Australia 1978 

............................................................................................................................................................. 

^Hand Stamped (Booklets with raster-ruberstamps, entitled, e.g.: Red Yellow Blue / ® 

Twelve Red Grids, 1973 / Twelve Drawings, 1974 / Color Book, 1975 / 

Red Diagonals, 1976 / Dots Lines, I-II, 1976-77 / Dots, 1978 / Vertical 

& Horizontal, 1978 / Black Lines, etc.) in the time of 1973-79, 

12 div. issues? 

^# 8 div. issues 

Stamps (Rubber stamp assembling in box of 28.5x22.5 cm. 1976-77, #1-2) New York ® 

~ 

Literature: 

«Some Rubber Stamp Functions: 

1. As the most convenient way to draw and reproduce. 

2. The convenience of transportation and exhibition of small works. 

3. As theprocess avoids the elitism of the professional print activity. 

4. Extending the boundaries of art.

5. Making works available to everyone.» 

(From a letter of Robert Jacks, dated Febr. 3. 1978. In: Rubber [→ Stempelplaats], 

Febr. 1978) 



Jackson, Leavenworth P. O. Box 9988 Berkeley, CA-94709 USA 1991 

↑ 175 Belvedere Street San Francisco, CA-94117 - “ - 1985 

............................................................................................................................................................. 

^Do Not Bend /a rubberstamp romance (One tabloid sheet printed r/v. and folded to ® 

16 pages, in a cover) S. P. n.d. (1970-s) 

^Preseverance Furthers / Clown War 12-A. (14.3x13.7 cm., offset after rubber ® 

stamps, 20 p.) S. P. 1976 

Ânything in Parentheses can be Ignored (Text: Seeger, Judit – poetry & drawing, 

digest, offset, 40 p.) San Francisco, 1980 

~ 

Literature: Leavenworth Jackson. In: Rubberstampmadness (→ Sperling). Vol 1, #2. 1980 

«I use the copier as a printing press, and also for reducing and enlarging elements in 

preparation for finished artworks. I print small, variable and personal editions... 

Why do I make art? As a means of community out there whoever they may be... and 

more fundamentally: because the art making activity itself is an essential part of my 

life.» (L. Jackson: Statement. In: Sarah → Jackson: Books Build Bridges / Copier 

Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 215. item) 



Leavenworth Jackson: Mountins and Rivers in the Mail. In: Chuck Welch (ed.): 

Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 219- 

220 p. 

Jackson, Sarah 1411 Edward Street Halifax NS. B3H 3H5 Canada 1991 

↑ Technical Univ. of Nova Scotia, Box 1000. Halifax B3J 2X4 - “ - 1985 

............................................................................................................................................................. 

^Mail / Copier Art Exh. Cat.: 22x36 cm., offset/phc. 42 p. 240 parts. Texts by 

Sarah Jackson, Doug Barron, Louise → Neaderland, Robert Morgan / 

Art & Technology Festival - TU ° NS. 1985 

^Books Build Bridges / Copier Art – Bookworks. Cat.: 21.5x36 cm., horz., phc., 84 p. 

301 parts., a lot of statements / National Postal Museum, Halifax. 1986 

Texts: Francine Brousseau: Introduction 

Christian Rigal: Of Books & Copiers (press / xerography) 

George M. Mitchell: Re: Letterpress 

Sarah Jackson: We mark our dreams... 

^Copy Art Builds Bridges. (Brought over from Canada, Tchn. University of Nova 

Scotia + London Borough of Camden. Cat.: A/4 size. Exh.: Swiss 

Cottage Library, London. May 23 - June 27, 1989 

^Print Folio Book (4 leaves + 2 colour prints, 25,5x38 cm) S. P. Halifax, 1988 

Ârt Travels – at the National Postal Museum, Québec. Inv.-letter, 1992 

~ 

Literature: 

(Mail/Copier Art. Statement): «We believe that an exhibition of over 200 entries of 

Mail/COPIER ART from around the world deserves documentation. Even if modest 

in scale, the catalogue reflects not only the distinctive quality of the works, but also 

the friendship which ties us as free artists sharing ideas democratically trough art. 

There is no judgment, no „star“ system, no elaboratate evalution... just a 

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 

single or full colour. They can explore scale, form, papers, collaging graphic motifs, 

etc., in a very personal way. Some final products can be in limited editions, multiples, 

bookworks, murals (you name it). The ART results by a blend of magical 

transformation through the medium...» (Sarah Jackson: Mail/Copier Art Exh. Cat.:) 

«...So when copy artists make the claim that anyone can make a Xerox image, they 

are, of course, correct. The real task, however, is making a Xerox image appear 

significant – first to ourselves, then to others. Copy artists are also mail artists or 

intermedia artists. They tend to allow their ideas to travel through many divers, 

often „instant“ forms of production. (Moholy- Nagy distinguishes between the 

reproductive and the productive arts. The former imitates nature, the latter creates 

its own.) The key to good copy art – and yes, I am reffering here to work that has 

quality – is the means by which one discovers new ideas through the medium one 

has chosen to use. Good ideas do not necessarily make good copy art, and vica 

versa. Fundamentally, good copy art is good art...» (Robert Morgan: The Continuing 

Legacy of Copy Art – in the Making. In: Sarah Jackson: Mail/Copier Art 

Exh. Cat.:) 

(Books Build Bridges...): «...the curator of this show has made this catalogue an 

elegant bookwork in itself. By using two spines the catalogue opens up as three 

pages wide, a sort of triptych bookwork, that juxtaposes xeroxes of the work and 

the artists statements about their work.» (Stephen → Perkins: Catalogues. In: 

Box of Water, N° 3, 1987) 

«A superbly produced catalogue. Unique spiral binding on two sides opens up to a 

42-in wide centerfold! Lists addresses & statements by 301 copier artists whose 

works are in the exhibition, as well as many reprinted examples of the art itself. 

More than a glimpse into the endless possibilities of the copier art medium. If only 

more mail art exhibitors would put this kind of care & vision into their projects & 

documentation.» (by M. And in: Anti-Isolation [→ Xexoxial], #3-4, 1987. 29 p.) 

Jacob, John P. 

(!Hype World Headquartier!) 

2425 Rockfort Road Bloomington, IN-47401 USA 1992 

↑ 45199 Depew Ave. Austin, TX-78751 - “ - 1988 

↑43 W. 27th. Street. #6F. New York, NY-10001. - “ - 1982 

............................................................................................................................................................. 

Who's Who of the Happy Young People Enterprises (HYPE). Inv. New York, 1982 

^Post Hype (Mail Art mag. The first issues in the usual one-sheet info size, later 

more and more voluminous. Letter & digest, phc., 4-62 p. sometimes 

with rubber stamps. 1982?-84, bim., ~ 10#) 

^# Vol1./3; Vol.2/1, 2, 3, 4, 5; Vol.3/ 1 

Artistamps: ^Cavellini NYC 82 (Sheets of 12 id. stamps, colour phc.) jpjacob 1982 

^Carlo Pittore performans la buffoneria (Sheet of 12 diff. stamps, 

colour phc.) jp. jacob. hype 83. 

^The First Int. Portfolio of Artists' Photography. Cat.: Digest, phc., 8 p. + 1 orig. 

photo as suppl. / New York. 1983 

^Censorship East / Censorship West. Inv. Exh.: Gallery Dell'Occhio (→ Pittore). 

New York, April 1984 

^Mail Art. A partial anatomy. / In: Post Hype, Vol. 3, #1. (Letter, phc., 64 p.) 1984 

Essays by J. A. Hoffberg, G. Perneczky, V. Baroni, A. Banana, Crozier, 

R. Cohen, Anthroart (V. Hamann), A. Igloo, H. Gajewski, D. Zack. 

Artists talk on art: R. Morgan, M. Bloch, Ed Higgins, C. Pittore, 

E. Plunkett, J. Evans, S. Random, K. Friedman, R. Cohen, D. Higgins, 

R. Kostelanetz, C. Welch, J. P. Jacob, J. Held, D. Cole & others 

^Letter. (to «Peter» about Mail Art and mail artists as Fricker, Zack, Pittore, Cole, 

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 

postage stamp sheets, invitation, orig. photo) Riding Beggar Press. 1984 

^The Catalogue of Ideas (4 small bag for Life, Time, Hunger, Death / rubber stamps ® 

in a cover, xeroxed text) n.d. ~1984 

^Howling Mad Mail Photo of Yourself. Inv., 1985 

 

Artistamps: ^The Howling Mad Mail (Sheet of 36 stamps/autoportraits, 2 images, 

b/w phc.) JPJ '85 

^Schooting at Strangers. (A photo/graphic publ. on tabloid size pages of 27.5x40 or 

27.5x43.5 cm., hard xerox, in plastic envelope {75}). Ridding Beggar 

Press, New York, 1985. 

Also a accordion book with the same title (8 p. xerox + rubber stamps) 

S. P. n.d. ~1985 

^The Second Int. Portfolio of Artists' Photography. (Eastern European Artists) 

Doc. Digest, phc., 8 p. + accordion folder (3x) / Liget Galéria, Budapest - 

New York, May 1986 

^Hidden Story. Samizdat from Hungary & Elswhere (with → Várnagy, T.) Cat.: 

Letter, phc., 84 p. Exh.: → Franklin Furnace Archive, New York. 

Sept.-Nov. 1990 

~ 

Literature: 

«(Mail Art. A partial anatomy / Post Hype, Vol. 3, #1) A circumspect look at mail 

art. →Hoffberg, →Banana, →Johnson, →Perneczky, each write. But a capper is a 

complete transcript of the raucous, disjunctive panel discussions on mail art, run in 

conjunction with the → Franklin Furnace mail art exhibition of early 1984. Ronny 

Cohen, the exhibition curator, is expelled from the panel's discussion after a nasty 

upbranding by various members. Apperently she committed a major faux pas in the 

sphere of mail art by selecting only certain pieces for display rather than all 

received. She's additionally accused of not knowing what the hell mail art is about 

(other than in an academic way). This issue is for the serious mail artist who may be 

fascinated by other motivations, explanations and renegade dynamics. Class item.» 


John P. Jacob: Mail Art: Aesthetic Revolution or Personal Evolution? In: Chuck 


1995. 213-217 p. 

Jacob, Steffen Pfarrhügel 44. (Karl-Marx-Stadt, GDR-9054→) Chemnitz, D-09125. Germany 1985 

°The Year of Communication. Doc.: 1 xeroxed A/4 sheet with the list of 30 parts. 

Karl-Marx-Stadt, 1983 

^Mauer / Wall. A/4 doc., phc., + postcards / Jugendklub «Tip», Karl-Marx-Stadt, 

1984 

Ârt in Small Size. Doc.: A/4 sheet, typewritten text by carbon copy, signed, + 

original rubber stamp prints. 

^Collages & Drawings. A/6 accordion book, offset, 8 p. Galerie Hermannstr. – Knut 

Röser. May 8 - June 5. Karl Marx-Stadt GDR-9002, 1990 

Artistamps: Für gemeinsames Lächeln (Sheet of 14 id. stamps / map of Germany, 

colour offset) → Harlekin Geschenke Witzbaden. n.d. (199?) 

James, Robin 

→ «Cassette Net» 

!Janet, Janet! (Stephen → Perkins) P. O. Box 170715 San Francisco, CA-94117 USA 1990 

↑ 135 Cole St. San Francisco, CA-94117 - “ - 1985 

............................................................................................................................................................. 

^SCHISM (Mag. Mini size, phc. 8-16 p. 1985-89, #11-24) «...a flurry of karate chops 

to the heart of commodity culture.» (Box of Water, #4, → Perkins) 

More about the single issues: → Smile mania / Schism 

^# 11, 12, 13, 14, 15, 16, 17, 18, 22, 24 

^SCHISM, reprint (Any differents to the orig. publication in the coloring of the cover

Literature: 

paper only. With a yellow title page for the whole series. Reprinted in 

the 1990s, Iowa City) 

^#11-24 

~ 

«In the wake of Jenny Holzer this little booklet lays it all on the line. Each page 

carries a word or two, uppercase and tense. „DRUG / TESTS: / THE / LOYALITY 

/ OATH / FOR THE / NEW / INQUISITION“ -30- Oops, the beans are spilled.» 


«Janet Janet has been a Bay Area enigma for several years now. She seems to only 

appear on stage, in performance, or through her provocative little pocket-magazine, 

Schism. Does she exist outside of these? She may be an enigma to us, but we, the 

world, are not enigmas to her. Is this the schism, the separation, between us? She 

sees what we cannot? In her latest Schism #21, she states „la culture est l'inverse de 

la vie“. Yet she doesn't come right out and say that; she spreads this message over 

eight pages, including seven images from the Paris student riots of 1968. In this 

world, it is a simple matter to distinguish culture from life, but the energy of an era 

can push culture closer to life. 1968 was one of those years. Janet Janet, extraordinary 

psychohistorian that she is, was there...» (Lloyd → Dunn: Print Reviews. 

PhotoStatic. N° 34, Febr. 1989, 1240 p.) 

Jankowski, Matti c/o Circle Arts, 1439 Ocean Ave. 2 F. Brooklyn, NY-11230 USA 1983 

^Perpetual Motion (Mail Art compilation magazine, also visual poetry. 

 

Digest, phc., ~16 p. 1983- ) 

^# 22, 23 

Janssen, Ruud TAM (Traveling Art Mail) Box 10388 Tilburg, NL-5000 JJ Netherlands 1996 

^TAM Bulletin (Mag. A/5, phc. 1984-?, over 30#, irregular, it was avaible from 1987 

also on Janssen's computer host) 

^1984: #7, 9,10, 11, 14, 17, 18, 19, 

^1985: #1, 2, 3, 4, 5, 6, 

^1986: #2 

^1987: #1 

Ârt in the Future, Snip-Xerox Proj. Cat.: A/5, phc., 27 p. 48 participants. 1984 

^TAM was here. Doc. A/4, phc., 4 p. / → Melkweg Gallery Amsterdam, February- 

March 1985 / arteStudio → Morandi, Ponte Nossa I, August 1985 

^Bank Art Project 1986-87. Cat. in: TAM Bulletin, N° 1, 1987. (A/5, phc., 12 p.) 

^TAM Rubberstamp Archive (Endless project - collection of orig. rubber prints. ® 

From time to time archive lists and reports, e.g.: The Rubberstamp 

Archive 12 p. + 3 p. list, 1984 / Rubberstamp Archive Newsletter, 

July 1996, 12 p., etc.) 

^Selfportrait photo exchange. Inv.-flyer, 1985 

 

^Bank Art. Inv.-flyers, 1985 

 

Artistamps: ^tam 45 c (Block of 4 id. stamps, b/w phc., not perforated) n.d. 

^l'timbre-poste pour l'trimbre (Sheet of 8 diff. stamps, phc on green 

paper) n.d. (1989?) 

^Statements about Mail Art (Block of 16 diff. stamps, phc. on yellow 

paper) TAM / Tilburg. n.d. (1989?) 

TBHS (Host system: TBHS, Sysop: Ruud JANSSEN, by appointment, 1990- ) 

History in Mail Art (A/5, phc., 32 p.) Illustrated ed. {30} n.d. (1990) 

 

^Burocratic Stickers from your Country. Inv.-flyer, 1990 

 

^Fill one stamp (-field)! Add to... artistamp project. Form-page, 1991 

 

^Xerox Selfportraits. Inv.-flyer, 1992 

 

Artistamps: ^Statements about Mail Art (Sheet of 16 diff. stamps, phc. on white 

paper) TAM / Tilburg. n.d. (1992?) 

^Statements about Mail Art (Sheet of 16 diff. stamps, phc. on red 

paper) TAM / Tilburg. n.d. (1992?)

^Statements about Mail Art (With Made → Balbat. Sheet of 16 diff. 

stamps, phc. on rose paper, not perforated) Marked: TAM / MB. 

TAM. Tilburg, 1992 

^Some thoughts about Mail Art (A/4, phc., ~4 leaves publications, started in 1993 

1, The first set; 2, Why write about mail Art?; 3, A personal experience; 

4, The Internet/1995; 5, Answering all mail; 6, Assembling zines; 

7, Eastern European MA in Swerin; 8, TAM-publs.; 9, Future commun.; 

10, Older statements; 11, Generations in Mail Art; 12, Bike Corresp.; 

13, About Ray Johnson; 14, Mail Art nowadays; 15, About changes; 

16, Answering all the mail; 17, Future communication; 

Êlectronic Mail Art (10 letters between March 1994 and Apr. 1995, A/5, phc., 4 p.) 

^The Mail-Interview Project (A5 brochures, phc., 4-32 p. started Nov. 1994): 

Published in 1995: 

^TAM-950065 - with Michael Leight, England, 12 p. 

^TAM-950066 - with Klaus Groh, Germany, 4 p. 

^TAM-950076 - with Arto Posto, USA, 12 p. 

^TAM-950079 - with Michael Lumb, England, 22 p. 

^TAM-950080 - with Rod Summers, Holland, 8 p. 

^TAM-950085 - with Henning Mittendorf, Germany, 24 p. 

^TAM-950087 - with Dobrica Kamperelic, Yugoslavia, 12 p. 

^TAM-950088 - with Chuck Welch, USA, 20 p. 

^TAM-950091 - with Robin Crozier, England, 12 p. 

^TAM-950092 - with Anna Banana, Canada, 20 p. 

^TAM-950095 - with John Held Jr. (Part 1), USA, 24 p. 

^TAM-950097 - with Carlo Pittore, USA, 24 p. 

^TAM-950101 - with Jenny de Groot, Holland, 12 p. 

 

 

 


^TAM-960103 - with Svjetlana Mimica, Croatia, 16 p. 

^TAM-960104 - with Ken Fridman, USA/Norway, 24 p. 

^TAM-960105 - with Dick Higgins, USA, 24 p. 

^TAM-960110 - with Ashley Parker Owens, USA, 16 p. 

^TAM-960114 - with Clemente Padín, Uruguay, 20 p. 

^TAM-960115 - with Mark Bloch, USA, 12 p. 

^TAM-960116 - with Mark Greenfield, England, 24 p. 

^TAM-960123 - with John M. Bennett, USA, 16 p. 

^TAM-960124 - with Patricia Collins, England, 20 p. 

TAM-960134 - with Ray Johnson, USA (was broken up) 

^TAM-960135 - with Jenny Soup, USA, 16 p. 

^TAM-960138 - with E. F. Higgins III., USA, 20 p. 

TAM-960139 - with Robert Rockola, USA 

^TAM-960140 - with Rudi Rubberoid, USA, 16 p. 

^TAM-960145 - with Andrej Tisma, Yugoslavia, 24 p. 

^TAM-960147 - with Vittore Baroni, Italy, 28 p. (also as Arte Postale! #77) 

^TAM-960151 - with Ayah Okwabi, Ghana, 20 p. 


^TAM-970159 - with Julie Hagan Bloch, USA, 20 p. 

^TAM-970161 - with Julie Paquette - ex posto facto, USA, 20 p. 

^TAM-970162 - with Michael B. Corbett, USA, 20 p. 

^TAM-970163 - with Rudd Janssen, Holland (by M. Greenfield), 28 p. 

^TAM-970167 - with Günther Ruch, Switzerland, 28 p. 

^TAM-970169 - with Ruud Janssen, Holland (by Carol Stetser), 20 p. 

^TAM-970171 - with Carol Stetser, USA, 20 p. 

^TAM-970173 - with Ibírico, Spain, 16 p. 

TAM-970176 - with Jürgen O. Olbrich (Part 1), Germany

TAM-970180 - with Tim Mancusi, USA 


TAM-980184 - with Edgardo-Antonio Vigo, Argentina 

TAM-980185 - with Jonathan Stangroom, USA 

TAM-980186 - with John Held Jr. (Part 2), USA 

TAM-980188 - with Guy Bleus, Belgium 

TAM-980213 - with Litsa Spathi (Part 1), Germany 

TAM-981214 - with Litsa Spathi (Part 2), Germany 

^Secret Thoughts about Mail Art. («...Now you have the luck top read some of these 

thoughts...» A/4, phc., ~3 sheets, started in 1997) Also online version: 

 

~ 

Seurce: 

~ 

Literature: 

 

Ruud Janssen: Newsletter for Participants and other People Interested in the Mail- 

Interview Project. (4 A/4 pages + 1 order form) TAM 960106, from January 

1996, it was avaible also on e-mail: tam@dds.nl 

Ruud Janssen: Newsletter for Participants and Other Interested people about the 

Mail-Interview Project. A/5, phc., 8 p., from October 1, 1997, also as online 

service: and 

, 

TAM-Publications. (items from the 1990s only!). A/5, phc., 4 p. July 1997 

«(...) TAM started in 1980, and it stood then for TRAVELLING ART MAIL. 

Over the years the word TAM also has functioned on it's own and got other meanings 

too (like Tilburg's Academy of Mail-Art and Tilburgse Automatiserings Maatshappij). 

I use the „firm“ or „College“ TAM als to play with the official institutes. 

It is funny that in the first meaning the words ART MAIL are there, knowing that I 

only got hooked up to the network in 1983. (...) 

Both in your interviews and in a lot of your text, you appear to spend a lot 

of time analysing the network rather than the individual artist or your own art, 

what is the reason for this? 

...The interviews and texts are accesible for the network, so it is only natural 

that „the network“ is central in the interview. By answering the specific questions 

the interviewed person can decide how many details one wants to give about his/her 

personal life and personal art. The really personal details and exchange of art with 

other mail artists is mostly on a one-to-one basis. In the many interviews that have 

come out you can see how different the interviews go. Analysing the network is 

interesting for me. It seems everybody has his/her own views about the network 

and some mail artists even think that they have grasped the whole concept of the 

network. With each interview I discover that the network means something else to 

every specific cell in the network. (...) 

...There are also some American artists who are writing a lot of texts to 

establish Mail Art as an „ism“. Altough this does not appear to by your aim, all 

texts about Mail Art help to „establish“ it as an „ism“... 

...Wether Mail Art becomes an „ism“ of not, isn't at all interesting for me. 

Normally things are an „ism“ if the impact on our society was large enough. For 

me Mail Art at the moment has more become a way of life. That I use the postal 

system to communicate, a pen and paper, make visuals, use the computer, send out 

an e-mail, publish a text on the internet; it is just the need to communicate and to 

search for what this life is all about and what possibilities that there are. (...) In 

Mail Art it is for newcomers very difficult to find out what has happened since the 

sixties. The many books that are made are difficult to get, and also only show a 

very limited view. I only know very few books on Mail Art NOT written by mail 

artists. As long as that is so, Mail Art won't be an „ism“ as I see it. (...) 

...Surely much Mail Art is not conventional art, certainly not many square 

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“. 

The important question is: can Mail Art itself be framed? The „by-products“ are 

like photos, tickets and programmes of an event and not the event itself? 

I once said „Mail Art is a search“. Of course there are „by-products“ as you 

mention. The answer to your quaestion is simple. NO; Mail Art itself can't be 

framed, it is even difficult to explain to a non-practicioner what Mail Art is (...) 

I am not in contact with the official art world or the gallery-scene... That postal 

museums are interested in Mail Art in nothing new... But the postal museums 

mostly let mail artists curate the show or let them advice the museum. Nothing 

wrong with a sponsor for a great show on Mail Art. But showing „by-products“ 

isn't what Mail Art is all about...» 

(Mark Greenfield: The Mail-Interview with Ruud Janssen. (TAM Publs.: 

TAM-970163. A/5, phc., 19 p. Tilburg, 1997) 

«...I started with these mail-interviews 2nd November 1994. At that time I also 

just switched to the use of Internet (I was working with datacommunication since 

1987), and so I had a lot of communication possibilities to send out mail. I remember 

I just had read one of the interviews in the magazine ND with a mail artist, and 

realized that I was in contact with so many mail artists without knowing their 

„whole story“. In mail art you only get to see the part of the correspondents they 

send you by mail. So I realized I would like to read more about a lot of mail artists, 

but actually there isn't that much to read besides the books with selections others 

made. 

The first week I started the project I invited Klaus Groh, Robin Crozier, 

Ruggero Maggi, John Held Jr., Dobrica Kamperelic, Guy Bleus, Svjetlana Mimica, 

Ray Johnson, Michael Leigh, H. R. Fricker, Rod Summers, Michael Lumb. The 

first series of twelve persons. To my surprise EVERYBODY reacted, and already 

8 of these started interviews are finished with a publication. (...) Till today six 

series have been started and already 23 interviews are finished. This wasn't the 

plan in the beginning; if a project is interesting it grows on its own. Besides the 

booklets for the interviewed person and myself (the TAM-Archive) I also printed 

more interview booklets for other mail artists to read, and because the interviews 

are also an experiment of using the different communication tools, I am working 

with the traditional snail-mail, the FAX, but also the e-mail on the Internet. 

(Carol Steetser: The Mail-Interview with Ruud Janssen. (TAM Publs.: 

TAM-970169. A/5, phc., 20 p. Tilburg, 1997) 

Vittore → Baroni: Ruud Janssen. In: Arte Postale. Guida al network della corrispondenza 



Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 31, 160-161 p. 

Japan Mail Art 832-8 Kawabe-cho Hodogaya-ku Yokohama-shi Kanagawa 240 Japan 1983 

^'83 International Summertime Mail Art Show. Cat.: 26x18.5 cm., phc., 44 p. / Hodo- 

gaya Post Office, N° 24. The Kanagawa Pref. Hall, Gall. of Art, July '83 

Jarvis, David Aardpress. 31 Mountearl Gardens London SW16 2 NL United Kingd. 1980 

↑ Aardwerk Studios, 15 Ambleside Av. London, SW16 1QE - “ - 1978 

............................................................................................................................................................. 

^Poems – 1. (Literature works 1973 / 1978) A/5, phc., 10 p. {200} Secomd edition 

published 1978? 

^Poems – 2. (Literature works and drawings – some pages hand coloured) A/5, offset, 

20 p. {200}. London, 1975 

Poems – 3. London, 1977 

 

Visi –Poem from Alfred Austin. A/5?, 1978? 

 

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} 

London, 1978 

Punkomik (Small Mail Art magazine with special themes for each issues. A/5, phc., 

1979?-, about 36#) 

^Salonika. An artist' book with Dira Sivarajah (?) by Aard Press, London, 1979. 

Horz. A/6, phc., 16 p. 200 numbered copies signed by Sivarajah. 

Aardlynx A selection of vis. poetry – a sister mag. of Punkomik. A/5. 198?-, #1-3?) 

^POCHTA - («Russian Mail Art») Cat.: A/5, phc., 24 p. March. 1985 

Smile / Piss-take of Smile. AKAUCN I. D's. (Smile mutant, 5x10 cm., phc. 1985) 

Artistamps: Âardcourt Circular (A series of sheets of 12 stamps, with diff. artists' 

portraits in shield, phc., not perforated) Aart Press, 1986 

^Crackerjack Kid Visits Aardyerx (Block of 12 id. stamps, red phc. on 

white paper, not perforated) July 30, 1988 London. D Jarvis 

^Transvestal Virgins (Block of 18 id. stamps, rubber print on green 

millimeter paper, Duchamp as Rrose Sélavy) E.O.N. 1988 

!Jas! → Felter, James W. 

Jensen, Dale 2317 B. Carleton St. Berkeley, CA-94709 USA 1986 

Malthus (Magazine for visual poetry. Letter. 1986-87, #1-4) 

 

Jensen, Deborah (from Houston) c/o Dahl Fine Arts Center, 713, 7th St. Rapid City, SD-57701. USA 1987 

^That's what I Like about the West. Cat.: Letter size, phc., 24 p. 1987 

 

Jensen, Frank (Ed. Spilkammeret), Sankt Hansgade 20. Roskilde Denmark 1995 

^Mail Artists' Tarot (Mag. A/4, phc., also colour pages, ~20 p. 1993?-, ir. ) 

 

^# 3, 4 

^Cardmaker (with G. M. Witta & K. Smith Jensen) (Postcard assembling in the form 

of a brochure. 13x18 cm. horz., mixed techn., ~20 leaves. 1994?) 

^Mail Artist's Tarot, '95. Cat.: in Mail Artists' Tarot, 1995: A/4, phc. 20 p. 

^What is an Ansel then? Cat.: A/4, phc., 10 p. 1995 

 

Artistamps: Âpa-Tarot (Block of 4? diff. stamps, b/w offset {100}) Series 2, 1994 

Ûniversal Correspondence (Sheet of 28 stamps, 6 images, b/w offset, 

{36}) Free Int. Corr. Artistamp Series 6. August 1995 

In Memory of Cats (Block of 12 stamps, 6 images, colour offset, {60}) 

 

Free Int. Correspondence Artistamps Series 7. n.d. (1996?) 

^Female Archetypen in the Fairy Tales. Cat.: A/4, phc., 16 p. + 1 colour p. 1996 

^Missing Documentation / MA Obscurities, Mail Art projects without promissed docs. 

Cat.: in: Mirror N° 1. A/4, phc., 6 p. 1996 

^Mail Artists' Trunk. (Assamblage) Cat.: 3 A/4 size sheets in colour phc. 1997 

~ 

Literature: ^Spilkammeret. Int. archive for manticresearch / Ed. Ouroboros Manteia. (Xeroxed 

8 p. info broch. about archive, publs. [as the magazine Manteia], Mail Art projects 

& above all tarot-, cartomancy- and playing cards: «The purpose of Spilkammeret 

is to collect, register, document and preserve divinatory systems like tarot, I-Ching 

and runes».) n.d. (1995?) 

!Asta Erte!: The (fake) Mail Interview with K. Frank Jensen. (Published as the #2 of 

the „magazine“ Mail Art Obscurities by Jensen.) A/5, 16 b/w & 4 colour phc. pages. 

Edition Spilkammeret. Roskilde, 1997. 



Jesch, Birger Friedhofstr. 15, Blankenhain, D-99444 Germany 1996 

↑ N° 6. (Later: → N° 32.) Volkmansdorf GDR-6801 1984 

↑ Oederanerstr. 19. Dresden GDR-8028 1980

............................................................................................................................................................. 

°Please, Stamp for Me. Inv. on paper of 10x14 cm. Dresden, ongoing pr. 1980- , 

Schießscheiben-Projekt / Target-project. In the churchs of Radebeul, Meißen 

Greifswald, , Rostock, 1981 

Please, stamp for me / Collective Collages. Doc. / Church Weinberg. Dresden, 

1982 

^Besser Reich als Arm. (Wilchelm Reich Mail Art Project) Doc. One A/5 sheet by 

photography, folded to two, a few copies only. Exh.: at the friend Sören 

Neumann, Försterstr. 2, Dresden. 1983. Additive documantation to this 

illegale exhibition and its „Stasi“ echo from 1993: A/4, phc., 11 leaves. 

^Wilchelm Reich Pr. Exhibition at → !Egon! (Sören Neumann), Dresden, 1983. 

Cat.: (edited 1993 only): A/4, phc., 11 leaves, with docs. of the State 

Security Service's researches on GDR Mail Art! 

^Moon Faces. Doc. A/5 phc. sheet with 73 participants / Volkmansdorf, 1984 

^The Dark-Side of your Moon-Face – on photo portrait. Inv.-flyer, 1985 

 

^Your Favorite Pornography (Commonpress #100) + Mail Art projects and events in 

the GDR 1975-1990. A/5, phc., 24 p. 

^Your Favorite Pornography. Cat.: a/5, PHC., 14 P. Exh.: (with → Wohlrab) 

Galerie Schwamm. Weimar, March 1990 

^DDR Mail Art 1975-1990 (Chronological list of events with short commentaries, 

an essentiel source-matter for the history of the non-official alternative 

arts in the GDR. sA/4, phc., 7 leaves) S. P., Volksmansdorf, 

n.d. ~1991 

^Kleiner Nachgeschmack aus der DDR. (Letter & objectassamblage in a box of 

15x20x3.5 cm. (2x 45/audio-cass., soap. laurel leaves, etc.) 1991 

^Gazetta (News from 7. July 1955 from all over the world, worked over) 

 

Cat.: A/4, phc., ~120 p. {250}. Exh.: & Edition: Staatl. Museum. 

Schwerin, July-August 1996 

^Springfoolmoon project – by a sent ceramic tile photographied... Inv.-letter, 1998 

Jirgens, Karl 95 Rivercrest Road Toronto, M6S 4H7 Canada 1982 

^Rampike (Multimedia mag. in a very unusual form. Also contributions from Eastern 

Europe. 42x12 cm., offset, ~80 p. 1982-, 2x3y.) 

^#Vol.4/2-3; Vol.5/2, 3; Vol.6/1, 3; Vol.7./3 

~ 

Literature: 

 

«A rampike, says the dictionary, is an erect tree, broken or dead. And certainly the 

shape of this magazine echoes this – it's 6“ wide and nearly 17“ high. Anyway this 

issue on „propaganda“ presents all sorts of visual and writing on point. Coverage of 

Vito Acconci's large-scale „Instant House“ constructed of U.S. and Soviet flags, has 

its wall go up as the vieiwer sits inside, a conversation with Brion Gysin, scads of 

poems, photos of performance work, a smattering of mail art. A thought provoker.» 


!Jocelin! 2 rue Gervex Paris, F-75017 France 1984 

Âmtramdram (Well known French graphzine of the third generation. A/5, offset, 

76-100 p. 1984?-, #1-7?) 

^# 5, 7 

^Pygmee Comix presente Amtramdram. (22.5x15 cm., offset, black/red print, 32 p.) 

n.d. (~1985) 

^Nonotte et Patouillet (late issues by Christian → Bertolino? Little graphzine in 

plastic bag with small object supplements {50}. Late issues without 

numbering! A/5, phc. -124 p. 1986?-, ) 

^#1, 2 

^Black Night Arbeit hell & heaven (16x11 cm., offset, 64 p.{150}) Ed. APAAR, 

54 rue da la Glaciere, Paris, F-75013, 1988.

Johnson, Ray 44 West 7th Street Locust Valley, NY-11560 USA 1991 

°The paper snake. (Anth. of corresp. works, 50 p.) Something Else Press, 1965 

Ray Johnson died January 13, 1995 in New York 1995 

~ 

Literature: Russel Edson Fables: What a Man Can See. Drawings made 1959 by Ray Johnson. 

In: Penland, N. C.: The Jargon Society (Jargon, 37). 1969 

Ray Johnson Dollar Bill Show. Catalogue of the exhibition held at the Richard 

Felgen Gallery, September 16 - October 17. Chicago, 1970 

Ray Johnson. Catalogue of the exhibition held at the Gallery Schwarz, April 5-29. 

Milano, 1972 

Ray Johnson. Catalogue of the exhibition held at the Angela Flowers Gallery, 

April 10 - May 10. London, 1973 

An Exhibition of the Letters of Ray Johnson. Held at the North Carolina Museum of 

Art, October 31 - December 5. Raleigh, 1976 

Mail Art Then: Ray Johnson Speaks. In: Flue (→ Franklin Furnace), Vol. 4 #3-4 

(Winter 1984) «Mail Art Then and Now» issue, 14-17 p. 

Rosalyn Harbor: Works by Ray Johnson. Catalogue of the exhibition held at the 

Nassau County Museum of Fine Art, Feb. 7 - April 8. New York, 1984 

Richard Craven: The New York Correspondence School: Alternatives in the Making. 

In: M. Crane / M. Stofflet (eds.) Correspondence Art. Contemporary Art 

Press (→ Loeffler). San Francisco, 1984. 117-121 p. 

Thomas Albright: New Art School: Correspondence and Correspondence Art. In: 

M. Crane / M. Stofflet (eds.) Correspondence Art. 1984. 205-211 p.) 

Henry Martyn: Interview with Ray Johnson. In: Lotta Poetica. (→ Sarenco) 

N° 18, 1985. 

Matthew Rose: Inside Ray Johnson's House. In: Lightworks [→ Burch]. N° 20-21, 

1990. 53-55 p. 

°Stigliano, Phillys / Parente, Janice: Ray Johnson. Letter size brochure by black & 

colour offset, 30 p. Biography. Moore College of Art. Philadelphia PA, 1991 

More Works by Ray Johnson, 1951-1991. Catalogue of the exhibition held at the 

Goldie Paley Gallery / Moore College of Art and Design, Nov. 1 - Dec. 15. 

Philadelphia, 1991 



«It seems like publishing is very important for you. In mail art a lot has been 

written about the boek „The Paper Snake“ by Ray Johnson, which you published 

with Something Else Press. What was the story behind this specific book? 

Dick Higgins: There is no doubt in my mind that Ray Johnson was one of the 

most valuable artists I've ever known. He... had made hundreds or thaousands of 

postcards-size collages using popular imagery, had also made big collages and then 

cut them up, sewn them together into chains, had buried the critic Suzi Gablik in a 

small mountain of them (alas, only temporarily), hadprinted various ingenious little 

booklets and sent them off into the world, and, since there was no appropriate 

gallery for his work, had no taken to sending his collages out-along with assemblages 

in parcel post form... But Ray could write too. He was also interested in 

theater and performance, had picked up many ideas from the days when he and his 

friend Richard Lippold lived downtown in New York City on Monoe Street on the 

floor below John Cage (all of them friends also from Black Mountain College), and 

he wrote and sent out innumerable playlets, poems, prose constructions, etc. (...) 

Something Else Press was founded on the spur of the moment. First I did my 

book „Jefferson“s Birthday/Postface“ (1964). But beforoe the thing was even 

printed, I decided the next book should be a cross-section of the things Ray had sent 

me over the previous six years... I knew the book would be hard to sell, so I didn't 

want to make it a Big Important Book; I chose the format of a children's book... 

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... 

later he called it The Paper Snake after a collage and print he had made. He also 

wanted the price to be „$3.47“, for reasons I have never known (prices of that sort 

to be $3.48 or $3.98)... Such people usually felt that Ray's mailings were and 

should remain ephemera. There were almost no reviews, but one did appear in Art 

Voices, one of the most scorching I have ever seen, complaining the book was 

precious and completely trivial, a pleasure to an in-group...» 

(Ruud → Janssen: The Mail-Interview with Dick Higgins. A/5, 20 p. TAM 

Publs., TAM-960105. Tilburg, 1994) 

Vittore → Baroni: Ray Johnson Lives! In: Arte Postale, N° 69, Jan.-Feb. 1995 

Clive → Phillpot: The Mailed Art of Raxy Johnson. In: Chuck → Welch (ed.): 

Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 25-32 p. 

Vittore → Baroni: Ray Johnson. In: Arte Postale. Guida al network della corrispondenza 




^Bill Gaglione, John Held Jr.: A Ray Johnson Miscellany. Letter size, phc., 94 p., 

in 50 copies. Spiral bound brochure with an original rubber stamp on the cover. 

Correspondence and documentation material collected by the Stamp Art Gallery 

of Bill Gaglione. (Includes also the facsimile images of the rubber stamps by Ray 

Johnson) Snowman Publs. San Francisco - New York, 1999 

«Joke Project» (Seiei Jack Nakahara) 

203 Tanowa N°2, 1-14-19 Tamagawa Denenchofu Setagayaku, 158 Tokyo, Japan 1984 

(Toshi Onuka) 1445 Broderick Street, San Francisco, CA-94115 USA 1999 

International music & art mail system of the „home taping avantgarde” to exchange 

music/sound/noise cassettes and art pieces/magazines or catalogues. 

The members of the Joke system get ID-s (identical cards) to fill it and 

send back with own sound/art matter to the coordinator who issued 

compilation cassettes / printed Mail Art publications and spread them 

among the Joke network. The system had an American „headquartier” 

in the 1990s, too: Toshi Onuka, San Francisco. 

The Joke Project functioned in the 1980s and 90s as an international 

compilation-cassettes exchange system in Japan, Northen America 

and in the Western European countries. Beside them, also some larger 

Mail Art events organized by the Joke Project were registred: 

Înternational Mail Music & Art Exhibition. Tokyo. 

Inv. (over size photocopied letter) with the rules of the system, 1984 

Cat.: 36x13 cm., phc., 16 p. Exh.: November 2-4, 1984 

^2 nd International Art & Music Exhibition. Inv. (flyer), Tokyo, 1985 

^Monster from an other planet - Mail Music & Art. Inv. San Francisco, 1999 

 

 

!Joki Mail Art! (Jo Klaffki) P. O. Box 2631 Minden, D-4950 Germany 1985 

Postcard and artists' postage stamp activity from 1982 

 

Artistamps: ^Diverse sheets, mostly by 12 identical or difference stamps, often on 

caricatures or cartoon like narrative themes. Colour phc.? Additional 

rubber stamps on the sheets: Workshop Joki, Mail Art Workshop Joki 

P.A.N., Joki Mail Art Post Numemrando, Post as Notion Joki Mail Art 

^Joki Mail Art '82. (Anthology of recent Mail Art works & graphicsby the author.) 

24.5x20.5 cm., phc., 160 p. + colour offset cover. Ed. Argo-Art, 1982 

^Hoppla Kultur (Mail Art project after a lithography by A. Paul Webers). 

 

Cat.: A/4, offset, 48 p., 65 parts. Exh.: Kuléturszene Fabrik e. V.

Königstr. 40a, D-4950 Minden. August 1984. 

^Joki Pocket Cinema. Mini size booklet of 7x10 cm in style of cartoons, phc., 24 p. 

It was used also for letters to network-friends by completing of the 

graphical elements (by hand writing & other kind of interventions, 

e.g. rubber stamps) ~1985 

^Smile (Magazine with many Mail Art and a few Neoism. A/4, offset, ~60 p. 

1984-91, #1-11?) 

^#1, 2, 3, 4, 5 

^Hommage á Liberty (meant the famouse monument from New York). Inv. 1985 

Ârtists’ Postage Stamp Exhibition. Inv.-flyer, 1985 

 

Înternational Money Art Exhibition. Inv.-flyer, 1985 

 

^Jo Klaffki: Peintre de „Mail Art“. Doc.: One A/4 sheet, RV offset print. Two 

exhibitions: Goethe Institut, Marseilles, October 1985 / Kulturfabrik 

Minden, January 1986. 

^Flag – Congress Mail Art Project. Inv.-flyer, 1986 

 

^Happy Birthday North-Rhine-Westfalia! Inv.-flyer, 1986 

 

^Copy Art Book (Xerox degeneration process, A/5, phc., 34 p. {30}) S. P. n.d. 

^Pig Show. Doc.: Artistamp sheet with participants as pig stamps. A/4, phc., 4 p. 

Mailart Station Minden, September 1987 

Artistamps Book - 1992. Hand made portfolio of stamp sheets of A/4 size. 1992. 

Joki died May 18, 1997 1997 

~ 

Literature: Mail Art. (An image catalogue of all Joki Mail Art activities between 1982-83 

edited by the artist himself) A/4, phc. + colour offset, ~180 p. Argo-Art Verlag 

Minden D, {99 copies} n.d. (1984?) 

(Smile, #9, extra in support of 1990-93 Art Strike): «This extra issue 9 is devoted to 

the art strike movement as like as a regeneration project and also a challenge to face 

the upcoming „mail-art-stream“. Joki Mail-Art writes his own opinions without 

forgetting to make fun of everything. What is „Art Strike“?, I've published their 

manifest in the news section and let you read this text, sharing their opinions about 

art today, conceptually defined by a self-perpetuating Elite and marketed as an 

international commodity... A lot to tell and criticize about this bourgeois Art establishement, 

but unfortunately too much artists are more interested in being famous 

and getting power than experimenting art indeed, this manifest is welcome although 

utopist...» 


Ânna Banana: Artistamp Book - 1992. In: Artistamp News (→ Banana), Vol. 4, 

N° 1. March 1994 



Jonge, Ko de P. O. Box 7082 Middelburg GD, NL-4330 Netherlands 1988 

↑ Vendenburgstraat 10. Middelburg JW, NL-4337 - “ - 1984 

............................................................................................................................................................. 

^What is the Different Between Open and Closed (Commonpress #2) A/5, phc., 

24 leaves, 34 participants. Key Art Ed., Middelburg, March 1978 

°Directions for Use. A keyhole image by rubber stamp, “add to and return” project. ® 

Cat.:, 99 cards. → Stempelplaats, Amsterdam, 1980 

°01.01.81. Reports from Ewerywhere.. Cat.: 17x10.5 cm., phc. + rubber stamps & ® 

orig. photos. Middelburg NL, 1981 

^Deelnemers Mail Art Project: „De Stem“ / The Newspaper as a Mail Art Museum. 

Cat. in the form of a poster of 49x72 cm., offset, with part list and 

images. 1982 

Dokumente 7777777. Inv. for a project of closed documents at the Artspace

Kunoldstr. 34 (→ Olbrich) in Kassel, July 7, 1982 («All documents will 

be opened by Ko de Jonge and be shown that day») 

^De 4 in 1 Krant. Cat.: as supplement (4 pages) with participant list (203 parts.) 

to the newsprint De Stern in Middelburg. 58x42 cm., offset. Exh.: De 

Beyerd., Centre voor Beldende Kunst. Bosch str. 22. Breda. December 

1982 - January 1983 

Ârt=Start + (a «library of contemporary art» / artists' books with the same title and 

size [~600 contributors] on the basic of blank books sent out to contributors 

by Ko de Jonge, since 1982) Cat.: A/5, offset, 40 p. Texts: 

Ko de Jonge: Inleding. 

Wim Beeren: Aktie... fiktie in de kunst. 

Ludo van Halem: Fluxpost! Fluxus en mail art. 

René Block: 30ste verjaardag van Fluxus in Wiesbaden. (1992) 

Jörg Zutter: Boekwerken van kunstenaars (documenta 6). 

G. v.d. Rook: Het boek als Kunstwerk. 

Harry Ruhé: Ulises Carrión (1941-1989) 

Ludo Bekkers: ASPC in Antwerpen. 

^Books of Souls, Silence & Friends. Cat.: A/6, phc., 12 p. More exhibitions: 

Akademic Centrum Kultury Palaczyk Wroczlaw (W. Ropiecki), Poland. 

Bart Boumans (Enschede Academy of Art) CARE magazine, in Holland, 

Catalogue edited by Ko de Jonge, Holland 1983. 

^Symmetry '88. Cat.: A/5, offset, 84 p. 40 parts. / International Etalageproject. 

Middelburg, 1988 

^Wall News – paper project (for a demolition house. If walls couild speek). 

 

Cat.: Horz. 10.5x15 cm., phc., 40 p. Exh.: Last Show, Gallery 

Bellemans, Oosterstraat, Axel. August 1989 

^Jonge meets – work at the enclosed poster. Inv.-letter + poster, 1991 

 

Art = Start + ... (16 exhs. in the year 1993) 

 

Ârt = Start + Archief. Cat.: 40 p. / Zeeuwse Bibliothek te Middelburg, 1993. 

