The E-Mail Interview Guy Bleus
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Danish Artists in the International Mail Art Network Charlotte Greve
Danish Artists in the International Mail Art Network Charlotte Greve According to one definition of mail art, it is with the simple means of one or more elements of the postal language that artists communicate an idea in a concise form to other members of the mail art network.1 The network constitutes an alternative gallery space outside the official art institution; it claims to be an anti-bureaucratic, anti-hierarchic, anti-historicist, trans-national, global counter-culture. Accordingly, transcendence of boundaries and a destructive relationship to stable forms and structures are important elements of its Fluxus-inspired idealistic self-understanding.2 The mail art artist and art historian Géza Perneczky describes the network as “an imaginary community which has created a second publicity through its international membership and ever expanding dimensions”.3 It is a utopian artistic community with a striving towards decentralized expansion built on sharing, giving and exchanging art through the postal system. A culture of circulation is built up around a notion of what I will call sendable art. According to this notion, distance, delay and anticipation add signification to the work of art. Since the artists rarely meet in flesh and blood and the only means of communication is through posted mail, distance and a temporal gap between sending and receiving are important constitutive conditions for the network communication. In addition, very simple elements of the mail art language gain the status of signs of subjectivity, which, in turn, become constitutive marks of belonging. These are the features which will be the focus of this investigation of the participation of the Danish artists Mogens Otto Nielsen, Niels Lomholt and Carsten Schmidt-Olsen in the network during the period from 1974–1985. -
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79 0849 Attack Wace 2. A4 phc. after a collage work on a ruled paper. Marked by a studio stamp. (~1985) 0850 Europeans cry... A4 phc. after a collage on squared plotting paper. Marked by studio stamp. (~1985) 0851 The Year... A4 phc. after a collage on squared plotting paper.Marked by a studio stamp. (~1985) 0852 !Pelas! A4 phc. after a collage work on a ruled paper. Marked by a violet studio stamp. (~1985) 0853 0855 BANG. A4 phc. after a collage work on a ruled paper. Marked by a violet studio stamp. (~1985) 0854 Reagen & Co. A4 phc. after a collage work on a ruled paper. Marked by a studio stamp. (~1985) Esting, Paul. Nordtoft 13, Aalborg, DK-9000 0855 The Look. A4 size full page, recto-verso printed xerography after collage works. Marked by a studio stamp. (1985) Evans, John. 199 East 3rd Street #2B, New York, NY-10009 0856 Soho NYC – Alhambra. Letter-size Canon Laser Print after an original to Guy Bleus. Copied signature and date: 24 Mai 1993. Numbered by pencil: 7/11. 0856 Back: handwritten data by Evans. 0857 Long-size envelope with butterfly rubber stamps, sent to GP. 01:06:93. Back: elaborated by rubbers. Fallico, Arturo G. 22700 Mt. Eden Road, Saratoga, CA-95070 0858 Ray Johnson Mail Art. Postcard by B/W phc. after a collage. Back: Signed letter to GH., 01:05:85 0858 80 0859 X 9 Cuidado. Postcard by B/W phc. after a collage Back: dedicated and signed to GH. Not used for mail. (~1986) 0860 TRAX. -
Copyright by Madelyn Kim Starbuck 2003
Copyright by Madelyn Kim Starbuck 2003 The Dissertation Committee for Madelyn Kim Starbuck Certifies that this is the approved version of the following dissertation: Clashing and Converging: Effects of the Internet on the Correspondence Art Network Committee: John Slatin, Supervisor DeLayne Hudspeth Allucquére Rosanne Stone Oscar Mink George Culp Clashing and Converging: Effects of the Internet on the Correspondence Art Network by Madelyn Kim Starbuck, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2003 Dedication To the memory of Ray Johnson and in celebration of the Correspondence Art Network past, present, and future. Acknowledgements I gratefully acknowledge the many correspondence artists who generously contributed their interviews, their art works, and their review of parts of this study. Warm thanks to Anna Madrona and Knut Graf for critical path direction and to honoria, my artist identity. v Clashing and Converging: Effects of the Internet on the Correspondence Art Network Publication No._____________ Madelyn Kim Starbuck, Ph.D. The University of Texas at Austin, 2003 Supervisor: John M. Slatin This study examines the effects of the Internet on an international community of artists who have exchanged art through postal systems for 40 years. The methods of grounded theory are employed to collect and analyze three types of data. The sources of data are: literature collected from Internet communities where the artists converse and publish artworks, interviews with artists who have experience in both electronic and traditional network environments, and artworks made by artists to express their visual and poetic responses to the Internet. -
Art Postal Cartes Postales D'artistes Tampons D'artistes