Texts: Ko de Jonge: Inleding 

Ludo van Halem: Fluxpost! Fluxus en mail art 

René Block: 30ste verjaardag van Fluxus in Wiesbaden 1962 

Jörg Zutter: Boekwerka van kunstenaars / documenta 6. 

G. v d. Rook: Het boek als Kunstwerk 

Harry Ruhé: Ulises Carrión 1941-1989 

Ludo Bekkers: ASPC in Antwerpen 

^Views on Freedom / Zicht op Vrijheid. (project for installed boxes). Cat.: A/5, 

offset, 23 sheets in portfolio, + supplement (poster, program, etc.) 

realized in Gevangentoren, Vlissingen NL. May 1995 

Êverything goes to the Ocean. (with 18 invitated artists in co-operation with the 

literature magazine “Ballustrada”, Middelburg, NL). 

Inv., 2000 / Cat.: in the Ballustrada, 2000, Nr. 3-4, 40-49 p. 

All contributions in colour offset reproduction (!), texts by Ko de 

Jonge. 

Joseau, M. L. Apdo 449. Lérida, E-25080 Spain 1988 

Ârt, Insectes & Gnomes. Inv.-flyer, 1987 

 

^The Sneak (Mail Art infomag., also octagonal size. A/5. phc., 8 p. 1988-, bim. #1-4?) 

^#1 

Jovanovic, Alexander, Zmaj Jovina 12/24 Odzaci / Serbia Yugoslavia 1992 

^Cage / Anti Embargo Magazine (Mag. with Mail Art matter from all over the world. 

A/4, offset, ~24 p. 1992-95? #1-5?) 

^#1, 2, 5 

Juhász, Pál Fényes udvar 6. VII/32. Debrecen, H-4029 Hungary 1989 

^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) 

^#1, + 8 unidentified issues 

Âkasztott Ember (Graphzine like Vasco de Gamma. A/5, phc. 8 p. 1990, #1-2) 

^#1, 2 

 

Juin, Jacques (!Llys Dana!) (!Ra!) c/o Roselius, Zur Waldwiese 2/A, Gorxheimertal, D-69517 1992 

↑ c/o Heiner, Kreutzstr. 20. Bremen, D-2800 Germany 1982 

↑ Am Schützenplatz 191. Riede, D-2819 - “ - 198? 

↑ Am Banhof 1 Syke, D-2808 - “ - 1979 

............................................................................................................................................................. 

^Sphinx / Sphynx (with → Mounier, Patrick) (Alternative art, literature and culture 

in a text/image collage, French. A/4 and 27x21 cm., offset, 76-140 p. 

1978-82, ~1-20#) 

^# 10-11 

Le point d'ironie (Assembling + mag. 1979-80? #1-3?) 

 

°Internat....Fool! Cat.: A/5, offset, 62 p. Ed. le Point d'Ironie. (Editor: Ra= J. Juin) 

Riede D, 1980 

^(Llys Dana:) Chain-book, 666 L'ove. One of the roving handmade Mail Art books 

like chain letter. Initiator of this project: Piva Enrico, v. Petrarca 15, 

Rezzato (BS) I-23086. Second in the chain: Juin, J. (A/5, mix. techn., 

64 p.) Bremen, 1983 

~ 

Literature: 

 

«Sphinx, Anatolie au Café de l'Aube and LePoint d' Ironie are three European new 

wave/fanzine/mail art periodicals all rolled into one special issue of Sphinx. (#12- 

13) It adds up to plenty of reproductions of high impact collage, rubber stamp and 

xerography. It's not that the art is so good, but that this fascinating communication 

and exchange goes forward. Crude, exuberant, fanatical: Art trying to wiggle off the 

page. Also from Jacques Juin...» (Lightworks [→ Burch], Art Alternatives in Print. 

N° 14-15, Winter 1981-82. 58 p.) 



!Jung, Kim Il! (Uwe Hamm-Fürhölter) Silcherstr. 15 München-40, D-8000 Germany 1986 

^Being Silent. Mail Art and Sound Project. Doc.: A/6, phc., 8 p. 1986 

 

Jung, O. 1 rue W. Chalet Paris, F-75015 France 1988 

↑ 12 rue du Poitou Montrouge - “ - 1986 

............................................................................................................................................................. 

^Fort de Cafe (Small graphzine, sometimes with objects using at drinking of coffee. 

Mini, phc., ~20 p. 1986?- ir. Issues not dated, not numbered) 

^ more issues 

Jupitter-Larsen, Gerald X. P. O. Box 323 Fremont, CA-94531 USA 1992 

↑ P. O. Box 42 Denver, CO-80201 - “ - 1988 

↑ P. O. Box 48184 Vancouver, V7X 1N8 Canada 1979 

............................................................................................................................................................. 

Ôcean Front (Mail Art like mag. «...intended for those interested in alternative 

artistic experiences...» [Statement] Letter and digest, phc. ~4-8 p. 

1979-80, bim. #1-10?) 

^#3 

°Nihilism-Terrorism-SM. Invitation on postcard. Vancouver, 1980 

 

Kinky Sex (KS). («Pornographical» zine on Mail Art basis, partly assembling with 

original collages from porno mags. Letter & digest, 1980-82. #1-8? 

There exist issues with the phantasy numbering over 40, too!) 

^Destroy this piece within one week of receiving it (Collage mat. with porno 

magazines & xerox bound to a brochure, 14x19 cm., 20 p.) n.d.

^Mail-Artists in Vancouver. (Brochure with works by Jupitter-Larsen, Colin Utopia, 

Zaba, Emil Daley, B. C. Jensen, Hal Welter, Elain Rowget & Byron 

Black) Letter size, instant pr., 8 leaves. Vancouver, n.d. (1980?) 

°Abnormality. Cat.: Letter, phc., 18 p. 49 parts. Vancouver, 1981 

 

Liquids from the Human Body (Assembling in envelope {150}. Letter, 1981, #1) 

^Haters. (17 cm. disk with 5 music pieces in cover. ) Vancouver, 1981 

°Metro Media Monthly M-A Exh. (#1-5?) Doc. A/4, phc. and mimeogr. sheets. 

Vancouver, 1982 

Why I Hat the World? (Commonpress #59) Letter, 13 p., 45 participants. 1982 

Nilmag (Nihilist small-mag. with sound poems, drawings or texts – about «empty 

envelope action» and like projects... Digest, phc., 1982-84? #1-3?) 

Co-coordinator for the Commonpress (after → Petasz, P.) (1983- ) 

 

Launching the Newsounds Gallery (in connection to the band „Haters”) for collecting 

and presenting sound works made by the tape-network all over the 

world, 1985 

Âbnormality – cassettes only! Inv.-letter, 1985 

Sound-Portraits I-II. Submissions aired on Newsounds Gallery, Apr. 9 and 16, 1985, 

at the Radio CFRO, 102.7 FM, 11 p.m., Vancouver. Participants: 

Apr. 9: Doug J. Brown, G. X. Jupitter-Larsen, Elaine Rowget, B. C. Jensen, 

Tippy Gets Mad, Doreen Gray, Isomatrix (all from Vancouver), Humanoise 

(Lon Beach), Jeff Mullican (Los Angeles), Twa Digs Under Paris (Madison), 

Barry Edgar Pilcher (Iilford, UK), Hel Welter (London, UK) 

Apr. 16: Ulex Xane (Victoria, AUS), Kowa Kato (Zushi, J), Merzbow 

(Tokyo, J), No Unauthorized (Cesson, F), Stehen Møller Rasmussen 

(Valby, DK), Guy Stuckens (Bruxelles, B), Jürgen O. Olbrich (Kassel, D), 

Falx Cerebri (Berlin, D), Luca Miti (Roma, I), Bruno Talpo (Bergamo, I), 

Moroandi Conspirancy (Bergamo, I), Rai (Genova, I) 

^The Quarternion Journal Devoted to highly abstract probabilities in art and science 

(with Fraser Hall & Daniel Titus) (Mag. letter, offset, 1985-86, #1-2) 

^#2 

Înterview about Nihilism. A/4, phc., 6 leaves. n.d. (~1985) 

 

^Conceptology – fractionary comcepts. (Theoretical writings) S. E., 1985. 

 

Digest size, phc., 12 p. 

^The Totimorphus / text + one «not-an-image» (Digest, offset, 8 p.) S. P. 1986 

^The Facts on Polywawe (Text with drawings. Digest, offset, text + drawings, 12 p.) 

S. P. 1986 

^Wanted Audio Art – No Music, please! Inv.-flyer, 1987 

 

^Final. / An one act play + illustrs. about existence. (21.7x13.6 cm., offset, 12 p.) 

S. P. 1988 

^The Haters' Colouring Book (Mini, phc., 24 p. + 1 carbon rod {250}) S. P. 1989 

Â basic introduction ot the 't. n. u. (17.5x17.5 cm, offset, 6 p., 3. ed. with a disk, 

{300}.) 1990 

Êssays (34 Essays) (Digest, offset, 64 p.) N. D. Austin (→ Plunkett, D.) 1991 P 

~ 

Literature: «Positive as opposed to negative destruction is the basic concept behind the 

performance art of the Haters, a Canadian band led by a mysterious character 

known as G. X. Jupitter-Larsen. He calls what he does „multidimensional 

destroyed music“. If Jupitter-Larsen shows up (and sometimes a no-show is part 

of the show) he will be part of the International Erotic Art Festival from 7-10 p.m. 

today in the Art Department Gallery, 772 Santa Fe Drive (Vancouver). 

The exhibit will represent about 35 international, national and local artists. 

Hater’s show have included smashing videotapes with a video camera or having 

a tattooist with an empty needle „tattooing“ Jupitter-Larsen‘s arm....» 

(Rocky Mountain News, August 4, 1986) 



~ 

Source: 

^Co-Op Radio / CFRO / 102.7 FM. Info circular by Jupitter-Larsen for the 

tape-network. Letter size, phc., 1985 

«K, Group» 1715 Cook St. Vancouver B.C., V5Y 3J6 Canada 1984 

Group K Journal (Magazine for experimental art, performance, video, etc. 

Letter, phc., 1974-, qu.) 

Kadar, Josef /!K'dar! Revue Envelope / 47 rue Fondary Paris, F-75015 France 1995 

^Revue Envelope (Mag. in form of envelopes printed over with info text. Div. sizes, 

offset. 1988?-, ~ 100#) 1988 

^ 3 issues: Dec. 1993, #24, 90 

^Revue Art (with Judit Nemes) (Magazine, also catalogues, for Mail Art matter. 

Very var. sizes, also tabloid. Offset, ~48 p. 1990?-, ir.) 

^# 21, 42 

^Post-Mail-Art, Cat.: 41.5x21 cm., offset, 48 p. / Kis Galéria, Szilfák alja 2. 

Hajdúszoboszló, H-4200 Hungary. August 1995 

«Kaliningrad, City / Hist.-& Art, Museum» Klinikeskaja 21, Kaliningrad, RU-236016 Russia 1994 

^Perfo-Ratio Kanta. (Org.: → Lev Sherstjanoi, → F. Schulz, → H. Mittendorf, 

→ S. Segay, → R. Cohen,→ R. Nikonova) Cat.: A/4, phc., + poster 

Kaliningrad, 1994 

Ârtistamps: ^Kant Perforation (Block of 8 id. stamps, colour offset, not perforated) 

City Art Museum -1724. Königsberg, 1994 

^Word Theatre – hommage to Velimir Chlebnikov. (with → Bulatov, → Sherstyanoi, 

D. V. Pokladova. J. Kuznetsov) Doc. Accordion book (4+2 sheets), 

20x14 cm., offset. texts: English and Russian / City Art Museum, 

Kaliningrad. October 1995 

Kalkmann, Hans Werner ? ? Germany 1973 

A. R. T. Was ist Kunst? (Assembling, ?, 1973) Bodenburg D, 1973 

Definition of Art. Project and exhibition at the Other Book and so (→ Carrión) 

Amsterdam, March 1 - 26, 1977 

Kallnbach, Siglinde. Margnardstr. 10. Fulda D-6400 Germany 1985 

↑ Gottschalkstr. 35. Kassel, D-3500 - “ - 1983 

............................................................................................................................................................. 

^Verbindungen Kleinsassen. „Eine Conexation“ Doc. A/5, offset, 22 p. + 60x30 

cm., offset poster. / P. Klüber Haus / Kleinsassen D-6417, 1985 

Kalmus, Peter Palarikova 5. Kosice CS-04001 Czechoslovakia 1985 

!Kamikaze, Joseph! Imago Verlag Aachen Germany 1982 

Imago (Mag. with ironic reflections about art-styles, museums, politic and art. 

{150} A/4, handmade mix. techn. 1981-82, #1-4) 

Bad (About art and art institutions. A/4, mix. techn., partly handmade. 1982-, qu.) 

~ 

Literature: Instant Media ( → Kretschmer), N° 16 

Kamperelic, Rorica & Dobrica, Terazije 27 / II. Beograd, YU-11000 Yugoslavia 1994 

↑ Milovana Jankovica 9 B. Beograd, YU-11040 - “ - 1988 

↑ Radivoja Koraca 6 Beograd, YU-11000 - “ - 1985 

............................................................................................................................................................. 

Art as idea. Doc. / Town Library, Beograd, 1981 

 

Make art no arms, I. Doc. / Noilt Bookshop, Novi Sad / Gorenski Museum Kranj / 

Likovni Salon, Kovceje / 1982 

Make art no arms, II. Doc. /Atelje Ars, Beograd, 1983

Art as idea, 2nd stage. project & exhibition. Doc.1984 

^World's Artists Family. Cat.: 23.5x16 cm., offset, 8 p. by the Svetska Porodica 

Umetnika. More exhibitions: Gallery PPM (Prostor Prosiren Media) 

Starcevicev trg. 6/II. Zagreb. April, 1984. Atelja ARS, Save Kovacevica 

51, Beograd? May, 1984 

Ôpen World (Mail Art info magazine with a large sphere of influence, a very visual 

collage of informations. A/5, phc. ~8-16 p. 1985- sm. ~ 90#) 

^# 6, 7, 25, 33, 38, 50, 51, 54, 65, 66, 77 

Art as idea, 3rd stage. Exh.: → Morandi, Arte Studio, Ponte Nossa. 1987 

Art as Communication. (with N. Petric & V. Smokovic). Doc. 

 

/ Mladost Bookshop, Pluda.1988 

E.G.O. / Erotic Games are Open. Doc. (over 600 participants!) 

 

/ City Galerija, Banja Luka. 1989 

Feel me (Feedback card project) Doc.1990 

 

Ûmetnost Kao Komunikacija (20x13 cm., offset, 200 p.) Grafopublic, 

 

Beograd, 1992 

Ârtefact. Magazine for fine, applied & alternative arts. (with Boris Vakovic & 

others) (Voluminous offset mag. for alternative art, 24x17 cm., 52 p. 

1994-95, ir., #1-2?) Special World Services, Majke Jevrosime 18. 

Beograd. '94 

Ârtefact, #2 / Special World Service, Word for 2. / Beograd, 1995. From the contents: 

Destructio unis-generatio alternius (Od utopije do entropije) 

Mail Art Network Dnevnik, 1994 

Rasterivanje Mraka (Illustrated by the Mail Art exh.: Pain and Torture) 

~ 

Literature: 

Daniel → Plunkett: Dobrica Kamperelic (An interview in Belgrad: «Mail Art 

network for me is just a solution to make contacts... interpersonal relations») 

In: N D #13, 1990, 30-31 p. 

 

«...if I remind well, my friend Zarko Rošulj, visual-poet, literary critic, 

technical editor in publishing house NOLIT (where I'm working too) gave 

me in 1978 some mail art invitations and introduced me with some interesting 

art-people/alter-artists.... Than, I've started to collaborate in/with 

WEST-EAST (→ Zagoricnik), international association for concrete and 

visual poetry, I found many addresses from alter-artists all over the world 

and became a mail-artist that time. My first (collective) project/exhibition 

has been in 1981 at Beograd's Town Library (where I've been working 1976- 

1977) and was named „ARS AS IDEA“. After this project I've been real 

mail-artist with many mail art projects, contacts, full-relationships (meetings) 

etc.. etc... I've done over 20 mail art projects (...) and more then 60 foreign 

guests (performers, mail artists or just artists) from Japan, Holland, Canada, 

Italy, Germany, Belgium, USA, Switzerland, Norway, Hungary.... Of course, 

many, many meetings with (former) YU mail artists, cooperative projects 

under UN sanctions, isolated, frustrated.... 

And I'm still incarnation of an OPEN WORLD (sic!) = the title of 

my mail art magazine from 1985. (...) As a member of two art associations 

(fine artists and writers) in my country I have sometimes problems with my 

mail art activity (its silly activity as my friends/artists and writers understood 

it). I've spent very much money in the passed 15 years.... Why am I still in 

the mail art network? Well, because I'm still a dreamer, I'm still believing in 

OPEN WORLD, I prefer friendship, I like the exchange of good art ideas 

(materials is usually poor!) and energy.... I'm an utopist, that's a fact. 

...Yes, but let me explain something about ARTEFACT. Firstly, I'm 

editor for Expanded Art Media (this is the title of my Section at Serbian Fine 

Artists Assoc.) and owners+directors are: Dragan Pavlov (sometimes networker 

and founder/owner of DEDALUS publishing/small-house), general-editor, 

Boris Vukovic (who comes from Australia), art director + designer, Pedja

Krsmanovic, technical editor/computer etc. and some young people + editors. 

ARTEFACT is NOT a typical mail art zine. ARTEFACT is a magazine for 

different art/media: literature, film, theatre, music, design... expanded media 

(installations, performances, video-art, visual poetry, etc.) including mail-art, 

too. Also its an international art review on 56 pages, not so luxus, but, you 

can see, on very good paper and with good design. (...) We started with ARTE- 

FACT in January 1995. We have three promotions at nice artspaces with exhibitions 

(you participated, dear Ruud, too), performances video-art... and also we 

introduced the magazine on TV programs, in newspapers, on radio, etc. So, a 

good start, but we need money and support of artists and real art-lovers all over 

the world just now!...» 

(Ruud → Janssen: The Mail-Interview with Dobrica Kamperelic. A/5, phc., 

10 p. TAM Publs.: TAM-950087, Tilburg, 1995) 

Open World, Open Mind / Otvoreni Svet, Otvorena Svest. (Texts about/by Kamperelic 

and other mail artists + illustrations) Offset, 160 p. Dedalus Publishing. 

Beograd, 1996 

^Dmitry → Bulatov: A Poit of View. Visual Poetry: The 90s. An Anthology. With 


Kántor, István 

(!Monty Cantsin!), 

↑ P. O. Box 30. Stuyvesant Stat. New York, NY-10009 USA 1988 

↑ 1020 Lajoie Avenue Outremont, H2V 1N4 Canada 1984 

↑ 307 rue Ste-Catherine Montreal, H2X 2A3 - “ - 1982 

↑ 5538 Cartier Montreal, H2H 1X9 - “ - 1979 

↑ 4055 Madison Ave. Montreal, H4B 2I8 - “ - 1978 

............................................................................................................................................................. 

^The Neo (The first large publications of the Neoism planned as a «5 years paper». 

Nonsens as Neoist theory, Mail Art matter, graphism, Neoist events... 

The last two issues [1980-81] were published with the title Organ. 

Letter, offset, 12 p. 1979-80, #1-10, + 11-12), Montreal 

^#1-12 

ÂPT '80. A Neoist Para-Festival. (→ Kántor) (Xerox, double-letter size, 2 leaves, 

offset?) Montreal, n.d. (It has been printed probably later than 1980) 

^Brain in the Mail (with → Zack, David, text) Cat.: 25x17.5 cm., offset, 78 p. 

«Have a nice brain wave» Vehicule Art. Montreal, 1980 

Texts: István Kántor: Introduction / David Zack: Letter. / Articles in the 

Montreal Press: De la poste à la machine; Connaissez-vous l'art postal?; 

P.S. Seen Brain in the Mail exhibition yet? 

^The New Neo / Organ (Mag. Letter, offset, 12 p. 1980-81, #11-12) 

 

^RCRN. Radio Centre de Recherche Neoiste (Letter, phc., 8 p.) Vehicule Art, ~1982 

5th Int. Apartment Festival. NY-C. March 15-21 1982 (Xerox, 8 p.) Publ. Centre 

de Reserche Neoiste, New York, 1982 

^(Anonym:) Neoism in the Modern Age (White rat with black glasses) (Letter, phc., 

7 p.) Montreal, n. d. (~1983) 

Smile (The «Big Smile», 1984-85, #1, made in a singel copy only) Outremont. 1984 

îmMortalLIES (Smile mutant. Half-legal, letter, phc., 24 p. 1985? #1-2) Outremont 

Smile / Music anth. (Poster with 3xC 60' audio-cassettes. 1985) 

 

^Start (Smile mutant, digest, phc., 16 p. 1986, #1), Montreal. 1986 

 

Artistamps: Professional Neoist (Sheet of 16 perforated labels, b/w phc.) n.d. 

^Bloody-Art. Monty Cantsin's Blood Campaign Actions 1979-87. (Introduction essay 

with the data of 99 blood taking actions. Xerox, 6 + 4 letter size leaves) 

Neoist Embassy, Outremont, 1987 

^How to Explain Neoism? Anthology of Pamflets 1978-1990. (Xerox, 23 letter size 

leaves) Neoist Front, New York, 1990 

→ Rivington Academy

→ Neoism / Literature: Some of the Monty Cantsins. (In: imMortal LIES #2) 

~ 

Literature: (Tetxts from the Neo/Organ, 1979-80): 

N°1: 

«do you know? the NEO is the 5 year paper, 1979-84, you know.» 

«(The Theological Basis of the Red Supper): When you sit down to this Red 

Supper, you are not just having another meal. You are in fact symbolically partaking 

of the body and blood of Monty Cantsin. The supper itself represents the body; the 

red colour represents the blood. (...) There may be some among you who wonder 

why such a solemn event as a ritual sacrifice should be treated as a cause for celebration. 

But remember that a sacrifice is only the first step towards a ressurection. 

An like all the other sacrificial victims, Monty Cantsin ultimately resurrected.» 

«I am an extraterrestrial nonartist from the earth. I escaped away from the 

total-art-suicide which was forced by two woorld-art-powersin 1984. I wandered 

about years in space & I was very glad whan you your Neoplanet adopted me as a 

son. I want to enjoy life here and take part in its creation. On earth, I saw how life 

can be despotism-art, censorship-art, egoism-art, terror-art. (...) You are lovely 

people who never heard about war-artists. Your life is to make love, bring up 

children, sing from the sexual organs, talk about everyday life with impunity, 

without restrictions, openly. This is the forst time I see the embodiment of human 

freedom and kindness. (...) Here is something in my hand, my only souvenir from 

the earth. Look at it, this is the most famous art object from the earth. Fuck art. 

Monty Cantsin/Kántor, 12 May 1979» 

N° 2: 

(Lazer Dog's Urban Project, Urban-war of Neoist Nazarus): 

CSÖ (Kántor): Urban War? 

LAZER (R. → Pilon): Montreal is dead... 

CSÖ: ...a war without people... 

LAZER: The urban project is a auto-suicide of my brain. 

CSÖ: The arrow in the profile? 

LAZER: It shows my way in a dead city. 

CSÖ: Monty Cantsin is dead too? 

LAZER: He is immortal as me and all Neoist. 

CSÖ: After the urban war? 

LAZER: I'll be 23 and will go to Amsterdam. 

CSÖ: Is there more life? 

LAZER: I've never been there before. 

CSÖ: Once you were Raymond Pilon than Pilon Lazer and now Lazer-Dog. 

LAZER: In the urban war Black Dog killed Lion, he has more power. 

CSÖ: Is he mongoloid? 

LAZER: He is neoid.» 

N°3: 

«(Waiting for the 80s): OK, here is a page in memory of the On-Night-Art-Gallery- 

Action which performeds by the Scrap, the audiance, the neighbours, the police and 

many others on July 18, 1979 at Galerie Auxiliaire. It was a wonderful real-nowawe 

event, the gallery opened and closed in the same time. „We can do nothing 

more as wait for the 80s“ said Robert Berkley in 1970, before the day he died...» 

«(New York Kex Club): 

PETYA (Peter Berger, member of the Squat Theatre in New York): Karády... 

(Katalin Karády, fomuse Hungarian singer in the 30s and 40s) 

CSÖ: A really rigid waltz or cold polka. 

PETYA: A march from Prague. 

CSÖ: Platinum, golden-blood. 

PETYA: ...a metal ring, girls in black. 

CSÖ: Shining, neo... 

PETYA: BRIGHT MUSIC. 

CSÖ: Yes, bright music.»

(Further „Squat“: Buchmüller, E / Koós, A.: Squat Theatre. Digest, 230 p. 

offset. Artist Space, New York, 1996) 

«(Blood Transfusoion Sercive): Jack Nathanson – Frater Neo – joined to the 

Neoists in June 1979. He gives blood regulary and he is a founder-member of 

„Blood Center for New Arts“.» 

«(From Monty Cantsin's comin book, R.ACTION): ...we know nothing, nothinhg, 

nothing , llok my blood, it is gold, look my eyes, look them, they are golds and my 

shet is gold too, I am gold as brigit Bardot's sex in the60s as well as Isidore 

Ducasse's adolescence, my father was a confectioner and he said me once „you 

shit“ and I was glad when he died as a dog in the ocean, because he was a hero 

and he died for me in the refinery, and I had a pick and went in a church and hewed 

the Holy Eucharist for him, my shit is gold as my father's medal with a naked 

woman on the sofa...» 

N°6 (Vol. 2, N°1): 

«(The Party): the party is the central organization of the new overracial ideology: 

of the idea of international socialism / only this idea can help us step with head erect 

into the 80s / only the international socialist movement can save those european 

values which are threatened by national decadences ad classanarchies / the party is 

born from historical necessities / to fulfil after twenty years of genetical biological 

preparation of rock'n'roll / promise land / the new race needs a new solution...» 

N°12 (Organ, Vol. 3, N°2): 

« (Centre de Recherche Neoiste, Baltimore): From dec 9th to jan 1981 I was in 

Baltimore, MD, USA, to work on the Neoist reserch network project and set up a 

centre in Baltimore city. In early nov 1980 I received a phonocall from Baltimore 

and a raspy voice informed me that it was Richard of the Krononuts and they 

would like to be in close comminication with the Neoists. Talking 5-10 minutes 

on the phone, we made some very fast decisions about our future projejcts. One of 

these was my visit, including a conference on the Network plan, an apaprtman 

festival a manifestation at Pratt Central of Baltimore Public Library and many other 

gatherings... jan / 1981, Montreal. Monty Cantsin, researcher» 

→ Ackerman, Al (Royal Historian of Neoism): „Istvan Kantor“. Being an Introduction 

to the Mystery of Monty Cantsin, Witten in the Manner of one who was 

there. (With an supplement: Istvan → Kantor: Neoism?! Monty Cantsin?! Anarcho- 

Neoism?! In: Lightworks [→ Burch]. N° 20-21, 1990. 49-52 p. 


Mail Art) and From my Archive: th Salt of Life. In: The Magazine Network. The 

trends of alternative art in the light of their periodicals 1968-1988. Edition Soft 

Geometry, Köln, 1993. 152-175, 176-182 p. 

Kao, Gabor 13 rue de Lourmel Paris, F-75015 France 1985 

^N°4 L'Effort –manufacture d'images. (An anthology of French graphism.) 

A/5, offset, 56 p. n.d. (~1985) 

!Karen Eliot! 

→ Home, Stewart 

→ Schiz-Flux Prods. 

→ Gentry, Brian 

→ 

Karwowski, Karol ul.. Zakopianska 5/85, Lubin, PL 20-858. Poland 1986 

^“et in Arcadia ego“ / I also lived in Arcadia. Cat.: 24x14 cm., offset, 4 p. + suppl. 

Exh.: Galerij BWA, Lomzy, ul. Armii Czervonej 19. June, 1986. 

Kasher, Brian P. O. Box 3151 Springfield, IL-62708 USA 1990 

Îmages of Global Peace. Cat.:=letter size flyer + microfich in cover. 1990

Käsmayr, Benno Pf. 1222 Gersthofen, D-8906 Germany 1971 

Ûnd (German subculture, review of small press editions, vis. and exp. poetry in a 

~A/5 offset magazine. ~120 p. 1971- qu., nearly 20#) First editor was 

(ca. #1-10) Edition & Verlag für Tendenz & Experiment Boczkowski, 

D-3500 Kassel, Kirchhainer Strasse 3. 

^#8, 11-12 

Kato, Kowa 1-2-21 Sakurayama Zushi, 249 Japan 1981 

^30 Kowa Mail Board. Inv. on postcard, offset colour. 1981 

 

°The T-Shirt Show (Send me please your paper T-shirt work). Cat.: 25x18 cm., 

phc., 20 p. (125 participants) Exh.: „Nylon 100%“ at Shibuya, Tokyo. 

Feb 2-16, 1982 

^Papperball Project. Doc. Poster of 82x60 cm., offset, 82 participants 

 

/ «Gallery 612». Summer 1983 

^Polaroid-Selfportraits received by Kowa 1985 in the Mail Art Network. Cat.: 

Horz. 25.5x36.5 cm., phc., 13 leaves. 

^Mail Artists’ Shows Show. Inv.-flyer, sent out 1984-1986. (Request for whole 

exhibition materials from the Mail Art archives of “100-200 artists”) 

Kattenstroth, Uli Kaiserdamm 21. Berlin-19, D-1000 Germany 1985 

↑ «Juxbox Headquartier» Kienitzerstr. 107. Berlin-44, D-1000 - “ - 1983 

............................................................................................................................................................. 

^JUKEBOX / NEPP. Free circulating media of the international mail-art labyrinth 

(Assembling in A/4 size, stitched, „A Mail Art magazine collected and 

spread by Peter Pan c/o Ulli Kattenstroth...“ 35-48 parts., {100}, 1983. 

Two issues were published, the first one as Jukebox edition only, the 

second one carried also the title NEPP.) 

^# 1, 2 

^Juxbox (One page info mag, A/4, phc. 1984-, #1-5?) 

 

^#4, 5 

^Vision of an Imaginary Spartakiade at the North Pole. Cat.: A/5, phc., 52 p. 

{400} Berlin, 1985 

^Kunstarcheologie im kosmopolitischen urbanismus. Ein Versuch über Mail Art. 

A/4, typewritten text, 2 sheets. Berlin, ~1985 

Îmaginärer Mail Art Kongress, West-Berlin 1986. (Also entitled: Tag des Mülls) 

Invitation and manifesto in a form of an A/4 leaflet, phc., 13 leaves, 

from the «Juxbox Headquartier Berlin» to a meeting and in 1 May 1986. 

Slogen: Waste is Mail, Mail is Waste. Also a workshop to work over 

the dirt has been announced. 10 parts., who didn't take part. 1986 

^The Jungle of Art. (For 18x26.7 cm. size multi-colored xerox only!) Inv.: A/4 

sheet, phc. on red paper. 1986 

^Brückenkopf ins Niemandsland (Bridgehead to no man's land) Inv.: A/4 size 

photocopied leaflet. Themen: nothing, also no medium or dimension. 

Exhibition will be hold at the Nationalgalerie Berlin in May 1989 

^Nichts / Nothing – project without any medium, material or dimension. Inv., 1989 

^Big Bang Party (LSD e.V. & MIDI e.V.), Workshop «Computer und Musik». 

Cat.: A/5, phc., 20 p. (with Mona Fux, Tomas Leyser, Rollkommando, 

R. Schmidt) Ramm Zata Theater, Fidicinstr 40. Berlin, 1990 

~ 

Source: 

 

Û. Kattenstroth: Kunstarchäologie im kosmopolitischen Urbanismus. Ein Versuch 

in Mailart (Art Archeology in Kosmopolitan Urbanism. An Essay on Mail Art) 

Two pages long photocopied manifesto about the sources – as dada, futurism – and 

the collective character of Mail Art. Berlin, November 2, 1984 

Kaufmann, Peter → Mail Art Congress / Decentralized World-Wide... 1992

Kawan, Pakka K. / Racine, Marina, P. O. Box 3992. Omaha, NE-68103 USA 1988 

↑ 659 Haight St. San Francisco, CA-94117 - “ - 1980 

............................................................................................................................................................. 

^Beef Magazine (Visuals from West Coast artists, interviews, performances, docs. 

Tabloid magazine of 58x40 cm. size. Offset, 16 p. 1980-, qu., ~ 15#) 

^# 12 (1983/3) 

~ 

Literature: 

 

«Quarterly free tabloid that relives the hippydom we thought had all but vanished. 

Lots of space given to visuals and west coats artists, and interviews with things like 

perfomance artists. They say they'll reprint work you send them, though in 3 mailings 

to them they've never taken anything so who knows.» 


Kazuyoshi, Takeishi Satsukiso, 3-11-17. Amanuma, Suginamiku. Tokyo 167 Japan 1986 

↑ Easy Edition. Meiwaso 3-2 6-4. Nishiogikita 167 - “ - 1983 

............................................................................................................................................................. 

an Ee! (Handmade Mail Art like mag. with visual matter using news, prints, tickets, 

postcards, photos, etc. 26x18 cm. 1983?- squ. #1-6?) 

Êasy Editions / E3 (Horz. size Mail Art mag. {30}, A/6, phc., 24 p. 1988?-, weekly? 

over 100 #) Areal Print, Tokyo 

^#131,95,96,97,99, 100 

Keeler, Wally Samizdat Publ. Organ. Box 233, Cobourg, Ont. K9A 4K5 Canada 198? 

→ Peoples Republic of Poetry 

Kempton, Karl 441 North 6th Street Grover City, CA-93433 USA 1989 

↑↓ P. O. Box 7164 Halcyon, CA-93420-7164 - “ - 1977 

...................................................................................................................................................... 

Open Ring (with D. R. Wagner) (Infozine by the Open Ring galleries for vis. poetry 

and experimental art. Digest size, mimeographic, 1975-) 

^Kaldron (Mag. with ancient and contemporary vis. poetry in a phantastic richness, 

also short articles, very important publ. of the USA vis. literature scene. 

Tabloid of 44x29 cm., newsprint, ~16 p., unbound. 1977-, ~ 2xy. #1-20?) 

^# 18, 19, 20 

^Veneration. Precints of the 5th apocalypse. (with Michael Hannon, poems) (44.5x29 

cm. tabloid, offset,, 16 p.) Rainbow Resin Press, 441 N. 6th St. Grover 

City, CA-93433. 1980 

^Black Strokes with Spaces. (Letter, phc., 82 p.) → Xexoxial. Madison, 1983 

Âccess. A journal of post-literature. (with Ruth → Schowalter and De Villo Sloan) 

(Spiral bound mag. for visual/verbal works with a series of theoretical 

writings. Letter, phc., 46 p. 1987-, ir.) Paperbird Press, 5014 Huron Street, 

College Park, Maryland 20740 

^#1 

^Rune: A Survey. (Edited by K. Kempton & Karl Young [essay], 23x15 cm., offset, 

80 p.) Light and Dust Books / Atticus Books – Membrane Press, 

Kenosha/Wisc. 1992 

^Shadow project. Inv., 1993 

~ 

Literature: 

«Tasteful and non-fossilized, Kaldron, over its many tabloid issues remains a 

compendium of visual poetry and language. Each issue is an anthology of works 

from highly eclectic sources... It's proof positive that contrary to what many say, 

visual poetry is more alive and vibrant and of interest today than ever before. 

Kaldron's presentation gives a wide berth to editorial intrusion. Works appear in 

their own right.» (Lightworks [→ Burch], Art Alternatives in Print, N° 13, Fall 

1980, 51 p.) 

Karl Kempton, thte weight/wait of inspiration (visual works only). In: Score, #3.

(→ Hill) Letter size, offset, 1985? 2-15 p. 

Karl Kempton: Loris Essary. In: Score, #4. (→ Hill) Letter size, offset. 1986? 

(Access, #1): «Initial issue of Access is an unusually wellproduced xerox journal 

devoted to „post-literature“, a term with which I am unfamiliar. This one is devoted 

to the work of Karl Kepmton, whose diagrammatic typewriter graphics are like 

mazes at times, and like flow charts as others; the purpose of them is mysterious at 

sight, but the accompanying essay and interview, which is quite illuminating as to 

where Kempton's „at“ so to speak, dispell a bit of that... I'd say Access is off to a 

very strong start, and it'll be valuable to turn to as a source about authors of our time 

after they've put out a number of issues.» ( Lloyd → Dunn: Mail Review. In: Photo- 

Static. N° 27, Nov. 1987, 917 p.) 

H. → Polkinhorn: Untying the Knot: Karl Kempton's Visual Writing. In: Access, 

#1, 1987, 5-12 p. 

Ruth Schowalter & De Villo Sloan: Magic on the Pages (An interview with 

K. Kempton) In: Access, #1, 1987, 39-45 p. 

Bob Grumman: Kaldron #20. In: Reviews in Score, #9. (→ Hill) Letter size, ~1989. 





Kennedy, Peter & Parr, Mike. 46 & 36, Parkham Street Surry Hills, AUS-2010. N.S.W. Australia, 1972 

Concept artists with llarge correspondence activity and Mail Art connections in the first years of 

the spreading of the Network. Listed products: Trans-Art collections and Idea Demonstrations: – 

by sound taps, photographs, 16 mm. films, video-correspondence, etc. 

Kent, Eleanor (Fractal Post) 544 Hill St. San Francisco, CA-94114 USA 1996 

Artistamps by comp. graphic and photographied knitted objects from the late 1980s 

Keppler, Joseph 10254. 35th Avenue, S. W. Seattle, WA-98146 USA 1984 

^Poets, Painters, Composers (Multimedia mag. for exp. and vis. literature. Beautiful 

 

typography, manufactured paperworks, cut poems, postcards and like 

as additive offering or supplements. Letter and var. sizes, offset, ~60 p. 

1984-, ~y. ) 

^# 3 

^Colin's Magazine (A special sister review from Poets, Painters... 30.5x16 cm., offset, 

16 p. 1990- #1-2?) 

^# 2 

~ 

Literature: 

(Poets, Painters, Composers) «This amalgamation leans most heavily toward the 

first third of its title. Plenmty of visual poetry and some straight verse too. What 

seems special in this loose, free-swinging anthology is a clean, righteous essence. 

It radiates sincerity with various handdone touches. One page with the wooord 

„wind“ on it is cut vertically about ripples. Number 4 is a tape featuring Henri → 

Chopin, Jean-Paul Curtay, Richard → Kostelanetz and Bernard Heidsieck. 

Posters, postcards and more avaible.» (Lightworks [→ Burch], Glimmerings 

[Print Review], N° 18, Winter 1986-87, 48 p.) 

«Poets. Painters, Composers has quickly become a magazine to emulate. Not only 

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 

rarity in small press.» (Review in Score, #7. [→ Hill] Letter size, offset, ~1988.) 

Kerckhoven, Annemie van. Arenbergstraat 10. Antwerpen, B-2000 Belgium 1980 

Public Annemy (A very personal alternative magazine with theories and concept art. 

24x21 cm. and A/4 sizes, phc., 8-16 p. 1980. #1-2 only?) 

Launching the → Club Moral, Antwerpen, organisator and editor activity from1981. 

^Force Mental Magazine (with Danny Devos) (Beside music, performance and lit. 

also alternative arts. A/4, offset, ~20 p. 1982-, bim.) 

^#2, 13, 14 

°Hersens met horens 1976-1983. Xerographical publ. Cut A/4, phc., 76 p. S.P. 1983 

→ Club Moral 

~ 

Literature: AMVK (Annemie van Kerckhoven) & DDV (Danny Devos): Club Moral. [with 

featuring of performances and lives concerts – list of events in Club Moral from 

1981-85]. In: Unsound. (→ Davenport) Vol. 2, N° 3/4, 1985. 35-39 p. 

Kern, Michael Mociare 1. Liptovsky Mikuláš Czechoslovakia 1989 

Conceptual and Mail Art activity in the 1980s. A large number of photo works. 

Michael Kern died 1995? 

 

 

!Kerozen, Eugène! 15 rue A. Néreau Palaiseau, F-91120 France 1991 

^Tetes Crues. (Original rubber stamps, 10.5x7.5 cm., 20 p.) n.d. (~1991) ® 

^Melle X: Le deuxiéme chauchemar. (16x6 cm., handmade drawn + coloured, 16 p.) 

{13} Hanga Roa prod., 15 rue A Néreau. Palaiseau, F-91120. 1992 

^Pilon (Graphic brochure, 25x21 cm., phc., 10 p.) n.d. (in early 1990s) 

Kerr, Bob Mildura Arts Center. 199 Cureton Ave. Mildura, AU-3500 Australia 1975 

Canberra Telegraph (with Terry → Reid) (Voluminous and encyclopedic «news» 

publication with many fluxus, post-fluxus and mail artists. Tabloid of 

58x43 cm., newsprint, 16 p. 1975, #1 only?) 

°The Aukland Star. (with Terry → Reid) (Tabloid size mag. for post-fluxus & Mail 

Art. 1977, #1 only?) Mildura Art Center 

~ 

Literature: Michael Crane: The Spread of Correspondence Art / 1968-73: ...Australia, New 

Zealand... In: M. Crane / M. Stofflet (eds.) Correspondence Art. Contem porary Art 

Press (→ Loeffler). San Francisco, 1984. 155-157 p. (Further → Reid) 

Kholopov, Alexander → Moscow Artistamp Collection 

Kierspel, Jürgen Karl-Pfaff-Str. 7A Stuttgart, D-70597 Germany 1983 

↑ ↓ Atelier in Keller, M. Lutherstr. 41, Stuttgart 50, D-7000 - “ - 1985 

............................................................................................................................................................. 

^1'ne... viele Landschaften (After an original photo from the Schäbischen Alb). 

Cat.: Horz. 10.5x15 cm. phc. 48 p. Also doc. in form of two A/4 

sheets + 2 cards / phc. and xerox. Exh.: Atelier Rolf Glasmeier, 

Beckersdelle 16. D-4650. October 1983 

^Money (Second Mail Art project by J. Kierspel). Doc.: A/4 sheet folded to 3, phc. 

^Mail Art Service (One page info mag on A/4 size sheets, often with a collection of 

small skurrilous images + original rubber stamp prints only. 

Phcotocopy, not dated, but numbered, ~1983-86?) 

^# 14, 16, 17 

!Kiki Bonbon! (Jean-Luc Bonspiel) P. O. Box 524. Tour de la Bourse, Montreal, H4Z IJ8, Canada 1979 

^Dull Century (with Napoleon Moffat & !Zbigniew Brotgehirn! [Tristan Renauld]) 

(Very early Neoist publ. with verbal/graphical nonsenses, texts French 

and English. Half-legal, phc., 22 p. 1979, #1-2? )

Ûrban Projects / Urban Figures (with !Lion Lazer! [Raymond Pilon]) (Neoist mag. 

edited in a loose series without afixed title on the cover. Digest, phc. 

20-28 p. 1979-80, #1-3) 

N°1 = Strong Clear, N°2 = Sten/graph, N°3 = Urban Figures. 

^# 1, 2, 3 

Âbolution (the text). (Digest, phc., 8 p.) The Service Inst. of Rechearch and Investigation 

/ «Tour de la Bourse», Montréal, n.d. (~1980?) 

 

 

Kiraly, Iosif / Tulcan, D. Str. Giurgi, nr 15. Timisoara, R-1900 Romania 1982 

Trans-Idea (Envelope-project) Doc. 1982 

 

Equinox. Poster, stamps. 1983 

 

Life without art? Doc. Exh.: Atelier Flondor. Timisoara R, 1984 

 

Life without art? (with C. & A. Flondor) Exh.: Galeria Pro Arte. Lugoj R, 1984 

Mail Art Archive. Doc. Exh.: Galeria Galatea. Bukarest R, 1988 

 

Mail Art (with → Oistenau, A.) Exh.: Galeria Galatea. Bukarest R, 1990 

 

~ 

Seurce: Calin Beloescu & Iosif Kiraly: What is Mail Art? In: El Djarida (Burial issue 7) 

Ed. Guttorm → Nordø. Tabloid, newsprint, 24 p. (n.p.) Trondheim N, 1988. 

Kiss, Ilona (Hungarian Assotiation of Book Artists) Budapest Hungary 1990 

În Memoriam Moholy-Nagy – Artist’s Book Show at the Kunsthalle, Budapest. 

Inv.-letter, 1995 

Înternational Artist’s Book Exhibition – at the “Vigadó”, Budapest. Inv., 1996 

Ârtist’s Books from Hungary – Visual Studies Workshop, Richester. Inv., 1999 

^Künstlerbücher aus Ungarn. 2 accordion like publs. with 4/4 offset colour leaves 

as info/invitations. For the „Frankfurter Buchmesse, 1999“, Germany 

^Le Livre-Object Contemporain Hongrois – La Louvière, France. Inv., 2000 

Kitasono Katue Tokyo Japan 1963 

Vou (Magazine 1963-, m.) 

 

Kindt, Jacques't Groendreef 238 Gent, B-9000 Belgium 1977 

G. Gezellenstraat 25 Waregem B-8790 - “ - 1977 

............................................................................................................................................................. 

^Hart-Slag (Mag. for experimental lit., photo & graphic. 24.5x18 cm. & A/5 sizes, 

offset, 28-76 p. 1977-, qu.) 

 

^# Vol.3/2 

Klaffki, Joe 

→ Joki Mail Art 

Klivar, Miroslav ? Prague Czechoslovakia 1976 

DIM ART First International. Exhibition in Gallery IPD, Prague, December 1976. 

With the participation of Klivar and Valoch as only czech artists in this 

show, an exhibition was organized for visual poetry, Mail Art & other 

kind of experimentale arts. An unique attempt in Czechoslovakia in the 

1970s! Only an A/4 offset poster is known as documentation to this 

event. (DIM was adopted from Dim Dada Dim, a greetings form between 

Tress und Klivar. The exhibited artists: Paulo Bruscky, Ernst 

Buchwalder, H. Gruber-Guthenstein, Klaus Groh, Gunnar, Horst Hahn, 

Miroslav Klivar, Uhhf Klose, Rainer Luck, Bernd Olleck, Paulot, Romano 

Peli, Peter W. Reski, Rittger, H. Steinbach, A. Thomas Stöckl, 

B. Kelley Stöckl, Gábor Tóth, Horst Tress, Jiri Valoch 

Knepper, David (!Moo Man!) 805 N. Alvord. Evansville, IN-47711 USA 1986 

Artists' postage stamp activity, sheets of stamp images, b/w phc. non perforated. 

Themes: cows, pigs, Mona Lisa, free (empty) stamps, etc. 1980s

Knízák, Milan Podskalská 7. Praha-2. CZ-12800 Czech 1991 

↑ Tulipanova 2802 Praha-1. Czechoslovakia 1988 

↑ Novy Svet 11. Praha - “ - 1964 

............................................................................................................................................................. 

Aktual (Handmade magazine with texts for happenings and Fluxus-actions. Fluxus 

A/4, mimeographic, cover with linoleum print. 1964-66, #1-4?) 

Correspondence Action: postcards with queustions & instructions sent to addressees 

who were found in the Prague Telephonbook. 1965 

~ 

Source: ^Milan Knízák. Aktionen, Konzepte, Projekte, Dokumentationen. Cat.: Offset, 96 p. 

Ed.: Klaus → Groh / Oldenburger Kunstverein, 1980 

Literature: 

«Milan Knízák was born in Czechoslovakia in 1940. In 1962 he started performing 

street and environments in Prague, and in 1964 he founded the Aktual Art group. 

Contacts were established with several US and Europaen Happening and Fluxus 

artists, and Knizák was appointed „Director“ of Fluxus East, in which capacity he 

organised Fluxus Festivals in Prague. He currently (1980) lives in Berlin, having 

been a recipient of DAAD Fellowship, although he plans to return to Czechoslovakia 

soon. Milan Knízák was in Amsterdam recently for a lecture-demonstration at 

the → Appel, and an exhibition at Gallery «A» (→ Ruhé)...» 

«...Life is always insufficient. If life is sufficient, it does not need anything 

to be added, it's good for itself, and you don't need art... The so-called Iron Curtain 

was in some ways very good. It means that we couldn't get fucked up so much, we 

couldn't get involved too much in the art/money and producing scene which goes on 

in the West, and which is horrible. The second reason is that we had to make very 

careful choices – if you really want to do something, it's very difficult to do it – you 

must choose very carefully one thing from a thousand which you are going to perform, 

because you must take some risk...» 

(From life to art life. / Kunst is slecht een kruk. Introduction and an interview 

/ essay with Milan Knízák. In: Artzien [→ Gibbs], Amsterdam. Vol. 2, N°6-7, 

April-May 1980. n.p.) 

«KNUST» 2e Walstraat 5. Nijmegen, NL-6511 Netherlands 1990 

↑ Groesbeekseweg 2 / a-b. Nijmegen NL-6524 - “ - 1988 

↑ St. Annastr. 1. Nijmegen - “ - 1984 

(Graphic Studio & Edition, all publications by colour mimeographic/stencil technic.) 

Alfred Boland, Jan Dirk de Wilde, Dorothe Krol, Anja Rachmaf, Erik Odijk & others. 

............................................................................................................................................................. 

Publications, a very selected list: 

(all item by colour mimeographic, unless otherwise noted) 

^Kutlur (sic!) (Graphic mag. A/5, A/4 and 29,5x 23 cm. Offset. 

1982, #1-5, all issues marked as #3!) 

^# 1-5 

Westerse beschaming (Portfolio/book series like mag. 1983-4, #1-4) 

#1 = 28x20 cm., offset, 20 p. Portfolio: 30x21 cm. n.d. 



#4 = 42 very diff. size leaves, mimegogr. Cover: 30x20.5 cm. n.d. 

Âfgrijs (Graphic magazine with textfragments. A/5, ~40 p. 1984-87, #1-7) 

^#1, 2, 3, 4 

^Postbode Westland (11.5x7.5 cm. 48 p. in format cover of 28.5x28.5 cm.) 

n.d. (~1985) 

^De Warheid / Pravdada. Nimmer 1. (Pamflett-mag. 29.7x17 cm., #1: 26 p. + supplement 

paperworks) n.d. (1987) 

^Crime / Het moderne blädsinn (38 diff. size p. + cover of 30x25 cm.) 

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) 

^Nord es Mord. «Jarry is dood leve de Koning Ubu, Alfred» (29.7x10.5 cm., 40 p. 

+ cover) 1986 

^WARS, No 1. «de losse band van Swaving en Siwi» (22 A/3 +24 A/4 leaves in a 

cover of 42x30.5 cm. offset + mimeogr.) n.d. (~1987) 

^Mediaval. Kontaktorgan voor audio-visueel gehandikapten. (Books like mag. 

~20-24 p., in var. sizes, 1988-90, #1-3) 

^#1 = 29.2x14.5 cm. 

^#2 = 21x20 cm. 

^#3 = 10x7 cm. 

Ânsick / Ansich. (17 mimeogr. post cards in cover) ~1988 

^T. Tzara: Dicédãdet a Tzara (Knust Graphics + Tzara's text. 24.5x19cm. 82 p. 

+ cover) 1988 

^Music for deaf. (Bookwork-multiple: 6 leaves paper, mimeogr. prints + 2 plastic 

foils between 2 LP disks, with lack coloured) n.d. ~1988 

^Dorotthé Krol: 't buchje Snabignieg (20.5x25 cm., 56 p. + cover) I & II. editions 

(~1988-1990) 

Ôogentroost. Dageraad Banden, Nummer 1. ( Bookwork {500}. 15x15 cm, mimeographic 

+ offset, 36 p. + cover) Uitgeverij Plaats Maken, Arnhem. 

Êxtrapool (Double-size and applicated booklets like mag., ~50 p. 1989-, #1-3) 

#1 = 32x21 cm., 

#2 = 25.5x24 cm., 

#3 = 21.5x20.5 cm. (United Extrapool) 

^#1, 2, 3 

Ârt Divers (Books like mag. 1989-93, #1-3) 

#1 = A/5, 48 p. in a cover of 30.5x21 cm. June 1989 

#2 = 16x16 cm. 40 p. + cover. October 1991 

#3 = «Monster Book» with 20 artists, 22 A/4 leaves in a cover of 

39.5x29.5 cm., fixed by a nut and bolt. 1993 

^#1, 2, 3 

^Half Wit. KNUST's Extramarginal Magazine. (38 leaves of 27.5x19.5 cm., folded, 

with a poster supplement of 29x57 cm. 1992) 

^#1, 2 

^D. Krol: Geiten (Book-object with sound-effect / 15x15.5x7 cm., paper, wood, 

collages, 48 p.) 1992 

^Mark → Pawson: Life has meaning. (A/4, 26 p.) Knust Stencildruck, 1992 

~ 

Literature: 

 

 

 

 

 

 

 

 

 

 

 

 

 



Kocman, Jiri H. Vackova 64 Brno. CZ-61200 Czech 1995 

°Collyrie's Book. Typography by colour inks in 18.5x13.5 cm., 22 p., like 

 

japanese bound. Limited edition in ? Brno. 1970 

Rubber stamp activity, ~1971-1973. (Div. cards & leaves with rubber stamps) ® 

^My Activity Report (Booklets like periodical {0-20}. 13x17,5 horz., 2-4 p., ® 

mix. techn. with many rubber stamps. 1970-73, #1-15?) 

^# 9, 12, 14, 15, 

°JHK's Position non-art. A/4 sheet, handwritten, signed. Edition of ? n.d. (~1971) 

^Bipolar Fold Analysis (5 leaves folded & stamped in cover) n.d. ~1971 

^Love (A/5 size assembling in box of 21x18x4.5 cm. 24 artists with ~ 30 leaves {30}. 

1972, #1 only) 

^Project for Flowers and Landscape. (20.5x15 cm. offset/photo repr., title=rubber 

stamped. A 3 parts portfolio {30} with an offset photo repro.) 

^Stamp Activity (Rubber stamps assembling, bound {30}. A/5, 130 p. 1972, #1 only) ® 

Êntomogical Activity (3 parts portfolio of 20.5x10.5 cm. {30} with title text + 

butterfly-photo) 1973 

Âbout my Butterfly. (20x15 matter, handwriting, offset/photo, rubber stamp,

4 leaves.) n.d. (~1973) 

^Monography of my stamps. (11x18 cm. horz. booklet with 25 or. rubber stamps, ® 

27 p. The binding is corrugated board) n.d. (1974) 

^My activity 1963-1973. (19x13 cm., offset, 13 leaves sewed between corrugated ® 

boards). The content: 

Introduction (Engl.) by → Valoch, Jiri. Listed activities: Graphics (1965- 

70), Objects (1970), Texts (1969-71), Poems (1970-73), Book-objects 

(1970-72), Preparated books (1970-72), Chromatography (1970-71), 

Reports (1970-71), Bipolarity (1970-71), Touch (1970-73), Body-works 

(1971-72), Project (1972), Landscapes (1972), Reservation (1970-71), 

Waether 1971), Food-colour (1971), Ben (1972), Stamps (1971-73), 

Ecology ( 1971-73), The End as an Activity (1973) + exhibition & 

publication lists. S. P. Brno, 1974 

^JHK Language / Love (Paraphrase to Wittgenstein, a mini broch. in 14.3x10 cm., 

mimeography, 4 p. Signed copies in an edition of ? ) n.d. ~1975 

^JHK Micro Macro Issue. (Brochure of 30x21.5 cm., handwriting + collages + 

paintings, 15 p. {50}) 1975 

Ô papíru / About Paper Sensibility (Manuscript or catalogue text?) 1976 

^8 Pieces by JHK. (Multiple in A/4, hand stamped series of rubbers: 1 rubber stamp ® 

on each leave, in envelope /stamped. Signed publ. on account of Kocman's 

visit in Köln) Soft Geometry Ed., Köln. 1977 

^Marbling Experiences of Three Days (14.5x10.2 cm, offset + collages, 14 p.) 1977 

^Handmade books and paper-re-making book activity, mostly uniques or limited 

to 5 pieces, from ~1977 (about 80 pieces in the time of 1977-87) 

^#: Marbling Book (n.d. ~1977), In Section Aurea (N°35, 1978), 

Harmony in blue (N°49, 1978), Book of tea (N°62, 1978), Dimesion 

of a book (N°64, 1978), Vertical Book (1979), Paper-Re-Making 

Book (N° 64?, 1982), Paper-Re-Making Book (N°84, 1983), Book 

of Clauds (N°86, 1988) 

°#: Book of one cup of tea (N°73, 1980), Book (N°92, 1981), Tea hand 

made paper by JHK (~A/5, s.d.) 

Handmade paper activity / Marbling papers / Neu-Jahr Wünsche Papier, ~1978- 

~ 

Source: ^J. H. Kocman, Handmade Papers, Artists' Books. Cat.: 21x20 cm., offset, 20 p. 

(With an till 1990 enlarged draft of the «my activity» work-list, exhibition 

index, participation list and an voluminous bibliography) Galerie Jaroslava 

Krále, Brno, 1991 

J. H. → Kocman: Stamps and Other Residure 1970-1979. Spirsal bound Cat.: 

Letter, phc., 76 p., 1995 

^J. H. Kocman. Works: 1970-1979. (Brochure with essay by T. → Purves, 

P. Gaglione, G. → Perneczky. Digest size, 10 p. + 8 postcards) 20 p., 1995 

^J H Kocman. Autorské Knihy a Papíru / Artists' Books and Papers. 

Cat.: 28x21 cm., offset (colour), 48 p. (Introduction by Jiri → Valoch, Czech / 

English. With a large philological part: List of works /125 exponats; Exhibition 

and publication list / ~ 200 items; Works in collections; Biography; etc.) 

Galeria Rudolfinum. Praha. March 12- June 23, 1997 

J H Kocman's self-published writings (on the basic of the Cat.: Autorské Knihy a 

Papíru, 1997: 

O papíru - About Paper Sensibility, 1976 

Mramovováni na karagenovém mechu, 1977 

Interview resp. monolog o knize. 1978 

English Bookbinding terms (review of an book edition from 1979), 1985 

Cajové minimum, 1981 

Interview pro Jazzbulletin (s K. Srpem, jr.), 1982 

Josef Váchal – knihvazac (monography), 1979-83 

27 Rp (27 seceptú z makrobiotiky), 1985-86 

Osoby a obsazent (supl. k Hvezdám kvelbu Pavla Reznicka. Horst, Brno, 1991)

Papípenské minimum, 1996 

Literature: 

Jiri → Valoch: JHK / 1976-80. (Xeroxed publ., 7 leaves) Essay + list of selected 

paper and book works & bookbinding works (18 items) by Kocman. S. P. 1980 

^JHK TRADE MARK / Jiri H. Kocman (Exh.) Cat.: A/5, phc., 14 p. Text (German): 

→ Valoch, Jiri (1980). Galerie für Visuelle Erlebnisse ( → Löbach), Weddel D, 

January 1983 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 34, 70-72, 

82-83, 104 p. 

Kolár, Jiri 4 rue Aubry le Bouchez Paris, F-75004 France 1984 

↑ 21 rue Micolon Alfortville, F-94140 France 1981 

↑ Za Skalkou 2 Praha 4-Branik, CS-147 00 Czechoslovakia 1977 

...................................................................................................................................................... 

°Poem r. A/4, offset, 12 p. {400}. S. P. Praha, 1965 

Revue K (For the promotion of Czech avantgarde art published in Paris. Texts in 

French and Czech. 15x23.5 horz., offset. 1981 ) 

 

 

Kolasinski, G / Ryba, J. «Kwiecien», ul. Jeczmienna 14/1., Wroclaw, PL 53-509, Poland 1976 

Pazdziernik (Very visual alternative mag., edited by students. Later entitled as 

Kwieczien or Luty. A/4, phc. 1973-, ir. #1-4?) «Organ Studia Kompozycji 

Emocjonalnej» 

Kwiecien (with Sztukowski, W.) (Mag. like Pazdziernik. 1976, #1) 

Luty (with Sztukowski, W.) (Mag. like Pazdziernik. 1978, #1) 

 

Koller, Julius Kudlakova 5 / III. P-32 Bratislava, CS-84101 Czechoslovakia 1984 

? «Antiflag» with question mark. Conceptual work first in 1968, also correspondence 

motive on postcards from 1970. 

U.F.O. (Utopie Fakty Otázky ? = Utopies Facts Questions ?). Concepual works and 

postcard actions (by graphic, collage, photo) with „UFO“-s from 1970. 

 

!Konstrictor, Boris! (Boris Akselrod) ? Russia 1979 

Transponance (with → Nikonova, → Segay) (Typewritten handmade samizdat mag. 

in the Sovietunion with exp. literature, art [also Mail Art] manifests and 

theoretical contents. Very few copies only. 1979-86, #1-36) 

^Konkret russische visuelle Poesie. Cat.: 11x21 cm., horz., offset, 16 p. Text: Peter 

Huckauf. /Galerie am Markt, → Annaberg-Buchholz. Sept.-Oct. '90 

Artists: Valeri Afanasjew, Boris Konstrictor, Rea Nikonova (Anna 

Tarschis) Lev Scherstjanoi, Sergej Segay (Sigow) Awgust Sigow, 

Leonid Tischkov 

→ Nikonova, Rea / Literature / Mail Art in the USSR 


«KonTexts Publ.» → Gibbs, Michael 

Koroto, Mark & Angela. (!Fa-Ga-Ga-Ga!) Box 1382 Youngstown, OH-44501 USA 1991 

^Detective. Mail Art against International Terrorism. (with the Group → RAFT: Z. + 

N. Smirnoff, O. + O. Yudin, E. Shashkin, A. Medvejew, T. Markova, 

all in St. Petersburg) Cat.: Cut A/5, offset, 24 p. 

Exh.: St Petersburg, September 8-18, 1991 

^The Art is on the Mail(ing) – Wexner Center, Columbus OH. Inv.-card, 2000 

Kosberg, Erik 3013 Holmes Av. Minneapolis, MN-55408 USA 1985 

^Between the Lines (Digest size magazine, phc., ~30 p. for art, poetry, politics,

music, etc. 1985?-,) 

^#5, 5½ 

Koschitz, Norbert Kunstpostamt. Schwarzenegg, CH-3616 Switzerland 1986 

^Ways of Networking. Cat.: A/5, phc., 16 p. Aug 28 - Sep 1, 1986 

 

^Qnst Post (Mail Post). Information brochure about the acxtivity of the author. 

A/5, phc., 12 p. Schwarzenegg, 1986 

^Female Heart of Ice-Cream / Digital Networking / Mail Art Manifests. Inv., 1988 

Koslow, Ed / Donohue, Bonnie, 153 Westville Street Boston, MA-02122 USA 1979 

Mail Etc. Art. Catalogue: 64 p. / University of Colorado, 1979 (Further → Mail Etc.) 

Kostelanetz, Richard 141 Wooster St. New York, NY-10012 USA 1990 

↑ 358 George St. New Brunswick, NJ-0890 - “ - 1988 

↑ 242 Fifth St. New York, NY-10030 - “ - 1977 

↑ P. O. Box 1967 Brooklyn, NY-11202 - “ - 1970 

............................................................................................................................................................. 

°Visual Language (Book, Assembling Press, 1970) 

 

Âssembling (with Charles Doria) (The magazine that gave the name to the whole 

genre, enormous influence, inexhaustible contents. Many alternative 

artists and mail artists among its contributors. Assembling in bound 

form {1000}. Letter, mix. techn. ~100-200 leaves. 1970-86, #1-12) 

^# 8/2, 9, 10 

^Text-Sound Texts (Anth. by 100 American authors, 441 p.) W. Morrow, N.Y. 1980 

^March. (Vis. Poetry, Graphic, Half-legal, offset, 28 p.) Essay: Constructivist Fiction 

~ 

Literature: 

(from 1974) Generator Press (→ Byrum) / Chapbook S., Mentor, 1990 

Assembling Assembling (About the «Assemblings») Assembling Press (Richard 

Kostelanetz & Charles Doria), Rutgers Univ. Mason Gross School of Arts, 

Visual Dept. New York, 1978 

Richard Kostelanetz: Art Autobiography. 1983 (selected pages from this book and 

a partial work listing in: Unsound (→Davenport) Vol. 3, N°4. 1986. 32-38 p. 

Richard Kostelanetz: Duets (visual works). In: Score, #3. (→ Hill) Letter, offset, 

1983-92, #1-12. 23-33 p. 

«(Assembling #12) Assembling is progenitor to shelves of zines which take multiple 

originals, produced and financed by artists and writers, collate, bind and distribute 

the collected results. It's 16 years old and back after a 5 year dormancy. Since the 

pressrun is 1000 there's a hefty investment, especially if you are used to making art 

with pocket change. Anyway the tick Number 12 is heavily freighted with metro 

New York content. Some all-star mail artists, others unknown to this reader. Plus, 

the issue has a supplement on Russian samizdat art as put together by ever-productive 

→ Gerlovins. It's easy to sail past so much in this visual collection with a 

definite literary bent. But then you hit Karl Young's oblitareted signs such as „ARK 

IN EAR“ or → Bakhchanyan's collage and rubberstamping and you know you hold 

a winner. A wunderful and historic collection of the ofofbeat.» 




Richard Kostelanetz: Assembling in the Mail Art Spirit. In: Chuck → Welch (ed.): 

Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 177- 

179 p.

«Stephen Perkins: I understand that your first exposure to an assembling publication 

was when Dick → Higgins showed you Tomas → Niggl's Omnibus 

News (1969). I wonder if you can think about your first impressions upon 

encountering this publication? 

Richard Kostelanetz: What a wondeful way to publish! I think another fact though 

would be the Cage „Notations“ book. The non-uniform book. Does Niggl do 

alphabetical?... because Cage did alphabetical. Actually I always wondered 

about that, because that became a sort of convention that we've kept throughout 

but of course it's an unnecessary convention. It interested me because as 

I have written, in the conventional magazine, the editors put the good stuff 

up front and the bad stuff at the back and I wanted to get away from that 

kind of thing. So we hit upon the alphabet as a medium but in retrospect I 

think there are other ways to do it. I would probably do reverse alphabet 

sometimes and out of the middle of the alphabet some other times. (ed. note: 

Kostelanetz is refering here to the alphabetical sequencing of the contributions 

in Assembling) (...) 

SP: When peoplerevies it some people call it a book, some people call it a 

magazine. 

RK: But I come out of the tradition of books, as you can see from looking around 

the house. I wanted something with a spine, although we didn't mark the first 

spine, but then we marked later spines. I think of my life as being mostly 

making books... look at Dana → Atchley, was that a book? (...) 

SP: Looking at the first couple of issues it obviously arises from a literary 

tradition but very quickly it comes as much visual as well as literary. Was 

that something that surprised you or was that inevitable? 

RK: I concider myself both visual and literary and certainly did at that time and it 

didn't surprise me. I may not even have noticed it. I think it also became the 

nature of the thing. Karl Young in his wonderful essay pointed out that there 

was no cachet in publishing Assembling, for literary people who wanted to 

keep dossiers because everything was accepted and so turned off a lot of 

people... I think that's a really important principle. (...) 

SP: Although you talk about the editorial process being open, new contributors 

were invited to send a sample of their work, did that happen? (Yes.) So in 

that sense it wasn't totally open... 

RK: You had to be invited. But I must say we used to joke at the time that thank 

god we don't have any painful editorial meetings of whether or not X or Y 

should be invited or dis-invited. We never had any editorial meetings, if it 

looked freaky invite them! I'm sure nobody was dis-invited. People might 

have been discouraged or encouruaged to dis-invite themselves but I don't 

think anyone was ever dis-invited. It's not my character to do that... (About 

the 1000 copies:) ...maybe we should have done 500. It became a problem 

that I still have to live with, it costs me $50 a month to keep those things 

which I hop somebody will eventually buy... (...) I think the bigness of 

Assembling pu off some people, that it could be so big. I know it put off the 

guys who gave out literary grant moneys, „...you mean you get all these 

guys to give you the paper free and you make a book that big...,“ and we said 

yeah, and they scratched their heads, they couldn't figure it out! (...) 

SP: Wasn't there an issue #13? I remember sending some work in for that and 

never getting a copy. 

RK: Well at that time Charlie Doria was in charge, and Charlie Doria was not as 

good as he should have been about keeping promises. The zthing I have 

always emphasized is that as long as I was in charge all promises were kept 

and I think that's why people sent so much stuiff and I think that's real 

important in this area because you and I can think of guys who don't keep 

their promises... (...) I have this whole theory of Cage which is not about 

chance, but it's about trust. I will give you a score and trust you not to violate 

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. 

(Interview with Richard Kostelanetz. In: Stephen → Perkins: Assembling Magazines. 

International Networking Collaborations. Cat.: Half-legal, phc., 64 p. 

Subspace, Iowa City. 1996 / Print: 1997. 12-14 p.) 

Kostolowski, Andrzej Ul. Smielow 1. Zerfow, PL 63-210 Poland 1978 

^NET (with J. → Kozlowski) (Network manifest + address list like a magazine.) 

The absolute first publication of the network rules at all. May 1972. 

A/4, typwritten with carbon paper + rubber stamp, 9 leaves. 1972, #1 

^Theses on art, 1970-72. (24x14.5 cm., offset, 18 p. Texts: Polish and English) 

/ Galeria Adres, ul. Piotrowska 86, Lódz. 1972 

Ôn directions in art. (A/4 sheet, typwritten, English, a lecture in the Galeria Aku- 

mulatory 2, ul. Zwierzyniecka 7, Poznan) 1973 

~ 



Kovács, Zsolt / L. Simon, László / Somogyi, Gyula / Sörés Zsolt, 

c/o Magyar Mühely, Pf.: 823 Budapest, H-1463 Hungary 1996 

^Magyar Mühely (new series) (Mag. for vis. poetry and exp. art. Also theoretical 

writings. 22x19 cm. offset, ~100 p. 1996-, qu., #101-) Magyar Mühely 

Alapítvány, Csalogány u. 3/c. Budapest, H-1027 

^#1, 2 

→ Nagy, Pál / Magyar Mühely, #1-100 

Kowalski, Jörg Edition Augenweide. Kirchberg 11 Dobis, D-06198 Germany 1996 

↑ Karl-Liebknecht Str 26 Halle, (GDR-4020 → D-06114) Germany 1986 

............................................................................................................................................................. 

Mein Zahn riesengroß. (The first edition of the Augenweide, «erotic dreams» by 

J. Kowalsky, U. Prautsch, H. Schubert, 29 silkscreen illustration 

by U. → Tarlatt + 4 photos by J. Franke) {80}, 48 p., 1987 

Des Kaisers Bart. (The «last German-German anthology» about emperor Friedrich 

Barbarossa and the German unity. Texts by F. Weyh, W. Bartsch, P. 

→ Huckauf, J. Kowalski, H. U. Prautsch, T. Böhme, &10 silkscreens 

by Frieder Heinze, K. Süß, U. → Tarlatt.) {150}, over size, 1990 

^wortBILD – Visuelle Poesie in der DDR. (Anth. with → Deisler, G.) 164 p. Leipzig 

Further → GDR Visual & Experimental Poetry 

^Para Guillermo - nuestro amigo (with U. → Warnke) Augenweide, Ed. N° 21 

(Orig. works by 58 artists devoted to their friend, G. → Deisler. The 

book looks like to a bound assembling publ. {60}. A/4, ~ 65 leaves) 

1995 

→ Augenweide, Edition (since 1987) 

~ 

Literature: 

 



Kozlowski, Jaroslaw, Matejki 68 m. 3a. Poznan Poland 1972 

First manifest of NET (supposed by artists and free authors organized in the polish 

«authors' galleries» ) (with → Kostolowski), 1971 

Â, B (Conceptual publ. – 15x30 cm. horz., offset, 36 p.) Edition «NET zpap ro 

poznantu». Kozlowski, Poznan. 1971 

^NET (with → Kostolowski) (Network manifest + address list like a magazine. The 

absolute first publication of the network rules at all from May 1972. 

A/4, typwritten with carbon paper + rubber stamp, 9 leaves. 1972, #1) 

^metaphysics. (A/4, offset, 4 p. / Image of lodgings, + text, English) Galeria → Fok- 

-sal, Warszawa. 1972 

^Language – Jezyk (Experimental lit. – A/4, mimeographic, 46 p. {150}) Exh. and

Publ.: Galeria → Foksal, 1972 

^DEKA-LOG. (24x10 cm., offset, 20 p. {200}) S. P. Poznan. 1972 

^«Reality» (The punctuation only from Immanual Kant's Kritik der reinen Vernunft, 

II/I/II/III. –cut Y/5, offset, 24 p.) S. P., Poznan. 1972 

^Grammar – Gramatyka. 23.5x17 cm., offset, 40 p.Text English only / Galeria Akumulatory, 

ul. Zwierzyniecka 7, Poznan. 1973 

^Physics. (A/4, offset, 8 p.) Galeria → Foksal, Warsawa. 1974 

°Lesson. (21.7x16 cm., offset, 100 p.) {400} Beau Geste Pr.,(→ Major) Devon, 1975 

~ 

Literature: 



 

 

 

 

 

Krabbe, Peter 

→ Eins von Hundert 

«KRASH Verlag» Jülicher Str. 24 A Köln, D-50672 Germany 1991 

^Lit-goes art! Art goes lit! Krash Multiple Show. (Org.: Dietmar Pokoyski) 

Cat.: A/4, phc., 46 p. Exh.: Ultimate Academy, Köln (→ Pellini) 

(Y. Berbesz, R. Bergère, I. Broska, N. Flick, R. Jäger, B. Nislony, 

Parzival, P. Pellini, ro.ka.wi, M. Schany, E. Stahl, H-J. Tauchet, 

E. Tót, J. Zimmermann) 

Kretschmer, Hubert Sandbergerstr. 53. Darmstadt, D-6100 Germany 1988 

↑ Postfach 940246 Frankfurt-94, D-6000 - “ - 1982 

↑ Produzentengalerie. Adelgundenstr. München - “ - 1981 

............................................................................................................................................................. 

^Hubert Kretschmer (ed.): Materialien an der Fachhochschule Würzburg, 1981-82, 

German translation of the following texts: U. Carrión: Mail art and the 

big monster, P. Below: Mail Art, L. Spiegelman: Statement, G. Lloyd: 

Judit Hoffberg and the Umbrella, H. Zabala: Art is Prison. A/5, phc., 

22 leaves. Würzburg, 1977. 

^Künstlerbücher. Cat.: I-II-III. / Produzentengalerie, Adelgundenstr., München, 

1979-80-81 {600}. All volumes in 21x23 cm, offset, 62 / 64 / 60 p. 

^konkrete visuelle und konzept. gedichte und anderes und ähnliches – 71 arbeiten. 

(Anth. A/5, offset, 156 p.) Isartopplan 3 / 1. München-2, 1979 

^Das Buch als Kunstobjekt. (with Marie-Luise Schaller) Cat.: A/5, offset, 32 p. 

Exh.: at the Schweizerische Landesbibliothek, Bern. Organisations 

and second exh.: Produzentengallerie, München. July-August 1981 

Essay: Das Buch ist tot – es lebe das Buch by M-L. Schaller. 

Înstant Media / Instant, #16. (The Instant was an A/3 size offset mag. for exp. art, 

1978?-, qu.) Eds: F. Aumüller / T. Feicht, c/o TRUST, Wolfgangstr. 20, 

Frankfurt. The issue N° 16 became a special volume for the German 

graphzine scene and provided a usuable survey about the German alternative 

magazines in the 70s. and early 80s. Kretschmer published this 

issue as guest-editor.) 

«K-Roll» ? Caen France 1982 

°Junglemix. Cat.: A/4, phc., 6 p. / Nouveau Mixage. Caen, 1982 

 

Kropp, H. J. / Stein, P. ? Bingen Germany 1979 

Artfusion (Journal-object, partly hand made, in limited edition. 33x23 cm. [N° 1-2] 

and A/4 [° 3-6] offset + phc.? 1979-84, #1-6) 

~ 

Literature: Instant Media (→ Kretschmer), N° 16 

Kudla, K. (Fan Club of Nurse with Wound) P. O. Box 161. Pilo, PL 64-920 Poland 1984 

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. 

1984-85? #1-2?) 

Kuipers, M. / Lelie, H / Mark, H.v.d. 

Kuipers, M. / Stratinghweg 32 Groningen Netherlands 1977 

Lelie, H. / 14 Albert Square London, S W 8. United Kingdom 1977 

Mark, H. v. d. / Langeniewsstraat 200 Tilburg Netherlands 1977 

............................................................................................................................................................. 

KLM (An international edited mag. for concepts, vis. poetry and art. A/4 size with 

assembling like parts {200}. 1977-, ~ y.) 

Kukowski, Stephan. c/o 18 Walmer Gadens London, W13 9TS United Kingdom 1973 

Blitzinformation. (An elusive and often humorous quuestion-answering service 

realized by type written / photocopied form letters. Favoured person 

of this correspondence project was „Klaos Oldanburg“. Statement: 

Art can arrive at your home for the price of two postage stamps.) 1973 

~ 

Literataure: Stephan Kukowski: Blitzinformation. In: M. Crane / M. Stofflet (eds.) Correspondence 

Art. Contemporary Art Press (→ Loeffler). San Francisco, 1984. 269-270 p. 

Kum Nam Baik Dept. of Design, College of Art. Sungkyumkwan Univ. Seul Korea 2000 

kumnam@skku.ac.kr 

↑ Dept. of Arts, Sung Kyum Kwang Univ. 53. 3ga Myungryundong Chongrogu, Seoul-110 

............................................................................................................................................................. 

Mail Art organisation activity in South-Korea, since middle of the 1970s 

 

^The Great Harmony – FAX & Mail Art project for 2001. Inv., 2000 

FAX 

Kume, Lucio (!Sedicoes Seducoes!). C. P. 2828 A G Central São Paulo, BR-01051 Brasil 1989 

↑ r. Tijuca Paulista 137 / c. São Paulo, BR-02020 - “ - 1986 

............................................................................................................................................................. 

^1 Menos 1. 24.7x22 cm., offset, 14 p. {40 signed copies}. Ed. Omar Guedes, São 

Paulo, 1983 

^Zig-Zag Post / ZZ Post (Mail Art info zine in a very xeroxed look. 22x16.5 cm., 

phc. 1986-) 

^#2, #1983 Book. 

Kundzins, Maris ? Montreal Canada 1980 

^∀LARM. (A neworking / Neoist book – 28.3x11.3 cm., offset, 62 p.) Tokyo Publ. 

100 B Western Ave. National BLDG #316. Seattle. n.d. (~1980?) 

«Kunst ohne Grenzen» (Art without limits) (Junki Wehrmann, Walter Holzinger, Evelyn Doll & others) 

Kupkagasse 4 / 1. Wien, A-1080 Austria 1988 

ÛM. Kunstzeitung (Mag. with exp. literature and xerography. Div. sizes, also A/4, 

phc. + collages. 1988?- squ., #1-8?) 

^#6 

Küstermann, Peter P. O. Box 2644 Minden D-4950 Germany 1986 

^Lyrische Collagen. (Anth. of poems and graphics) A/5, phc., 36 p. Exh.: at the 

Heimatmuseum Lippstadt (Germany), June 6 - July 18, 1982 

^Mit farbigen Worten. (Anth wit poems and drawings with Barbara Wehking) 

A/5, phc., 16 p. Café Treff, Berlin, July 2-7, 1982 

Â Visit to Britain, 1982: Writers Forum. Lyrical Collages 3. (Anth. of poems and 

images.) A/5, phc., 18 p. Minden. 1982 

^Casually Inspecting the World. Lyrical Collage 5. (Anth. of 8 artists, edited with 

Barbara Wehking) A/5, phc., 36 p. The artists: L. Maguire, P. Küstermann, 

K. Bibby, P. Ross, E. Hawkins, D. Jarvis, A. Basan, B. Wehking. 

BEC Poets' Book, N° 5. London, 1982.

^Kein Krieg in meiner Stadt. Cat.: 300 p. / Ed. Peter Rumpf. Bielefeld, 1983 

^Tempo Mail Art. (A project of Friedhelm Küstermann, D-4780 Lippstadt, Germany, 

the father of the artist.) Cat.: Horz. 13.5x20.5 cm., phc., 52 leaves. 

Lyrische Collagen 11. 1984. ISSN 0721-9083. 

^Der große Bruder sieht dich. Mail Art against totalitarism. (Hommage à G. Orwell) 

Lyrische collagen 7. Cat.: A/5, phc. 152 p. {100} 1984 

Ein Berliner in Pariser (Commonpress #64) Spiral bound, 13x31 cm., phc., 104 p. 

Lyrische collagen 9, Minden, 1985 

^Mail Art Mekka Minden. Congress: September 19-29, 1986. Lyrische collagen 20. 

A/4, phc., 8p. ISSN 0721-9083 

Artistamps: Very large number of hand-made stamps in a free composition on ® 

pre-perfored sheets of 21 labels. Technic: rubber stamps, collage, 

drawing, writing, etc. with div. headlines as First International 

MA-Congress 1985/86, Erster dezentralisierter weltweier Mail 

Art Kongress 1986, The Congress takes place in First East Frisia, 

Mail Art from the Museums, etc. Since ~1985 

Ôst-Europa, Accrochage I. Diverse documentations: Poster in A/3 size, Press-echo 

in photocopied matter, Free (Mail) Art Exhibition Service in photocopied 

borchure, size A/4, 16 p. The artists: 

Pavel Adonic, Josef Slepicka (CSSR) 

Ryszard Grzyb, Roland Szefferski, Ryszard Wozniak (PL) 

Károly Halász, Géza Perneczky (H) 

Robert & Ruth Rehfeldt, Jürgen Schieferdecker, Lutz Wierszbowski 

(GDR) 

Êine Reise der anderen Art. Kulturkanal: Brandenburg-Wolmirstedt – Hannover – 

Minden – Braunschweig – Holdensleben – Burg – Brandenburg. 

(Küsterman & others) Cat.: A/4, offset, ~100p. / Kulturzentrum BÜZ, 

Minden. Action: June 22-30, 1991 

^The Mailmen Angela Pähler & Peter Küstermann: Free Personal Deluxe Net Mail 

Delivery / Documentary Catalogue. (Maybe the last great surway on the 

Mail Art camp edited by insiders were visiting over 200 networkers allover 

the world and documented the meeting events during the year 1992. 

Large text and photo documentation, many inserts – also collage material 

– by the visited networkers and the editers. The book is completed by a 

chronological and an alphabetical index of names and addresses [ordered 

after countris], further by a list of quoted networking publications – ca. 

150 items. A/4, phc. completed by collages, rubber stamps, stickers, orig. 

photos and 2 artists postage stamp sheets in each copy, ~300 p. {500}. 

Copyprinted in Denmark, England, Germany and Tasmania. Minden, 

1992-1993 

^Mail Art Book. Lyrische Collagen / Bücher-Bilder-Mail Art (A/4, phc., 18 p.) S. P. 

~ 

Literature: Judith A. →Hoffberg: Interview with Angela Pahler und Peter Küstermann. In: 

Umbrella, Vol 16, No 1, 1992. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, 

the Anthology. Santa Monica, 1999. 112-119 p. 

→ Kamperelic: Net-Mail (Interview). In: N D, N° 17, 1993 (→ Plunkett), 53-55 p. 

(About the Free Personal Deluxe Net Mail Delivery... 1992-93 book): «Think you 

are the most active „tourists“ in the mail-art network. Somehow somone must 

publish „one big“ book about the year and about the congress including your 

complete and wonderful congress-turism diary, because it is a unique and gigantic 

networking project never done before.» (From a letter by Guy → Bleus quoted in 

the book self, 5 p.) 

Artist Profiles. Peter Küstermann & Angela Pahler. In: Artistamp News 

(→ Banana), Vol 5, #1, June. 1995. 5 p.

Vittore → Baroni: Peter Küstermann. In: Arte Postale. Guida al network della 


Kusumoto, Misao ? Hyogo Japan 1982 

^Japan A. U. Mail Art Book. I. Cat.: A/4, offset, 199 p. 1982 

 

^Japan A. U. Mail Art Book II. Cat.: A/4, offset, 208 p. / Further → Shimamoto. 1983 

Kutera, Romuald ? Wroclaw Poland 1976 

°Seminarium: Poezja Wizualna. (Brochure, 18 p.) / Galeria Sztuki. Wroclaw, 1976 

«Kwiecien» (Student Club) → Kolasinski, G. 

Kwietkowski, Gerard / Blum, Jürgen. Laboratorium Sztuki Galeria. ul Linki 6. Elblag, Poland 1972 

^Notatnik Robotnika Sztuki (First xeroxed magazine in Poland gived informations 

about the Western art scene – original Polish surveys and translated texts. 

Cut A/4, phc., ~60 p. 1972-73, #1-5) 

^#2 (1972) 

Kwieitniewski, Andrzej, c/o → Lódz Kaliska Lódz Poland 1982 

Give me a dimension of your favorite... Doc. 1982 

Have you headaches? Doc. 1985 

Kynce, F / Spitman, E. ? Düsseldorf, D-4000 Germany 1974 

Schwarz auf Weiß (Mag. for the Czech avantgarde, each issue devoted to one or more 

artists, edited by Czech artists in Düsseldorf, Germany. A/4, offset, 

~100 p. 1974-80 #1-6) 

#1 F. Kynce; #2 S. Filko, M. Laky; #3 P. Stembera; #4 J. Kotik; 

#5 J. Kolár; #6 Czech artists from Western Europe 

« La Mirada, Festival of Arts» Community Services, 12900 Blufield Ave. La Mirada, CA 90638. USA 1983 

Ît’s Grand Old – Mail Art Exhibition. Inv.-card, 1983 

 

^Summer Smiles, Summer Dreams. Cat.: Half-legal, phc., 8 p. June 1984 

 

^Life * Art * Celebrate! – 3 rd Annual Mail Art Exh. Inv.-card, 1985 

 

^Wishyouwerehere! – 4 th Annual Mail Art Exh. Inv.-card, 1986 

 

^Mailart = Freedom + Love (with Peggy L. Calvert) Doc. Half-legal, phc., 8 p. 198? 

« La Mirada, Biola University, Art Dept.» 13800 Biola Avenue, La Mirada, CA-90639 USA 1990 

^101. Int. Mail Art Show. (with Leslie → Caldera) Doc. 43x28 cm., one offset sheet 

(colour), November 1990 

^Searching for the Hidden - Mail Art Show. Inv.-letter, 1994 

 

 

Lacer, Ronald G. 12 Utica St. Lexington, MA-02173 USA 1988 

↑ 81 Park Dr. #3 Boston, MA-02215 - “ - 1985 

............................................................................................................................................................. 

Êuthanasia (Graphzine in punk/expressive styl, zine reviews. Letter size, the 1-2nd 

issues in phc., the 3-4th by offset, ~28 p. 1985-, y., #1-4?) 

^#4 

~ 

Literature: 

«A lively punk graphix 'zine thats packed full of weird, eccentric, naive and 

otherwise oddball images from a variety of contributors. Also couple of pages 

devoted to tape/record reviews. Lacer, the editor, encourages submissions» 

(Stephen → Perkins: Magazines. In: Box of Water, N° 3, 1987) 

!Lady J.! 400 Windellwood Cr., Apt. 427, Smyrna, TN-37167 USA 1991 

^Quilt – send squares of 11 x 11! Inv.-letter, 1991

^New Quilt. Inv.-card, 1992 

^Christmas Memory – ornaments, photos, toys, tales... Inv.-card, 1992 

 

 

Lagautriere, Philippe c/o APAAR 54 rue de la Glaciere Paris, F-75013 France 198? 

Êcole de Suicide (16x11 cm., offset, 48 p.) {100} APAAR, Paris. n.d. (1980s) 

Artistamps: ^1977-1987: Les 10 ans de la FM (Bloc of 8 id. stamps, blue & red 

print on white paper) Philippe Lagautriere (1987) 

^Mr. Aventure, 25 Mars 1987- 25 Juil 1988 (A/5, offset?, 8 p.) {50} Paris. 1988 

Lagounaris, Astrid CP. 432 Succ. Victoria, Westmount, H3Z 2V8 Canada 1983 

Revue Numero (Paper + textile works in box of 31x23x5 cm., like assembling {34}, 

~10 pieces in one issue. 1983-, qu., #1-6?) Statement: «...C'est un livreobject 

réalisé en collectif... En general ils sont issus des ecoles d'art et 

ont une practique professionelle diversifée dans le champ de l'art...» 

Lamanova, Natalie (Lamana Wooma Post) → Moscow Artistamp Collection 

Lambert, Robert J. 7465 palo Vista Dr. Hollywood, CA-90046 USA 1975 

Egozin. Living art (Statement: «...presses itself to the mirror of life and strains to 

shape a performance...» With texts and photos. Letter. 1975-) 

Lambrecht, Karin ? Porto Alegre Brasil 1979 

°Multiplique, Mostre, Faça, Divulgue (Assembling in plastic cover, 34x22 cm., 29 

parts. 1979) Porto Alegre BR, 1979 

Langautrièr, Philippe 183 bis av. Gambetta Maisons-Alfort, F-94700 France 1984 

^Tam-Tam (Partly hand coloured French graphzine. A/4 and A/5, phc. and offset, 

+ silkscreen pages, 24-40 p. 1984-, 4-5xy.) 

^#5 

Langenbacher, Dominik Gryphenhübeliweg 24. Bern CH- 3006 Switzerland 1995 

^The Face of the Network. (Art for Archives) Cat.: A/4, phc., 38 p. {73} 

FAX 

Exhibition: → PTT Museum, Bern. July 1995 

^FAX-WORLD-TOURISM. Project with 10 „meetings”, PTT Museum Bern, via FAX: FAX 

1) Fax World Tourism, Sep, 1995 

2) Fax World Tourism, Mar 1996 

3) Eurafrica, Apr, 1996 

4) Everything everywhere takes place, Apr-May, 1996 

5) Euroamerica, May, 1996 

6) Home sweet home, Nov, 1996 

7) Global Village, Feb, 1997 

8) Bella Italia, Apr, 1997 

9) Where are you spending your summer? Aug, 1997 

10) Fax World Safari, Apr, 1998 

Laporte, Christian Lot Duran N°3. Pouydesseaux, Roquefort, F-40120 France 1987 

↑ 4 ave. G. Bizet Mont de Marsan, F-40000 France 1984 

............................................................................................................................................................. 

Âvant=Futur (Graphzine with French poetry texts & images, A/4, phc., ~46 p. 

1983-88, #1-26) 

^#25, 26, MØ (Supplement). 

OZ-IT (Mail Art compilation by the works of the int. scene. Changed sizes: A/4, A/5, 

A/6, phc. 1984-85, #1-9, + one issue as #2½) 

^Poque Mahone (Thematic assembling {30}, ~25-30 leaves in a bag of A/5 size. 

1987-88? bim. #1-6?) 

^#6 

^Your Naked Feet. Inv.-flyer, 1989

Ôriginal pictures from women feets. Inv.-flyer, 1991 

 

~ 

Literature: (Avant=Futur) «A strong combination of text and images make up this the final 

issue of A-F. Edited by Christian Laporte, there is a definite erotic charge to this 

issue; I personally counted about 92 breasts and one erect penis, which makes me 

wonder why there seems to be more sexual imagery in French mags. than others?» 

(Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988) 

Lara, Mario 37899. 3rd Ave. San Diego, CA-92103 USA 1985 

↑ 4124, 37th St. San Diego, CA-92105 - “ - 1979 

............................................................................................................................................................. 

Artrat (Mag. + partly assembling with rubber stamps, graphism, Mail Art, visual 

poems, etc. Digest size, mixed techn. 1979-) 

°Work in Progress. Cat.: 11x14 cm., phc., 44 p. {60}. Artrat, 1979 

 

°Things to Think about in Space. (Commonpress #37) 18x22 cm., 256 p., 197 parti- 

cipants. San Diego, October 1980 

^Construct a Situation by: (5 phase sheet of letter size, folded + text + poster in a 

plastic cover of 24x16 cm., {100}. 

/Edition Pawn Shop, 660 Ninth Ave. San Diego, CA-92101, 1983 

Larsen, Lulu / Almonde / Chapiron, Chr. / Sigogneau, P. 2. impasse Lebouis, Paris, F-75014. France 1976 

^Bulletin-périodique (Graphic mag. with the works of the group → Bazooka. 

46x32 cm., offset / colour offset, ~12 p. 1976-, qu. #1-4?) Paris 

^#1, 2, 3, 4 

Lastname, Bradley 5240 S. Ingelside Ave. Chicago, IL-60615 USA 1990 

↑ 5228 S. Woodlawn Ave. Loft 3E. Chicago, IL-60615 - “ - 1986 

↑ 932 W. Oakdale Chicago, IL-60657 - “ - 1978 

............................................................................................................................................................. 

^Bile (Neo-dada magazine with an great influence by its wonderful image-collages, 

the most important product of the post-fluxus graphic scene. The issues 

are often signed but never dated or identified by a serial number – nobody 

has an accurat survey about the publishing history. «Shadow-picture», 

«Portrait Lastname», «Chemistry», etc. issues, also an «transparent Bile» 

on transparent paper. Letter size, offset, ~10-16 p. 1978-82? sm.) 

^ 7 div. issues: #1981, #1982, Hadow Pict., Dada-strustra, Portrait Lastname, 

Chemistry, Transparent 

~ 

Literature: 

 

«Bile is a hilarious 'zine from Chicago, published by the No Tickee/No Washee 

Enterprises and includes on each cover a flicker eye which obviously represents the 

Illuminati. At any rate, it is a suberb magazine – offset from a thousand different 

sources for $8.00 for one year...» (New Periodicals. In: Umbrella [→ Hoffberg]. 

Vol.1, #6. 152 p. Glendale, 1978) 

«The recently revived pictorial, Life begat → General Idea's File, which begat 

Anna → Banana's Vile and now in turn Bile. All except the first are artists's 

publications informed by dadaistic collage and fueled mostly by a network of 

contributing mail artists. Lastname's Bile is perhaps the loosest yet. It appears 

monthly...» (Lightworks [→ Burch], New Art in Print, N° 11-12, Fall 1979, 60 p.) 



Laszlo, Jean-Noël 369 Avenue Marcel Castié Toulon, F-83000 France 1995 

↑ 46 rue Castillon Toulon, F-83000 - “ - 1986 

............................................................................................................................................................. 

^Prison is made of the others. Inv.-card, 1986

Â Quartier of Century. Cat.: A=4, offset, 62 p. + poster / Musée de Salon de la 

Cran. Salon de Provence. May-June 1987 

^Le Bagne c'est lées autres. Cat.: A/4, offset 48 p. /Toulon, 1987 

 

^Hommage à Joseph Beuys. Cat.A/5, phc., 40 p. {500}/ France Telecom, 1988 

/ Goethe Institut Marseille, 1989 

^T-shirt Art. Inv.-flyer, 1989 

 

^Timbre d'Artistes. Cat.: A/5, offset, 24 p. + postcards in portfolio. / ESPACE Peiresc, 

Rue Corneille, F-83000 Toulon. Association ART-TERRE. May 1990 

^Timbres d'artistes. Cat.: A/4, offset, 248 p. / → Musée de la Poste. Paris, 1994 

^The Last Words. Inv.-letter, 1994 

 

^Mail Art / document pédagogique «Mail Art». Cat.: 22x17 cm., offset, 48 p. + 

32 slides. Texts by Michel Motré, Jean-Noël Laszlo, Vittore Baccelli, 

Marcel Alocco, Joël Hubaut, Hans Rudi Fricker, Charles François. 

C.R.D.P., 31 Blvd. a'Athènes, d'Aix-Marseilles, F-13001. June 1995 

^Mail Art Envelopes. Inv.-card, 1995 

 

^Ray dit mail-L'art... Doc. (15 Postcards + one A/4 text) Espace des arts, Chalon- 

sur-Saône F. December 1995 

Latitude 53, Edmonton. Sociaty of Artists, 10137, 104 th Street, Edmonton, T5J 0Z9 Canada 1979 

Residence of artists’ sociaty with exhibition room in which also Mail Art exhs. have been held 

(more about → Stake, Chuck). 

^Spontanous Compulsion. Inv. by a newer curator: Cindy Baker, 1998 

 

Leaman, Michael 12 Dublingstreet Edinburgh, EH1 3PP Scotland, UK 1990 

↑ Verlaggalerie Leaman, Aachenerstr. 12. Düsseldorf, D-4000 Germany 1975 

............................................................................................................................................................. 

^Reaktion (Assembling in looseleaf notebooks {1000}, A/4 matter, very var. technics, 

~30 leaves in one issue. An generous publ. of all kind of post-fluxus 

visuals collected from the action field between London and Düsseldorf. 

Statement: «A new periodical of the arts with a strong leaning towards 

visual arts and visual poetry.» 1975-, ~y. #1-7) 

^#1, 2, 3, 4 

^Zeitungskunst I-II. (Artists' magazines and news-objects, 45 + 93 exponats) 

Cats. A/5, phc. 12 p. / 12 p. with orig. photos. 1976 / 1978 

^George Brecht: Die Reise nach Amsterdam (with A. Kayser, M. Mölzer 

 

& A. Thomkins) 39x24,5 cm., offset publ. 2x48 leaves, {1000}, 1977 

^Stamp out Stamping (Hand made «news» {100} by rubber stamps only. Tabloid ® 

~ 

Literature: 

size of 57x40 cm. 1978, #1) 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 39-40, 77 p. 

Leblanc, Dominique 3 rue de Couples Strasbourg, F-6700 France 1981 

^Peltex / Model-Peltex (Graphics and Mail Art in an exprpessive style, also colour 

silkscreen images, and with very diff. edition in 45-1000-60-50-150- 

100-150-200-150-? copies. Various sizes, mostly A/4, #2 is a tabloid 

of A/3, the #7 in A/5 only. Offset or xerox technic, 1981-90, ~y., #1-10?) 

^#2, 3, 5,7, 8, 9 

Peltex N° 7: Mail-Art & Copy Art, 100 p. (Canbell, D. Moulinier, Josean, R. Maggi, 

G. Bleus, G. Barbot, J. Massa, L. Fierens, P. Aakoun, Ph. Billé, Han Psi, 

L. Spiegelman, Ryosuke Cohen, Shozo Shimamoto, G. Strada, O. Huttengrund, 

K-P. Fürstenau, P. Lenoir, L. Bellini, F. Duvivier, E. Crouvezier, 

D. Leblanc, Zaza, H. D. Esposito, Joselin, Placid, D. Depoutot, Krogold, 

B. Charpentier, Cripure, Gazolin, N. Zimmerlin) 

Peltex N° 8: Collection of 26 graphic booklets {80-200} in a size of A/6 with colour 

silkscreen cover, issues in alphabetical order: 

A: Eric Adenot / Arnold Australian; B: Antoine Bernhart; C: Bruno

Charpentier / Joseph Carne; D: Guillaume Decaux / Daniel Depoutot / 

Francis Desvois; E: (planned); F: Guy Ferdinande / Françoise Favretto; 

G: (planned); H: Julie Doucet; I: Infrarot (D. Herrmann); K: Krabs / 

Krogold; L: D. Leblanc (planned); M: Christoph Massé / Harry Morgan; 

N: Nice Cutter (M. Jeantieu, planned); O: (planned); P: Placid / Philippe 

Pissier / Kris Petou; Q: (planned); R: Roxette / Isabelle Renucci; 

S: Schwoerer, Alain; T: Thierry Tillier, / Jérôme Tham; U: (planned); 

V: Anne Vanderlinden / Robert Varlez; W: Willem / Eric Watier; 

X: Collective issue, entitled «Classé X»; Y: Y5 P5 / Lombardie; 

Z: Zaza / D. Leblanc (planned) 

^La Langouste (Infomag. A/4, phc., 4-6 p. 1987-, m., ~ 30#) 

^#8, 9, 10, 11, 12, 13, 14, 15, 19 

^La Langouste, N° 1-19 also as reprint with supplements in: Peltex N°9, A/4, 100 p. 

~ 

Source: 

~ 

Literature: 

 

 

^Catalogue Model Peltex, N° 5, 1990 (Featuring of the Peltex magazine issues, 

postage cards and other prods., distribution lists. A/5, 16 p.) 

(La Langouste): «When you go into a restaurant and order „une langouste“, you 

receive some delicious sea-food, but when you order „La Langouste“ c/o Model 

Peltex, at Strasbourg, you receive an interesting newspaper full of good ideas, 

opinions about different fanzines, more especially in France. They're interested 

about mail-art, too, and you can find some news about different projects in the 

world. Ask for „La Langouste“, their sea-food is very refreshing. 

(And what about publications? In: Métro Riquet [→ Duvivier], #1. Paris, 1988. n.p.) 



Leblanc, Steve & others, PMS Cafe Press. 107 Brighton Ave. Allston, MA-02134 USA 1990 

^Version 90 (Review mag. with theoretical texts about the art + alternative art scene. 

19.5x17.5 cm., offset, ~160 p. 1990-, y?, 1-5#?) 

^#1 

Lechner, Ute & Thurner, Hans Marktplatz 20. Landertsham & Neubeuern, D-83115 Germany 1983 

^Kennkarte Mail-Art. Book-project by form cards sent out to the participants. 1983. 

Book: Horz. 21x31 cm., offset, 54 p., spiral bound. 500 copies 

^Mail Art '83. Cat.: A/4, offset, 70 p. {500} Exh.: at the Galerie im Ganserhaus. 

Arbeitskreis 68. Künstlergemeinschaft. Wasserburg/Inn, D-83512. 

Nov 19 - Dec 11, 1983 

 

LeClair, Ishvani (!Radio Free Dada!) 2 St. Est #607. Santa Rosa, CA-95404 USA 1986 

↑ 850 A Ware Ave. Santa Rosa, CA-95404 - “ - 1982 

↑ 86 FM, Piner Rd. Santa Rosa, CA-95401 - “ - 1981 

↑ 1107 E. 1st. St. N-C-, Ca-92050 - “ - 1978 

............................................................................................................................................................. 

^Joker. Radio Free Dada's First Mail Project. Inv.: «Remove the Joker from any 

of cards you have and mail them to Radio Free Dada...» 1981-83 

Înner Vision. Inv. (Archetyped visions, dreams, and psychelelic hallucinations...) 

1983 

Lefebvre, J. P. 18 Emptinal Emptinne, B-5363 Belgium 1978 

Amere•tune (very visual alternative mag. A/5, phc. 1978-, qu.?) 

 

Lefebvre, Pier 3506 St-Dominique Montreal, H2X 2X4 Canada 1989 

↑ 4484 Coloniale Ave. Montreal, H2W 2C7 - “ - 1988 

↑ P. O. Box 109, Station C. Montreal, H2L 4J9 - “ - 1986 

↑ P. O. Box 41, Station K. Montreal, H1N 3K9 - “ - 1986

............................................................................................................................................................. 

^Stamp + Axe (Allround mag. with a visual nature, also assembling issues + audio ® 

cassettes. Letter and digest sizes by phc., offset or partly silkscreen 

print, also rubber stamp interventions, 50-80 p. At the begin of the 90s 

more issues with book-object character. 1986-, squ., altogether #1-12?) 

^# Vol.3/1; Vol.4/1; Vol.5/1 

~ 

Literature: 

(Stamp Axe Gra-Fix): «A fine and carefully put together packet thet consists of two 

parts. 1) A xerox booklet (104 pgs) with a lot of good quality work from 33 

contributors. 2) A more personalised envelope full of sundry items that have been 

combined altered and collected fromvarious different sources by the editors, Robert 

Vigneault & Pier Lefebvre. Inquire about getting one! (Stephen → Perkins: Magazines. 

In: Box of Water, N° 3, 1987) 

«“Talk and Show“ is a theme in this chatty, positively-energized anthology. Its silkscreened, 

rubberstamped and mostly xeroxed pages present a comforotable gathering 

point for all sorts of mail art and notations of projects. It's loaded with contacts 

and leads and new directions and imagery and this issue includes a color xerox...» 

(Lightworks [→ Burch], Glimmerings [Print review], N°19, Winter 1988-89, 48 p.) 

«My feeling is that working in this rather semidada mode is highly valid for this 

time we occupy & rather than seeing it as a almost nostalgic renaissance of sorts, I 

see this tendency as the logical development of the dada movement itself. The 

magazine is almost entirely visual (with a few good texts thrown in, too) and the 

work is culled from that network of which Pier Lfbr is the center.« ( Lloyd →Dunn: 

Mail Review. In: PhotoStatic. N° 28, Jan. 1988, 962 p.) 

Legrottaglie, Franco ? Vito dei Normanni Italy 1982 

°The Mythical Images. Cat.: 24x17 cm., offset, 24 p. 367 parts. 1982 

 

Lehmus, Jukka Patent Logos. Stenbocksv. 24. / Noux Esbo, SF-02860 Finland 1995 

↑ P. O. Box 8 Kuopio, SF-70151 - “ - 1993 

............................................................................................................................................................. 

Âquaflora – submit 40 copies for the Cyanobacteria International! Inv.-flyer, 1993 

^CYANOBACTERIA, conceptual / visual poetry project (Correspondence doc.) 

^Cancer.com – the Computer as environmental disease... Inv.-flyer, 1993 

^Lemma pistia / Fractured projections of a Gyrovague Experiment (Mag. ballancing 

between Mail Art practice and esoteryc concepts. {100} Cut A/5, offset, 

62 p. 1993-, #1 only?) 

^Brio Cell (Portfolio assembling with vis. poetry matter like the Cynobacteria project 

{20} A/4, ~20 leaves, 1994-, #1=Brio Cell Concrete Body) 

^Glossolalia (Mag. for experimental literature, known the online version, also as 

ASCII file, 1995? -, ~#1-10, ir.) 

# 3-10 (printed from ASCII vers.) 

Leigh, Michael & Jones, Hazel. A 1. Waste Paper Comp. Ltd. 

33 Shipbrook Road - Rudheath. Northwich - Cheshire, CW9 7EX, United Kingdom 1998 

↑ 71. Lambeth Walk (M. Leigh) London SE 11, - “ - 1980 

............................................................................................................................................................. 

Artistamps mostly by rubber stamps – a very large collection of diverse prints in the ® 

1980s, not perforated but with perforation patterns as frame. 

^Peace in the World or the World in pieces. Cat.: A/4, phc., 12 p. 1984 

 

^Curious Thing (Partly handmade mini booklets like mag. Photocopy, rubber stamps, ® 

issues not dated, not numbered {200}. A/6. ~8 p. 1985?-, ir. #1-8) 1985 

^#?, Art Strike issue 

^Rubber Stamp Exchange. Ongoing Mail Art project. Cat.: A/4 booklet with 15 leaves ® 

with original rubber prints +1 sheet for participant list. Supplement:

4 original rubbers to stamp. A1 Waste Paper Co Ltd., London. 1986 

^Thematic Compilation Tape Exchange – pudding songs, train songs, etc. Inv. n.d. 

^Pulling Face. Inv.-letter, 1986 

 

^Duplicat Documents. (A series of 10x8 cm. ~16 p. publs. with collage, rubbers, etc.) 

^#12 (1988) 

^Michael Scott – 1935-1988, in memoriam Inv.-letter, 1988 

 

Weirdorama. A festive side-show of curious objects, gadgets, gew-gaws, mail art, 

collage and rubber stamps. Cat.: 12 p. Walsall Museum, Walsall, 1994 

^Hand shaped postcards exchange – no envelope! Inv.-flyer, ~1995 

 

Artistamps: ^Recycled (Sheet of 30 id. rubber stamped artistamp images /bicycle, ® 

indigo colour on rose paper, not perforated) n.d. (1988?) 

Â.1. MAIL (Sheet of 28 id. stamp images/globe, indigo colour) n.d. 

^Michael Scott 1934..1988 (Sheet of 15 id. stamp images/text, indigo 

colour) 1988 

~ 

Literature: 

Welcome to the Wonderful World of Rubberstamps. (An interview with Michael 

Leigh) In: Métro Riquet (→ Duvivier), #8. Paris, 1990. n.p. 

«CuriosThing has been my main published work with issues of 200 copies, signed, 

numbered and rubber stamped coming out every few months on an irregular basis. 

Just lately I have been collaborating with other people who have a similar sense of 

humour and they have been called Curios Radio (with → Roger Radio), Curios 

Snail (with Snail Art Co.), and The Pipe Flange & Nipple Sentinel (with A Classic 

Pair). Other booklets have gone by various names including U-Mak-It Inventors 

Manual and Do Wonders Inventors Manual. Around the end of each year I also 

make a Christmas Catalogue which is a spoof on all those awful yuppie gift catalogues 

that proliferate at that time.» 

(Editor's Statement. In: Stephen → Perkins: International Zine Show, 1992, 4 p.) 

«...to ask you what your „firm“ A1 Waste Paper Co. Ltd. is all about... 

Well, it was soon after I had chanched upon the mail art network in 1980 at 

the Artlink International exhibition at the Greenwich Theatre Gallery in London 

that I decided I too could have a weird and wonderful nom de plume that many of 

my fellow mail artists had contrived for themselves. Also it would be nice to have a 

name other than my own attach all my mail art to so as to distinguist it from the 

other art I was doing at that time (Landscapes and animals in oil on canvas). I forget 

just how many names I'd thought up at the beginning but two I remember were Art 

Aches Repository and the Bad Art Delivery Service. Both remeined on the back 

burner until I chanched upon a couple of battered rubber stamps at a flea market in 

London's East End – both were the address stamps for a defunct recycling firm 

called the A. 1. Waste Paper Company Ltd. I couldn't belive my luck – just the 

name I had been looking for! Not only did it sound good but could also be 

shortened to A. 1. and covered all aspects of the recycling ethic I had seen as a key 

element in the future. (...) 

I think most sensible people realize that RECYCLING in everyday life is 

very important... In art too this has become more and more important – not only 

from an ecological point of view but as a way of saving valuable time and money. 

My „archive“ consists mainly of dozens of cardboard boxes from the supermarket 

which are stuffed full of old mail in no particular order or design. (...) 

Mail is just as relaxing and therapeutic I think as sleeping, but unlike sleep I 

have something to show for it at the end of the day! We just had a 2 days mail strike 

here in London and I realized how much I missed the post when it didn't arrive – 

I started to get withdrawal symptons! Yes, Mail Art is a drug! (...) 

I like anything to do with postage stamps and rubber stamps. So it seemed 

natural for me to combine the two. They are quick to apply to envelopes and one 

can knock out sheets for projects and such like quite easily without having to spend 

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 

so that 's why I have so many design for rubber-stamps and postage stamps that 

have as yet to be turned into rubber dies...» 

(Ruud → Janssen: The Mail-Interview with Michael Leigh. A/5, 12 p. TAM 

Publs.: TAM-950065. Tilburg, 1994) 


Editor: V. Baroni. AAA Edizioni, Bertiolo I, 1999. 32-33, 116-117 p. 

Lelie, Herman C. 1 / klm 23. Marylands Rd. London, W9 2 DN United Kingd. 1988 

^Part Time. (11x11 cm, rubber stamps, 6 p. in envelope) 1984 

® 

→ Kuipers, K. / KLM 

Lengyel, András Derék u. 14. Budapest, H-1016 Hungary 1996 

^Cloud Museum (Mail Art project and large correspondence material with div. ® 

rubber stamps and postage stamps) 1982 

^Triangulum / Postcards. Doc. / Stúdió Galéria, Bajcsy Zs. u., Budapest, 1982 

^Natur-Geometry-Esoteric. Mail Art Pr. with small doc. / Mini Gal., Budapest, '82 

Lenoir, Pascal (Mani Art) 11 ruelle de Champagne Grandfresnoy, F-60680 France 1992 

↑ 37 rue de Chevrierès Grandfresnoy, F-60680 - “ - 1989 

↑ 1. rue G. Petit Andeville, F-60570 - “ - 1985 

...................................................................................................................................................... 

^Mani Text / Speed Text (Early forms of Mani Art {30}, A/5, phc. 1980-1984) 

Speed Text (graphzin without text, A/5, phc. 1980-84, + 87, #1-10) 

 

^Clichiés – Dessins et Collages. Horz. 10.5x11.5 cm., phc., 38 leaves. {50 numbered 

copies} Édition Speed text, 1983 

^Mani Art (One of the best known Mail Art publ. from France, texts English. At 

the starting as an A/5 xeroxed zine, later unbound A/5 size assembling 

in envelope {60-100}. 1984-, squ., over 120#...!) 

^#1-2, 4, 6, 8, 9, 10, 15, 14, 17, 25, 27, 32, 33, 45, 46, 47, 48, 67, 68, 

69, 70 

^Mani Art Mail Art. Doc. Poster of 60x42 cm., phc., + rubber stamps. Dec. 1985 ® 

^Ready Mail (One page Mail Art infomag, A/4 and A/5, phc. 1985?-, #1-20?) 

Î Am a XX. Century Artist! Cat.: A/5, phc., 16 p. in: Mani Art #8, Febr. 1986 

^The Secret Life of Marcel Duchamp. (Endless project from 1990) Many docs. 

N°1=10 A/5 sheets, phc., in cover {120} 

^Rrose Sélavy – send material for the next issue of Mani Art. Inv.: A&5 form, 1992 

^Rose / Eros. Inv.-flyer, n.d. ~1992 

 

^Marcel Duchamp 1889-1987 / 1997. Inv.-flyer on envelope, 1997 

~ 

Literature: 

(Mani Art): «Assembled prolifically... these issues combine interesting stuff from 

an international roster of contributors. My personal favorite is the issue devoted to 

M. Duchamp's 100th birthday. This issue is focused and has a very definite point 

to it, something one could fault many compilation magazines for not having.» 

(Stephen → Perkins: Compilations. In: Box of Water, N° 4, 1988) 



«Leopold Bloom» (Abajkovics Péter, Bartók Balázs, Bonyhádi Károly, Dallos László, Székely Ákos & others) 

Leopold Bloom. PF. 297 Szombathely, H-97001 Hungary 1996 

↑ Leopold Bloom, Váci M. u. 4. I. 8., Szombathely, H-9700. - “ - 1995 

............................................................................................................................................................. 

^Leopold Bloom (A/5 size assembling {75} in portfolio with very good collected vis. 

poetry and graphic materials from the int. field, ~30 leaves in one publ. 

Thematic issues e.g.: «XY», «End station», «Negative», «Turkish bath /

~ 

Literature: 

Mill-lake» etc., issues publshed also after the year 2000! 1995-, squ. ~20#) 

^#1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20 

«Our periodical has been named after the hero of Ulysses, James Joyce's famous 

bestseller, whose grandfather-according to the book was citizen of Szombathely 

(Hungary). Our journal grew out of the spiritual life of this city, and wants to 

incorporate into the universality represented almost mythologycally by Joyce's 

name... Only our authors and sponsors, who represent the central or marginal 

workshops, publishers and professionals of experimental poetry, can obtain a copy. 

Our periodical is also an experiment to investigate if there is still existing actual 

exchange between artists and thinkers as intellectual honorarium and relation. The 

publication is a festive occasion, when the collected material will be presented in 

the form of an exhibition or an author's night and will be available to the public as 

well. Anyway one issue each year will be dedicated to 16th June and published on 

Bloomsday in Szombathely...» 

(Leopold Bloom, Editor's Statement. In: Stephen → Perkins: Assembling Magazines. 

International Networking Collaborations. Cat.: Half-legal, phc., 64 p. 


Léopold, Pierre (?) c/o Edition Dao Badao Lausanne, CH Shwitzerland 1984 

^Timbres pour le Karenni. (Curious para-philatelic publications about the young state 

„Karenni“. The postage stamps have been made by mail artists on the 

way of a Mail Art project. Mail Art invitations also by Jean-Marc 

→ Rastorfer) Two publications: 

1) Karenni: des artistes et des timbres. (200 mail artists create postage 

stamps.) Ed. Dao Badao, Lausanne. A/5, colour phc. for the artists' 

stamps, 44 p. 1990 

2) Pierre Léopold: Karenni and the World. From Missionaries to Mail Art. 

Ed. Ilis Day. Ministry of Post and Mail Art, Karenni. A/5, colour phc. 

40 p. 1996 

Leroy-Cruce Slotsgade 25, Haderslev, DK-6100 Danemark 1984 

^Frygten Skaber et Bgraenset Paradies. (Photocollages) Self edition, A/5, offset, 

8 p. 1984 

^Provinsens, Gyldne, Palmer. (Drawings) Self ed. 19.5x14 cm., offset, 32 p. 1984 

Êmotions. (Drawings) Self. ed. 21x14,5 cm., phc (by blue colour), 32 p. 1985 

Lévai, Jenö Rudanszky u 12/b Budapest, H-1182 Hungary 1986 

→ Xertox 

Levi, Lea Studio Levi, ? Madrid Spain 1977 

°Mail Art Exh. Inv. / Atelier Bonanova . 1977 

 

Lévy, Olivier 32 rue des Martyrs Paris, F-75009 France 1980 

Palpable (Graphzine with handmade interventions and with special themes such as ® 

television, horse, etc. A/5, phc. + rubber stamps and photos. 1980?-, ~y.) 

~ 

Literature: Ljmite (→ Billé), N°28 

«Liget-Galéria» 

→ Várnagy, Tibor 

Linden, Ann van der & Costes 1 rue P. et A. Fumouze L'Ile Saint Denis, F-93450 France 1990 

↑ 13 rue de la Pierre Levée Paris, F-75011 - “ - 1986 

............................................................................................................................................................. 

^La Vache Bigarrée (Voluminous manufactured magazine with a lot of handwritten 

text pages and any drawings or impressive «hairy» scribblings, too. 

An example of the teenager [?] underground {30}. A/4, colour mimeo-

~ 

Literature: 

graphy, ~50 p. 1986-90?, 2-3xy., #1-9?) 

^#3, 4, 5, 6 

(La Vache Bigarrée, #9): «Nothing can stop guys who want print themselves their 

work. La Vache Bigarrée is a printed 'zine with a duplicating machine (alcohol 

stencil) and features a lot of people in the network and the French and independent 

scene as Costes, Il Zozo (Frank → Garcia), F. Poincelet, and many others. La 

Vache Bigarrée is another kind of artist book, not clean, not conceptual, but mostly 

untidy childish and mischievous.» 


!Lion Lazer! 

→ Pilon, Raymond 

Lipinsky, Georg (“Edgar”) An der Heide, 28 Uelzen, D-3110 Germany 1987 

Edgar postcards (ongoing project for intervening and completing postcards sent out) 

Â look in the mirror – reflections. Inv.-flyer with a form-sheet, 1987 

 

^Gnomes – Zwerge. Inv.-letter, 1993 

 

^Das Goldene Schiff, Uelzen 1995. Cat.: in: Allgemeine Zeitung Uelzen, 10. 6. 95. 

+ an offset suppl. booklet (by → Mittendorf): 26.5x20.5 cm., 88 p. 1995 

^Dada lebt! Inv.-letter, exhibition at the K. Schwitters Gymnasium, Hannover, 1997 

Lipman, Joel 32 Scott House, University of Toledo Toledo, OH-43606 USA 1989 

Poemvelope-action (Rubberstamped envelopes as visual poetry), 1980s 

® 

^Reprint, Original, Reprint. (Xerographical work. Digest, phc., 12 p.) → Xexoxial,'84 

11x30 (Mag. 30x11“ / 112x76 cm. size, offset, 1 p. 1989- ) «Poetry, Fiction, Articles, 

Literary News & Gossip» (from the statement) «An orderly graphic 

approach and good production pull it all together. Hang this on your 

wall» (Lloyd → Dunn: PhotoStatic, N°37, 1393 p.) 

Lisboa, Unhandeijara rua Senador João Lira 777. João Pessoa Paraiba, BR-58000, Brasil 1978 

^Karimbada. Arte en Carimbo – Tenkoku – Rubber Stamp (Maybe the only rubber ® 

assembling in the history of the Mail Art {150}. ~20 rubber stamped 

leaves in an envelope of 25x17,5 or 28x20 cm. size. 1978-79, #1-3?) 

^#1, 2, 3 

°Furo. Bookwork with cut and perforated pages, alu paper. 19.5x17.5 cm., 120 p. 

Villa 777. Paraiba, 1979 

°Book Xerox. Exercicios. 21x16 cm., phc., 14 p., spiral bound. {21}. Recife, 1981 

Lista, Giovanni ? Paris France 1979 

°L'art postal futuriste. (24.5x18.5 cm., offset colour, 78 p.) J. M. Place, Paris, 1979 

Liuzzi, Oronzo Via Mercato 20, Corato (BA) I-70033 Italy 1985 

↑ Via Notar Domenico 34 Corato (BA) I-70033 - “ - 1983 

........................................................................................................................................................... 

^Chiusuralampo. (Concrete poetry) S.E. 19.5x15 cm., hand written pages?, 4 leaves, 

180 signed and numbered copies. 

^Quattro poesie. (Experimental poetry) S.E. 21.7x10.5 cm., phc., accordion (3x), 1985 

^Scrittogrammi. (Concrete poetry) S.E. 21.7x10.5 cm., phc., accordion (4x), 1985 

Lloyd, Ginny Lloyd Prods. / Ed. Gina Lotta Post P. O. Box 1343, San Francisco, CA-94101, USA 1980 

°Copy Art Exhibition. Cat.: Letter, phc., 56 p. with plastic cover. {300} 16 orig. pho- 

tocopies, among them 6 pages by colour xerox (S. Lust, M. Lara, Buster 

Cleveland). Introduction by G. Lloyd, biographical notes. Exhibition in 

The Carbon Alternative, La Mamelle (→ Loeffler), June 12 - July 18. 


°A day at the races. Digest, phc., 14 p. {123}. Lloyd Prods. San Francisco, 1980 

^The Monthly (News) / (Mag. Letter, offset, ~30 p. 1980- #1-4) Fem. mail art

^#1, 2, 3, 4 

Project React. Exhibition and publication at the Kunoldstr. 34, Kassel D, → Olbrich. 

Photocopied A/5 booklet, 16 p., with the reactions of the visitors to the 

exhibited 25 selfportrait images of the author. {60} Edition Artspace 

Kunoldstr. 34. Kassel. October 2 - 28, 1981 

^Blitzkunst. 54 Künstler von heute portraitiert und befragt (A/4, offset, 128 p.) 

Ed. Kretschmer& Großmann, Frankfurt, 1983 

^The STOREFRONT / a living art project December through November. 

(12 shows in 1982-83. Letter, offset, 36 p. {500}) Lloyd Prods., 1984 

Înter Dada '84. Letter size offset print brochure, 8 p. (first one perforated) + colour 

offset poster of 58x43 cm. Essays: 

Terrence McMahon: Insufficient Dada, 

Ginny Lloyd: Who needs the MX when there's INTERDADA? 

Eited by → Lloyd Prods. / The Fault Press, San Francisco, 1984 

^Gina Lotta Post. (Book publ. of artistamps, photos, rubber stamps. 20.7x15.2 cm., ® 

colour offset on the basic of colour computer prints and collages, 

16 p.) Lloyd Prods. San Francisco, 1986 

^Gina Lotta Post (4 postcards, each a block of 4 stamp images, colour offset after 

computer printed or collaged originals, perforations as print only) 

From the book Gina Lotta Post, 1986 Ginny Lloyd: Self Portrait Issue 

/ Utterly Reveling Photos / Legs and Lips Issue / Erotic Rubbers Issue 

Artistamps: Gravitonics Stamps 1. (Sheet of diff. stamps, colour phc.) 1982 

Gravitonics Stamps 2. Marilyn Issue (Sheet of diff. stamps / Marilyn's 

portrait computer animated, colour phc.) 1982 

^Cooperation (With G. →Galántai. Sheet of 35 diff. stamps, colour 

xerox) Printed in Hungary © 1982 G. Galántai Ginny Lloyd 

^Budapest Issue (With G. → Galántai. Sheet of 25 diff. stamps, colour 

xerox) © 1982 G. Galántai Ginny Lloyd 

~ 

Literature: 



(The Storefront): «...this is a „living art project“ documenting the editor's living / 

studio / gallery space in San Francisco's South of Markekt area from December 

1982 to November 1983. The activities at the Storefront included an exhibition of 

artist postage stamps, a performance with Lloyd and Anna → Banana, a mail art 

exhibition, performanec by → Gaglione and Rockola, an exhibition by Eva Lake, 

a „blood campaign“ by Monty“ István → Kántor“ Cantsin, a Rubber Stamp Footprints 

performance by Gaglione, and a display of paintings by Buster → Cleveland. 

Nicely documented with an inventive graphic and text layout. Llyoyd's activities 

with the Storefront closely paralleled New York's East Village gellery scene of the 

early eighties.» (John → Held, Jr: Bay Area Dada, 19970-1984: An Annotated 

Bibliography of Primary Sources. In: The Bay Area Dadaist. Ed. Stamp Art Gallery 

[→ Gaglione]. San Francisco, 1997) 

The Monthly will be including articles of relevance to the issue fe-mail artists face. 

These articles and information will not be restricted to women contributors only, 

but The Monthly will restrict itself to reproducing those images submitted by 

women. (Ginny Lloyd: The Monthly, Vol. 2, N°1) 

Ginny Lloyd: The Mail Art Community in Europe: a Firsthand View. (Concerning 

a three months long Europe tour in 1981, she met among others Ulises Carrión and 

Aart van Barnevel in Amsterdam, Rod Summers and Tom Winter in Maastricht, 

Jürgen Olbricht in Kassel, Ruth and Robert Rehfeldt in Berlin, Angelica Schmidt in 

Stuttgart, Michel Giroud in Paris, Vittore Baroni, Emilio Morandi and Cavellini in 

Italy, Pavel Petasz in Poland, Johan van Geluwe and Guy Schraenen in Belgium) 

In: Umbrella [→ Hoffberg]. Vol. 5, #1-5 p. 1982

Ginny Llyod: Copy Art. In: Art/Communication. Vol. 4, #4. San Francisco, 1982 

(Gina Lotta Post): «A collection of Ginny's stamp-related art, printed multi-color 

with plenty of flash and day-glo. Her postal-type issues relate to various of her other 

projects, the artist's rocket launch in '84, and inter-dada festivals as well as a computer-drawn 

Marilyn and „Erotic Rubbers“ commemorative. Fun, fun, fun.» 

(Lightworks [→ Burch], Glimmerings [Print review], N°18, Winter 1986-87, 49 p.) 

Gina Lotta Post. In: Umbrella [→ Hoffberg]. Vol. 9, #2. 34 p. 1986) 

Llys Dana Mail Art 

(A co-operative circle of mail artists & their publications living wide spread in France, Belgium 

and Germany): 

!Astarté! = → ? 

!Horus! = → Mounier, Patrick – Beaugency / Aureille, France 

!Pégase! = → ? 

!Râ! = → Juin, Jaques – Syke / Riede / Bremen / Gorxheimertal, Germany 

Tillier, Thierry = → Tillier, Charleroi, Belgium 

~ 

Seurce: ^Llys Dana Mail Art. Cat.: / Book, 19.5x20.5 cm., offset, 72 p. Texts: French / 

German. This anonym published anthology is the only seurce book for this artist 

group. Published on the account of an exhibition? Bremen, n.d. (~1975) 

~ 

Literature: 



Löbach, Bern (Hinweiser) (Designbuchverlag) Nordstr. 31. Cremlingen, D-38162 Germany 1994 

Ûmwelterkenntnisse. (21x22 cm., offset, 160 p., horz. size) Buche Verlag, 

Bielefeld, 1972 

Ûmweltkritische Kunst. =Das Museum für Wegwerfkultur auf Reisen). S. E. 

20x21.5 cm., offset, 72 p. Cremlingen-Weddel, 1985 

Ôriginal Body-Prints. Inv.-letter, 1985 

 

International Artists' Postage Stamps Exhibition Weddel 1985. Essay (Bern Löbach): 

Briefmarken als Medium für bildnerische Aussagen von Künstlern. 

20x15 cm., photocopy, 240 leaves (all artists with 1-1- page artists' 

stamp works). Designbuchverlag, Cremlingen, 1985. 

The artists: 

M. Acosta (USA), H. Alvesen (D), V. Anding (D), L. Asche (USA), 

V. Baccelli (I), A. Banana (CDN), V. Baroni (I), K. Bates (UK), 

Badeschi & Ponzi (I), P. Beilman (USA), P. Below (D), J. M. Bennett 

(USA), G. Bleus (B), M. Block (USA), M. Bidner (CDN), N. Bogdanovic 

(YU), B. Baumans (NL), A. César-Brando (BR), K. P. Brehmer (D), 

S. Brehmer (D), C. Burch (USA), R. Buttler (USA), H. Bzdok (PL). 

L. L. Carravito (I), U. Carrión (NL), G. A. Cavellini (I), B. Charpentier 

(F), C.T. Chew (USA), B. Chiarlone (I), R. Cohen (J), S. Colby (USA), 

D. Cole (USA), M. Corfu (F), Creative Thing (USA), Crackerjack Kid 

(USA), R. Crozier (UK), B. Curmano (USA), Albrecht/d. (D), E. Devolder 

(B), M. Dicey (CDN), M. Diotallevi (I), Dogfish (USA), L.F. Duch 

(BR), A. Dudek-Dürer (PL), W. Elébrecht (D), M. Escobar (B), C. Espinoza 

(MEX), P. Esting (DK), A. G. Fallico (USA), J. W. Felter (CDN), 

Filimir (YU), P. Fish (USA), H. Fox (USA), C. Francois (B), N. Frangione 

(I), C. Franke (NL), H-R. Fricker (CH), K. Friedman (USA), Gy. 

Galántai (H), J. v. Geluwe (B), U. Giacomucci (I), G. Gini (I), R. Glasmaier 

(D), K. Groh (D), M. Groschopp (GDR), K. Hankell-Person (S), 

Harley (USA), W. Hölzer (D), J. W. Huber (GDR), A. Igloo (USA), 

F. Immoos (NL), S. Jacob (GDR), R. Janssen (NL), D. J. Jarvis (UK),

B. Jesch (GDR), K.d. Jonge (NL), G.X. Juppiter-Larsen (CDN), Citizen 

Kafka, D. Kamperelic (YU), D. Kampis (GDR), K. Kato (J), J. Keguenne 

(B), E. Kent (USA), F. Kerler (D), G. Kiefer (D), B. Kirkman (USA), 

J. Klaffki (D), Dislokate Klammer (USA), J. Know (USA), H. Kretzschmar 

(D), B. P. Kovács (H), P. Küszermann (D), A. Kutschker (D), 

K. Kux (GDR), N. Lannoo (B), G. Laughter (USA), H. W. Lee (D), 

P. Lee (D), M. Leigh (UK), G. Löbach (D), B. Löbach (D), R. Maggi (I), 

M. Avau (B), Midnight (USA), Minby (USA), D. Mojovic (YU), 

E. Molkow (D), E. Moroandi (I), J-A.. Echevaria Myers (USA), 

P. Nicholson (UK), A. de Wilze (BR), A. Ohlmann (D), B. Olbrich (D), 

J. O. Olbrich (D), D. Crestis (GR), J. Orta (AR), C. Padín (U), M. Pawson 

(UK), T. Pereira (USA), M. Perfetti (I), J. peshke (CDN), P. Petasz 

(PL), J. M. de la Pezula (E), C. Pittore (USA), B. Porter (USA), J. Rabascall 

(F), Radio Free Dada (USA), S. Random (USA), S. M. Rasmussen 

(DK), R. Rockola (USA), S. Rohland (GDR), S. Roman (USA), P. Roncoroni 

(I), M. R. Rosenberg (USA), D. Rot (CH), Rudolph (USA), W. 

Scholte (NL), G. Schraenen (B), E. Serfried (D), A. Sharp (USA), E. Siff 

(USA), L. D. Smith (USA), A. Souza (USA), L. Spiegelman (USA), The 

Spitter (USA), B. Sprute (D), C. Stake (CDN), J. Stange (GDR), E. Hermanns 

(B), R. Stettler (CH), G. Stuckens (B), J. Supek (YU), R. Szefferski 

(PL), Patrick T. (USA), B. Talpo (I), L. N. Tammam (F), P. Tavenner 

(USA), T. Tillier (B), B. Tisa (USA), A. Tisma (YU), M. Todorovic 

(YU), E. Tót (H/D), Á. Fenyvesi Tóth (H), H. Tress (D), G. Trommer (D, 

E. Varney (CDN), E-A. Vigo (AR), Victor Vicente of America (USA), 

L. Vilks (S), E. Walsch (USA), R. Watts (USA), R. Wilderjans (NL) 

Ârtists’ Postage Stamps – part 2. Inv.-flyer with rubber stamp, 1986 

 

^Künstlerbanknoten. (Artists' money – First effort) Cat.: A/4, phc., 25 p. 1986 

^Museum für Wegwerfkultur. Cat.: 36 p., horz. size. Designbuch Verlag, Cremlingen 

Text: Bernd Löbach, German Exh.: Deutsche Hygiene-Museum, 

Dresden, 1993 / Kunsthalle Giessen, 1994. 

Ârtists’ Banknote Works – Künslerbanknoten. (The large catalogue from 2000.) 

~ 

Source: 

Cat.: A/5, digital repro, also with many colour images, ~600 pages (!). 

Introduction by Bernd Löbach. Exh. in Weddel: June-July, 2000 

^Klaus-Jürgen Lebus: Umwelt, Ökologie, Ästhetische Aspekte im Werk von Bern 

Löbach-Hinweiser / Designbuch Verlag, Cremlingen, 1993 

^Löbach / Lebus: Löbach-Hinweiser, Kunst + Ökologie. (Offset, 36 p.) Designbuch 

Verlag, Cremlingen, 1995 

^Verlagsverzeichnis Designbuch Verlag 1976 - 1996. (Publication list by Löbach) 

A/5, phc., 8 p. Cremlingen, 1996. Some titles (mostly A/5 size, phc.): 

Jiri H. Kocman - ein aktueller Künstler aus der Tschechoslowakei. 1983 

Henryk Bzdok - ein aktueller Stempel-, Postkarten- und Brieifmarkenkünstler 

aus Polen. 1983 

Endre Tót -From Cologne some Jecke Dinge to you, everybody and nobody. 

1983 

Waclaw Ropiecki - Kunst als ein Weg der Selbsttherapie. 1983 

Bernd Löbach: Mail Art, Rubber Stamp Art. 1985 

Albrecht/d - Collage, Geklebtes, Mix 1975-1985. 1986 

H. R. Fricker - Networkingmaterial. 1986 

H. R. Fricker - Mail Art is not fine Art. 1987 

H. R. Fricker - Ort der Orte. 1995 



^Löbach? Bern: Collection Artists' Money – Museum für Moderne Kunst Weddel. 

Catalogue update: January 2000. A/5, phc., 12 p.

«Lódz Kaliska, Group» (Andrzej Kwietniewski / Marek Janiak / Adam Rzepecki / Andrzej Swietlik / Kedziora / 

Snopkiewicz & others) 

J. Marek: Okrzei 26 / 28, m. 29., Lódz, PL 91-075, Poland 1979 

Forming the group in 1979 by 4 performance and actionist artists: Janiak, Kwietniewski, Rzepecki 

& Swietlik. First exhibition at the Mala Galeria, Warszawa: Das Sehen beschränkt die Kunst, 

1980 Performance Activity for photo documentation at the Art Forum, Lódz & Galeria Jaszczury, 

Kraków, 1981. Connections to the international scene: Lieux de Relation „Lódz Kaliska g. t.“ in 

Lyon and by the magazine Tango, which publication became known also in the Mail Art scene. 

A great number of art works and diverse documantations about the group have been made known 

around of the European alternative circles by Joseph → Robakowski. 

^Lódz Kaliska (Actionistic magazine by photos. A/4, offset, ~10 p. 1981-, ir.) 

^# June 1981, 

Tango (One of the most suggestive hand made magazine with nonsense and graphical 

actionism in neo-dadaistic style in certainly limited edition {~30}. 

A/4, mixed technic with many collages, ~8-12 p. 1982-86, #1-9) 

~ 

Source: Performance for Film. Film, 90'. 1980-1983. 

Die Kunst machen. Film, 40'. 1984-1985. 

~ 

Literature: 


of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 18-19, 147 p. 

Loeffler, Carl E. / Stofflet, Mary, Contemporary Arts Press 

P.O. Box 3123. Rincon An. San Francisco, CA-94119 USA 1975 

Art Contemporary / La Mamelle Magazine (Voluminous multimedia magazine 

«produced by artists for artists», with reports, features, reviews, catalogues, 

etc. Letter and tabloid size, offset. 1975-78, m., #1-13) 

Front (Magazine in tabloid size, 44.5x29 cm. offset, 12 p. 1976-, m.) 

Front, special edition: Int. Rubber Stamp Exhibition, Vol. 1 #4. San Francisco, 1976 

Îmagezine (Object «magazine» in form of stamping rubbers, each «issue»/rubber ® 

was devoted to a good known persone of the alternative art scene. 

1977-78, #1-4) 

°Performance Anthology (with Darlene Tong). Introductions by Tom Marioni & 

Allan Kaprow, essays by C. E. Loeoffler, L. F. Burnham, J. Barry & 

M. Roth. Digest, offset, 500 p. Contemporary Art Press. S. F., 1980 

~ 

Literature: 

Darlene Tong: Profile: La Mamelle Inc., San Francisco. (History, publications, 

video & performance, archives, the future) In: Umbrella (→ Hoffberg). Vol. 2, #4. 

82 p. Glendale, 1979 



Lomholt, Niels Bromaj 3 Søby, DK-5985 Denmark 1997 

↑ Lomholt Formular Press. Åkaervej 49 - Falling. Odder, DK-8300 - “ - 1982 

(Highschool:) Egmont Højskolen, Hou Odder, DK-8300 - “ - 1982 

............................................................................................................................................................. 

°Exchangeable photo. A/4, offset, 8 leaves. Lomholt Formular Press. Ørting, 1977 

^Mr. Klein. (Mailed out formular project in co-operation with Tom Elling about „Mr. 

Klein's“ background, personality, etc., maybe the most known art action 

of Lomholt in the 70s.) Cat.: Horz. A/4, offset, 116 p. 24 participants 

from the post-fluxus and Mail Art scene. (There exist also smaller publs. 

with A/4 size, 26 p.) Lomholt Formular Press, Hou. Odder DK, 1977 

^Prison. (A second formular project) Cat.: A/4, offset, 80p. + yellow cover with red 

print. 27 participants. Exhibition: Kunstbygning, Arhus DK, April 19 - 

May 5, 1978 

Rubber Stamp Books (Curator: U. → Carrión). A/4, offset colour, 24 p. Egmont High- ®

school, Hou. Odder, February 1979 

«To my knowledge this is the first exhibition of rubberstamp books ever 

held. I want to thank Niels Lomholt for giving me the opportunity to 

realize this project... Many of the included items were lent by Aart van 

→ Barneveld from the Stempelplaats in Amsterdam.» (U. Carrión) 

^Sydney's Concealment. (David is still lovable) I-II. (Texts and questionaries to 

complete and return to Lom holt Formular Press – search of a critical 

sociology. ) «The use of marginal and little used questions („If you 

were to be an animal, which one would you shoos?“ or „What does red 

evoke for you?“...) shows that provoked answers can be classified. In 

spite of the opening of the question and the „liberty“ of the answer some 

categories appear.» A/4 size, red and blue offset with some black pages, 

I-II volums, each ~100-120 p. 1978-1979 

^Kunst og Kunstnere. Cat. and anthology with introduction, image contributions, 

texts and biographies by 6 artists, who were invited to a workshop and 

to exhibit into the Egmont Højskolen, Hou, Odder in Denmark: 

January 8 - 28, 1979: G. A. Cavellini, 

February 5 - 11, 1979: U. Carrión (exh.: Rubber Stamp Books), 

February 13 - 25, 1979: H. Zabala (exh.: Today Art is Prison), 

February 19 - March 25., 1979: David Zack, 

March 26 - April 10, 1979: Robin Crozier, 

April 30 - May 25, 1979: D. D. Hompson. 

Each part of the book about the single artists was published earlier as 

separate brochure – the assembled work is perhaps the most interesting 

publ. by the Lomholt Formular Press. A/4, offset colour, 190 p. Printed 

at the art highschool «Egmont» (Texts: English / Danish). Hou, 1979 

^Hjørring Annual Film Festival '82 (with → Schmidt-Olsen, → Rasmussen) Film 

Cat.: 21x20 cm., offset, 132 p. / Hjørring Kunstmuseum, March 1982 

^Bookart - Bookworks - Bookobjects. Cat.: 26.8x20.3 cm., offset, 116 p. (~250 artists). 

Lonholt Formular Press, Odder DK. 1983-84 

În another trans / quit dressing room no. + 0. Project after the earlier specimen of 

questionaries to send out and collect back from artists by Lomholt. 

A/4,phc., 22 p. Lomholt Formular Press, 1999 

~ 

Literature: 

 

 

«This is an invitation, you can participate in two ways: 

a) Fill in the formula and return. All returned material will be part of a print 

/show series. 

b) Fill in the formula + (video) tape. The base of this work is a series of 

video- programs, produced by participating artists. The only condition: The tape 

must be done in a hotelroom. If you want to participate, contact us, we will pay for 

the hotel-room. All videotapes will be returned.» 

(N. Lomholt: Invitation text to the Mr. Klein project. In: Mr. Klein. Odder, 1977) 

Lond, Harley c/o Intermedia P. O. Box 31464 San Francisco, CA-94131 USA 1974 

Întermedia (Literary, artistic and education mag. Letter size and tabloid issues 

with special themes / N°6 in box = visual matter & texts. 1974-, ~2xy.) 

Edition Century City Arts Project, San Francisco 

^#5 (Entropy) 

Luigetti, Serse Via Oberdan, 52. Perugia, I-06121 Italy 1994 

↑ Via Ulisse Rocchi 3. Perugia, I-06100 - “ - 1980 

............................................................................................................................................................. 

^Paper (One-sheet xerographical leaflet with characteristic graphism in neo-dada 

style, a long running Mail Art periodical. A/4 or A/5, also reduced into 

postcard size. Phc. & offset. Issues not dated & numbered. 1980-, ~ 50#) 

^13 Postcards made in Italy. (Offset / glassy with Paper & other graphics) 

 

Giorgio Sestli Editore. n.d.

Post-scriptum (One-page periodic, a sister of the Paper, a few issues only. 198?- ) 

°Collage City. Cat.: 21.5x32.5 cm. phc., 20 p. 180 parts. 1982 

 

Artistamps: °(withou title) (Sheet of 20 diff. stamps, black phc. on rose paper, not 

perforated, in cooperation with C. → Stetser) Post Post Stamps, 

Perugia, 1985 

^Stamps 1-2-3-4. („add to and return“ type artists' postage stamp action) 

 

Cat.: A/4, phc., 11 p. 1985 

^Sea. Inv.-letter, 1985 

 

^Signpost (Unbound assembling matter in envelope of 36x26 cm. {100}, ~30 leaves 

per issue. Statement: «Materiali/immagini – Busta contenitore di 

materiali visivi e sonori.» 1985-87, #1-4) 

^#4 

Smile (One-sheet Paper edition with graphics responding to the Smile mania, 1985?) 

~ 

Literature: (Stamp): «A Mail Art collection of artists' stamps, blank sheets are made up, sent 

out like chain letters each person having the choice of what to collage over & what 

to keep. Serse has collected some of the results in a small pamphlet, itself being 

ready to add to or paste up on your mail. We gotta get better copy machines to those 

Europeans, tho, it's hard on my eyes.» 


Luis. Box 179, Bruque–SC., BR-88350 Brasil 1984 

Mail Art activity – well konwn person in the international Network. 

 

Lumb, Michael (Energyman) 39 Alexandra Road Ipswich, IP4 2RL United Kindgom 1998 

↑ Flat 1, 78 Orford Street Ipswich, IP4 2PN - “ - 1979 

............................................................................................................................................................. 

^Henley project. Conceptual works in form of photographs and drawings published 

in an undefined series of offset printed mini-booklets (ca. 15x 11 cm.) 

{200, the first 20 signed}. Suffolk, 1979 

Nothing to Declare (A/5 envelope action, «artwork on the customs...», a conceptual 

and mail art like attemp {7}, returned works were exhibited.) 1980 

275 Second Class Letters. (Mail action to the same address by permutation of postage 

stamps, also an exhibition with the returned items.) 1981 

Artistamp activity since 1988 on diff. paper by various technic. Margaret Teatcher, 

1988 / Family, 1991 / Femail Firstpost, 1993 / Femail Firstpost 

Variations, 1993 / 1955 – 1995 Mail Art, 1995 / Energyman Post, 1997 / 

1 Fellatio (Monika Lewinsky), 1998, etc. 

Is Freedom, 1988 - 1989. (100 packages sent to mail artists with the request to pass 

on and return them... with a postcard stating who sent on to...) Exh.: 

Christchurch Mansion / Ipswich and Maidstone Library, Kent. 1990 

Doc.: A/4, phc., formed as envelope. Ipswich, 1991 

Artists' book activity since 1990 by small publications on coloured or cream paper 

with ca. 4-18 pages. Technic: phc., silkscreen, inkjet print. Computer 

generated texts, often photos (commercial and documentary) or other 

images, bound with string or paper band, sometimes cards only or in 

form of accordion. More publications are doc. of performances. 

Sh! these walls have ears {20}, 1989 / Dear Boy {100}, 1990 / Concerning 

Men's Hairstyles {100}, 1990 / British Justice, 1991 / Speaking 

in Tongues {100}, 1991 / Kalispera {40}, 1993 / Ambition, 1994 / 

Wedge, 1995 / Lest we Forget {25}, 1995 / I Mediate, 1996 / Wednesday 

March 13th 1996 {16+1}, 1996 / One Month in Poland, 1996 / 

Book about Book, 1997 /Found Stamps and 6 Edges, 1997 / The Law 

of Diminishing returns, 1998 / That's Life, 1998 / Other Echoes, 1998... 

The Archive of Offensive Areas, 1988-1990. (Sent out and returned sticker action) 

Îs Freedom... Inv.-flyer, 1990 

 

Învitation for an archive of mail artists’ archives. Inv.-letter, ~1990

Families. Doc.: A/4 sheet (green), phc. + rubber stamps, folded to 3 vertical. 

Exh.: University College. Suffolk, 1991 

The Sensitive Heterosexual Male. Doc.: A/4 sheet, phc., folded into 4, with images. 

Exh.: The Forefront, University College, Suffolk, 1991 

Decay. Doc.: A/4, phc., folded into 3. 

 

Madonna and Child. (A call for images. Each participant received the image with 

the adult head of the artist in place of the child.) Exh.: The Forefront, 

University College. Suffolk, 1993 

Postcard activity since 1994, produced commercially or made by phc. on card stock. 

Energy – The mailart journal of thoughts and ideas (One sheet magazine in form 

«contribute and pass-on and eventually back to editor...» A/4 folded, 

altogether 91 issues between 16th February and 30th November 1998) 

~ 

Source: Lane, Brian: The Artist Publisher. Craft Council of Great Britain. 1986 

 

Mail Art by Michael Lumb (Energyman). Selfpublished list of actions and 

publications with very detailed data about: Pre-Networking Mailart Works / 

Generated Mailart Projects / Map Documentation / Artistbooks / Zines / Artistpostcards 

/ Artistamps / Artistmoney / Audiotapes / 1 off Multiple Artworks / 

Photocopy Sheets / Add Tos and Pass Ons / Collaborations / Miscellaneous / 

Mailart Bibliography / Published Writings. A/4, computer print, 5 sheets. 

^Michael Lumb: Mailart 1955 to 1995. Democratic Art as Social Sculpture. 

After an Internet contribution (www.fortunecity.com/victorian/palace/62/) published 

in: Other Voices, - Electronic Journal of cultural criticism. University of Pennsylvania, 

USA. 1999 

^Ruud Janssen: Mail-Interview with Michael Lumb (England). TAM 950079. 

Published 2 June 1995. A/5, phc., 22 p. 

Michael Lumb: Artists' Books in Great Britain. In: Bookarts, Academy of Fine Art, 

Poznan, Poland. 1996 

^John Bentley & Tanya Peixoto: Artists' Book Yearbook 1998-99. Magpie Press. 

Clamp Hill, Stanmore, UK. 107 p. 

Lund / artists, (Mats B.) St. Tomeg 22:355 Lund, S-22351 Sweden 1974 

Grisalda (Magazine with concept art, Mail Art, experimental art in texts and photos. 

Edited by A. Schweizer. Works by Attalai, Baldesari, Buren, Friedman, 

Gilbert & George, etc. A/3 size tabloid, offset. 1974-, ir.) 

Luschei, Glenna Solo Press, 1209 Drake Circle San Luis Obispo, CA-93401, USA 1977 

Cafe Solo (Mag. for vis. poetry and exp. art. Letter size. 1977-, qu.) 

 

Lust, Scarletina Box 400 Old Chelsea Sta. New York, NY-10113 USA 1982 

Smegma (with → Igloo, Alex Torridzone) (Neo-dada magazine with Mail Art, an 

accumulation of images and texts, sometimes with disk-suppl. Letter 

and half-legal, offset. 1978-, y.) 

Calendar 80. 35.5x21.8 cm., offset, 15 leaves. {500} Fallout Smegma, 1979 

°Calendar 1982. (with → Igloo, AlexTorridzone) 13x10.3 cm., phc., 24 p. S. P. 1981 

^T-shirt for Everybody. Doc. Letter, offset, 4 p. (about 100 «T-shirt artists») 

/ Chevron Gallery, 555 Market St. San Francisco. July-Sept. 1982 

Âbout Face. (Sequence of photobooth machine / photos from N.Y.) Half-legal, 

offset, 16 p. {250} 

Artistamps: °No/Vice Post (Sheet of 20 id. stamps, phc. on rose paper) Special for 

an issue of the Pardon My Mirth Marks magazine of the artist. 

PMMM Edition. New York,1982

Lyons, Nathan Director of the Visual Studies Workshop, 31 Prince St. Rochester, NY-14607. USA 1985 

Afterimage (A monthly for visual arts, 1973-) Vol. 12, #6, 1985: «Artists' Books» 

~ 

Literature: Judith A. Hoffberg: Alternative Art Publishing Conference. A journal about the 

New York scene and the conference in the Visual Studies Workshop, Nov. 5-6, 

1979, Rochester. Among the featured publishers and institutions Nathan Lyons, 

Richard Minsky (Center for Book Arts, London), Ulises Carrión (Other Books & 

So), Tom Ockerse (Rhode Island School of Design), David Buchan (Art Metropole, 

Toronto), Dick Higgins (Something Else Press), Clive Philpott (MOMA), Martha 

Wilson (Franklin Furnace), Felipe Ehrenberg (Beau Geste Press, Devon), Chuck 

Hagen (Magazine Afterimage), Judit Hoffberg (Umbrella), the problems of art 

magazines, the book distribution, criticism, exhibitions... 

(In: Umbrella, Vol. 2, #6, 125-131 p. Glendale, November 1979) 

Lyons, Joan Visual Studies Workshop. 31. Prince St. Rochester, NY-14607 USA 1985 

°Spine. (with Phil Zimmermann) 45.5x31.5 cm., offset colour, 1 sheet {400}V. S. W. 

Rochester, 1979 

Ârtist' Books. A Critical Anthology and Sourcebook. Intruduction by D. → Higgins, 

texts by U.→ Carrión, L. Lippard, C. → Phillpot & others. Biographies 

& bibliography. 23x15 cm., offset, 263 p. Visual Studies Workshop. 

Rochester NY, 1985 

Mabie, Don / 

→ Stake, Chuck 

Machert, Christoph (!Machart!) Oberstr. 14 Bochum-7. D-4630 Germany 1988 

↑ Witten - “ - 1981 

............................................................................................................................................................. 

°Machart. Cat.: Cut A/5, offset, 32 p. Ed. Knöterich. Witten D, 1979 

 

Homosexuality (Commonpress #39) 32x23 cm., 38 p., ~150 participants. Febr. 1981 

^Merlin Machart – Mail Art / Theater in Lünen D-4670. Inv.-letter, 1986 

MacLeod, Scott 2261 Market Street #307. San Francisco, CA-94114-1693. USA 1996 

Art Strike. Karen Eliot Interviewed by Scott MacLeod (1989). In: PhotoStatic 

(→ Dunn), N° 35. April, 1989. 1279-1284 p. 

The Imagined Gallery. «...is an alternative space-time continuum dedicated to 

presenting and supporting for conceptual, impossible, implausible, 

impractical, unlikely and unwanted art. (...) The Imagined Gallery: 

profit without profiteering.» (Statement from 1997) 

Macotela, Gabriel ? Mexico DF Mexico 1980 

°Paso de Peatones (Assembling like brochure {350}, ~A/5 matter, mimeographics, 

rubbers, Collages, etc. by 88 contributors: J. Guinovart, Y. Pecanins, 

M. Try, M. Lara, A. Caro, M. Marin, R. Casamada & others) 

La Cocina. Mexico DF, 1980 

 

!Madame X! 3747 Roberta St. Los Angeles, CA-90031 USA 1988 

↑ c/o Newspace Gallery, 5241 Melrose Ave. Los Angeles, CA-90038 - “ - 1975 

............................................................................................................................................................. 

^Madame X's Gazet (Mini size neo-dada graph. mag. with «cosmic humor of man- 

kind amok.» 14x9 and 17x11 cm. phc. and offset, 2-4 p. 1975-, ~ 30#) 

^#11, 12, 13, 14, 16, 17, 18, 19, 20, 25, 26, 27 

Madame X's Time Magazine (Offset booklet, 19x13.5 cm.1982) 

 

Madame X's True Love Magazine (Mini size mag. 198?-, #1-2?) 

~ 

Literature: 

 

«...As many mail artists know, the only address for Madame X is c/o her gallery 

Newspace in Los Angeles. 

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 

biting, and she is fair. Madame X is a woman who lives in Southern California, who 

appeared on the scene in 1975 by sending work through the mails to Joni Gordon, 

who at that time was selling artists' books and collecting art. She recognized the 

urban humor, the appeal, the strong philosophy of life, the irreverence in this 

woman's art. Art appeared in the mailbox, sometimes small books with folded 

paintings, sometimes Xertox books, sometimes postcards... She uses the layout of 

the comic book and its tradition in her paintings, her objects and her book has the 

elevated satire of a Jonathan Swift. She poses as a deus ex macchina, drawing to the 

hilt with word and line. Sometimes the laughter evokes burts of rancor, but she is 

very forgiving...» 

(The Elusive Madame X. In: Umbrella [→ Hoffberg], Vol.3, #1, 14 p. 1980) 



Maelen, Francis van (Redfoxpress / Fan Mail) CO Mayo. Cashel-Foxford Ireland 2000 

(Edition Phi) Box 66 Echternach, L-6401 Luxemburg 1995 

............................................................................................................................................................. 

^Künstler sehen Luxemburg. Inv.-letter, 1995 

 

^Stamps & Stories, Mail Art '95. Cat.: 23x17 cm., offset (colour), 112 p. (Germ. / 

Engl.) 1. Auflage: March 1995 

^Gutenberg Mail Art. Cat.: Online: – http://www.phi.lu (with call for entries, 

gallery of entries, list of participants, ca. 30 p.) 1997-1998 

Îreland Today. Inv.-flyer, 1999. Cat. ? 

 

Ânything about the (red) fox. Cat.: A/5, phc. on brown paper, 20 p. (participant list 

+ image material) Additionally: Postcard edition (2O cards, colour offset 

print, a selection from the project material edited by the “Refoxpress”, 

Foxford). 2000 

^Cult – Hero, Star, Icon, Diva... Cat.: A/5 on grey paper, phc., 24 p. «...313 artists 

from 35 countries have sent about 400 postcards to the theme CULT. 

Since las year the postcards have been shown in bookfairs in Paris, Brussels, 

Mainz, Frankfurt and Ghent...» 

«Maerz, Galerie» Landstr. 7. Linz, A-4010 Austria 1990 

^Kopiegraphie. Eine Belichtung Österreichweit. Cat.: A/4, offset, 36 p. May 1990 

^Peter → Huemer: Kopigraphie / Mischtechnik, 1987-1990. Cat.: A/4, offset, 42 p. 

1990 

Êrlesenes. (M. Rutt, Christian Steinbacher, Hansjörg → Zauner) Cat.: 21x21 cm., 

offset, 24 p. / Galerie Maerz, Linz. March-April 1991 

Maggi, Ruggero C. SO. Sempione 67 Milano, I-20149 Italy 1985 

^Ruggero Maggi's Old Works. (Book- and paper works) Texts by R. Maggi and 

Domenico Cara. 24.5x18.5 cm., col. offset, 16 p. No editor, n.d. 

Âmazonic Trip. Invitation sheet in legal size. Cat.: 32.5x21.5 cm. offset, 6 p. 

Organisation and exhixbition by the Pontificia Universidad Catolica, 

Lima, Peru, 1981. (Dedicated to Palomo-Abel Luis, the carried off son 

of A-E. Vigo). The project was exhibited also at the XVI. Biennal of 

San Paulo, 1981 

^Bombardarte – tearint the in pieces! (wih additive paper-planes). Inv.-letter, 1981 

°Recycled Rite. Cat.: on A/4 sheet, phc. /Perugia, Italy, 1982 

 

°Some Amazonic Indians. (Selfportraits of mail artists) Doc. A/4 sheet, phc. with 

a list of ~200 parts. 1982. Exhibited at the Artestudio at Ponte Nossa 

(→ Morandi) and the same year in Belgium, Mexico and Australia. 

Ûnited for the Peace (Solidarity with Poland – Mail Art project). Doc.: A/3 size 

participant list, phc. Show at the “arteStudio” by → Morandi in Ponte 

Nossa, 1982

Artistamps: Âmazon (Sheet of diff. stamps in size of 8x8.5 and 8x9.5 cm., red 

offset print on white paper) Amazon. Ruggero Maggi. n.d. 

°Holography (Sheet of 6 diff. stamps, colour offset) n.d. 

^Minimal Books. A series of very small book objects with hand written and/or rubber 

stamped and collaged text/imagen completing. Sent out as gift to 

network friends. 3.5x2.5 cm., colourful covers. ~1985 



^#13 

^Shadow Project. Newspaper as doc. A/4, phc., 20 p. {150} /Centro Cultura 

„Le Serre“, Citta di Grugliasco. November 1985. Further exhs. in 

Italy, Germany, Japan, etc. 

^Progetto Internazionale Sulla Pace (Anthology for the Shadow Project, 1985-86) 

More exhs.: Villa de Serio, org. by E. Baj / BÜZ, Minden, org. by Peter 

Küster mann / Progetto Ombra, at the Laboratorio dipoesia e arti visive, 

Cosenza, by R. Maggi. Publ: 30.5x21.5 cm., offset, 28 p. 

Texts: S. Anelli: Uniti par la pace 

G. Pedicini: Per un progetto internacionale sulla pace 

Anelli & Grabafel: Letter about War, Peace and Something Else 

T. Montranari: Le ombre della memoria 

P. Küstermann: Hiroshima Schatten Projekt 

U. Peters: Lettre to the Museo Italo in San Francisco 

^Shadow Project – Minden '86. (R. Maggi, P. Küstermann, Joki, G. Barbot, W. Met- 

ting, M. Stüssi, M. Schild, D. Gorny. The project was a part of the Mail 

Art Congress, Minden, september 29, 1986) Cat.: A/4, phc., 24 leaves, 

50 copies, signed by R. Maggi. 

^Not Only Books – Artists' Books & Mail Art Reviews (with Liliana Antoni). 

Doc.: 35x50 cm poster, offset. Exh.: Milan Art Center, May 1989 

^Bookshop „Utopia“ 2. / Rassegna int. di libri d'artista e d'arte postale. Exhibition of 

Mail Art and books by R. Maggi and Liliana Artoni. A/4 participant list, 

phc. Milan Art Center, May 11-31, 1989 

^Non solo libri. Cat.: 11.5x11.5 cm., offset, 24 p. / CE.S. A. COO. P. & Gall. Teatro 

Curci, Barletta, I-70051. August 1991 

^Ruggero Maggi. Bookworks, cassettas. Cat.: 11x12 cm, offset, 20 p. Text: P. → Res- 

tany (Italian + English). Exh.: Banca Mercantile It., Milano. Febr. 1992 

^FAX project by the visual poetry “Shut” (?). Inv.-letter, 1994 

FAX 

Caos Italiano. Books collected via Mail Art, exhibited at the Milan Art Center, 1998 

^CHAOS – Villagio Globale. Exh.: Officina Culturale - Latisana. Project: Milan Art 

Center - Milano. texts: R. Maggi, G. Bleus, J. Held Jr., V. Baccelli 

(Italian & English). Cat.: 21x21 cm., col. offset, 12 p. + inv.-card. 1999 

Âmazonic Love. Small periodic (?) publ. (also with Keiichi Nakamura), A/5. Phc. 8 p. 

1990s-2000 

^ #5 (2000, erotic graphic) 

~ 

Literature: Interview with R. Maggi. In: N D, N° 10, Austin, 1988 (→ Plunkett), 5-7 p. 

«Almost one year was spent from when I spoke with some Japanese friends and 

artists: Fukushi Ito, and Masataka Kubota of the froup SOU about my idea to realize 

the shadow project in the same town of Hiroshima. (...) Finally I received the first of 

a series of letters of various Japanese artistic/pacifist organizations. In these letters 

we began to determine the necessery arrangements for the project. Shozo → Shimamoto... 

put me in contact with the group Art Week of Hiroshima. I met the director 

of this group Ishimaru Yoshumici in Hiroshima at the 1st of August for an International 

Mail Art Symposium to which I participed and with him I discussed the 

last details. (...) One of the motivations for the eventual denail was the fact that, for 

them, the Hiroshima people wanted to forget what happened 43 years ago. Same 

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 

Hiroshima Authorities conceded the permission giving some time limits (we could 

work from 8:30 to 11:30 only 3 hours which however were enough!) and fixing the 

place of the actions in a place near the Atomic Dome, dramatic symbol of the 

nuclear holocaust of the town. (...) At the end of the work we want to burn all the 

silhouettes like a sort of post-atomic purifier rite...» 

(Ruggero Maggi: The Hiroshima Shadow Project, 1988. In: Metro Riquet, N° 6, 

Paris, Jan. 1989 [→ Duvivier], 13-15 p.) 





«Magyar Mühely» → Nagy, Pál / Magyar Mühely, N°1-100 

→ Kovács, Zsolt / Magyar Mühely, N° 101- 

^Visual Poetry 1985-1995. Exh. at the Balaton Múzeum, Keszthely H. Inv.-card, 

Summer, 1995 

 

Mail Art Congress, 1986 (Alphabetical): 

^→ Ackerman, Al: Leboeufism, mailart, congress, symposiums spark „New Audiencelessness“ 

(with a nearly complete listing of mail art congress sections in 1986 compiled by 

the editor). In: Spiegelman's mailart rag (→ Spiegelman). Vol. 1, #4. December 

1985. 10-11 p.) 

Berlin Congress '86. Poster with original rubber stamps, 49x30.5 cm., grey paper. 

^→ Burch, Charlton: Glimmerings (Print review) / CLINCH. In: Lightworks, N° 18, Winter 1986- 

1987, 49 p. 

^→ Burch, Charlton: Postscript (About the activity of H-R. Fricker and G. Ruch in the Mail Art 

Congress, 1986) In: Lightworks, N° 20-21, 1990. 69 p. 

^→ Franke, Korneliusz: Image. Info sheet about 

1) Mail Art Congress, Eeklo, August 30, 1986 

2) Mail Art Congress, Berlin/GDR, September 20, 1986 

^→ Fricker, Hans-Rudi: Tourism Review (A Mail Art mag. on Fricker's «tourism» idea – developted 

as the completion of the Congress – with the protocol of the so called 

«malicious tours»: the network as reciprocal visits of mail artists. A/5. offset + 

rubber stamps, 24 p. 1985, #1) Trogen, 1985 

^→ Haufen, Graf: Mail Art Workshop / Artcore Gallery '86. (Assembling like broch., A/5, mix. 

techn. handmade, 20 p. {100 numbered copies}). Artcore Ed., ACE-12. (Also as 

Congress '86 material) Berlin. August, 1986 

^→ Kattenstroth, U.: Imaginärer Mail Art Kongress, West-Berlin 1986. (Also entitled: Tag des 

Mülls) Invitation and manifesto in a form of an A/4 leaflet, phc., 13 leaves, from 

the «Juxbox Headquartier Berlin» to a meeting and in 1 May 1986. Slogen: Waste 

is Mail, Mail is Waste. Also a workshop to work over the dirt has been announced. 

10 parts., who didn't take part. 1986 

^→ Küstermann, Peter: Mail Art Mekka Minden. Congress: September 19-29, 1986. 

„Lyrische Collagen 20“. A/4, phc., 8p. ISSN 0721-9083 

^→ Maggi, Ruggero: Villorba (Treviso) et Villa Fana, August 12-15, 1986. Documents in form of 

a brochure, A/5, phc., 44 p. + hand interventions. 

^→ Boever, Jan de: Mail Art Congress 30. August '86. De Media. A/4, phc., 13 leaves + 

3 document photos 

^Mol, Gerry de: Zak in, zak ouit: mail-art. In: De Morgen, (daily news) Amsterdam. Aug 30, 

1986, 14-15 p. (About the „decentralized mail-art world congress“ at De Media, 

Eeklo.) 

^→ Ruch, Günther: CLINCH, N°7. Decentralized Worldwide Mail Art Congress. (A/5, phc., & 

collages. 1986.) From the content:

G. Ruch: It's time to meet 

V. → Baroni: Then Brothers & the Network Connection 

F. Eipok: Mail Art Performance Party 

CLINCH, N° 8. Sightseeing. (Texts and images from the MA Congress 1986. A/5, 

phc., 1986) From the content: 

G. → Bleus: Mail-Art Sociology 

G. Ruch: Editor's Crisis (Mail Art contra Tourism) 

^→ Pawson, Mark: SMILE CONGRESS (Smile mutant, A/4, 8 p. Docs. of London Mail Art 

Congress. 1986) 

^→ Rehfeldt, Robert: Erster Decentraler Mail Art Congress. (Planned for the studio «Palette 

Nord» but banned. Realized in the home-workshop of Robert Rehfeldt.) Berlin- 

Pankow, 1986 

^→ Ruch, G.: Mail Art Congress 86. (Xeroxed documentation, material & sources, A/5, phc., 

160 p.) Out-Press / G. Ruch, Genève, 1987 

^→ Ruch, Günther: Everybody speaks from Communication and nobody do it (Xeroxed pamphlet 

about Mail Art Congress, Tourism, etc., A/5, phc., 14 p.) Edition «B(oring) ART 

theory», Genève, n.d. (1987?) 

^→ Welch, Chuck: Corresponding Worlds: Debate and Dialogue. In: C. Welch (ed.): Eternal 


^→ Wilderjans, Rudi: Special Pictures Black & White (Report photos about De Media Congress, 

August 30, 1986.) A/4, phc.,, 14 leaves. 

Mail Art Congress / Decentralized World-Wide Networker Congress, 1992 (alphabetical): 

«Where two or more artists-networkers meet during the congress of 1992, there 

a congress will take place» 

^→ Baroni, Vittore: Which way to the infantile utopia? (Xeroxed postcard with this text on the 

back side. On the front page: «Networker Congress» direction signs into the four 

cardinal points. Under the signs four persons, among them also → Fricker and → 

Pawson, are looking for the right direction.) 

^→ Bleus, Guy: Statement: The Roles of the Networkers / + Invitation to the Peripatic Congress 

in the Zoo of Antwerpen, 23 August, 1992 – «walking in the Zoo, talking to the 

elephants.» (A/4 flyer, recto/verso, phc. with a 18 paragraphys text. The last 

paragraph: /18/ The Network is the medium, the Networker is the message.) 

Ceccotto, Alessandro: New Bulletin, #24. Congress issue (Mail Art and Congress news, the publ. 

by Ceccotto was announced in The face of the Congress, #4. Address: Via Scarpari 

1/L. Adria (RO), I-45011 

^Crackerjack Kid (Chuck →Welch): NC92° Spirit Netlink Performance / Form to keep records 

of «Phenomenological Spirit Experiences» as part of the Decentralized World-Wide 

Networker Congress 1992 (A/4 sheet, recto/verso, phy.) 

^Crackerjack Kid: Netshaker (→ Welch) Mag. with themes relating to the Decentralized World- 

Wide Networker Congress. Digest and hald-legal, phc., ~32 p. 1992-94, qu. 

~10 issues?) 

^# Vol. 1/1; Vol. 2/1, 2; Vol. 3/1 

^→ Fa Ga Ga Ga (Mark Corroto): The face of the Congress /A portrait zine of the 1992 Decentralized 

World-Wide Networker Congress. (Mag. Digest, phc., ~20 p. 1992- #1-7?) 

N° 7 = Face Femail. Youngstown OH, 1992 From the invitation flyer: «We ask 

each Congress participant to photograph, sketch, sculpt, rubberstamp, collage, etc. 

a portrait of their fellow Networker during or after each Congress» 

^#3, 4 

^→ Fricker, H. Rudi:/ Mail Art – a Process of Detachment / Mail-Art – ein Ablösungsprozess. 

(About → Art Strike and the necessity of a Decentralized Mail Art Congress to 

clearing the role of the Networker. A/5, phc., English / German. 8 p.) Trogen, 

«The 72nd day of the Art Strike» (March 13, 1990) 

^→ Fricker, H. Rudi, → Crackerjack Kid & Kaufmann, Peter (Bergwissenstr. 11, Ebmatingen, 

CH-8123, Switzerland): Decentralized World-Wide Networker Congress 1992. 

(Letter size flyer with an appeal to congress, coordination and documentation 

questions, with the list of confirmed and planned congresses, as addendum also a

Netlink Congress and Networker Databank Congress will be announced) 

(Lebanon NH, USA?) n.d. (1991?) 

^Kaufmann, Peter : Decentralized World-Wide Networker Congress 1992. / Form to keep 

information on planned congress sessions. (A/4 sheet, phc.) 

^The Mailmen Angela Pähler & Peter → Küstermann: Free Personal Deluxe Net Mail Delivery / 

Documentary Catalogue. (Maybe the last great surway on the Mail Art camp edited 

by insiders were visiting over 200 networkers all-over the world and documented 

the meeting events during the year 1992. Large text and photo documentation, many 

inserts – also collage material – by the visited networkers and the editers. The book 

is completed by a chronological and an alphabetical index of names and addresses 

[ordered after countris], further by a list of quoted networking publications – ca. 

150 items. A/4, phc. completed by collages, rubber stamps, stickers, orig. photos 

and some artists postage stamp sheets in each copy, ~300 p. {500}. Copyprinted in 

Denmark, England, Germany and Tasmania. S.P. Minden, 1992-1993 

^→ Lenoir, Pascal: The Secret Life of Marcel Duchamp / Welcome to the Decentralized World- 

Wide networker Congress, Mr Duchamp! Inv. (A/6 flyer) Grandfresnoy, France, 

15 July 1992 

^→ Morandi, Emilio (with P-M. → Ciani, Hans R. → Fricker, G. → Strada): Networker 

Congress, 1992. (Realized 9-10 May. 1992. / 13 loose sheets, A/4, phc. matter 

with apppeal-flyers, program-text, graphics, etc.) 

^→ Padín, C.: El Networker Latinamericano. (Newsletter with information about the Decentralized 

World-Wide Networker Congress 1992 in Latinamerica. 22.5x17.7 cm., phc. 

1992. 1-2#?) 

^→ Wohlrab, Lutz & Sabine: Post-DDR Mail Art Congress in der Sonderbar (ehemaligen Art 

Strike Café) Niederkirchner Str. 34, 1055 (D-10704) Berlin-12. September 12, 

1992. Exhibition and cat. for the project: A/5, phc., 24 p. 

~ 

Source: 

The Agressive School of Cultural Workers, Iowa Chapter ( → Dunn /→ Perkins): 

Networker Congress / Statements. (Digest, phc., 16 p.) The Drawing Legion / 

ASCW. Box 227, IA-52244, Iowa City, 1992. 

Statements by: Rev. Paul Alchemist, Baltimore MD / Reed Altemus, Syracuse NY / 

Gerard Barbot, Brooklyn, NY / Vittore Baroni, Viareggio I / Keith Bates, Manchester 

UK / Guy Bleus, Wellen B / Hans Braumüller, Santiago – Chile / Gianni Broi, 

Firenze I / Warren Burt, St. Kilda, Australia / Albert Camus, F / Bruno Chiarlone, 

Cairo Montenotte I / Piermario Ciani, Bertiolo (UD) I / David Cole. Brooklyn NY / 

Mark Corroto (→ FaGaGaGa), Youngstown OH / Anna Couey, San Francisco CA / 

Crackerjack Kid, Lebanon NH / Daniel Daligand, Levallois F / Wayne Draznin, 

Cleveland OH / Lloyd Dunn, Iowa City IA / Eliot Cantsin, Philadelphia PA / Ever 

Arts, Noordgouwe NL / Luc Fierens, Hombeek B / César Figueiredo, Porto P / Bob 

Gale, USA / Marco Dimas Gubitoso, Brasil / Krisitof d'Haeseleer, Gijzegem B / 

John Held Jr., Dallas TX / Byron Grush, Dekalb IL / Giuseppe Iannicelli, Alessandria 

I / Dobrica Kamperelic, Beograd YU / Jim Klingbeil, Milwaukee WI / 

Peter Küstermann, Minden D / Carl Loeffler, San Francisco CA / Ruggiero Maggi, 

Milano I / Graciela Marx, La Plata GA / Keith De Mendonca, Hove UK / Mit Mitropolus, 

Athens GR / Robert Morgan, New York NY / Franz Müller, Luzern CH / 

Harry Musgrave, London UK / Clemente Padín, Montevideo U / Julee Peezlee, 

Boulder CO / Stephen Perkins, Iowa City IA / Carlo Pittore, New York NY / Harry 

Polkin horn, San Diego CA / Bill Ray, Oxford NY / Maxie Snell, Oak Park MI 

/ Th. Benett / C.E.W.A.F.S., Oslo N / Andrej Tisma, Novi Sad YU / Lawrence 

Upon, Sutton – Surrey UK / Pomona Valero, Pittsburg PA / Lillian Ward, UK / 

Bill Whorrall, Shoals IN / Harald Ziegler, Köln D 

(Two of the 53 statements:) 

«The alliance of networkers is more momentous than the structure of the network. It 

is not the art that is important, it is the artist. The man or woman behind the work, 

that has precedence. The art is not the aim, it is the consequence of certain communication 

processes. That's all. (Guy Bleus)» 

«I hope that the talking about mail-art is not going to be the the most important

~ 

Literature: 

thing in the Network. (Ever Art)» 

«DECENTRALIZED PROCESS 

What follows this grap created by the art Strike? Was the International Mail 

Art Network just a shoortlived therapeutic community, enabling its members to do 

the work of mourning? 

The Decentralized International Mail Art Congress, initiated in 1986 by Günther 

Ruch and myself, turned out ot be the cradle of the new artist: the Networker. 

More than 80 Networkers had organized their own congress sessions and over 500 

like-minded visitors had attended the events which were planned according to the 

respective necessities and possibilities. They all shared the intention to conceive 

communication- and organisation systems as well as the willingness to participate at 

the projects of the others. 

The Network of the eighties in particular, formed the sheltered setting for the 

process of liberation and development from the dependent to the independet Networker, 

who yet co-operates with like-minded Networkers. 

NEW AREAS OF ACTIVITY 

The networker does not move in the traditional „art spaces“ (galleries, museums, 

etc.). His field are the spaces between people, for Mail Art and Tourism create 

spaces between partners, in addition every Networker constitutes a measuring-point 

for the „space-system“ of the other. The Networker does not merely construct these 

spaces (hello, Charles François, also by means of computer connections!), he 

defines them, he exploits them, and establishes relationship within theses „spacesystems“. 

ABOUT DEFINING THE NETWORKER'S ROLE 

Let's use the time and energy the Art Strike has released to prepare the 

World-Wide Decentralized Networker Congress 1992. The collaboration with the 

new generation of artists outside the Mail Art Network has to be found...» 

(H. Rudi → Fricker: Mail Art – a Process of Detachment /5-6-7th paragraphs. 

Trogen, March 1990) 

«...Es gibt eine junge Künstlergeneration, welche auch das traditionale Kunstsystem 

verlässt, ohne in das Mail Art Netz involviert gewesen zu sein. Wir müssen die 

Zusammenarbeit mit diesen suchen, insbesondere wenn es gilt die Rolle und das 

Feld des neuen Künstlers, nennen wir ihn Networker, zu definieren. Deshalb proklamiere 

ich den nächsten weltweiten-dezentralisieirten Kongress als Networker- 

Kongress 1992. Das Thema ist: „Rollendefinition“. ich werde ein Papier zusammenstellen, 

welches den Networker Anstazweise definirt, damit klar wird, wer damit 

angesprochen sein könnte (nicht nur Mail-Artisten). Eine Gegenübebrstellung der 

Rollen-Paradigmen „der Künstler ↔ der Networker“. Ich werde einige Kollegen 

bitten, mir ihre Gegenüberstellung zu senden. Die Zusammenstellung verwende ich 

dann für den Kongress-Aufruf. Was meinst du dazu?» (H. R. → Fricker: Letter zu 

Géza Perneczky, March 28, 1990) 

(The Face of the Congress, #3 / From our Mailbox): (...) «You can mail to some 

of the people all of the time, and you can mail to all of the people some of the time, 

but you can't mail to all of the people all of the time. Jacques → Massa, France.» 

«Am I congressing? Yes. I would like but no money for travelling to meet 

somebody else from Mail Art Network! Sad but true! But, who knows? Anyway, all 

the best! Piotr Piatek, Poland.» 

«Yes I am in the Congress Fever... We are all crazy and it's good. Baudhuin 

Simon, Belgium» 

«Congress Yourself. A sticker by Piermario → Ciani, Italy» 

«...I don't agree with Mrs. Rea → Nikonova's statement „we don't understand 

people from the West, you don't understand our problems“. Everybody has (their) 

own problems and it doesn't depend on a country where you live... I'm sure people 

are able to understand each other if they want to do it... So DNC is a means for

«Mail Art & Network Theories» → Appendix 

understanding. Eugene Shashkin, Russia.» 

«...Computer and the other technological means give many more great possibilities 

but MAIL ART IS THE NETWORK! Ruggero → Maggi, Italy» 

«...Sexist Bastard... What makes you think Networking is a „Man's Game“? 

Eh? More than 50% of my correspondents, both here and abroad, are women. 

Maybe you just don“t live right... The elitist little group of international Mail- 

Artists that make the most noise are all men, but mostly by choice. So THERE! 

Your politically-corract mail buddy, Rudi → Rubberoid, USA» 

(The Face of the Congress, #4 / From our Mailbox): «Having just from Europe to 

find that my name has changed. I wish to let you know that for the past 58 years 

and years to come, my family name (is) HOFFBERG, not Hoffman... Judith → 

Hoffberg, USA. / Sorry Judith, we have not editor. Can you lend us an umbrella?» 

«No, besides the fact now we're in a fucking blockade – „as guilty people“ – 

until 6th US Army float in Adriatic Sea, we'll stay open & OPEN WORLD will 

start soon again!... Dobrica → Kamperelic, Yugoslavia» 

«My friends wrote me that our postal service returned them their letters to 

us... It is postal terror... Probably you think about „mail-art heroes“ with smile, but 

now the smile is thing from not our wardrobe. Please smile instead of us. We invest 

our smiles to your bank, for far future... Rea → Nikonova, Russia.» 

«We are sad to learn about Nantucket. Our brief introduction meeting was 

pleasant & good spirited. I want to thank you, or Nantucket,... Richar C., USA. 

Editor's note: In early July our dog, Nantucket, traveled to North Carolina to participate 

in a Networker Congress with Richard C., King Alexander of Edelweiss, Don 

Morgan & his dog.» 

«Mail, Etc., Art: A Travelling Correspondence Art Exhibition.» Univ. of Colorado. Boulder, CO. USA 1979 

°Mail, etc., Art. (Exhibitions in 1979-80) Cat.: (Edited by Bonnie Donahue, Ed 

→ Koslow, Michael Becotte & Robert Fichter) 20x23 cm., col. offset, 

n. p. (64 p.) 464 parts. Reproductions and more essays about Mail Art 

in 3 sections of the catalogue. Published by the University of Colorado, 

the Tyler School of Art, & Florida State University. Boulder CO, 1980 

~ 

Literature: 

«Mail etc., Art is an intriguing publication. Conceptually challenging, it is in many 

ways executed well and in as many ways severely flawed. It demonstrates the 

opportunities and problems inherent in the exhibition and study of mail art, and in 

those publications which attempt to discuss and to present an art form which over 

the last few decades has groown from a small underground network to a major 

international art movement. (...) 

The catalogue grew from a valuable basic idea. The University of Colorado 

launched a mail art show in January of 1979 at its Fine Arts Gallery. The show, 

over the next year, travelled from the Colorado campus at Boulder to the University 

of Southern Illionis, Edwardsville; Tyler School of Art, Elins Park, Pennsylvania; 

Florida States University in Tallahassee and back to Boulder again. It is now 

on a new round of travels. Participants have been welcome to send work to any and 

all stops of the exhibxitions. 

Each of the exhibiting institutions was to help with the publication of the 

catalogue, preparing and printing their own section... Each of the sections of the 

catalogue has a distinctly different look. (...) The scholarly content of the catalogue 

deserves attention... Ron Gasowski interviews himself in the guise of his alter ego, 

Marc D'Chump... R. Pieper interviews Ray → Johnson in a text which is somewhat 

informative (about New York Correspondence School, the major Mail Art show in 

Paris 1971, and the shows in Oakland, Seattle and Omaha in 1872 and 1973, etc. – 

Ed. note)... Jim Field's introduction... discusses the show... The final piece is a 

personal collection of thoughts on mail art by Barbara Jo Revelle...»

(Kenneth S. Friedman: Post Haste: Reflections on Mail Art. In: Umbrella 

[→ Hoffberg], Vol. 3, #3, 56-58 p. May 1980) 

«Mail Art... Of recent exhibitions, certainly the most widely circulated and perhaps 

the largest is the Mail Etc. Art Show. organized... at the University of Colorado, it 

was first presented there in January of 1979. Since the the exhibition has travelled 

to and been reinstalled at a half dozen universities and art schools across the United 

States. It's still moving around, too. At each stop, mail artists were invited to again 

contribute their work. Well over 700 artists are now represented with several 

thousand pieces in the total show. Out of this monumental exhibition has come a 

beautiful catalog. While somewhat scant in good critical essays on mail art... this 

document in nevertheless lush and rich with fullcolour reproductions.» 

(Lightworks [→ Burch], Correspondence, N° 13, Fall 1980, 61 p.) 

!Maillard, Colin! c/o Fricke Verlag Frankfurt am Main Germany 1982 

^Carte Postale / Post für gute Freunde. (Collective Mail Art action ~1979-1981 by 

cards, objects, collages and other kind of applications. „Colin Maillard“ 

is: Francis David, Annick Randija, Pierre-Oliver Parmentier, Françoise 

David, Pierre Peyraube, Renée Palumbo, Patrick Sendrot and Marc 

Jeanneteau.) 20.5x20.5 cm., col. offset, 84 p. Frankfurt, 1982? 

Maillet, Daniel ? Noumea New Caledonia 1980 

°Dixie Postal Art Show. Inv.on A/4 sheet, offset. Noumea, 1980 

 

!Mail Queen! 

→ Tavenner, Patricia 

«MAKKOM, Stichting» Haarlemmerdijk 39. Amsterdam, NL-1013, KA Netherlands 1984 

^Super 8 mm Filmfestival. Cat.: A/4, phc., 88 p. (Films, docs., Mail Art) 1984 

 

^To get close human contact (11 Polish artists with works and performances in the 

style of the underground). Cat.: 19x20 cm., offset, 48 p. Oct-Nov 1984. 

The artists: J. Baldyga, L. Brogowski, A. Dudek-Dürer, H. Gajewski, P. 

Kwiek, A. Knietniewski (Tango), A. Mikolajczyk, R. Piegza, P. Rypson, 

W. Ropiecki, R. Wasko 

^Voices through 1984 (with Hedie Meyling & Joseph → Semah). Cat.: A/5, phc., 

100 p. A «marathon reading»: June 25, 1984 (Orwell's birthday) 

^Language and Silence (Commonpress #54) A/4, phc., 46 p. 44 participants. 

Ed. → Semah, Joseph. Makkom, 1984 

Makkom. Interdisciplinary investigation into Art (A/4 size offset mag. with alter- 

native and Mail Art from the Makkom Stichting. 1985- 2xy?) 

Ed.: → Semah, Joseph / Symons, Jerome. 

Malanga, Denis 4 Av. George Bizet Mont de Marsan, F-40000 France 1985 

^Strange Daze (One-sheet info rag with Mail Art news. A/4, phc. 1985-, ir.) 

Also information booklets in A/5 and A/6 sizes with 12-22 leaves 

published in 1985-86. 

Supplement: Les saignées amnésique, A/5, phc., 18 leaves. 

^ News: #1, 3, 4, Last... ; Booklets: #2, 4; Suppl.: Les saignées... 

Ûniversal Tribut to Jim Morrison. “Absolutely live and realised by Denis Malanga 

with universal participations”. Cat.: Horz. A/4, phc., 20 leaves. 1985 

!Malatesta, Morgana! → Feh! Press 

Malmö / artists c/o Wadstein, Rönnenholmeswegen 6 B, Malmö, S-21147 Sweden 1969 

New Eter (A very early assembling publ., the new edition of the earlier magazine 

from Paris-Malmö, „Eter“. A/4 vis. poetry and concept matter in 

envelope. 1969-73, ~ 2xy, #1-6.) 

→ Gette, P. A. (Eter)

«Mamelle, La» (Edition) Contemporary Arts Press, Box 3123, Rincon Annex. San Francisco, CA-94119 1985 

→ Loeffler, Carl E. 

Manchester mail artists c/o 34 Goulden Road, Manchester. M20 9ZF. UK 1985 

Êlements. 1985. 1 (Language, with Stewart Fergus) Cat.: A/5, phc., 8 p. 

2 (Visual) Cat.: A/5, blue phc., 8 p. 

3 (Audio) Cat.: ? 

Joseph Easthem High School. Hilton Lane, 

Worsley, Manchester. M28 5SY 

^The Heart of the Computer – International Mail Art Show. Inv.-flyer, 1991 

 

Mancini, Enzo Via Castagneto 14. Castellivi (FR) I-03030 Italy 1981 

Sorbo Rosso. Trimestrale d'arte & cultura alternativa (Offset mag. for intermedia art, 

vis. poetry, and theoretical writings. 24.5x17 cm. 1980-82, qu., #0-8?) 

Mancusi, Tim 153 Verde Court, Rohnert Park, CA-94928-2071 USA 1996 

NYCS Weekly Breeder. Vol. 2. N° 10 (#1) Ed. by Tim Mancusi. Letter, ip., 2 p. 

May 1972 

- “ - - “ - Vol. 3, N° 2 (#2) Ed. by Tim Mancusi. Letter, ip., 7 p. 

June 1972 

- “ - - “ - Vol. 3, N° 3 (#3) Ed. by Tim Mancusi. Letter, ip., 10 p. 

Christmas 1972 

The NYCS Weekly Breeder. Vol. 3. N° 5 (#5) Ed. by Tim Mancusi. Letter, ip., 15 p. 

1973 (announced as May 1953!) 

- “ - - “ - - “ - Vol. 3. N° 6 (#6) Ed. by Tim Mancusi. Letter, ip., 34 p. 

1973 

The Very Last NYCS Weekly Breedeer. Vol. 3, N° 7 (#7) Ed. by Tim Mancusi. 

Letter, ip., 17 p. Autumn 1974 

~ 

Sin City. (Magazine in mini size, instant print) 

#1: «Sex-Murder-Dope“ comic, a roommate of B. Griffith's works. 8 p. 

#2: «Adults only» comic featuring the work of the editor & Bill Griffith. 

Some of the comics are reprinted from The NYCS Weekly 

Breeder San Francisco, 1972-73. 

°Bulletin #1. By the Nu-Art Collectif: T. Mancusi, B. Gaglione, M. Cazazza, Anna 

Banana and others. 14x10.5 cm., offset, 20 p. Edited by the Markin Art 

Club, San Francisco. 1976 

The New York Correspondence School WEEKLY BREEDER. Vol. III, 1981. Letter, 

phc. 200 p. Ed. Tim Mancusi and the Bay Area Dadaists. (A complete 

compilation of the seven issues of the NYCS Weekly Breeder edited 

by the members of the Bay Area Dada group. Also reprints an article 

from The Prints Collector's Newsletter (Sept-Oct. 1977); Howerdena 

Pindell: Artists' Periodicals.) 

^Streching the Rubber – exh. at the → Heindesign, Hagen D. Inv.-sticker, 1994 ® 

~ 

Literature: «In the early 1970s The → Bay Area Dadaists were influential in solidifying the 

dadazine as a legitimate form. The dadazine was a collection of „Kwikcopy“ 

printed pieces (printed with paper plates on small presses) with a run of about 200 

copies. The dadazine evolved out of our earlier single sheet mailings. Basically we 

just held back on the mailings until we had enough to staple together behind a 

cover. The covers were the best part. Examples of Bay Area Dadazines include 

The West Bay Dadaist, QUOZ, Dadazine, and The NYCS Weekly Breeder which 

I was editor of from May of 1972 until Fall of 1974. 

Printing and assembling Vol. III of the NYCS Weekly Breeder was always a 

high. We could pick up the pages from PIP-200 copies per page packed in cardboard 

boxes. We'd take them home to the Goodman Bldg., and lay out the stacked 

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. 

collate an issue. 

On the evening of Dec. 21, 1974 I was on my way to Charles → Chickadel's 

apartment to help put together an issue of QUOZ when I was sopped by the SF 

Police Dept. and searched on the street. In my coat pocket they found a stapler and 

1 ounce of marijuana. They confiscated both and I missed assembling that issue. 

I'm sure the stapler is still on some officer's desk.» 

(Tim Mancusi: On Assembling Dadazines (1996). In: Stephen → Perkins: 

Assembling Magazines. International Networking Collaborations [2nd enlarged 

edition] Cat.: Half-legal, phc., 64 p. Subspace, Iowa City. 1996 /Print: 1997. 59 p.) 

How did you get involved with rubber stamps? 

Once again, I can trace my interest in rubber stamps to Ray Johnson. He 

would often add to his mailings with a stamped expression, usually a one line pun 

referring to someone he knew in the art world. These stamps were typeset (almost 

always in 12pt. Helvetica) and stamped in red, blue or purple. What I liked about 

them was that „stamped“ look – uneven coverage, a little blurry, perfectly imperfect. 

After I moved from Levittown, N.Y. to San Francisco, I worked with my 

cousin, Bill Gaglione in an art supply store. Across the street was Patrick's Office 

Supply store. It was there, that Bill and I had our first rubber stamps made. (The 

stamp division at Patrick's was run by Bob Grimes, who years later, would be made 

famous by Leavenworth Jackson). In June 1970, I had Patrick's make 3 different 

images of clouds I had drawn into rubber stamps. Soon after I drew 2 more, the man 

on the moon and the planet Saturn for Hervé Fischer's early anthology of international 

stamp art. It was a precursor of an industry yet to come. 

In 1979 a friend, Joel Rossman, bought a small vulcanizer and we all started 

making stamps like crazy. This collaboration among Joel, Bill and myself led to the 

publication of STAMP ART which was a compilation of rubber stamped artwork 

mailed to contributors. The legacy of STAMP ART is that it led directly to the 

formation of 2 of the world's most successful rubber stamp manufacturers – Gaglione's 

Stamp Francisco, and the company I work for, Rossman's Personal Stamp 

Exchange. 

(Ruud → Janssen: The Mail-Interview with Tim Mancusi. A/5, phc., ?? p. 




Mann, Ernest 2714, 1st Ave. Minneapolis, MN-55408 USA 1988 

↑ 715 E. 14th Street Minneapolis, MN-55404 - “ - 1976 

............................................................................................................................................................. 

Little Free Press (Mag. for exp. literature and theory. 35.5x21 cm. offset leaves, 

folded. 1976-80, #1-30) 

Manuel, Jesus c/o Centro Cultural La General / Acera del Casino. Granada Spain 1990 

Â Federico Garcia Lorca (with Francisco Morales & Rafael Alberti) Cat.: 

27x18.5 cm., offset (colour), 146 p. September 15-30 1990 

Março, Group 

(Gilda Castilloo, Mauricio Guerrero, Manuel → Marin, Sebastian & others) 

104 San Andreas, Coyoacán Mexico D.F. Mexico 1980 

↑ c/o Manuel → Marin, California 19-A. 104. Mexico-21 D.F. Mexico 

............................................................................................................................................................. 

^Março / I Aniversario (Poster size Mail Art magazine with changed title, also large 

catalogue parts. 93x62 cm. folded to 8, offset. 1979-81?, #1-5?) 

Group Março, Mexico 

°Polaroid SX-70 en Mexico. Cat.: 20x20 cm., offset, 12 p. spiral bound.La Chinche.

Mexico DF, 1979 

^#4-5 

^Mail Art Exh. (Org.: Manuel Marin) Cat.: in: Março #4-5. Nov. 1980 

 

Marioni, Tom Crown Point Press, 1555 San Pablo Av. Oakland, CA-94612 USA 1975 

Vision (Concept art + actionism collected from East and West, a very informative 

publ. in the 80s. Special issues: #1: California, #2: Eastern Europe, 

#3: New York City. 34x20.5 cm., offset. 1975) 

Marin, Javier Rua Timbiras 242. Apto. 24. São Paulo Brasil 1975 

On / Off (Assembling for Mail Art matter in div. sizes: A/4, A/5, loose sheets and 

postcards in envnelope. 1975, #1-3) 

Marin, Manuel Calzada de la Viga, 1416, edif. i-17 Mexico D.F. Mexico 1982 

↑ California 19-A-104, Coyoacan 04000, Mexico 21 D.F. - “ - 1981 

............................................................................................................................................................. 

^Março / I Aniversario (Poster size Mail Art magazine with changed title, also large 

catalogue parts. 93x62 cm. folded to 8, offset. 1979-81?, #1-5?) 

Group → Março, Mexico 

^#4-5 

Âlgo Pasa (Mail Art assembling in envelope of 24x18 and 33.5x24 cm. 1981-, 

#1-12?) Group Arte Correo, Mexico 

^#9, 12 

°Ficcion. 18.5x12 cm., rubber stamps, 12 p. {100}. Self Edition. n.d. 

® 

°En Espera. 24x16.5 cm., rubber stamps, 16 leaves. {35}. Self Edition. n.d. ® 

°El Desmebrado. 15.7x12.2 cm., rubber stamps, 24 leaves. {10}. Self Edition. n.d. ® 

°El Cuento Fantastico. (10 artists' stamps mounted on a sheet of 14.5x11.5 cm.) n.d. 

Ârte Correo, Series antologica, 1. (with J. de → Santiago) Cat.: 21x19 cm., offset ® 

+ rubber, 40 p. 36 parts. / Universidad Nacional Autonoma de Mexico / 

ENAP, UNAM. May 1981 

Âquí I. – alternative graphic project via Mail Art Inv.-letter, 1981 

 

Âquí II. – rubber action. Doc.: One sheet of 36x20 cm., offset. / Galeria Juan Martin, ® 

Amberes 17, 06600 Mexico D. F. 1982 

Âquí II. Doc.: 34x21.5 cm., phc., 4 p. / Arte Alternativo. In: Centro de Investigacion ® 

Sobre Fijacion de Nitrogeno. September 23, 1982 

Âquí 1, 2 y 3. Cat.: 22.5x20.5 cm, offset, 8 p. /Universad Nacional Automia de 

Mexico. 1982 

Âquí (100 postcards with orig. rubber stamps, doc. of the whole project) 1982 

Ârtistamps: (Without title) (Sheet of 32 diff. stamps/drawings, b/w phc.) n.d. 

~ 

Literature: 

® 

® 

 



Mark, Angela / Shores, Michael, P. O. Box 901. Allston, MA-02134 USA 1982 

Âmerican Living (A very visual edited mag. for xeroxed images and collages only, 

partly colour xerox covers. Digest, phc., 32 p. 1982-88, qu., #1-25) 

^#1, 3, 6, 7, 9, 18, 19, 20, 22, 23, 24 

~ 

Literature: 

«Both of these examples of American Living (#19, #20) are literally edge to edge 

with collage imagery, with source material coming from elementary science books, 

steelpoint engravings, drawings, etc. Rather similar to Cansas College of Collage 

stuff. Sort of Max Ernst meets the Marx Brothers but it doeosn't make that much 

sense. They kind of strike me like those Slacko Vorkapich montages from hollywood 

movies where they let him crossfade between several different picture sources 

to create an a syntactic mélange of loaded juxtaposition & the effect, sans context 

as here, is dreamlike.» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 23, April 

1987, 741 p.)

«Markt, Galerie am / Annaberg-Buchholz» → Milde 

Marlow, Jack Fehrfeld 61 / 64. Bremen-64, D-2800 Germany 1979 

Kryptogame (Alternative lit., Mail Art and graphism. A/4, offset, 48 p. 1979-) 

Marquant, Axel / Decke, Thomas c/o Westfälischer Kunstverein, Münster, D Germany 1979 

°Sprachen: Jenseits von Dichtung. Cat.: 213 p. (72 parts.) Testx by J. Adler, 

B. Cobbing, A. Marquant, S. J. Schmidt & K. P. Dencker. 1979 

Marras, Amerigo Kensington Arts Ass. 4 Kensington Av. Toronto, M5T 2J7 Canada 1975 

Super-Vision (Marginal art, Mail Art, very visual outfit, also as catalogue for a Mail 

Art project. 22.5x22.5 cm., offset. 1975, #1 only?) 

Marroquin, Raul P. O. Box 1196 Maastricht Netherlands 1974 

^Fandangos («Fandangos isn't an art paper but an art piece...[N°5]», mag. for post- 

fluxus, concept and performance matter in a very visual edition. Var. 

sizes from A/2 to A/4, newsprint and offset, 1-64 p., not dated and not 

numbered issues. 1973-81, 11 issues) 

^ #Stereo Fandangos 

°Phonomic Performances (1974-1975). (22x14 cm., offset, 20 p. Mad Enterprizes 

Inc., Maastricht, 1975 

Installation Pieces – Peformances. No catalogue. Exhibition & performances: Ecart 

Gallery (→ Armleder), Geneva. March - April, 1976 

~ 

Literature: «Fandangos grew from the International Meeting of artists held in Maastricht last 

year. The meeting now continues in newspaper form, edited by Raul Marroquin and 

Marjo Schumans. Issue 4 (titled Vandangos, by Klaus → Groh) heralds a change 

from silkscreen to offset production, and an improvement in the layout... Issue 5 

(titled Fun-dangos, by Michael → Gibbs) is pinted on blue paper, which happens to 

be the colour of the eyes of the interviewer of Tony Pegotti (a. k. a. Anton Verhoeven) 

to whom 4 pages are devoted. (...) have also a few books, produced by silkscreen, 

mimeo or litho methods. Titles include „The Adventure of Captain Morgan“, 

„Outlines“, How?“, „Body Monuments Inc.“ (a documentation of Marroquin's 

aborted attempt to perform living sculpture at the Stedelijk Museum), and „Changing 

Personalities“. The last-named is perhaps the best of the bunch, the others being 

rather sliht...» 

(News and Reviews. In: Kontexts, #6-7 [→ Gibbs]. Amsterdam, 1975. n. p.) 



Mars, Diana c/o Ed. of Intermedia Research, Maps & Games, 3625, 23nd St. San Francisco, CA-94110 1995 

Bookworks. Colaboraton with the Rubber Stamp Gallery by → Gaglione, 1990s ® 

^Spin Traces #1-4, Key, #1. (5 cards by original rubber stamps in envelope) ® 

50 signed and numbered copies. San Francisco, 1995 

Marsily, Anne → Schraenen, Guy / A. S. P. C. 

Martin, Manfred Schnoorstr. 27 Leipzig, (GDR-7031→) D-04229 1984 

Nonsense Objekte – Mail Art Patente. Invitation. Leipzig, 1984 

 

^The Book of Stamps. („Nur für Dienstgebrauch“). Artists' book by original rubber ® 

stamps on white felt sheets, bound to book. A/6 size, ~10 leaves. 

A few copies only. 1985 

Martinou, Sophia Tersphioris 9. / Holargos Athens, GR-15562 Greece 1982 

Create / Indicate a Street Art Expression... Invitation. 1981 

 

Ênvironnement mediterranéen. Poster with participant list, 50x35 cm., offset.

Universitat de Barcelona, Spain. July 1982 

^Maskes. Doc.: Poster of 58x42 cm., offset. Athens. March 1988 

Mail performance: Punctuations. (17 artists' minimal performances) Athens, 1992 

^Mail Art: Scenarios for possible future. (Essays and answers to the questions 

considering the invasion of new communication and informationn 

technologies by 95 artists. E.g.: «The utopian idiot in us will never 

die» by V. → Baroni.) Cat.: A/4, phc., 130 p. Athens, 1997 

 

 

 

Marx, Graciela Gutierrez, Calle 8. N°332. CP: / Cas. de Cor. 266., La Plata, AR-1900. Argentina 1991 

↑ Cas. de Cor. 749 La Plata, AR-1900 - “ - 1985 

............................................................................................................................................................. 

Artistamps: °(Without title) (Sheet of 4 diff stamps, each 3.5x4 cm., oicher & sepia 

on white) Marx Vigo's Stamps. La Plata, ~1978 

Pigeons of Freedom (with → Vigo, E. A.) (Commonpress #19) 19.5x13 cm., 25 p., 

24 participants. La PLata, 1979 

Los codices marginales de / The marginal codices of / Ma Ma BLAnCa. («Family 

group assembling a myth. N° 1.») Portfolio publ. of 19x25x1 cm. with 

50 photocopied leaves (compilation of texts, images, letters, photos, 

etc. by the «family members») + 4 sheets participant list (138 names). 

Confusion (ED) post año 1 – libro 1. Marginal post poetry – asociaciòn 

aleatoria. March 19. La Plata, 1980 

Send a paper-flower to Soledad. («Changing-Chance project») Publication of letter 

fragments and texts to/about Soledad (the lonely), was it a project? 

Con-fusion (ed.) Marginal Mailable Editions. 1980 

Mamablanca's Treasure. («You can send your marginal gifts to Mamablanca when- 

ever you want...») Cat.: 53x36.5 cm. poster, offset recto/verso, 

with graphics, photos and part. list (128 artists), + Spanish/English text 

suppl. of 34x22 cm., phc. {200}. Project: 1981. Edition: April 1982 

^Fusion Post Archive – request for send in Mail Art archive materials. Inv., 1985 

^Hoje-hoja-hoy (Politic, theory, poetic and communication, often with beautiful 

graphic supplements as folded to two or to four handmade applications. 

A/4 and 24.5x20 cm. size sheets, offset, phc., and rubber / wood prints. 

1985-92?, #1-7?) Asociación Latinoamericana y del Caribe de Artistascorreo 

/ Mamablanca 

^#Vol.1/1, 2, 3, 4; Vol.2/5; #1990 (March), #1992 (#7) 

^Grupo de Familia / circuito int. de Arte Correo (Mag., partly assembling, ~30x22 

cm., phc., ~20 leaves. 1991-, #1 only? ) Edited by G. G. Marx & Martin 

Eckmeyer / Volker → Hamann / Silvia Lalli / Susana G. Lombardo / 

Clemente →Padín / Graciela A. Falbo. 

^Pensée Abductive, Pensée Creative... Travail rapporté an Séminaire de Sémiotique 

et Pragmatique du Prof. Hermann Parret, faculté des Humanités de La 

Plata. (A/4, phc., 5 sheets) 1994 

^Las Puwertas de la Trapalanda... (with Jorge Ramaller). Inv.-1997 

 

~ 

Literature: 



Graciela Guttiérrez Marx: A Folk Art Without Artists. In: Chuck Welch (ed.): 


Vittore → Baroni: Edgardo-Antonio Vigo e Graciela Gutierrez Marx. In: Arte 

Postale. Guida al network della corrispondenza creativa. (Text: Italian) AAA Ed. 

Bertiolo, 1997. 112-114 p. 

Marzidovsek, Mario. Titova 39, Slov. Bistrica, YU-62310 Yugoslavia 1985 

^Laboratorium (Mail-Art, Book-Art, 1985) Xerographied documents. A/4, phc., 24 p.

Masic, Radomir M. Tita 266-B Kula, YU-25230 Yugoslavia 1983 

Art Ipso Facto (Art in the consequence of act) (with → Zagoricnik, F.) Doc. 

Învitation: 1984, exhibition: Kranj, Ljubljana, 1984 

Mason, Rainer M. c/o Cabinet des Estampes Genève Switzerland 1976 

°Timbres et tampons d'artistes. Cat.: 79 p. / Cabinet des Estampes, Genève, 1976 

Massa, Jacques 3 rue Clemence Royer Nantes, F-44100 France 1992 

↑ 75 rue de l'Oureg Paris, F-75019 - “ - 1986 

............................................................................................................................................................. 

Â mail art surprise. (Planned as an exhibition Mail Art Power / Offensive Art Postal 

for the „Diagonal / Espace Critique“ Paris, and the „Alternativa 4“, 

Cascaix, Portugal. A cooperation project with Egidio Alvaro and E. 

Pottier, as exhibition curator) Cat.: A/5, offset, 40 p. Also poster 

with part. list: 58x40 cm., 2 colours offset. Exhibitions: 

Palacio d'Abraxas – Noisy le Grand, March 8-22, 1986 

L'espace critique – Diagonale, Paris, June 1986 

Matamaros, Fernando: Apartado 295 San Sebastian Spain 1984 

Êlementos de quedispone. (Concrete poetry) Self edition. A/5, phc., 1984 

 

Ûnd so weiter. Estampas donostiarras, 1. (Graphic works) S. E. 11x8,5 cm., phc., 

long accoordion size booklet (21x). ~1984 

^Servicio de Socorro (help service). Mini accordion book with portraits and data of 

disappeared persones (polit art). 8.7x5 cm, phc., 8 p. (recto-verso). n.d. 

(~1985) 

Máté Gyula Alkotmány út 39 Bonyhád, H-7150 Hungary 1996 

^13 Electrographics 1971-1991. (Phcs on the basic of electromicroscope images) 

Cat.: Accordion like small publ. with two sheets of 15x42 cm. r/v, 

phc., folded to 4. Exh.: Hospital in Bonyhád H, 1991 

Ênamelled Pictures, Electrographics – Tüzzománcképek, elektrografikák. 

 

Cat.: (Text: Engl., French, German, Spanish, Hungarian) A/5, phc., 28 p. 

Szombathelyi Képtár, Szombathely H-9700, 1993 

^Wire Brush Art. (Drótkefe müvészet, elektrografikai alkotások) A/4, phc., 64 p. 

Anthology of electrographics and texts (Hungarian). S. P. 1969-1994. 

^The Hundred Year Anniversary of László Moholy-Nagy. (Org.: Máté. Photos only) 

Doc.: Two A/4 sheet with participants list and diplom. / Museum of 

Photography. Katona J. tér 12. Kecskemét, H-6000. 1995 

^Speckled Cow. Inv.-card, 2000 

 

~ 

Literature: Gyula Máté: Wire Brush Electrographic Art. In: Leonardo, Vol. 28, N°2, 155 p. 

1995 

Gyula Máté: Grafi®kák. (Monographical anthology of electrographic works with 

texts, quots and many images) A/4, offset (also colours), 84 p. Ed. Babits, Szekszárd 

(Hungary), 1999 

Mather, Mick 1014 Willis Ave. Syrakuse, NY-13204 Italy 1984 

4-U-2 Post Magazine (One-sheet magazine with images like cartoons. Folded, inside 

page empty for personaly message. Letter size, phc., 1984-, ir.) 

Mathes, Karsten Schloss Strasse 1, Box 152 Rochsburg, GDR-9291 Germany 1985 

^Castle Peace Project. Inv.-card + invitation to vernisage (original photos), 1985 

Matkovic, Slavko Group Bosch & Bosch. Stipe Gryca 32 Subotica, YU-24000 Yugoslavia 1972 

Sove Vukovica 18 Novi Sad, YU-21000 - “ - 1972 

.............................................................................................................................................................

^Kontaktor (with → Szombathy, Bálint) (An early assembling in envelope of 23x35 

cm., with ~20 leaves each issue, vis. and exp. poetry and image matter. 

1972-73, #1-2) Edition Group Bosch + Bosch 

Permanent exhibitions on Mail Art, Subotica, 1973-75. . 1973 

 

^WOW (with → Szombathy) (Mag. partly rubber-assembl. 1974-80, #1-6) ® 

N°1, A4 size magazine {45}, 1974 

N°2, 30x41.5 cm, four colour silk screen {150}, 1974 

N°3, 50x18 cm, folded, offset {210}, 1975 

N°4, 30,5x45 cm, offset, info, Yug. & Hung. altern. art scene, 1975 

N°5, 50x18 cm, 4 sheets r/v., int. issue, Würzburg {300}, 1976 

N°6, 2 oversize sheets with orig. rubber stamps {120}, 1980 

^#1, 3, 4, 5, 6 

Special / Unusual / Strange Material. Doc. 1985 

 

^Ragasztószalag szövegek. 19x21.5 cm., offset, 50 p. Új Symposion Füzetek, 

Novi Sad YU. 1989 

November 2, 1994 1994 

~ 

Literature: 



B. Szombathy: Alternative Art Periodicals Published in Yugoslavia During the 

1970s. In: Stephen → Perkins: Assembling Magazines. International Networking 

Collaborations (2nd enlarged edition) Cat.: Half-legal, phc., 64 p. Subspace, 

Iowa City. 1996 (Print: 1997). 52-54 p. 

Maue, Kenneth P. O. Box 5001 Mill Valley, CA-94942 USA 1986 

^Rollmag (Magazine with contact texts only. Letter, offset. 1986?- ~ 20#) 

 

^#1987, #14, 15 

^This is not art. (11 cards with visual poetry in envelope) n.d. 

 

Maurer, Dóra Stefánia u. 18 Budapest, H-1143 Hungary 1996 

↑ Káplár u. 10/b. Budapest, H-1024 - “ - 1978 

↑ Szász Károly utca 2 Budapest, H-1024 - “ - 1968 

............................................................................................................................................................. 

↑ Glockengasse 22 Wien, A-1020 Austria 1986 

↑ Artillerie Platz 1/3. Wien, A-1140 - “ - 1968 

............................................................................................................................................................. 

^Szövegek / Texts. Doc. Poster. Exh.: (forbitten): Chapel-Gallery, Balatonboglár H, 

1972 

~ 

Source: ^Künstler aus Ungarn. Cat.: A/4, offset, 100 p. Kunsthalle Wilhelmshaven. 

August- 

September 1980. Org.: Dora → Maurer & Joachim Diederichs. Introdution texts by 

István Hajdu & Jürgen Weichardt. Artists: A Mengyán; T. → Gáyor; D. Maurer; 

P. Türk; Zs. Károlyi; J. Megyik; Gy. Jovanovics; K. Halász; A. Baranyay; T. Szentjóby; 

M. → Erdély; The Studio of New Music, Budapest. Also the chronology of 

the progressive art movements in Hungary 1966-1980 (Author: Dóra Maurer). 

Mayor, David Beau Geste Press, Langfourt Court South Cullompton, Devon, United Kingd. 1972 

Beau Geste Press Publs. (with Felipe & Martha Ehrenberg) by artists from the post- 

fluxus scene. Mostly mimeographed A/4 or A/5 booklets in an edition 

of 100-250 copies. First half of the 70s. Some items: 

David Mayor: Auto book. 10.7x15 cm., mimeogr. 26 p. {50}. 1971 

David Mayor: Extra: Some words and visions. A/4, mimeogr. 38 p. 

{100}. 1971 

Mick Weaver: Dreck. (Assembling like publ.) ~A/4, ~1971 

Allen Fischer: Spaces for Winter Solstice. Mini size, 20 p. 1972

Yukio Tsuchiya: Works in Progress 1972-73. A/5, in more editions. 

Helen Chadwick / D. Mayor: Door to door. ~A/5, 32 p. {250}. 1973 

Allen Fischer: Taken the Days... 18.5x13 cm, offset colour. 16 p. 

{450} 1974 

Raul → Marroquin: How? 20.5x17.5 cm, mimeogr. 28 p. 1974 

Klaus → Groh: Art-Impressions. 18x13.5 cm., offset, 24 p. 1975 

Jaroslaw → Kozlowski: Lesson. 22x16 cm., offset, 100 p, {400}. 

1975 

Ben Vautier: Me Ben I sign. A/5, offset, 34 p. {400}. 1975 

^Schmuck (with Felipe Ehrenberg) Perhaps the most important European magazine 

publication in the first years of post-conceptual age, an example 

of the new independent mags. A very rich document about the time of 

birth of the underground arts – and also of the Mail Art mouvements. 

Edited and entitled after countries: 

#1) ? Schmuck, 1972 

#2) Icelandic Schmuck, July 1972 

#3) Hungarian Schmuck, Apryl 1973 

#4) Czechoslovakian Schmuck, January 1974 

#5) General Schmuck, Summer 1974 

#6) French Schmuck, November 1975 

#7) Teutonic Schmuck, December 1975 

#8) Japanese Schmuck, Spring 1976 

Sometimes with collage technic, all issues manufactured partly by hand. 

Cut A/4 sizes, offset and mimeogr. ~80 p. {~ 500}. 1972-76, #1-8 

^#Czechoslovakian, #Hungarian Schmuck 

 

^Fluxshoe. (with → K. Friedman, & M. Weawer) Cat.:, anth. A/4, offset, 144 p. 

(with 88 participants.) Beau Geste Press, 1972. 

One of the most important doc. about the taking shap of the international 

network. The exh. was originally conceived as a travelling show «...with 

the intention of exhibiting the published work of the many artists, nonartists, 

and an-artists who have published or performed with Fluxus...» 

(Introduction). In retrospect it can be proved that also representatives 

of the Fluxus as well as the pioneers of the Mail Art and the other alternative 

trends have been exhibited in the Fluxshow. Among the artists: 

Fluxus: J. Beuys, G. Brecht, R. Fillliou, H. Flint, D. Higgins, G. Maciunas, 

B. Vautier, E. Watts... etc. 

Pioneers of the network: D. Atchley, R. Crozier, K. Friedman, B. Gaglione, 

K. Groh, D. Maurer, P. L. Nations, E. Tót... etc. 

Vis. Poetry: H. Chopin, M. Diacono, M. Gibbs, M. Nannucci... etc. 

Alternative art: J. Lennon, Y. Ono,.. etc. 

°Framed Pieces. (Bookwork, 20.5x17 cm., mimeogr., collage, 28 p.) Beau Gest Press, 

Devon, n.d. 

~ 

Seurce: 

^Beau Geste Press. A community of duplicators and printers doing discovering 

and disseminating... (One sheet leaflet of 33x20.5 cm., offset, n.d. ~1971) Some 

publications: 

O. L. → Nations / F. Ehrenberg: The Man Who Entered Pictures. Mimeogr. 

{150 + 30 special copies} 

O. L. Nations: Banners Death. «A boomerang cut from a slice of cured 

bacon». Wirh original stancil images. {60 + 30} 

Carolee Schneemann: Parts of a Body House Book. (Low-cost facsimile of 

the limited edition) Mimeogr. 

Felipe Ehrenberg: Cantata Dominical. (Hand-colored and hand-bound) 

Mimeogr. {50}

~ 

Literature: 

Sitting Dog & Co.: Manifesto Pamphlet. (With diagrams on biotechnic 

power production) Mimeogr. 

(Schmuck, #5 – „general“ anthological issue...) News and Reviews. In: Kontexts, 

#6-7 (→ Gibbs). Amsterdam, 1975. n. p. 

(Teutonic Schmuck / French Schmuck / Japanese Schmuck) News and Reviews. 

In: Kontexts, #9-10 (→ Gibbs). Amsterdam, 1977. n. p. 



McCharty, John 1459 W. Cortez St. Chicago, IL-60622 USA 1989 

↑ 304 S. Summit, #102 Iowa City. IA-52240 - “ - 1987 

............................................................................................................................................................. 

^Nada (A one-man mag. on «dada», thematic issues. Letter, phc., ~40 p. 1987-, squ.) 

~ 

Literature: 

^#1/5, 7, 10; 2/1, 2, 7, 9; 3/1, 2, 3, 6, 

(Nada, #2): «The title has to do with the idea that our culture is not in any way 

immune to the things going on in other countries, and the theme only manages to be 

struck in glancing blows. All the work in here is by the editor. Certainly John is a 

inheritor of dada, in that his works free-associate from line drawings in owner's 

manuals, something like the debris of Schwitters' Merz in booklet form.» 

(Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 29, March 1988, 994 p.) 

McCarthy, Paul P. O. Box 2022. Boulder, CO-80306 USA 1988 

↑ P. O. Box 41487. Los Angeles, CA-90041 - “ - 1976 

............................................................................................................................................................. 

Criss Cross (with R. Kallweit, C. Pichert, F. Worden, C. Dijulio) (Anthological re- 

view for exp. art, actionism, performance and exp. literature. Tabloid 

of 40x29 cm. with newsprint, or 20x22 cm., horz. offset size, also in 

colours. ~60 p. 1976-, qu.) 

McConnel, White Modern Myths Prod. 55353 Bryabt St. Oakland, CA-94618 USA 1978 

Stop Looking (A Mail Art mag. also assembling issues. Letter, offset. 1978-, bim.) 

McInnis, Mic P. O. Box 278, Cambridge, MA-02141 USA 1987 

Nightmares of Reason (Collections of prose, poetry and xerox-type collage graphics. 

Offset, var. size, ~40 p. 1987-, sm.) Assosiated with The Primal Plunge, 

bookstore of small press works, 107 Brighton Ave. Allston, MA-02134. 

McKinnon, Patrick & Andrea / Backen, Bud. 1619 Jefferson, Duluth, MN-55812 USA 1992 

↑ Suburban Wilderness Press, 430 S. 21st Ave. Duluth, MN-55812 - “ - 1985 

............................................................................................................................................................. 

^Poetry Motel (Mag. with entertaining collection of poetry, prose and xerographics. 

Half-legal, phc., ~40 p. 1985-, squ. /«is born every 260 days», ~ 20# 

^#10 (1987), #18 (1992) 

~ 

Literature: 

 

«Duluth's snowdrifts & subzero weather haven't kept Patrick McKinnon (& Co.) 

from getting this publication or his own fast funny satire out into the small mag/mail 

art/networking world. There's a lot to read here, typed, cut & pasted over various 

painted/xeroxed beackgrounds. I might have called this experimental writing back 

in the 60s or early 70s. One of the longer pieces in issue 9 is a eulogy for Lyn 

Lifshin & Charles Bukowski (!), & those who like Bukowski will probably go for 

much of the writing in this magazine.» 

(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.)

«Excellent issue (#12) features prose, poetry, and the sloppy graphics we've come 

expect from Poetry Motel. There is a wonderful essay by Kathy Brady called „Up 

the Pop Charts“ which ruminates on the essential cycle of popular taste and deals 

with the issues of this head-on. Really and truly, this issue is worth the price...» 

( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 29, March 1988, 999 p.) 

McMahon,Terence / Teuty, Jan, 33513. 6th Street Union City, CA-9457 USA 1971 

The Fault (Very visual mag., a lot of MailArt. 24.5x17.5 cm., newsprint. 1971-, ir.) 

The Punk/Dada issue of Fault, edited with the Casual Abuse, contains exh. matter 

with collages and free contributions + a disk. Size: 33x21.5 cm. 1981 

→ Interdada '84 

 

McNulty, Dan 4040 Grand View Blvd. - Ste 67. Los Angeles, CA-90066 USA 1989 

^The Rubber Stamp Folio (A generous edited colour offset magazine, but in a ex- ® 

cessively late time for such a kind of rubber stamp art – the publication 

was stoped after two issues. Letter size, offset, 12 p. 1989-, qu. #1-2) 

^#1, 2 

Meade, Richard 2241 Ewing St. N°1. Los Angeles, CA-90039 USA 1980 

°First Erotic Mail Art Show. Cat.: Digest, offset, 18 p. ~200 parts. Zero Gene- 

ration. 1980 

°Show for the Eyes (with Terry Cannon). International Mail Art/Film Project. 

Cat.: Offset brochure of 10.5x7 cm., with an 11x7.5x 4 cm. suppl., 

73 parts. Show and edition at the Filmforum, Pasadena CA. 1982 

^2nd Los Angeles Erotic Mail Art Show. Inv. (The sexual olympics... Erotic 

Athletics... etc.) 1984 

^Data File (Assembling, digest size {150} with thematic issues published in 

alphabetical order: Animals, Baggage, Couple, Death, Erotic, Face, 

God, Horror, Idol, Joke, Kitsch, Los Angeles, Militarism, Nude, 

Open, Pain / Pleasure, Quotes, Rubberstamps, Stamp, Time, Ugly, 

Vehicle, Wiered, XX, Yourself, Zero. 1983-90, squ. #1-26) 

^#1-26 

Artistamps: ^Data (Sheet of 56 id. stamps, phc. on yellow paper) n.d. (1985?) 

^Visual Data (40 offset images, 6x6 cm., + text in a plastic box {30}) 1986 

 

^Visual Data (32 offset pieces + xeroxed text sheet in a mini box{60}) 1987 


~ 



Medeiros, J. Rua Artur Bernardes 761. Alecrim, Natal RN., BR-59000 Brasil 1975 

Projeto. Poemas / procoesso & poemas experimentas. (with → Samaral) 

 

(A/5 assembling in envelope of 18x25 cm. 1975?) 

°Expoetika 77. (with Falves → Silva) Inv. on postcard, offset. Natal, 1977 

 

Letreio (with Falves → Silva) (Mimeographed mag. for experimental poetry and 

texts. Eessays about new art. 32x10.7 / 21.5 cm. 1977-, #1-4?) 

°Povis (A/5 assembling for vis. poetry and Mail Art in envelope of 16x21 cm. {200}. 

~30 contributors in each issue; F. A. Bitta, C. Piovani, L. F.. Duch, P. J. 

Ribeiro, J. Branco, C. Padín, L. Yurkovich, A. Spatola, G. Nicolai, P. 

Bruscky, S. Hanson, J. Medeiros, & others. 1977-, #1-5?) Alecrim 

°Arte Correio. Doc. 21..5x31.5 cm. sheet, phc. with the list of 50 parts. 1978 

°The First Int. Exh. of Mail Art. (with G. Padua) Doc. 32.5x23 cm., phc., rubber 

stamp. 111 parts.. Alecrim BR, 1978 

«Media, De» (Club & Gallery) Molenstraat 165. Eeklo Belgium 1986 

→ Boever, J. de

«Medium Mangels Masse» (German mail/copy artists.) Germany 1983 

Medium Mangels Masse (A/4 assembling about xerography {30} by div. editors 

from Germany, 1983-85, #1-4) 

#1. Na, Alter, alles klar? / Bernd Philippi, Saarland, 1983 

#2. Warte nur, balde... / Rosvitha → Rydl, 1983 

#3. Alles so schön bunt hier. / D. Bubel & G. Feld, 1984 

#4. Amerikafahrt. / Peter Beicken, 1985 

Mednick, Scott A. ? Providence, RI USA 1978 

°P.O.T.V. Mail Art Exh. Inv. 41.5x21.5 cm., to fold, phc. providence, 1978 

Mela, E. 

Dada-Relief Front 

Melbourne / artists. 201 Brunswick St. Fitzroy, AU-3065 Australia 1983 

Fringe Network (By a coalition of non mainstream artists in Victoria. 1983?-?) 

~ 

Literature: «Fringe Network... publishes a fascinating newsletter which gives you insight into 

what is really happening in Melbourne, has a lobbying service, creates minifestivals, 

and does a big Art Festival annually... 

(Umbrella (→ Hoffberg), Vol. 6, #1, 31 p. 1984) 

«Melkweg» (Underground Club & Gallery) Lijnbaansgracht 234 A. Amsterdam, Netherlands 1985 

^TAM was here. (by Ruud → Janssen) Doc. 

 

Melnikov-Starquist, Willi R. 12/2-3-56 Ul. Svernika, Moscow, 117449 Russia 1996 

IntellectuAll-the-Photoemotiations & Hyerogliphotopoetry Show 

Photo 

(Slide-theater). Doc. 1995 

Memoria Pulp (Andre Schuler / Oliver Ruts). Bachgasse 1, Meersburg, D-88709 Germany 1992 

Censorship Invitation, 1992 

 

Memorial Group, The (→ Monty Cantsin, Nat. Slovikoski, Björn Balcke, → M. Bloch, Oliver 1992 

Gassner, G. → Haufen, S.→ Home, Helix Lott, Jena Parson, Berit Shuck) Berlin? 

............................................................................................................................................................. 

^Smile / The Anatomy of Neoism. (A late appeared & collective edited issue about 

Neoism entitled with a hint to the Smile mania. A/4 horz. size, phc. 

28 p. 1992, #1) 

«Memory Bank, The» → Truck, Fred 

Mena, Abelardo 

Curator for Foreign Art at the Museo Nacional Palacio de Bellas Artes, Habana Vieja. 

19# 1164 Apt. 5 Vdo Habana, 4 – 10400 Cuba 1995 

Privat: 19# 1362 Apto 15 % 24 y 26. Vedado C. Habana CP 10400 Cuba 1994 

............................................................................................................................................................. 

Banco de Ideas Z. A Cuban variant of the Image Bank (→ Western Front) to collect 

artists' work on alternative basic. Curator: Abelando Mena (From 1994) 

^Havanna '95 International Mail Art Show in Memory of Ray Johnson. 

 

Cat.: 21x16 cm., offset, 60 p. (Texts: A. Mena & John → Held) 

Museo Nacional, Habana Vieja, Cuba. February 26 - March 15, 1995 

Mendes, A. / Qzevedo, S / Diko, J. Porto Portugal 1980 

°La Carte Postale. Inv. on A/4 sheet, mimeogr., rubber stamps. / Gruppo Puzzle. ® 

Porto P, 1980 

Menezes. Philadelpho. c/o Centro Cultural São Paulo 

Rua Vergueiro 1000. Paraiso – São Paulo – SP. CEP 01504, Basil 1986 

Înternational Exhibition of Visual Poetics – Mostra International de Poéticas

Visualés. Cat.: 18.5x20 cm., offset, accordion (3x). Text by Philadelpho 

Menenes. Exh.: Museu de Arte Contemporanea de America (MACA) 

Sâo Paulo. Apr 19 - May 26, 1988. 

Î. International. Exhibition of Visual Poetry of São Paulo. Cat.: 27.5x16 cm., offset, 

174 p. / Centro Cultural São Paulo. 1988 

Înt. Exhibition of Visual Poetics = Mostra Int. de Poéticas Visuals. Doc. (accordion, 

18.5x20 cm. 3 parts) / Museu de Arte Cont. de Americana. São Paulo, 

CEP BR-18470 S.P. 1991 

«Mercer Gallery» / Monroe Community College. 1000 E. Henrietta Rd. Rochester, NY-14623-5780. USA. 1988 

^First International Mail Art Exh. 1988. Invitation leaflet. The exhibition has been 

repeated in the following years (1988-1996, too. Letter size photocopied 

catalogues done. The most important event in this exhibition series: 

^Montage ’93 – Festival of the Images (not only collages – with electro- and computer 

graphic, etc.). In co-operation with the Visual Study Workshop, Rochester. 

Inv.-card, 1993 

Mercer, Trudy emPo Publications, 602, 15th Ave., E. Seattle, WA-98112 USA 1986 

^Red Line Magazine (Mag. Diverse sizes, phc., 32-40 p.1986-88, ~ 9#) «...mostly 

poetry/prose, with a smattering of graphics/word play and a leaning 

towards visual poetry experimentations.» (Box of Water, #4 → Perkins) 

^#7, 16 

~ 

Literature: 

«Hopefully there are some back issues in stock somewhere, because this fine 

experimental mag is just a 9-issue project, & #8 is just about out. A carefully 

selected number of mostly concrete & experimentale poems are presented in a 

different format each issue. A majority of contributors are in more than one of the 

past issues, a point which is no complaint. Each publication in this nebulous network 

seems to draw a particular wavering circle of artists within it. The issue before 

me (#7) is 4½ wide by 17“ long! w/some shorter size pgs inside. Editor Thrudy 

Mercer has selected more of her own pieces for #7 than anyone else's, & tho this 

might not be very democratic, it does make for an exciting & strong publication.» 


!Merlin! (Ivan Jelincic) Müggenkampstr. 1, Hamburg, D-20257 Germany 1998 

↑ Klenovacak 23, Zagreb, YU-41090 Yugoslavia 1985 

............................................................................................................................................................. 

Êlbart 98 – the Harbor of Hamburg – Mail Art Show (with H. → Baumüller) Inv. 

!Merz Mail! Pere Sousa. Apdo 9326 Barcelona, E-08080 Spain 1994 

^P. O. Box. (Mag. for Mail Art, visual poetry and relative matter, A/5, phc., ~40 p. 

1989? – 1999, qu. #1-36) Merz Mail, Barcelona 

^#35, 36 

^Homage a K. Schwitters. A/4, offset, 72 p. (Spain / Engl.) l'Ass. de Performers, 

Artistas i Poetes. Apdo 9554, Barcelona. Sept. 30 - Oct. 27, '94 

^La tarjeta postal en el Mail Art. Cat.: A/5, offset, 8 p. c/Rec, 22, Barcelona. 

September 26 - October 13, 1995 

Â cargo de Alberto Biote. Cat.: / Gal. 23 Y 12, Calle 23, N° 518 e. Habana, 1995 

Texts: P. J. Gutiérrez: La democracia absoluta 

A. A. Biote: Así ocurrió 

C. Padín: El network en Latino-america 

E-A. Vigo: Mi manera de «armar» a Damaso Ogaz 

^Radio Pica, 96.5 FM – send audio-tapes about Mail Art! Inv.-flyer, 1996 

Ôwn Copy Mail – project on artistic appropiation in Mail Art. Inv.-letter, 1998 

Mesciulam, Plinio !Mohammed! Corso Montegrappa 23/13. Genova, I-16137 Italy 1975 

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 

three A/4 xeroxed sheets, 1 sheet colour xerox copy («convovcation»), 

+ 15 «convocations» by John Held Jr., + 45 «convocations» for Carrión 

by div. senders. 

Mohammed / Yearbook of the restricted Comm. Centre (with the gallerist Rinaldo 

Rotta) Three editions in the years 1978-80 

~ 

Literature: «...Born of a Turkish father and a Genovese mother, we find a rather striking man, 

energetic, vital and full of life. What he has devised is a network, a system whereby 

as he says, „Mohammed goes to the mountain, rather than vica-versa. Mohammed 

goes to you.“ 

Starting in 1976, he set up his Centro di communicazione ristretta (Center of 

restricted communication)... now he has gone far beyond 1,000 „unità“... Each 

„unità“ is completed in iteself; but some can be connected with others, and so the 

network continues. According to Mohammed, „the history of art is finisehd, but art 

is not finished.“(...) 

There is a spiritual content to this operation. As Mohammed says, „unità“ 

means unit, which to him means harmony. This leads to a creation of a world, if not 

the world. Someone once said to him: „You are not Mohammed, you are Allah.“ He 

is not trying to play God, But only serve as a medium, an intermediary between an 

author-artists and 12 recipients...» 

(J. A. Hoffberg: Profile: Mohammed, Genova. In: Umbrella [→ Hoffberg], 

Vol. 4, #1, 1-2 p. 1981) 

«When Mohammed writes that he is only going to get out 10 or 20 piece of mail art 

each month in comparison to 40 or 50, there is a problem. He feels tjat mail art now 

creates the need for selection because he feels that „Mail art has ended in stupidity 

and in vulgarity. There are things that arrive here that I cannot print...» 

( jah: Mail Art: Crisis & Concern. In: Umbrella [→Hoffberg], 4 / #2, 35 p.) 

«Within the mail art cosmos, Mohammed is one fascinating, enigmatic subsystem. 

As a „center of restricted communication“ Mohammed acts as a transmitter of 

information and art – a kind of switchboard for images predicated upon a presribed 

set of rules. 

Here's how it works: An artist might have a message or an image s/he wishes 

to dispatch. In order to do so via Mohammed, the creator sends an original with the 

printed Mohammed masthead on it to the Center. Along with it must come the 

names and addresses of 12 people who are to receive a reproduction copy of the 

original (usually made by color xerography). Then the Center selects particular 

images from all received and reproductions go out to the 12 named by the artist. 

As well archival copies are made, two stay at the Center, another is sent to the Jean 

Brown Archive in Massachusetts. Each message or image is numbered and labelled 

as a „Unità“ by Mohammed. „Unità“ or unity in English is the manner in which this 

message reaches all those involved by the artist's wish. It is thought of as a small 

but discrete bit of harmony for participants to the process. Perhaps, too, Mohammed 

(the name of the Islamic deity) gets to „play god“. That is the artist creates and 

names disciplels or followers, but it is all orchestred via Mohammed. The Center 

„pulls the strings“ and makes the process complete. 

Well over a thousand origional messages have been sent via Mohammed 

over a three year period. Exactly who created the images and where they have been 

directed is scupulously recorded and published in a yearbook that one senses the 

depth and commitment of the Center... 

Mohammed, as a process, rages against depersonalization in communication 

and alludes to an essence and sensitivity as to he ways in which what we send 

becomes known to its receivers. Mesciulam, in one yearboook, refers to Noah, the 

makers of the Ark. In that context he sees Mohammed as a builder of lifeboats that 

float upon a flood of mass communication.»

(Lightworks [→ Burch], Correspondence. N° 14-15, Winter 1981-82. 64 p.) 



Vittore → Baroni: Sistemi. Di piccioni e vampiri viaggiatori. (About the Mohammed 

project of P. Mesciulam) In: Arte Postale. Guida al network della corrispondenza 


!Metallic Avau! 

→ Avau, Roger 

«Metrònom» Centre de Doc. d'Art Actual. Carrer de la Fussina 9. Barlecona, E-08003. Spain 1988 

↑ Berlinès 9 – 11 Barcelona-22 Spain 1980 

............................................................................................................................................................. 

Directors: Rafael Tous & Isabel de Pedro 

^Mail Art Exh. / Exposició de Tramesa Postal. Cat.: 30x21.5 cm., offset, 78 p. 

469 parts. Org.: Gloria Picazo. Barcelona, October-November, 1980 

Ârtists' Books / Llibres d'artista / A. B. Cat.: A/4, 200 p. (~2000 books by 737 artists) 

Org.: Rafael Tous. Texts (Engl. / Catalan) by → U. Carrión, J. L. Mata, 

→ H. Kretschmer, + Bibliography. Barcelona, 1981 

Metrònom (A/4 assembling in bound form {200}. 1982, #1 only?) 

 

^Metrònom (Magazine also as Mail Art or artists' books catalogue issues. Tabloid of 

41x29 cm. with 32 p., and A/4 brochures, offset. 1982-86, #1-6?) 

Editor: Rafael Tous. Texts: Catalan / English 

^#1982 

Mail Art Exh. /Exp. de Tramesa Postal Cat. 1986 

 

Mew, Tommy ? Mt. Berry, GA USA 1978 

°Diary Pages (Commonpress #11) A/5, phc., 34 p., 31 participants. December 1978 

Meyer, Peter R. Värtavägen 23. Stockholm, S-115 53 Sweden 1994 

↑ Artillerigatan 56 Stockholm, S-114 45 - “ - 1984 

............................................................................................................................................................. 

Night Exercise (As a professional radio and television director Peter Meyer had 

possibilities in Sweden to create a series of programs with multimedia 

projects for the „Sveriges Radio“. Among 300 video artists he witnessed 

appearance by mail artists such as C. Schmidt Olsen, P. Below, Carlo 

Pittore, R. Johnson, G. A. Cavellini, G. Jupitter-Larsen, E. Higgins III., 

A. Banana, B. Cleveland, B. Gaglione, J. M. Bennett, G. Bleus, J. Held 

Jr., T. LeClair. J. Hoffberg, V. Trasov, R. Summers and many others. 

The Nichtexercise programs ran from 1982-1987 and the audio/video 

tapes of the participants were shown at the modern Art Museum in 

Stockholm in 1983 and in Malmö in 1984. The best documentation 

about this matter has been published in the Nicht-Exercise Catalogue 

by the New York State Council on the Arts & The Swedish Information 

Service at the Franklin Furnace, New York, April 1985) 

Audi-Art Exhibition at the Moderna Museet in Stockholm. Org.: P. R. Meyer, 1983 

Âudio-Mail Art. «Ljudkonst med Peter R. Meyer och radioprogrammet Nattövning, 

Malmö - Konsthall». Dec 17, 1983 - Jan 22, 1984. 

Catalogue: 24x16.5 cm., offset, 52 p. 

^(Mail Art +) Video. (Curator: Peter Meyer) Cat.: 24x16.5 cm., offset, 20 p. 

Bild- & Lynkverstadens Annex, Södertölje. March-April, 1984 

^Mailartists favorit mailartists. „Tell me who your friend is, and I will tell you, who 

you are.” Inv. with a list of selected artists invited only for this 

exclusive Mail Art project: Vigo, Baroni, Pittore, Cavellini, Ray Johnson, 

Ivan Prajzler, Groh, Eriksson, Bleus, Spiegelman, Wirth, Dudek-Dürer, 

M. O. Nielsen, Rod Summers, Ruch, Schmidt-Olsen, Hoffberg, Maggi,

Mark Bloch, Mittendorf, Schraenen, U. Carrión, Crozier, Rehfeldt, 

L. F. Duch, A. Banana, Bruscky, Le Clair, Quinlan, Rasmussen, J. Huber, 

Frangione, Graf Haufen. ... If you were supposed to mention only 4 

important mailartists, who would you chose? You can also add 4 other 

names or strike names off the list.” – Exhibition planned (but not 

realized) for 1985 

^Mailed Art in Uppsala. (Planned to be a co-operation with the Postmuseum in 

Stockholm. Invitations were sent out 1984-85, but the exh. occured 

June-September 1994 in Uppsala only.) Cat.:24x16.5 cm., offset 

(also colour), 128 p. 1994 

Texts: P. R. Meyer: Preface 

Leif Eriksson: Mailed Art in Sweden (History) 

Gummar M. Aronsson: Mailed Art (Project) 

The Top 20 of Mail Art (Featurings – the result of the “Mailartists favorit...” 

project from 1985?): R. Johnson, V. Baroni, G. Bleus, E-A. Vigo, 

C. Pittore, R. Crozier, G. Cavellini, A. Banana, L. Spiegelman, K Groh, 

U. Carrión, R. Maggi, R. Cohen, R. Rehfeldt, H. Mittendorf, D. Zack, 

C. Welch, Al Ackerman, G. Deisler, R. Summers 

~ 

Literature: 

 

«Working many years with Audioart Peter R. Meyer started in 1980 the Nightexercise-project 

in Sweden. First it was a radioprogram based upon Audioart sent 

to him from 500 artists in 40 countries. He mixed it all to a series of 10 soundscapes, 

broadcast all over the world. 1984 he started to produce Nightexercise for 

TV, based upon Videoart. Many of the participating artists were also connected to 

the mailart network... He got interested, and when in 1983 organised the first 

Audioart exhibition at Moderna Museet in Stockholm, he also showed all the 

mailed art, i.e. pictures, objects etc. sent to him together with the tapes. Later he 

found it logical to develop the touring exhibition to a combined Video & Audio 

Mailart-show. He is now editing a book about Mailart... It will be a guide of 

Mailart today, with portraits of the leading and most active mailartists, presenting 

examples of all the different styles of Mailart...» 

^(Leif → Eriksson: Mailed Art. Text to the invitation from 1984.) 

Peter R. Meyer: Mail Art in Commercial Radio and Television. In: C. → Welch 

(ed.): Eternal Network. A Mail Art Anthology. University of Calgary Press, 1995. 

167-170 p. 

Mici, Miz 

→ Holmes, Mimi 

Miccini, Eugenio Piazza Madonna Aldobrandini 8 Firenze Italy 1989 

↑ Via Giovanni Caselli 1 Firenze, I-50131 - “ - 1977 

↑ Via dei Neri 4. Firenze, I-50123 - “ - 1967 

............................................................................................................................................................. 

Techne (Mag., large collection of literary and art texts, from 1969 also as assembling. 

A/4 offset, the assemblings in envelope of 33x21.5 cm. 1967-, qu.) 

°Ex Rebus. (11x8 cm., offset, 47 p.) Ed. Techne, Firienze, 1970 

 

°Estetica Critica Semiotica. (Offset, 208 p.) Quaderni di Techne, #45, Firenze, 1977 

«Microfiche» + Mail Art 

→ Bleus, G.: Are you Expeprienced? Wellen B, 1981 

→ Bleus, G.: Commonpress 56: Aerogrammes, 1984 

→ Postal Collective Depot (Mag.) Glebe AUS, 1984 

→ Kasher, B. Images of Global Peace, Springfield USA, 1990 

 

 

 

 

Mignani, Rolando Vai Comun 16 Mele-Genova Italy 1981 

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 

The Alternative Press (Letter size assembling in envelope, ~1980-, #1-10?) 

 

Milde, Brigitta Edition Ljub. Adelsbergstr. 10 Chemnitz, D-09126 Germany 1996 

↑ Galerie am Markt. Große Kirchgasse 1. Annaberg-Buchholz, (GDR-9300→ ) D-09456 1982 

(Privat): Kleine Kirchgasse 27-29. Annaberg-Buchholtz (GDR-9300→ ) D-09456 1982 

............................................................................................................................................................. 

Gallery activity: curator of the Galerie am Markt in Annaberg-Buchholz since 1982 - 

1992 (a large program of contemporary art, graphic, visual/concrete 

poetry, Mail Art, etc.) Selected exhibitions: 

^Postkunst für den Frieden (Postage Art for the Peace). Doc. (Leaflet like lepo- 

rello, 3x): 21x10.5 cm., offset, 6 p. Text by J. W.→ Huber: Wer nicht 

postet, der rostet. The show was planned for 1985, but it has been suppressed 

by the authorities. The exh. ran under an other name in 1986. 

^Giullermo → Deisler: Grafik. Doc. (Leaflet like accordion, 3x): 21x10.5 cm., offset, 

6 p. Text: Karla Sachse (German). Sept. 12 - 30, 1986 

^Carlfriedrich Claus: Sprachblätter. („linguistic drawings“, vis. poetry – exhibited 

with Klaus Sobolewski's paintings, graphics and plastic works). Cat.: 

19.5x11.5 cm. horz., offset, 24 p. Text: Klaus Werner (German). 1987 

^Lev & Valeri → Scherstjanoi (Valsher): Ex Libris, Visuelle Poesie. / Doc. (Leaflet 

like accordion, 3x): 21x10.5 cm., offset, 6 p. October 5-30, 1987 

^Por Chile y America Latina. International Mail Art. Doc. (Leaflet like paper- 

band, 3x): 21x10.5 cm., offset, 6 p. June 1987. 

^Feathers... / Federn der ganzen Welt für meinen Flug.by → Deisler, G. 

 

Leaflet like accordion, 3x: 21x10.5 cm., offset, 6 p. Text: Deisler 

(German) Aug. 8 - Sept. 22, 1989 

^Bücherprojekte der 80-er Jahre. (Artists' books in the GDR from the 1980s.) 

Doc. (Leaflet like accordion, 3x): 21x10.5 cm., offset, 6 p. Text by 

B. Milde (German). July 9 - Aug. 17, 1990 

^Konkret. Russische visuelle Poesie. Cat.: 11x21 cm., horz., offset, 16 p. Text: Peter 

Huckauf. / Sept.-Oct. 1990. Artists: Valeri Afanasjew, Boris Konstrictor, 

Rea Nikonova (Anna Tarschis), Pjotr Perewesenzew, Lev Scherstjanoi, 

Sergej Segay (Sigow), Awgust Sigow, Leonid Tischkov 

^Rechenmaschinen – Rechenhilfen. Objecte und Collagen anläßlich des 500. Geburts- 

tages von Adam Ries (Objects, collages, experimental poetry). Doc. 

(Leaflet like accordion, 3x): 21x10.5 cm., colour offset, 6 p. July 17 - 

Augustus 14, 1992. 

^p0es1e / digitale dichtkunst. (Eine Ausstellung computergenerierter Gedichte. 

An exhibition of computer generated poems.) Org.: → Vallias, A. & 

Block, F.) Cat.: 19x12 cm., offset, 16 p. Sept.-Oct. 1992. (Analdo 

Antunes, Friedrich Block, Augusto de Campos, Vilém Flusser, Eduardo 

Kac, Richard Kostelanetz, Fritz Lichtenauer, Silvestre Pestana, Jim 

Rosenberg, André Vallias) 

5 Jahre UNI/vers (;). An art project about visual & experimental poetry international. 

Zum 500. Jahrestag der Eroberung Amerikas. Text: B. Milde (German) 

With a list of (all?) participants of the UNI/vers issues. A/5, offset, 12 p. 

+ 1 original art print. October 10 - November 9, 1992 

............................................................................................................................................................. 

Activity as the editor of the Edition Ljub, Annaberg-Buchholz/Chemnitz since 

1987. (All publications with Mail Art character were initiated by 

Hans → Hess in Schwarzenberg as co-editor) Selected publications: 

Scribentismen (Speech-poems, 25x17.5 cm. silkscreen book with 22 works, {30}) 

Ed. Ljub, Annaberg-Buchholz, 1989 

Scribentismen N° 2. (21.5x15.5 cm., silkscreen publ. with 25 works. Made in an 

edition of 25 copies as book & of 25 ones as portfolio. Also with

an audio-cassette realized by Scherstjanoi: lautisieren.) Ed. Ljub, 

Annaberg-Buchholz, 1990 

Âlphabet project. / Scriptual Graphic. Cat.: A/4, with 31 silkscreen printed leaves 

+ cover, 25 parts. Also a special edition of this catalogue with original 

works {70}. Schwarzenberg ( → Hess) / Annaberg-Buchholz, 1992 

^Herbarium I-II. ( assembling in portfolio {100}, A/4, ~50 leaves. 1995-96, #1-2) 

Exh.: Schlossgalerie Schlettau, Annaberg. Ed. Ljub, Schwarzenberg 

( → Hess) / Chemnitz , 1996 

^# 1 

Spuren. Hommage á Guillermo Deisler. A/4 size book with graphics by E. Koenig, 

H. Hess (each 10 pages), texts by Koenig, Hess & B. Milde. {10} 

Edition Ljub, Schwarzenberg (→ Hess) / Chemnitz , 1997 

edition ljub 1987 - 1997. Assembling like publ. with graphics by A. S. Berndt, 

W. Heisig, H. Hess, P. Huckauf, O. Osten, V. Scherstjanoi, J. Seifert. 

Introduction by Brigitta Milde. 30.5x23.5 cm., mixed techn. {15}. 

Chemnitz, 1997 

^Farbäquator – equator of colours. Cat.: A/5, phc. 24 p. + 16 colour paper leaves. 

~ 

Seurce: 

Essay by B. Milde (German, English). {100} Edition Ljub. Chemnitz, 

1998. Exh.: Kunstkeller Annaberg-Buchholz (→ Seifert), 1999 

Galerie am Markt, Annaberg-Buchholz, 1982 - 1992. Part I. (a chronicle) with 

art works, graphics and photos by 24 artists collaborated with the gallery {45}. 

Book of 30.5x23.5 cm. Edition Ljub. Annaberg-Buchholz, 1992 

Galerie am Markt, Annaberg-Buchholz, 1982 - 1992. Part II. (a documentation). 

Catalogue contributions, texts and reviews by Brigitta Milde {20}. Book of 

30.5x23.5 cm. Edition Ljub. Annaberg-Buchholz, 1993 

^Verlagsverzeichnis. A/4 leaflet. Edition Ljub. Chemnitz, D-09126. 1997 

Miletic, V. ? Novi Sad Yugoslavia 1989 

Witata Art (Mail Art fanzine, 1989, #1-2) 

 

Milinkovic, R. Iriska 42. Ruma, YU-22400 Yugoslavia 1983 

^Necronomicon (Assembling in A/4 size, bound, 30 parts. 30 + 1 laves {100}. 

1983-, #1 only?) 

Miller, Joni K. / Thompson, Lowry c/o Workman Publishing. 1 West, 39 St. New York, NY-10018, USA 1978 

^The Rubber Stamp Album («The first complete guide to the fastest-growing instant ® 

art phenomenon. It is for small children, grown-ups, artists, teachers, 

rubberstamp freaks and everyone else too...» (Statement). The book published 

material from the alternative and the Mail Art scene, too (e.g. → 

Leavenworth Jackson, R. E. Gasowski, Al Sousa, → Higgins III., Bill → 

Gaglione, Anna → Banana, Irene → Dogmatic, Ray → Johnson, Endre 

→Tót, Ken → Fridman, Ray → DiPalma, Robert → Jack and many others), 

and gived a short survey of the using of stamps by artists respectively the 

rubber stamp news and rubber exhibitions. Letter size, offset, 216 p.) 

Workman Publishing, New York, 1978 

Milliken, Donald P. (!Don Milliken! / !Uncle Don!) 1306 Alabama Ave. Durham, NC-27705. USA 1993 

↑ P. O. Box 411. Sunderland, MA-01375 - “ - 1981 

↑ P. O. Box 868. Amherst, MA-01004 - “ - 1976 

............................................................................................................................................................. 

ÔR (One of Mail Art's longest running publs., each issue is different in theme and ® 

looks: small booklet format, mixed technic with handmade applications, 

beautiful making up. Mostly mini size like A/6, offset, xerox, rubber 

stamps, collages, etc. 4-16 p. 1976-, ~ 150#)

~ 

Literature: 

^#19, 20, 40, 47, 52, 54, 63, 73, 102, 106, 108, 109, 110, 113, 121, 129, 160 

«You can't knock OR. Besides it's free (at least each current edition). Every issue 

presents whatever Uncle Don feels like. Some are correspondence art anthologies, 

some are his own art. Take OR #38. It's 4 page created from folding an actual dollar 

bill in half and stapling it to cover. Don prefaces the issue saying, „Still think time is 

money? Hold onto this book; you'll have a little time on your hands“. Rye, funny 

bits of gibberish that somehow make sense. Generally tiny in size, xerographic in 

production and potent in satire.» (Lightworks [→ Burch], Art Alternatives in 

Print. N° 14-15, Winter 1981-82. 57 p.) 

Millon, Alex 37 rue Scoumanne Strepy, E-7060 Spain 1986 

^Regart (Mag. for literature, art, photo & film. A/4, offset, 26 p. 1986-, qu.) 

^#2, 3, 4, 5 

Milman, Estera c/o University of Iowa Museum of Art. Iowa City, IO-52242-1789 USA 1981 

She established the departman of Alternative Traditions in the Contemporary Arts 

(ATCA) at the University of Iowa Museum of Art (150, North Riverside 

Dr. Iowa City) in 1982. Archive collections from Ken Friedman 

/ Artists' Television Network, New York / The Crane-Friedman Correspondence 

Art Collection / The Electric Bank (artists' computer network) 

/ The Albert M. Fine Collection, etc. 

^Fluxus and Friends. Selections from the Alternative Traditions in the Cont. Arts 

Collections. Cat.: 18x27 cm., offset, 12 p. January-March 1988 

Ârtifacts of the Eternal Network. Exhibition Cat.: with an introduction by Milman 

and an essay by → Perkins. 30.5x22 cm., offset, (accordion, 3x) 6 p. 

The University of Iowa Museum of Art. Sept. 6 - Nov. 23, 1997 

^Subjugated Knowledges and the Balance of Power. A publication marks the twen- 

tieth anniversary of the ATCA and accompanies four exhibitions: 

Artifacts of the Eternal Network. Sep 6 - Nov 26, 1997 

Alice Hutchins: Arenas for Happenings. Mar 14 - May 10, 1998 

Latin American Realities. Mar 19 - Apr 30, 1999 

Ken Friedman: Art(net)worker Extra-Ordinaire. Sep 9 - Nov 26 2000 

all at The University of Iowa Museum of Art and University Libraries. 

Tetxs by E. Milman, Ken Friedman, Stephen Perkins & Owen Smith. 

Horz. 25.5x41 cm., BW offset, 112 p., spiral bound. 

Minarelli, Enzo ? ? Italy 1983 

°Segni & Suoni della Poesia Contemporanea: Visioni Violazioni Vivisezioni. Cat.: 

150 p. (69 author statements, It. / Engl.) Comune e Biblotheca, Bondeno 

I, 1983 

Minkoff, Gérald Leo 85. Bd. Carl Vogz Genève, CH-1205 Switzerland 1986 

°La Femme Magique. Cat.: {100} 33.5x24.5 cm., offset, 14 p. Galerie Zodiaque. 

Genève, 1966 

^The Theory and Praxis of Rubber Stamping. 11x15 cm., offset, 16 p. {500} 

In: Ed. «colleXtion» Vol. 13. → Schraenen, Antwerpen, 1976 

°Focusing One's Mind On. (A/5, offset, 28 p.) Gallerie Veith Turske, Köln, 1978 

→ Armleder / Groupe Ecart 

® 

«Minneapolis, Studio Arts Gallery» University of Minnesota. 

216. 21 st Avenue, South, Minneapolis, MN-55455 USA 1986 

^We won't open your mail. Cat.: Digest, phc., 16 p. (Curators: Gray / Potraz), 

Studio Arts Gallery, April-May 1986 

^Picture Dictionary. Inv.-card, (curator: Wirth?) 1988

!Minóy, The! (Keith Bowsza) 923 W. 232nd St. Torrance, CA-90502 USA 1984 

↑ 206-BS. Guadalupe Redondo Beach, CA-90277 - “ - 1983 

............................................................................................................................................................. 

The Haint Digest (Compilation mag. on Mail Art with graphics and words, mystic 

rattlings. 1984?-,) 

^Torment. ...and other diversions (rudely inspired by the evil Ida Fish). (BW photo- 

copied publication of collages by texts and images + drawings) 

Letter size, phc., 18 p., cover by original drawing. Spiral bound. n.d. 

^The Mirror. In memory of Tarkovsky. (14x11 cm., phc., 15 p.) S. P. 1987 

 

Miskowski, Mike Bomb Shelter Propaganda, Box 12268, Seattle, WA-98102 USA 1988 

↑ P. O. Box 1393 Tempe, AZ-85281 - “ - 1981 

............................................................................................................................................................. 

^Mallife (Xerox art mag. with Mail Art contributions «A merciless bridge between the 

readable and the unthinkable». Digest, phc., 60-84 p. 1981-92? ~ 25#) 

^#8, 9, 11 

~ 

Source: 

Bomb Shelter Propaganda Catalog 4 / 88. Leaflet with the listing of book publs.: 

M. Mikowski: Wasteside Development, 1987 – 1988 (2 volumes with graphic and 

textual experiments), Burn in the Bachground (Short fictions) / G. R. Beining: 

Botola (Graphics) / G. Evason: Codine (100 poems) / L. Dunn: 66199 (Graphic 

iconographics) / J. Berry: Idiot Menagerie (Hallucinagens & graphics), The 

Pandemonium Spirit (writing & collage) as well as a featuring the isues of the 

Mallife magazine. Seattle, 1988 

Literature: 

«Mallife... usually has 30-40 contributors per issue all squished between 2 covers 

and somehow it all makes sense there. Seems to enjoy art which can't stand still 

on the xerox glass. Has produced 11 issues to date and who knows where it'll end. 

Starting to produce chapbooks as well. Though I sometimes get weary of the onepage-a-person 

format (I often crave extended examples rather than glimpses), I 

know the dilemma of receiving things from so many contracts that you think are 

great and having so little space. Perhaps an occesional issue with fewer people and 

more work by each would offset this.» 


«“Since its inception in 1981, MaLLife has evolved from a wry focus on the shopping 

center as metaphor for the greed inherent in an object oriented society, to just 

about anything that will float on a xeroxed page...“ The magazine and the audio 

editions it issues opt for the wide, oblique angles drawing from a familia roster of 

mail artists along the lines of → Xexoxial Endarchy. John M. → Bennett, The Tape 

Beatles (→ Dunn, L.) among others. Like the previously mentioned, MaLLife is 

incredibly prolific: books, tapes, the magazine, even a Mac Hypercard.» 

(Lightworks [→ Burch]. Glimmerings [Publication review] N° 20-21, 1990. 65 p.) 

Mittendorf, Henning Allendorferstr. 20/b / Postfach 500365. Frankfurt D-60393 Germany 1996 

^Von der Faszination bildnerischen Gestaltens. (Manuscript, 3x A/4 sheets) 

1981 / A later draft of this manuscript: 25 sheets, n.d. 

Îf still alive express it to me! Doc. A/3, offset, one sheet / Galerie im Bunker, 

Frankfurt-Bornheim. November-December 1985 

^Hemis + A. Book. (Self edited book with drawings, stamps, poetry {30} by xerox ® 

& rubber stamps, 25x A/4 leaves) Frankfurt, 1985 

^Hemis + A. Book / Mail-art – ein Traum von Freiheit und Liebe. (Self ed. book {30} ® 

by xerox & rubber stamps, 24x A/4 leaves) Frankfurt, 1985 

^Hemis + A. Book / Lachen. (by xerox & rubbers, 18x A/4 leaves {30}) S. P. 1986 ® 

^Some words about my work with postage-stamps and rubber-stamps (Manuscript ® 

in German & English, 5 + 4 x A/4 leaves) Frankfurt, 1986 

^Stampprints. Doc. Two A/4 sheets, phc. / De → Media, Molenstraat. 165, Eeklo, 

®

Belgium. March-April 1987 

^Hemi's 50th Birthday. Doc.: One A/4 sheet with graphic and part. list + original 

rubber stamp work as supplement. 1988 

Zwischenbilder. Stamp Art / Mischtechnik / Mail-Art. Cat.: 28 p. Univ. Siegen, 1988 

^The Disabled. (with R. D. Fischer) Cat.: A/4, phc., 10 p. / Versorgungsamt 

Heilbronn, D-7100. November 1990 

^Mail Art. (A/4, phc., 12 sheets, text German + English) Frankfurt. 1991 

^Sonderangebot Drucksache. (Stamps & rubber stamps by xerox, Mittendorf's 

oeuvre catalogue with images, 65x A/4 leaves) S. P. Frankfurt, 1991 

^Communication with Hemi-Sphere (Collected orig. rubber stamps, 48x A/4 leaves) 

«He Mi Post» Edition, Frankfurt, n.d. (1991?) 

^Who Eats Whom and Why? Cat.: A/4, phc., 32 p. Exh.: Galerie Sinntrotz, 

Mainstr 54, Neu-Isenburg D. July 1993 

^Happy Birthday Frankfurt.Cat.: A/4, phc., 38 p. / Villa Sinntrotz Galerie, Neu- 

Isenburg, D-63263. June 1994 

Âltern (Growing Old). Cat.: A/4, phc., 58 p. 333 parts. Texts by H. Mittendorf 

~ 

Literature: 

(German, English). Exh.: Historisches Rathaus. Frankfurt, March 7, '98 

® 

 

 

® 

® 



«...During this year (1980) I made holidays for four weeks in the months of 

July and August together with my wife Angela and our two daughters in the Atelier 

Artistique International de Séguret (F). There I got acquainted with various European 

artists. One of them, the German artist Aloys Ohlmann, introducted me to 

Mail Art. In the meantime we made friends with another; our friendship lasts till 

today. What was the reason for you to become a networker? What attracted you in 

the place with this thing called Mail Art? 

...During my start with „Mail Art“ I only knew this word meaning to me 

mailing art itself or ideas about art between artists and other creative persons. As an 

isolated creative person, artist, I was very fascinated by the possibilities opening 

before my eyes through art-communication and -exchange with other creative 

persons. The word „networker“ became accessible for me severalyears later when I 

dealt a bit with new sciences (among other with the change of paradigms, systemand 

communication-theory). Then I recognized Mail Art as a special alter native 

Fine Art's network among all the other networks and altelrnative networks within 

the big network called world, cosmos, totality. The I accepted the net of Mail Art as 

my spiritual and emotional home and well of life. (...) 

In the Mail Art I received from you the beginning of our exchange until 

today you always used self-carved stamps. Did you use this media also before you 

got involved in Mail Art?... 

Before I did Mail Art I used for making art works several different techniques, 

espacially drawing, painting,, air-brushing, etching, pure and mixed, except 

among other stamping. I started with stamping, mostly using stamps self-carved out 

eraers, when I got involved in Mail Art. Martina and Steffen → Giersch, Dresden, 

former GDR, introducted me to this medium in 1980... I think self-cut rubber 

stamps are very fascinating, appealing, for the following reasons: 

They are powerful miniatures... They are as art on a mass basis useful for 

real democratic-participative art... They rather are a poor and cheap art form 

multiplied to carry their short stylized, standarized up to unpersonal, stereotyped 

expressions... Besides that stamps and their prints can be used – and I do so – 

„high level art“ too, not least to demonstrate the reciprocal effects between Mail 

Art and itself. They effect movement and improve cognitions. The gliding along 

stamps prints, that are repeated, put in a row, turned around, fading, interconnected 

with other stamp prints or other media etc... They create open (free) interaction and 

communication. Rubber stamps want to be printed on different things and materials 

like wood, bodies, cloth,, paper (documents, envelops, postcards, artistamps,

ooks, boxes), etc... They contribute to create viable human i.e. ecological and 

oecumenical ethics… They contribute to create viability above the abyss of 

unperceivable reality...» 

(Ruud → Janssen: The Mail-Interview with Henning Mittendorf. A/5, phc., 

24 p. TAM Publs.: TAM-950085. Tilburg, 1995 ) 

Henning Mittendorf: Mail Art is Hope. In: Chuck Welch (ed.): Eternal Network. 


^Mittendorf, H.: Biographische Zwischenbilanz (Interim Biographical Statement: 

Bigraphical Data / Theory / Production / Information Exchange / Projects / 

Participations / Essays / Diploms & Honours / Archive Activity. Text 

German) HeMis A-Book 1997 1 A. A65, phc., 36 p. Frankfurt/M, 1997 

^Vittore → Baroni: Henning Mittendorf. In: Arte Postale. Guida al network della 

corrispondenza creativa. (Text: Italian) AAA Edizioni. Bertiolo, 1997. 58-59 p. 



Miyazaki, Tatsuo ? Kobe Japan 1981 

°Letters to Kobe. Cat.: 26x18 cm., offset, 12 p. 189 parts. «Portopia '81». Kobe 

!Miz Mimi! 

→ Holmes, Mimi 

Mizukami Jun. 2-1-1, Shirakabecho Higashiku Nagoya, 461 Japan 1978 

Palaeo Pan Rites's Report (Mag. like publ. in various size, ~A/4, about experimental 

literature and other visual matters. 1975? -, ~1-100#, ir.) 

I Q (One sheet info magazine in over size of ~32x22 cm., offset, 1978?-, ir.) 

I Q, N° #2. Alphabetical anthology on Mail Art. 23.5x16 cm. offset, 140 p. 1978? 

Moadster, The (Your Oal, E-Z. Smith, Mallory Moad) c/o Fresno Art Council. Fresno, CA. USA 1993 

^Kings and Queens Mail Art Show. Cat.: Digest, offset, 32 p. / Fresno Art Museum 

May 15 - June 13, 1993 

!Mockersatz Zrox! (Zen Sutherland) 104 Woodgatz Court Sterling, VA-22170-1630 USA 1986 

^MOCKreviewZ (Mag. with reviews about the underground and network zines/prints 

only. Letter, phc., 8 p. 1986-, ir.) 

^#3 

~ 

Literature: 

«A 'zine devoted specifically to reviews of this kind of works is MOCKreviewZ 

which I highly recommend. Zen Sutherland's reviews are as much about himself as 

they are about the work, but never mind it's good fun & actually informative. Lots 

of poetry work and copy art and m,ail art are reviewed here. An indispensible 

resource. Send stuff or 37 c to mockersatz zrox.» 

(PhotoStatic. N° 18, May 1986. Lloyd → Dunn: Mail Review) 

«...Here's a review newsletter or mostly literature... dividies energies between 

reviewing the „zeeps“ (his word for all those post-bukowskites churning out their 

most gut-wrenching confessions) and starting more and more to cover the hardedge 

experimental publications...» 


Moffat, Napoleon ? Montreal Canada 1985 

^Neoisme et Propaganda. La structure fidele et malheureuse. In: → Wanowitch: 

Computer Graphic Conspiracy's First Report, 1985 

^Neoisme et Propaganda. Parameters, conditions, limites. (with → Wanowitch)

(xeroxed letter size flyer with text & computer graphic, 1 folded leave) 

n.d. (1985?) 

^Dull Century (with !Kiki Bonbon! & !Zbigniew Brotgehirn! [Tristan Renauld]) 

(Very early Neoist publ. with verbal/graphical nonsenses, texts French 

and English. Half-legal, phc., 22 p. 1979, #1-2?) 

^#1 

 

Mohammed 

→ Mesciulam, Plinio 

Mollet, Michael Los Angeles Dada. 1802 Washington WayVenice, CA-90291 USA 1982 

^Music Mail Art Exh. (with → Caldera,→ Meade & others) Doc. in: RANT #4-5. 

Legal, 2 sheets, phc. Jan.-Febr. 1983 

!Monastirsky! (Andrej Sumnin) Ul. Tsandera 10 – 50. Moscow, 129515 Russia 1996 

→ Moscow Performance Group 

«Monroe Comm. College / Mercer Gallery» 1000 E. Henrietta Road. Rochester, NY-14623-5780, USA 1988 

Ânnual Int. Mail Art Exhs. I-II-III. / 1988-89-90. Cat.: Letter, phc., 30 p. 

Montells, José M. Pl. Santa Barbara 9. Madrid-4. Spain 1982 

Doña Berta. Revista de Poesía (Mag. 23.5x15 cm., offset. 1982-, #1?) 

 

Montreal / artists C. P. 1261. Place Bonaventure Montreal, H5A 1G9 Canada 1979 

Cahiers (Magazine by artists for artists. Uncut (letter?) format, 1979-, qu.) 

~ 

Literature: Umbrella (→ Hoffberg), Vol. 3, #1, 1980 

!Monty Cantsin! 

→ Kántor, István 

→ Haufen, Graf 

→ Berndt, John 

→ Scott, Pete 

→ TARP / Popular Anthropology 

→ The Memorial Group 

→ Appendix: Neoism / Some Monty Cantsins 

Moore, Barbara Bound & Unbound (artists' book ed. & shop) 601 W. 26 St. 12th Floor, NY-10001. USA. 1998 

Morandi, Emilio arteStudio. Via S. Bernardino 88. Ponte Nossa, I-24028 Italy 1982 

^Pelo + / Pelo – (Voluminous Mail Art compilation by international contributions. 

A/4, phc. ~50-70 leaves. 1982?-87? ir. #1-13?) 

^#1-13 (complete?) 

ârteStudio (Info leaflets and largeer brochures about Mail Art events and actions, 

also docs. of exhibition or festival activity in/by the arteStudio. 

A/4, phc., 1-40 p. 1983-86?) 

^Veliero – Sailling Vessel. Inv.-letter, 1985 

 

^Theme: Time 88. (Beside Mail Art also audio, video & computer works) 

Cat.: A/4, phc., 26 leaves. Exhibition in 4 stations: arteStudio 

Ponte Nossa / Bergamo / Villa d'Ogna / Bibliothec Civica Pone Nossa. 

April 9-24, 1988 

^Network Mutation. (40 p. xeroxed graphic) In: Panmag #29, July 1990 → Bloch 

Ârtestudio. Centro indipendente - autogestito ricerca - sperimentazione - audio - 

video festivals performances - progetti mail art. Dieci anni attivita 

internazionale. (Xeroxed docs. & press review, ~50 leaves) 1990 

^Viva Vincent! – 100 Years of V. Van Gogh. Inv.-flyer, 1995 

Ârtestudio / documentation 1993 (with Sergio Morandi) ~30 leaves xerox matter 

Ârt Intermedia Project. (by 20 invitated Italian artists, doc. on 30 xeroxed leaves) 

Arte Studio + Centro Culturale Ponta Nossa, 1993.

^100 anni della biennale Venezia /100 anni della mail art / (with Giovanni → Strada 

& Alfio Fiorentino) Cat.: A/4, phc., 14 leaves. Exh.: Mestre-Venezia, 

June 1995 

Artistamps: A very large activity by photocopied artists' postage stamps in sheets 

or as blocks (mostly 4 images), never perforated, but often with 

the drawn frame pattern of a perforation. Some publications: 

Êlefant Art (Sheet of id. 4 stamp images, phc., not perforated) n.d. 

În memory of Cavellini (Sheet of 42 stamps, colour phc. green/red/ 

black, on white paper, not perforated) n.d. (1990) 

^Networker Congress 92 Ponte Nossa (Sheet of 20 stamps, phc., not 

perforated) artestudio. n.d. (1992) 

^Festa per Shozo (Sheet of 6 id. stamps, b/w phc., not peforated) 1993 

~ 

Literature: 

Moreels, Peter→ !Aukoun, Pjotr Dr.! 





Morelle, Jean-Paul Cas. Post. 74, Sommacampagna (VR), I-37066, Italy 1986 

^Series of A/5 booklets with collages, drawings and visual & concrete poetry, pub- 

lished in offset about 1975. There exist photocopied facsimile editions 

of these publications special for Mail Art network using date from 1985. 

These booklets are not entitled but numbered: from N°1 till N°10. 

A/5, phc., 8-10 leaves, 20 copies. 

^Phc. series: #2, 3, 4, 5, 6, 7, 8, 9 

^Les fruits de Congo. „Cahier n. 7“ A/5, offset, 12 p. Text: Emilio Villa Exh.: at the 

Centro Lavore Arte, Sep 26 - Oct 9, 1985. Milano 

Âlto. Contemporary Art Review (Stitched assembling in A/5 size, ~20 leaves {70}, 

Jan 1986-, qu.) 

^#0, 1, 2, 3 

Âlto N° 1. Exhibition (mostra no. 7) at the „festivi e lunedi mattina chiuso“, Verona 

Doc.: A/4 sheet, photocopied. 1986. 

^Polaroid art-core. N°1. (with Ubaldo → Giacometti) Cat.: A/5, phc., 14 leaves, 

Exh.: at Nicoletta Franco, Proposte d'Arte, Verona. 1986 

Moretti, Alberto / → Nannucci, Mauricio, Via della Vigna Nouova 17. Firenze Italy 1973 

Schema Informazione (Concept art, vis. poetry, body art, performances, intermedia. 

A/4, offset, 52 p. 1973-, ir.) Galleria Schema, Firenze 

#1: D. Graham, D. Huebler, C. Parmiggiani & others 

#2: «Retorurned to Sender», V. Acconci, J. Furnival, L. Levin, etc. 

#3: «Politic Art», E. Tatafiore, G. maciunas, J. Kosuthh c others 

Morillo, Robert ? Gray, F France 1987 

^J' t' embrasse, moi aussi. (A/4 assembling for Mail Art matter in portfolio, 50 copies, 

ca. 30 sheets. 1987-, #1 only?) 

^#1 

Morozov, E. 18 / 20 - 57, Ul. Rusakovskaya Moscow, RU-10714 Russia 1996 

Morse, Yves / Roberts, Patti 2700 N. Tamiami Trail Sarasota, FL-34234 USA 1989 

↑ P. O. Draver A-G. Sarasota, FL-34230 - “ - 1987 

............................................................................................................................................................. 

^Reproductions (Assembling for photocopy art in bag and in bound brochure form,

thematic issues. Letter size leaves, ~25 sheets. 1987-, 2xy., at least 6#) 

^#3, 5, 6 

Moscow Artistamp Collection Natalie Lamanova (Lamana Wooma Post), Alexander Kholopov 

Perekopskaya ul. 11-4-30 lamana@cnt.ru Moscow, RU-113209 Russia 1998 

Artistamp activity with a large collection and some international known editions (e.g.: stamps 

with the images of the man-hole covers of Moscow’s sewer system by Kholopov) 

^The First Moscow Artistamp Exhibition 98. Doc.: An artistamp block (as Comme- 

morative Artistamp Issue) with an additional participant list instead of the 

catalogue (43 artists). Further data and documentations at the “JAS Cyberspace 

Museum, Canada” of J. W. → Felter. The show was “...carried within 

the framework of the Russian annual inetrnational exhibition «Art-Manage» 

in the Moscow Central Exh. Hall...” December 4-10, 1998. 

~ 

Literature: 


and English. AAA Edizioni. Bertiolo, 2000. 

(Kholopov: 168-169; Lamanova: 170-171 pages.) 

Moscow Performance Group (N. Abalakova, N. Alexejev, J. Backstein, E. Elagina, G. Kiesenwalter, 

A. Monastyrsky, I. Makarevitch, N. Panitkov, S. Romashko, V. Skersis, V. Zakharov, 

A. Zhigalov, K. Zvezdochetov & others. Group activity since 1976) 

............................................................................................................................................................. 

Collective Actions (Special books {4-5}) 1980: Trips to the country / 1983: Trips and play-back 

/ 1985: 1-2-3 Vol. Trips to the country / 1987: 1-2-3 Vol. / 1988: 1 Vol. 

About the Studios. (Archive boxes {10}), 1982-83: about 24 Moscow artists; 1985: 11 artists 

Moscow Archives of New Art (Assemblings with doc. in envelopes {5}, 1986-88, #1-10) 

(All information from George Kiesenwalter, Moscow) 

~ 

Literature: 


over 500 illustrations, 592 p., Russian. Ed. Simplicii. Kaliningrad, 1998. 305, 373 p. 

Moulinier, Didier Changed addresses, their order is not clear: 

33 rue Jean-Renaud Dandicolle-Bordeaux, F-33000, France ? 

4 Ave. P. V. Courtier Boulazac, F-24750 ? 

14 rue Albert Camus Boulasac, F-24750 ? 

11 rue de la Segesse Perigeux, F-24000 ? 

33 rue J. R. Dandicolle Bordeaux, F-33000 ? 

............................................................................................................................................................. 

^La Poire d'Angoise / LPDA (Weekly magazine with Mail Art matter and graphics. 

A/5, phc. ~20 p., 1984-86, about 150 issues) 

^ 1985: #23, 24, 37, 43, 44, 45, 47, 56, 58, 59, 68, 

^ 1986: #77, 82-83, 91, 93, 101, 103 

^ 1987: #106, 109, 121-122 

^Tujau / Quotidien (A mini format daily [!] Mail Art news, A/6, phc., 1987-, ~ 150#) 

^#74, 77, 137 

~ 

Literature: 

(La Poire D'Angoise, #55) «English: The Pear of Anxiety... latest installment of 

prolific art & poetry (mostly French) journal contains some nifty expressionistictype 

cartoon/drawings by a guy called Krabs. There's a lot of action in this guy's 

hand. Also of note: penis torture photographs which contort that organ in surprising 

ways that you can't help but react to. (PhotoStatic. N° 16, Jan. 1986. Lloyd →Dunn: 

Mail Review) 

(Tuyau / Quotidien): «A really interesting idea for a project. This is a daily magazine 

which features in each issue the work of a single artist. The mechanics of the 

project are like this: editor D. Moulinier sends out preprinted layout forms to folks, 

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 

distribution. Voilà. Instant magazine. Because of their size, each one of them 

becomes a tantalizing glimpse; it's not possible to say a lot here, so much is left 

unsaid.» ( Lloyd → Dunn: Mail Review. In: PhotoStatic. N° 23, April 1987, 742 p.) 



Mounier, Patrick, → !Llys Dana!, → !Horus!, Av. St. Hoch, Hotel des Alpilles, Aureille, F-13430, France 1982 

↑ 7 rue de l'Évéché. Beaugency, F-45190 France 1976 

............................................................................................................................................................. 

Dragon Rouge (One of the first psychodelic fanzines with hints to sur-natural, 

symbolism, & cabala, etc. with wide Mail Art conections. Statement: 

Vive le mouvement perpetuel! Vive la dictature de l'imagination! 

Cut A/4, offset. 1976?-77, bim.) 

^Sphinx / Sphynx (with Jaques → Juin) (Alternative art, literature and culture in a 

text/image collage, also Mail Art contributions. French. 

A/4 and 27x21 cm., offset, 76-140 p. 1978-82, ~1-20#) 

^# 10-11, 14-15 (1981). 

^Hieroglyphes & Co. (Postcard size assembling in a small portfolio {50}, 37 parts., 

+ 3 editor's cards. 1982, #1 only? ) Aureille 

^L'art de la - l'in - citation devient science des dérapages. (with → Pissier, Lucien 

→ Suel, P. & Hopuchard, J-L.) Xerox {100}, A/4, 24 p. Ed. Le Jeu de 

Tombes, → Pissier, Montmorency, 1985 

~ 

Literature: 

!Mraur! / !Post Mraur! → Felter, Jas. W. 

 



Mühleck, George ? 

^Copy Art Exhibition – at the Kunoldstr. 34, Kassel. Inv.-card, 1986 

 

Mukata Takamura 2-204. 1390 Koyata. Iruma-shi-Saitama Japan 358 1985 

Mail Photo Show. Doc.: 2 xeroxed sheets / Kawagoe City Library. October 1985 

Müller, Andreas ZEBRA Verlag, Landenbergstr. 10. Zürich, CH-8037 Switzerland 1996 

^Wolga / World of Letter Graphic Art (with → Stirnemann) (Info mag. A/5, phc., 

8 p. 1989- 2xy.) 

^#1 

Müller, Frank (!Frankie l l'Amour!) / Wyrowski, Jörg. Bagelstr. 104. Düsseldorf, D-4000 Germany 1983 

^What's l'amour, mamma? (Expressive graphzine in a style of the French graphic 

scene, hard b/w xeroxs. Each issue with a spec. theme: a postmoderne, 

postnucleare apocalipse. A/4, also horz., phc. 1983-, #1-11) 

^#1, 3 

Müller, Rudolf c/o Post offices (Bundespost) Bonn Germany 1983 

°Mail Art. Kunst auf Postkarten. Cat.: 21x32 cm., offset colour, 82 p. 100 parts. 

{500} / Bundespost. Bonn, 1983 

Mullican, Jeff 943 Menlo #5. Los Angeles, CA-90006 USA 1985 

^125 Mail Artists' Fears. Cat.: Digest, phc., 8 p. August 1985 

 

^Mind’s Eye. Outdoor exhibition in downtown of Los Angeles. Inv.-flyer, 1985 

!Munos, Mr.! 

→ Renault, Frédéric

Muñoz, Patricia L. Vicente Lopez 1780. Piso 3. Dept. 6. Buenos Aires, AR-1018 Argentina 1988 

↑ Rodrigez Pena 1710. Piso 10. Buenos Aires, AR-1021 - “ - 1981 

............................................................................................................................................................. 

°(Tickets). Cat.: 35.5x21 cm. phc., 30 leaves, 22 parts. Buuenos Aires, 1981 

Munson, Howard 355. 15th Ave. N° 6. San Francisco, CA-94118 USA 1982 

The Bridge (Mag. flittering between journal and bookwork with words, poems, 

photos, typwritten copies, inserts. Digest, offset, 30 p. 1982- qu.) 

Munson Williams Proctor Institut. 310 Genesce St. Utica, NY-13502-4799 USA 1989 

Ârt is long, life is short... (curator: „JK Post”) Doc. Letter, phc., 12 p. 1989 

Murphy, Jay 2425 Burgundy St. New Orleans, LA-70117 USA 1988 

↑ P. O. Box10258 Tallahassee, FL-32303 - “ - 1981 

............................................................................................................................................................. 

Red Bass (Poetry, prose, profiles, articles, some art an resources of a political bent, 

partly thematic issues (#10 on Women's International Arts). Letter / 

offset or tabloid / newsprint issues, 72-80 p. 1981-, 2-3xy.) 

~ 

Literature: Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p. 

Musarra, Natale Edizioni Loplop. Via Provinciale 8 a. Piano Tarola (CT), I-95040, Italy 1986 

Îl Sorriso Verticale (Bilingual Mail Art anthology with text & images, in Italian 

and English, 17x12 cm., offset. 144 p. October 1986, #1 only?) 

Organisator: → Aiello? 

«Musée de la Post, Paris» 34, Blvd. de Vaugirard Paris, F-75015 France 1994 

^Timbres d'artistes. Cat.: A/4, offset, 248 p. (Org.:→ Laszlo, Jean-Noël 

 

& Reynaud, Chantal). 1994 

Texts: (French / English): 

P. Restany: Le timbre d'artiste: lieu privilégié de l'identité poétique 

J-N. Laszlo: Le timbre c'est le message 

J-N. Laszlo: Interviews de György Galántai et Ken Friedman 

Peter Frank: Modernisme postal 

J. W. Felter: Timbre d'artiste 

Ed Varney: Timbre d'artiste: quoi et comment? 

Patrick Marchand: L'art et le timbre 

^L'art du tampon. Cat.: A/4, offset, 96 p. (Org.: Sophie Nagiscarde.) 1995 

Texts: Sophie Nagiscarde: L'art du tampon 

Pascal Rabier: La cachet de la Poste fait foi 

Jon Hendricks: Le tampon à imprimer: un aspect de Fluxus 

Michel Giroud: Mail Art et Network 

«Museo dell' Informazione» ? Senigallia Italy 1992 

^Fe/Mail Art, Dedicato Donna. Cat.: A/5, phc., 12 p. 1992 

 

^Fe/Mail Art, Dedicato Donna. Cat.: 22x22 cm., offset, 48 p. February 1994 

«Museo de arte Contemporaneo» San Diego 1476, Calle 3-1489. Santiago de Chille, Chille 1994 

^Homage to René Magritte. Doc.: Poster of 45x25.5 cm., sheet, offset. 1994 

«Museum of Museums, The» → Geluwe, Johan van 

 

«Museum of Post & Telecommunication, Berlin» 

^Mail Art Documentation – Allegories of the 21st Century. Published by J. Kallinich 

and V. Lemmrich. Cat.: 21x21 cm., Col. offset, 154 p., 189 parts., 

all illustrated! Exhibition as completing of the travelling Mail Art 

show from the Staatliches Museum → Schwerin, June 19 - Oct 26, 1997

«Museum of Silence» Valeriusstraat 5-I-Hoog. Amsterdam, 1071 MB Netherlands 1994 

^Silence in Art / Stille in Kunst. Cat.: 22x23 cm., offset (colour), 96 p. Kempen 

Publ. Eindhoven. 1994 

^Silence - 3D-project. Doc. A/4, phc., 4 p. Amsterdam. 1994 

 

!Music Master! → Cassidí, Thomas M. 

«Music Network» → «Cassette Net» 

!Mutt, Richard ! R. Mutt Galleries Press, Box 377 Northridge, CA-91328 USA 1976 

°Letters to R. Mutt and Transfer Series. Mail Art compilation, letter size, offset, 

130 p. Northridge, 1976 

°California Drought Catalog (A Dada Digist). Cat.: letter, offset, 110 p. 265 parts. 

R. Mutt Galleries Press. Northridge, 1977 

!Nada Post! (Victor Perez) Box 0221, College Grove Station, San Diego, CA 92115. USA 1984 

^Big Brother is Watching. Doc. Letter, phc., 4 p. 1984 

 

Nader, Wladyr Wertente Editora Ltd. R. Monte Alegre 14434, São Paulo, BR- 05014, Brasil 1975 

Êscrita / Revista Meusal de Literatura (Leaflet for concrete art, graphic, Mail Art. 

33x21.5 cm., offset. 1975-, m.) 

^# Vol.1/3 

Nagy, Pál / Papp, Tibor / Alpár, Bujdosó, Atelier Hongrois. 

139. av. Jean-Jaurés, Montrouge, F-92120, France 1962 

^Magyar Mühely (Offset mag. for literature, since the 80s more with visual poetry, 

since '89 published in Hungary: Ady E. u 12, Budapest, H-1024. 

1962-96, 24x18 cm, ~60 p. squ. #1-100) 

→ Kovács, Zsolt / Magyar Mühely (Magyar Mühely, new series, #101- ) 

Nakagawa, Alan H. 459 South Citrus Ave. Los Angeles USA 1984 

^Visual Response League. (with Lon → Spiegelman). Doc. one half-legal sheet, 

offset, + one dia-slide. 1984? 

Nakahara, Seiei Jack. 203 Tanova, Res. Nº 2. 1-14-19 Tamagawa Denenchoufu, Setagayn-ku. Tokyo 158. Japan 

^The Joke Project. Int. Mail Art Music and Art at the Tama Art Univiersity in Tokyo. 

Cat.: 36x13 cm., phc., 16 p. Exh.: November 2-4, 1984 

More about → Joke Project 

Nakayama, Shigeru. 500 Kita Amagashaki, Fushimi Kyoto Japan 1985 

^Frottage. Inv.-letter, ~1985 

 

^Mauve project – request for audio cassette works. Inv.-flyer, ~1985 

 

^Spring Copy ’88. Inv.-letter with image, 1988 

 

Âutumn Copy ’88. Inv.-letter with image, 1988 

 

^Sunrise ’89. Inv.-flyer, 1989 

 

Nannucci, Mauricio c/o Archive Zona, Via Marsala 4 Firenze, I-50137 Italy 1976 

Via San Nicolo 119. r. Firenze, I-50125 - “ - 1970 

............................................................................................................................................................. 

°Black. (21.5x21.5 cm. 6 silk-screens sheets with black on black print. {50}) 

Edition A, Frankfurt, 1967 

°Timbro d'Artista. Cat.: Zona, 1975 

 

°Per conoscenza. (Documentations) A/4, offset / colour, 64 p. Zona. Firenze, 1975 

°Provisoire & définitif. 20x14.3 cm., offset, 32 p. {250}. Ed. Ecart → Armleder. 

Double Sphinx, #9. Genève, 1975 

°Wit Wit. (21x15 cm., 4 embossed & silkscreened sheets) Multi Art Points, 

Amsterdam, 1976

°M40/1967. A/5, offset, 188 p. Multi Art Points. Amsterdam, 1976 

 

^méla (Mag. for experimental and visual literature. 70x100 folded to 24.5x17 cm., 

offset. 1976-81, #1-5) 

^#4, 5 

^Small Press Scene. (Exh. Cat.: A/5, offset, 40 p. {500}. / large bibliography, 44 p.) 

Exh.: December 1975 - February 1976. Zona. Firenze, 1976 

°Sessanta Verdi Naturali. (33.5x11.5 cm, accoordion, offset colour, 24 p.) Im Taxis- 

paleis – Spagnoli / Innsbruck – Firenze. 1977 

°Formato Lib(&)ro. Mostra de libro oggetta in Italia. (with L. Caruso & E. → Mic- 

cini) Cat.: 64 p. / Palazzo Vecchio, Firenze. 1978 

°Inbound / Outbound. Inv. on postcard, offset. Zona. Firenze, 1977 

 

°Copyright. Inv. on A/4 offset sheet. Zona. Firenze, 1978 

 

mèla post card book. (A collection of 48 postcards {1000}, b/w works of art/alterna- 

tive art, appeared as a special issue of mèla, summer/autumn 1979) 

°Cent livres d'artiste italiens. Cat.: A/5, offset, 27 p. BN Cabinet des Estampes. 

Paris, 1981 

Ârt in Bookform. Zona Archive. Cat.: 13x24 cm., offset. 24 p. / Alvar Aalto Museum, 

Jyväskylä, Finland. 1987 

°El posible plan de lo impossible / el imposible plan de lo posible. (Billiard-ball with 

the engraved title in a wood case of 9x9x9 cm.) {50} Madrid, 1990 

→ Armleder / Ecart 

~ 

Literature: 

^Judith A. Hoffberg: Maurizio Nannucci and Zona, Florence, Italy. In: Umbrella, 

Vol. 6 No 5, 1983. Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, the 

Anthology. Santa Monica, 1999. 41-45 p. 



!Nar, De! (V. Z. W.) Postbus 104 Brussel, B-1210 Belgium 1994 

^Fast-Lift MA Project. Cat.: A/5, phc. + offset, 32 p. In: Extra Editie. Nov. 1994 

Narloch, Charles ? Joinville Brasil 1994 

^Cidade das Florese das Bicicletas. Cat.: A/4, offset, 12 p. Two exhibitons: 

Banco de Brasil, Joinville. November 1994 

Galeria do Centro, Florianópolis. January-February 1995 

Nation, Opal Louis & Ellen, 3952,Fruit Vale Av. Oakland, CA-3952 USA 1990 

↑ 66 Montele Oakland, CA-94611 - “ - 198? 

↑ P. O. Box 301 Barton, Vermont-05822 - “ - 1979 

↑ S. F. Press. 74 Thomdike St. N°4. Cambridge, MA-02141 - “ - 197? 

↑ 42 / a. Pembridge Rd. Notting Hill Gate, London, W11 3HN United Kingd. 1969 

............................................................................................................................................................. 

Strange Faeces (A collection of writers' and artists' works plus translation from the 

French – from comic strip animation to Russian poetry. One of the most 

important publications in the int. post-fluxus scene with nonsenses and 

dadaistic absurd contributions. A/4, letter and digest sizes, mimeogr. + 

mix. techn., also phc., ~100 p. 1969-88?, ~ 20#) Edited in London [with 

Allen Fisher, Dick Miller & Pierre Joris], further in Cambridge, in 

Monterrey CA, in Vancouver, in Oakland CA, etc.) 

°10 pieces from: The Opal Land of the Angels. 33x20.5 cm., mimeogr. 24 p. Strange 

Faeces. London, 1971 

°New facts on evolution. 33x20.3 cm., mimeogr. 30 p. Strange Faeces. London, 1972 

°The Opal coloring book. A/4, mimeogr. 40 p. Strange Faeces. London, 1972 

°Creation of a Nation, death of a Mind / Catalogue Eddle Warings hydrostatic... 

33x21 cm., mimeogr. + offset, 20 p. Strange Faece. London, 1972 

°The tragic hug of a small french wrestler. (Mimeogr. 48 p.) Fault Publ. Union City

1977 

°Stabbed to death with artificial respiration (with R. E. Amos) (Coul. offset, 32 p.) 

The Coach House Press, 1977 

~ 



«Opal L. Nations was born to run. He published different numbers of Strange 

Faeces in Vancouver BC, Canada (#17); Penfield, NY (#18); and Cambridge, MA 

(#20). In a departure from the „non-judgemental“ attitude of most zines published 

at the time, Nations states that, „Contributions by requeust only.“ (John → Held, Jr: 

Bay Area Dada, 19970-1984: An Annotated Bibliography of Primary Sources. 

In: The Bay Area Dadaist. Ed. Stamp Art Gallery [→ Gaglione]. S. F. 1997) 

Naud, Jean-Pierre 46 rue Lafayette, Riom, F-63200 France 1991 

Ân Other Philately – send false-stamps. Inv.-flyer, 1991 

 

^Photography – thematical postcards. Inv.-flyer, 1992 

 

^Venise – Venezia. Inv.-flyer, 1992 

 

Â history of torture. Inv.-letter, ~1992 

 

Neaderland, Louise 759 President St. #2H Brooklyn, NY-11215 USA 1996 

↑ c/o I. S .C. A. 800 West End Ave. New York, NY-10025 - “ - 1981 

............................................................................................................................................................. 

^The ISCA Quarterly (ISCA = International Society of Copy Artists) 

(Xerographic matter, assemblings in letter size book form or in box, 

also boxed postcard assembling issues and artists' books collections in 

box or in bag as an issue. ~40-50 pieces in a publ. 1981-, qu., ~ 60#) 

^# 2/1, 3; 3/2, 3; 4/3; 6/2, 4; 13/4 

°The Nuclear Fan. 20x5 cm, phc.,10 leaves (riveted) in a slipcase. n.d. 

 

°Muybridge Revisited. 19.3x20 cm. accordion book (7 p.), phc. n.d. 

 

°Basic Elements: Earth, Air, Fire, Water.19x17.7 cm., phc. + rubber stamps, 16 p. ® 

Bon Hollow Arts. New York, 1981 

°Empress Bullet. 21x24 cm., accordion book (7 p.), phc. ISCA. New York, 1982 

°Sadat's Journey. 22x23.5 cm., accordion book (4 p.), phc. ISCA, New York, 1982 

°The Ston Roll On. 21.3x17.3 cm., accordion book (8 p.), phc., {250}. ISCA, 1982 

°The Vanishing Act. 10.7x10.7 cm., accordion book (11 p.), phc., {150}. ISCA, 1982 

^Copier Artists' Bookworks. Cat.: 18x11 cm., phc., 20 p. / I. S. C. A. 1982 

 

°A Mideast Kaleidoscop. 21.5x11.4 cm., 41 identity cards, riveted at a corner, phc. 

ISCA, New York, 1983 

°Scenic Tunnels. A photo-essay. 21.5x16.5 cm., phc.,, 28 p. S. P. New York, 1983 

°Cease-fire. 7.3x11 cm., phc., 20 p. ISCA. New York, 1983 

 

ÎSCA-Newsletter (Infomag. Half-legal, phc., 16 p. 1984-, squ.) 

 

^# 1985/ Febr., May, Nov., 1986/ Febr., 1988/ Jan. 

°Distress Signals. (Flipbook) 13.4x10.5 cm., phc. Bone Hollow Arts. NY, 1985 

^The Heart of Lightness. (Text + images, a handstamped booklet of 22x6 cm. with 

12 pieces) S. P. New York. n.d. 

^La Strada. (Xerographic work, booklet,10.5x11 cm., 6 p.) Bone Hollow Arts. 


°A Book of Short Stories. (Where is Home? 2/3) Half-legal,phc., 24 p. {25} S. P. 1986 

°The Disposable History of the World. Multiple. Cardboard box with 50 news leaves 

foulded & cut to the size of 15.2x17.7. {?}. Bone Hollow Arts. 


°Straitjacket. Digest, phc., 12 p. Bone Hollow Arts, New York, 1987 

 

°Open Roads, Empty Nests. Digest, phc., 16 p. Bone Hollow Arts, NY, 1988 

°Missing Persons. Letter, phc., 32 p., spiral bound. Bone Hollow Arts. NY, 1988 

Î. S. C. A. Graphics. Doc. 28x20 cm. offset folded to accordion (3x). / Sarnia Public 

Library & Art Gallery. January-February 1989

^The Walls come tumbling down. Inv.-flyer, 1991 

 

~ 

Literature: «The I.S.C.A. is a kind of service organisation for xerographers. It's around to 

advance copier art as a legitime, collectible art form. Artists who work in this 

medium may join ($20 per year) and during their membership must submit 200 

copies twice a year for inclusion in the quarterly. As such, the publication is a 

smorgasbord of ups and downs – colleged goofiness to the exquisite. However, 

to each his/her own... (Lightworks [→ Burch]. These Things Too [Print review]. 

N° 16, Winter 1983-84. 56 p.) 

(I.S.C.A. Quarterly, Winter 1985) «...The invitable problem with this kind a journal 

is that you end up distributing a lot of dreck. There's gopood stuff here, but not 

enough to merit the cost that a non-member would have to pay. And I guess to make 

up for a lack of exercisable editorial policy, they have themes for every other 

issues for contributing members to adhere to. This one was „The elements: Earth, 

Air, Fire, and Water.“ You figure out what to make of that.» (PhotoStatic. N° 16, 

Jan. 1986. Lloyd → Dunn: Mail Review) 

«My interest in books and printmaking goes back many years but my work as a 

creator of xerographic bookworks really had its beginning only five year ago when 

I just happened to put a photograph on the xerox machine. Ten copies later of that 

photograph – I was a book artist. My first book, High Falls, consisted of five xerox 

copies of a photograph taken in High Falls, N. Y... The photograph was of a young 

man jumping from the top of the falls into a deep pool at the bottom. By cropping 

eych of the copies of this photograph so that thefirst showed a great deal of white 

sky and the last a great deal of black rock, an illusion of movement or animation 

was created when the five copies were strung together vertically. This was my first 

accordion well book. All of my subsequent books (25 to date – 1986) have each 

been created from altered multiples o a single image. Using this method I discovered 

that less (one image) was more because the image was so intensely explored.» 

(L. Neaderland: Statement. In: Sarah → Jackson: Books Build Bridges / Copier 

Art – Bookworks. Cat.: TU ° NS. / National Postal Museum Halifax, 1986. 239.item) 

°Neaderland, Louise: Copy Art. In: Artists Newsletter. 23-25 p. Aout, 1988 



«Fourteen years! I must confess that I never dreamed that the Society would be 

around for such a long time when I sent the first fanciful notice to Afterimage 

announcing the formation of the I. S. C. A. Devoted as the frequently accompanied 

by such infirmities of aging as hardening of the arteries. Denial of such symptoms 

would be the easiest course to follow but acceptance and action the more 

productive. 

I need you help to revitalize our Quarterly! I must confess that I am a 

computer dummy. Everything there is done on a typewriter or a stone age Radio 

Shack computer which stores metarial on a cassette. Said machine gave up the 

ghost last weekend under the stress of printing the mailing labels, so I am about to 

enter the electronic age by purchasing my first modern computer with networking 

(?) capabilities, and, perhaps, even a photo program...» 

(Louise Neaderland: I. S. C. A. Quarterly. Editorial for Vol. 14. #1, 1995) 

Neef, Dirk de Blekerijstraat 5 Gent, B-9000 Belgium 1986 

Co(rr)ections (Mimeographed mag. literature + visual matter. A/4, mimeographic 

handmade coloured pages. 1986-, ir.)

Nelli, Salvatore ? Siracusa Italy 1983 

^Ripensandoalla Mail-Art. Doc. One sheet of 21x39,7 cm, offset. / Sala Expositiva, 

Isituto Statale d'Arte, Siracusa, November 1983 

«Neoism» 

→ Appendix 

Neutics, Hermann / → Nation, Opal Louis / !Vic d'Or!, P. O. Box 789, Stat. F. Toronto, N4Y 2N7 Canada 1974 

Ônly Paper Today (Multimedia magazine with humor, nonsense, dadaistic images. 

42x29 cm., newsprint, offset, 20 p. 1974-, bim.) 

^# Vol.6/1 

!Neutral Ground! → Close, Patrick 

Nevidal, Hans Kohlgasse 11 / 4. Wien, A-1050 Austria 1992 

↑ Ferdinand-Mosergasse 39 Guntramsdorf, A-2353 - “ - 1982 

Nevai, Andrew ? Florida, NY-10921 USA 1978 

Înstant Media Dispatch. The Journal of Quick-Art. (Dada, Mail Art, rubber stamp, 

polaroid, photocopy, colour-xerox, etc. 74x58 cm. sheet folded to quarter, 

offset, 2 p. 1978, #1-2?) 

^#2 

~ 

Literature: 

«New Reform Gallery» → Hondt, Roger D' 

«...Soon to be called Quick, this finely produced journal in its first issue has news, 

book reviews, informative classifieds, a display of rubber stamps for sale, and the 

inside is the complete documentation of Dadaland (→ Gaglione), Anna → Banana, 

Buster → Cleveland and Andrew Nevai in Toronto and later in New York City this 

summer. Guest edited by Buster Cleveland, this second issue will be followed the 

first Art Fun Rubberstamp catalogue... and it looks like it is a classy journal for all 

those interested in mail art and now art. (New Periodicals. In: Umbrella [→ Hoffberg]. 

Vol.1, #6. 151 p. Glendale, 1978) 

«New Wilderness Foundation» 325 Spring St. Room 208 New York, NY-10073 USA 1983 

↑ 365 West End Ave. New York, NY-10024 - “ - 1973 

............................................................................................................................................................. 

Ear Magazine (Experimental music, also Fluxus scores, rich in visual matter. 

A/3 tabloid, offset. 1973-, 10xy.) Editor: Varol E. Tynmon 

New York (Spring Street) / artists 325 Spring St., Room 333. New York, NY-10013 USA 1985 

Stroll («Outdoor Art» mag. 1985- qu.) 

 

Nielsen, Mogens Otto Atmosphere Controlled. Tylstrupvej 43. Hjallerup, DK-9320 Denmark 1984 

^Made in Brazil – “collected book” project (assembling like). Inv.-letter, 1983 

^Send a Piece of Your Nature. Inv.-letter, 1984 

 

^1984 we are all stars. Small brochure photocopied by red colour on white paper. 

15.5x11 cm. cover with 2 leaves of 15x21 cm. (folded). n.d. (1984?) 

^Thou Art 84. (with → Schmidt-Olsen, Carsten) Anthology of films, videos, dias, 

music, audio and performance works and installations by international 

mail artists. Program at the Jomfru Ane Teatret, Aalborg DK-9000, 

May 11-17, 1984. Anth.: A/4m phc. + offset, 80 p. with 90 participants. 

^Pocket Museum. Doc.: One A/4 sheet, phc. (Send some trash or objects from 

your pockets...) Exh: Sonde Århus Kunstmuseum, November 1984 - 

January 1985 

^Conceptual Laboratory Future-Enginneering. Published on small, golden signed 

cards ~1985 with the saying of Adorno: “Society with other qualities” 

and the text of the 10 Commandments of the Mail Artists:

1. Mail Artists do not care who did it first 

2. Mail Artists do not care who did it best 

3. Mail Artists do it for each other now 

4. Mail Artists go beyond limitations 

5. Mail Artists do not compete in public who does it best 

6. Mail Artists do not accept awards for doing it 

7. Mail Artists do not reject anybody 

8. Mail Artists do it internationally 

9. Mail Artists build the world network of confidence 

10. Mail Artists are coming by mail 

^Book Object. (Metall book form – like preserve can or box – with an opening key.) 

30x22x4 cm. Signed and numbered multiples, 9 copies. n.d. (1985?) 

^Østvendsyssel Film & Video Festival 1986. (Org.: M-O. Nielsen and Carsten 

Schmidt-Olsen) Cat.: A/4, colour offset, 96 p. (71 participants). 

Kinoteatret, Sondergade10, Hjallerup. Oct 10-11-12, 1986 

Artistamps in div. form since 1976, also by rubber stamps. Very known pieces: ® 

êarth-heart (Sheet of 8 id. stamps, red rubber stamps on white p.) n.d. 

(1976?) 

^Lips (Sheet of 12 red and 12 green rubber stamped stamps) n.d. 

^Film-stamps (Special stamps by sinle 36 mm film images on white 

paper, perforated, sometimes additional rubber stamps) n.d. 

Atmosphere Controlled (Sheet of 24 stamps, one image/fish in four 

diff. positions, a work by rubber stamps) 1986 

^Strike Zero Art Revenue (Cut stamp pieces in size of 7.5x6.5 and 

10.5x8.5 cm., diff. images, b/w phc. ) n.d. (1990?) 


~ 

Literature: 





Nielsen, Paul Henning / Peterson, Bent, North Information. Box 1000, Copenhagen, NV. DK- 2400 1976 

North (Art activities with orig. contributions by Scandinavian artists. A/5 and A/4 

booklets, offset. Mag. 1976-, qu.) 

North Information (A/4 info-pages. 1976-77, #1-35?) 

Nieslony, Boris Boltlensternstr. 16 / Build. V 6. Köln, D-50735 Germany 1986 

↑ Poller Kirchweg 60-66 Köln, D-5000 - “ - 1983 

............................................................................................................................................................. 

^Neescha. Magazine, zeitschrift, Bilderbogen, Findebuch (Multimedia magazine. 

A/4, offset, 42-84 p. 1985-88, #1-3) 

^#1, 2, 3 


Niggl, Thomas Hohenstaufenstr. 7 München-40, D-8000 Germany 1969 

Omnibus News (The first regulary assembling at all, a paper accumulation with 

«concrete art» character {1500}. A/4 volume, ~200 p. 1969. #1 only) 

Omnibus 79/80 (A late second issue of the Omnibus News {1000} edited by Peter & 

Susanne Schwenk, Alte Schule, Martenbeth D-8091. A/4, mixed techn., 

192 p., with 65 artists. 1980) 

Omnibus Press. Publications on art, activity in the 1970s 

 

~ 

Literature: «The Omnibus News, 1 – the hugest contributor-printed collection I've seen yet, as 

thick as a telephone directory, and containing all sorts of work, and on different 

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 

choice. For those who are interested in names the contributorsto this first (and 

only?) issue include Dietrich → Albrecht, Eric Anderson, Stanlay Brown, Jochen 

Gerz, Dick → Higgins, Milan → Knizak, Herman Nitsch, Werner Schreib, Timm 

Ulrichs, Ben → Vautier, Wolf Vostell... (...) Or one could say that it's a volume in 

whichwe are all ONE. Assembled by Thomas Niggl, Christian d'Orville and Heimrad 

Prem...» 

(News and Reviews. In: Kontexts, #6-7 [→ Gibbs]. Amsterdam, 1975. n. p.) 



«Nihilist Press» 10350 ½. Wilshire Los Angeles, CA-90024 USA 1978 

OK Magazine (Xerographic network publ. 1978-) 

 

!Nikonova, Rea! (Anna Tarshis) Sverdlova 175 Eysk, 353660 Russia 1988 

Transponance (with → Segay, → Konstrictor) (Typewritten handmade samizdat 

magazine in the Sovietunion with exp. literature, art [also Mail Art] 

manifests and theoretical contents. Very few copies only. 1979-86, 

#1-36) 

^Scarecrow. Mail Art Exh. Poster of A/2 size + Photo-doc. / Eysk. 1989 

Transflöte (About Transponance, with → Segay) in: Iskustwo, N° 10 / 1989 

(Russian) Its English translation → Segay: The Crux of the Matter 

^Transponance Transfuturismus oder Kaaba der Abstraktion. (with → Segay) 

(Offset, 52 p.) experimentelle texte N° 20. → Riha, Siegen D, 1989 

Artistamps: ^Window (?) (Sheet of 16 id. rubber stamp (?) images, b/w print, 

not perforated) n.d. 

^Two piggs as bycicle (Sheet of 24 id. stamp images, phc., not perfo- 

rated) n.d. 

^(Zaumnist drawing) (Sheet of 32 id. stamps, phc., not perforated) n.d. 

^(MAMA) (Sheet of 8 stamps, on identical images the letters M & A. 

Phc., not perforated) n.d. 

^(Drawing with woman figure) (Sheet of 12 id. stamps, phc., not perfo- 

rarted) n.d. 

^The first in Russia Int. Visual Poetry Exh. (with → Segay) Cat.: 19.5x14 cm., offset, 

36 p. Museum, Eysk. December 25, 1990 - February 25, 1990 

^Double (Assembling with int. Mail Art and vis. poetry matter, a magazine in a form 

of a wonderful structured paper collage: pages cut in dif. form. ~A/5, 

14x18 cm. and ∆ of 29x23x23 cm. Mixed techn., ~20 sheets. 1991-, 

2xy. #1-6?) Eysk. 

^1, 2, 3, 4, 6 

^Mail Art Exhibition: Vacuum. Inv.-flyer, 1992 

 

^Hommage to Nikonova & Segay – exhibition at the “Euterpe”, Chieri (TO), I-10023. 

Inv.-sheet: A/4 to accordion 3x. 1994 


~ 

Source: 

~ 

Literature: 

^Transfutur. Visuelle Poesie aus der Sowjetnunion, Brasilien und deutschsprachigen 

Ländern. Cat.: 98 p. Eds.: F. W. → Block & A. → Vallias. / Verlag Jenior & 

Pressler. Texts by F. W. Block, C-F. Claus, V. Scherstjanoi, K. Sachse, A. Vallias, 

P. Huckauf. Exh.: Galerie Pankow, Berlin, 1990. (more → Pankow, Gal.) 



«...The KGB took great interest in Mail Art and began opening each of our 

international letters. An unsophisticated looking stamp, „Forwarded Damaged,“ was 

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. 

Serge (→ Segay) and I knew for some time that we were taking great risks with our 

art activities. 

When Serge and I went into Mail Art we were already active artists and 

poets. We had published two „samizdat“ avant-garde journals, hundreds of 

unpublished books, collections, articles, textbooks, thousands of poems, paintings, 

drawings and organized unoffizial poetry readings for Leningrad audiences. We 

collaborated in the peformance group Transfuturists (Nikonova, Segay, Konstrictor, 

Nik). Serge and I participated in unoffizial art exhibitions in Leningrad and 

Sverdlovsk and published a journal „Transponans.“ (...) 

There were basic ideas of „Transponans“ that sharply distinguished it from 

the sea of Soviet „samizdat“ publications ofthat time. We strove towards originality 

in design; ewery issue had three formats, was handmade and vagualy resembled an 

airplane with outstretched wings. (...) Opponents to „Transponans“ were not only 

from the conservative field... but also from the field of innovators or Moscow 

conceptualists, socialist artists and others...» 

(Rea Nikonova: Mail Art in the USSR. In: Chuck → Welch (ed.): Eternal 


The same essay has been reprinted in a bilingual – German / English – version in: 

Mail Art. Eastern Europe in International Network. Staatliches Museum Schwerin, 

1996 / Kunsthalle Budapest, 1998. Cut A/4, offset, 318 p. 69-75 p.) 

Rea Nikonova: 42 Dreams about Mail Art. In: Chuck Welch (ed.): Eternal Network. 


«...The way in which mail art appeared in the former Soviet Union was even 

stranger. It didn't get started at all until a few people discovered Hlebnikov's 

futurist-dadaist legacy. It is thanks to those artists that from that experimental 

literature a kind of samizdat was able to develop whose fragile thread wove through 

the various natural samizdat fields. And since among them and the trans-futurist 

poets only the Nikonova-Segay couple used this material also as mail art, Russian 

mail art capable of speaking with an independent voice, being as it was but a weak 

thread, for a long time remained constricted to those two people. By the 70s a 

strong camp of so-called unofficial art developed, which at the time was rightfully 

considered to be a part of the cultural opposition. Russian mail art that sprang up a 

decade later, however, found no connection to that earlier development; in fact it 

was considered by mail artists to be a part of elite art...» 

(Bálint → Szombathy: „Now is Always and Always is Gone“ Historical Exhibit of 

East European Mail-Art in Schwerin. In: Left Curve [→ Polony, Csaba] #21, 1997, 

24-27 p.) 

Vittore → Baroni: Rea Nikonova e Serge Segay. In: Arte Postale. Guida al network 




Nixon, Robert 2a Poplar Grove, New Malden Surrey, KT3 3BY United Kingd. 1984 

Îdolise (Mag. Text, graphics, tape labels, film reviews with a flair for quality, 

beautiful print. A/5 and 21x17 cm., lithography, 32 p. 1984-, ~y.) 

^#1, 2, 3 

Njaradi, Vlado Palih Boraca 19.A Vrbas, YU-21460 Yugoslavia 1994 

N° Embargo for Arts! Accordion book, „Zlatno oko“, Novi Sad, 1994 

^66666 Project. Cat.: 10.5x22 cm. horz., offset, 4 p. Text: A. → Tisma. 1996 

«No-Institute» → Olbrich, Jürgen O.

Nold, Wilfried Eppsteinstr. 22 Frankfurt, D-60323 Germany 1996 

Art and Play with Rubberstamps (Commonpress #52, not edited yet) 

® 

^Schachtel Museum. Inv.-letter, 1996 

 

^Mailart-Aktion Mandala 1996-97. Cat.: A/5, offset, 190 p. 142 parts. S.P. 1997 

^Das kosmische Kreuz. ( The Cosmic Cross) Inv.-card, 1987 

 

^Die schwangere Bibliothek. Cat.: A/5. offset, 190 p. Over 200 exponats. S.P. 1997 

^Numero. New Mail Art News. Die Kunst der Kommunikation (Network mag. for 

texts and information exchange. A/5, phc., 48 p. 1997-99, #1-6) 

^#1, 2, 3, 4, 5, 6 

^Kreuz-Aktionen, 2000 / 2001. (Catalogue- and essay publications with participant 

lists and exhibition reports about the ongoing / traweling Mail Art project 

Das kosmische Kreuz – Cosmic Cross). Cats.: A/5, phc., 80 / 48 pages, 

+ cover. Also poems and other literature efforts in the volume from 2001. 

Language: German only. 

Nolewayka, Marcin, Chorzowska 16 / 23. Bytom, PL 41-902 Poland 1991 

Î. A. L. (Assembling in postcard size, ~15 pieces in an issue. 1991-, 1-2#?) 

^#1, 2 

«Nomad Museum, The» → Oliveira, Jose 

Nordø, Guttorm (Art Attack) (Idiot Press), c/o Aasen. Mandallsgate 5, Oslo N-0190 Norge 1992 

↑ Box 4536. Kalvskinnet Trondheim, N-7002. 1985 

............................................................................................................................................................. 

Idiot-Press publs. 1982-83: 

000 Propaganda.................................................................200-250 copies 1982 

001 Positio / positiv...........................................................200 - “ - 1983 

002 Texthefte / trondheimsband........................................500 - “ - - “ - 

003 Anti-Story I. ...............................................................5 - “ - - “ - 

004 Anti-Story II...............................................................100 - “ - - “ - 

005 Psyk-psykere-psykert .................................................150 - “ - - “ - 

006 Prosessen 1-7..............................................................100 - “ - - “ - 

007 DIA-verbal Schizologik .............................................200 - “ - - “ - 

008 Anti-Story III..............................................................100 - “ - - “ - 

009 Das Konzept...............................................................50 - “ - - “ - 

010 Anti-Story IV / V .......................................................100 - “ - - “ - 

011 Syk valkpropaganda FF..............................................50 - “ - - “ - 

012 Noen blad fra min dagbok..........................................300 - “ - - “ - 

^DIA – verbal-schizologikk. (A/4 phc. matter, 100 sheets, {200-300} signed as 

«Gutt 83». Idiot Press 007. Tronheim. 1983. 

 

Ânti-Story (Gaphic mag. {100}1983, #1-6) Idiot-Press (see Idiot-Press publs.) 

^#4-5, 

Êl Djarida / Art Attack (A very generous edited Mail Art and graphic magazine 

from Norway, wide spread in the network. A/3 tabl. by newsprint, and 

A/4 offset sizes, 24-64 p. N°6=colour offset images, N°7=Mail Art 

theory publ. 1985- 90, #1-9, later additive issues, sometimes as exh. 

catalogues, e.g. #15 = H 2 O Mail Art) 

^#1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 15 

^Mirror Man (Correspondence like mag. {14} 1986, #1) 

 

^#1 

Ârt and Action, El Djarida Mail Art. Cat.: in: El Djarida N°. 5. + N° 7 (Also a 

Mail Art manifesto + poster). trondheim. April, 1987 

^Dummy (12 sheets xerox-mag. {14} 1978, #1) Idiot Press. / Publs. Nr: 078. 

^The Fluxus Permormance Workbook / El Djarida #9. (with I. Bloom, K. Friedman, 

 

 

Per Hovdenakk /more → Friedman) A/4, offset, 64 p. Trondheim, 1990 

^My OH My My Book - Words / Drawings 1991-1993 (Horizontal size mini offset, 

64 p. {1100}) S. P. Trondheim, 1993

^Mumble Maniac, #2. (10.5x7.5 cm., phc., 16 p.) Oslo. 12. November 1993 

^Luna (A/4 graphic assembling in envelope {28}, ~15-20 sheets in an issue. 1993-94, 

published at every moonful!) 

^#1, 2, 3, 4 

^Paintings / Malerier. Catalogue after an exh. at the Henie-Onstad Kunstsenter, 1996. 

17x14.5 cm., col. offset, 32 p. {1000} Edited in Oslo/Trondhem, 1997 

^H 2 O Mail Art. Cat. in: El Djarida, N° 15, Spring 1999 (24x17 cm., offset, 66 p.) 

~ 

Literature: 

(El Djarida, #4): «24 page international multiarts tabloid. Cover and centerfold are 

2-color, computer type, ½ English, ½ Norwegian, beautifully laid out. Lots of visual 

poetry, mailart, interviews, articles, reviews, photomontages (#4 has a spooky one 

by an unknown artist, of a man on an operating table in the dark being observed by 

a circle of animals). Another exmaple of the fine quality and isnpiration in general 

of European as opposed to American publishing efforts. I wish I knew Norwegian, 

but there's more than enough visual work here to statisfy any tongue.» 


(El Djarida, #6 / with the image material fo the Art and Action project): «...consists 

of 58 pgs. of images and no words, which is OK, but there seems to have been little 

attention paid to the sequencing and the feel of the issue is flat. #7 is the „Burial 

issue“, which includes alot of articles, essays, reviews, and assorted rants. Mostly 

in English, this is a meaty and varied issue.» (Stephen → Perkins: Magazines. In: 

Box of Water, N° 4, 1988) 

Northwest Artists' Woorkshop. 117 NW. 5th St. Portland, OR-97209 USA 1979 

^Westcoast Copy Machine Art. Exh. Cat.: Letter, xerox/colour xerox, 40 p. 1979 

«Nosukumo Press» GPO Box 994 - H Melbourne, AU-3001 Australia 1985 

^The Carriónflower Writ (Mag. Art by charcoal, pen and ink collage, multi lingual 

prose/poetry, high quality set offset printing. Broadsheet, 59.4x42 cm., 

folded to quarter, offset. 1985-87, #1-7?) 

^#1, 2, 3, 4, 5 

Notavo, Marconi (→CAMBIU), c/o → Silva, Falves, Natal, BR-59000 Brasil 1977 

Gaveta. Arte marginal brasileira (with F. → Silva) (Mag. with exp. poetry and art. 

22.5x16 cm. offset. 8 p. 1977?-) 

Novak, Jiri Tibor ? ? Brasil 1980 

Book '68 (Photocopy assembling with A/4 xerox matter, 1980?) 

 

Novelty, Carioca ? San Francisco USA 1978 

Ideas on Wheels (Commonpress #6) 20.5x15 cm., 24 p., 20 participants. August 1978 

Nounce, Toby A. ? ? USA 1978 

Slight of Hand (Commonpress #7, not edited yet) 

 

Nu-Art Collectif → Mancusi, Tim 

Nuk, Ona Huttenstr. 71 Berlin-21, D-1000 Germany 1985 

Artist of the underground scene in West-Berlin in the 1980s, xerographical works, 

book-art, object-art in uniques and multiples. Connection to the Mail 

Art Network. 

Â∀A. 4-2 Artless Artists Arthritis. Multiple by small objects in an audio-cassette 

cover. 86 signed and numbered copies. n.d. (~1985) 

^Zero Information. (Circular, A/4, phc.) Invitation to a collective project with some 

“subprojects” as sticker action (signs of zero information), computer 

programs (?) and “moment documentations of itself ”. (~1986)

ABBREVIATIONS 

Magazines: m. = monthly qu. = quarterly y. = yearly 

sm. = semy monthly squ. = semy quarterly 2xy. = yearly twice 

bim. = bimonthly ir. = irregular 2-3xy. = two or three times y. 

Sizes: A/3 = 42 x 29.7 cm. ~16.5 x 11.75“ 

Folio = 33 x 22 cm. ~13 x 8.6“ Legal = 14x8.5“ ~36 x 21.5 cm. 

A/4 = 29.7 x 21 cm. ~11.75 x 8.25“ Letter = 11x8.5“ ~28 x 21.5 cm. 

A/5 = 21 x 15 cm. ~8.25 x 5.8“ Half-legal = 8.5x7“ ~21.5 x 18 cm. 

A/6 = 15 x 10.5 cm. ~5.8 x 4.15“ Digest = 8.5x5.5“ ~21.5 x 14 cm. 

Mini= ~A/6 or ~A/7 Mini = 5.5x4.25“ ~14 x 10. 7 cm. 

 

= Art in general / Multimedia publ. 

= Artists' Books 

= Copy Art 

= Edition / Publishinghouse 

= Graphic 

= Visual and experimental literature 

= Mail Art / Correspondent Art 

= Music / Audio & Sound matter 

= Neoism / Radicalism 

= Theory / History 

® = Rubber Stamp 

^ = A copy is located in the Soft Geometry Archive 

by Géza Perneczky / ° = J. Agius' catalogues 

______________________________________________________________________________________________ 

= Mail Art Project 

= Group of artists 

Anth. = Anthology 

Broch. = Brochure 

Cat.: = Catalogue 

Comm. = Community 

Cont. = Contemporary 

Coord. = Coordinated by... 

Diff. / div. = different / diverse 

Doc. / Docs. = Document / Documents 

Ed. = Edition 

Ed. / Eds. = Edited by... / editor / editors 

E-print = Electronic / computer print 

Exh. / Exhs. = Exhibited.... Exhibition / Exhibitions 

Gal. / Gall. = Galeria / Galerie / Gallery 

Horz. = Horizontal (size) 

Id. = identical 

Int. = International 

Inst. = Institute 

Inv. = Invitation 

Ip. = Instant print 

Mag. = Magazine 

n.d. = not dated 

n.p. = not paginated 

Org. = Organized by.... / Organizer 

Parts. = Participants 

Phc. = Photocopy 

Prov. = Provincial 

Publ. / Publs. = Publication / Publications 

Rub. = Rubber (stamp) 

S. P. = Self Publacation 

Techn. = Technic / Technical 

Them. = Thematic, with themes (issues... etc.) 

Univ. = University 

Vis. = Visual / Visuelle 

Xerogr. = Xerographical (photocopied)

SOURCES: 

Ârchive material (artists' magazines, alternative art / literataure / exh. catalogues) from the „Soft Geometry“ archive, 

Géza Perneczky, Cologne (not complete, prepared yet) 

° = Juan J. Agius: Livres et Multiples / Catalogues, 1992- (Predominantly alternative publications and network 

materials from the archive Other Books and so... by Ulises Carrión and other sources.) 

P. O. Box 5243 CH-1211 Genova. Tel/Fax: 22-321.77.15 e-mail: agius.books@netsurfer.ch 

= (Ruud Janssen: Dead Mail Artists.) Regular updated information list by TAM/Rudd Janssen from Tilburg NL. 

LITERATURE: 

BOOKS: 

Fountin Nigel: Underground: The London Alternative Press 1966-74. New York: Routledge, Chapman & Hall, Inc., 

1988 (History of the underground press in the UK.) 

Gunderloy, Mike & Janice, Goldberg Cari.: The World of Zines. New York: Penguin Books, 1992. 

Henry, Tricia: Break All Rules: Punk Rock and the Making of a Style. Ann Arbor: UMI Research Press, 1989 

............................................................................................................................................................................................... 

ARTICLES: 

Fraunfelder, Mark: Cheap memes: Zines, Metazines, and the Virtual Press. (Unpiblished, will be appearing in a spec. 

Copy Culture issue of New Observations magazine, New York). 

Ginsburg, David: Rock is a Way of Life: The World of Rock'n'Roll Fanzines and Fandom. Serials Review. Jan/March 

1979, p. 29-46. 

............................................................................................................................................................................................... 

CATALOGUES / BOOKLETS / ZINES... 

Artpapers. Special issue on the Alternative Arts Press. 15 (4): 1991. 

Ciani, Piermario: Fanzinerie: Editoria Periodica Amatoriale. Arcinova, Pordenone, Italy 1992 (Cat.) 

Trusky, Tom: Some Zines: American Alternative & Underground Magazines, Newsletters & APAs. Boise: cold-drill 

books, 1992. (Cat.: of ~80 zines, DStudent Union Art Gallery at Boise State University)

GÃ©za Perneczky - Ruud Janssen

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