CARTES POSTALES D’ARTISTES MAIL ART STAMP ART ART POSTAL ARTIST’S POSTCARDS TAMPONS D’ARTISTES 1. Aeropus I A mail-Art project by Guy Schraenen [Collective sound composition]. Antwerp, A.S.P.C., 1982. In-4 [210 X 297 mm], 24 feuillets photocopiés au recto, sous chemise rouge à rabats, étiquette imprimée contrecollée. 50 Euros Tiré à 50 exemplaires avec les reproductions en noir et blanc. Il y a eu 20 exemplaires numérotés et signés avec les reproductions couleurs. Aeropus I est un projet de Guy Schraenen présenté en 1981 au Centre culturel d’Anvers durant le Festival International de Mail Art. 2. Artpool’s periodical space 4. Artist’s poscard, rubber stamp, postage stamp Budapest, FMK“ [Fiatal Mûvészek Klubja],10-20 April 1980. Feuillet [350 X 500 mm.] illustré, imprimé en vert et rouge sur papier kraft, plié pour l’envoi postal. 80 Euros 4ème exposition organisée par G. Galantai à l’espace Artpool. Avec la liste des participants. 2/31 • lecointredrouet.com • [email protected] 3. [Aart van Barneveld] 5. Bélyegképek / Stampel Arts Stamp Images Exposiçao Internacionale Museum of Fine Arts, de Desenhos com May 29 - September 25. Carimbos Borracha. Budapest, 1987. 1° Festival de Inverno Fascicule [205 X 285 mm.] de 15 à 30 de julho de 1978 24 pages illustrées, imprimé UNICAP [Universitade Catolica en offset, agrafé couverture de Pernambuco, Brésil]. illustrée. Recife, 1978. 50 Euros Fascicule [210 X 160 mm.] Catalogue de cette exposition organisée par Judit Geskó. Textes de Géza Perneczky de 12 pages illustrées en anglais et Hongrois. Liste des exposants. [y compris les couvertures]. -
A Finding Aid to the John Held Papers Relating to Mail Art in the Archives of American Art
A Finding Aid to the John Held Papers Relating to Mail Art in the Archives of American Art Jean Fitzgerald & Judy Ng Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. July 30, 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1990-1999............................................................. 5 Series 2: Diaries, 1990-2000................................................................................... 6 Series 3: Letters, 1973-2008................................................................................... -
Saper, Craig J
Networked Art This page intentionally left blank Craig J. Saper Networked Art M IN NE SO University of Minnesota Press Minneapolis / London TA Copyright 2001 by the Regents of the University of Minnesota The University of Minnesota Press and the author gratefully acknowledge per- mission granted by Sackner Archive of Concrete and Visual Poetry to reprint the images that appear in this book. We also thank the following artists for their kind permission to include their work here: Vittore Baroni; J. S. G. Boggs; Guy Bleus, 42.292 Archives, The Administration Centre-T. A. C.; Ken Friedman; Augusto de Campos; Carnet Press and Edwin Morgan; Maurice Lemaître and Fondation Bismuth-Lemaître; Bob Cobbing and Writer's Forum; V. Bakhchanyan, R. Gerlovina, and V. Gerlovin for the "Stalin Test" issue images; Ed Varney; and Chuck Welch. Excerpt from "Canto XX," by Ezra Pound, from The Cantos of Ezra Pound, copyright 1934, 1938, 1948 by Ezra Pound. Reprinted by permission of New Directions Publishing Corp. and Faber and Faber. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechani- cal, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 http: //www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Saper, Craig J. Networked art / Craig J. Saper. p. cm. Includes bibliographical references and index. ISBN 0-8166-3706-7 (HC) — ISBN 0-8166-3707-5 (PB) 1. -
Viktor KOTUN Artpool Art Research Center a GHOST of YOUR MASTERPIECE
GALERIA doi:10.32020/ARTandDOC/22/2020/28 GALERIA Viktor KOTUN Artpool Art Research Center A GHOST OF YOUR MASTERPIECE. CORRESPONDENCE BETWEEN PAWEL PETASZ AND GYÖRGY GALÁNTAI (1978–2007) “Pawel Petasz, an artist, teacher and social activist, died on 11 April 2019 at the age of 67,”1 posted the bereaving EL Gallery, having operated in Elblag, Poland, for almost sixty years with shorter and longer interruptions, on its social media page. From 1975 to 1977 Petasz was the second director of the progressive gallery, managed by the local government.2 As can be read on the invitation from 1975 on the homepage of the municipal library of Elblag, Petasz mainly focused on painting and organised a solo exhibition in the ’art lab’ of EL. It was under his directorship that the gallery learned about the Mail Art network. The vibrant international Mail Art network was such a refreshing discovery for him that by 1977, the year when the crumbling gallery was temporarily closed, he had become not only an enthusiastic participant of the movement infused with democratic thought but also its outstanding organiser and active correspondent. “I learned about mail art accidentally in 1975. It was very exciting to suddenly have a chance to participate in a world in which the Iron Curtain didn't exist.”3 Petasz mounted the first large-scale international Mail Art exhibition in the Eastern Bloc. He displayed the material of the show titled In the Circle ’77 with 172 participants in the cultural centre Pegazus, also in Elblag. As a comparison, Chuck Stake’s big Mail Art exhibition held in Canada in the same year had 138 participants, while Maurizio Nannucci’s show in Florence had 100. -
The MAIL-INTERVIEW Project by Ruud Janssen – Netherlands
The MAIL-INTERVIEW project by Ruud Janssen – Netherlands A compilation of some mail-interviews After the first publication (interviews with Ruud Janssen – celebrating the 25 years in Mail-Art) this is the second publication with 16 more mail-interviews © 2008 TAM-Publications 1 2 These mail-interviews were done in the years 1994-2007 by Ruud Janssen. This publication contains a small collection out of the 80+ interviews that he did in these years. Contact-address: TAM-Publications P.O.Box 1055 4801 BB Breda the NETHERLANDS e-mail : [email protected] URL : www.iuoma.org 3 4 CONTENT CONTENT......................................................................... 5 INTRODUCTION .............................................................. 7 MICHAEL LEIGH (A1 Waste Paper Co Ltd.).............. 10 CARLO PITTORE............................................................ 22 CLIVE PHILLPOT ............................................................ 40 DICK HIGGINS .............................................................. 55 EDGARDO - ANTONIO VIGO...................................... 85 INTRODUCTION......................................................... 85 INTERVIEW ................................................................. 86 END .......................................................................... 106 KEN FRIEDMAN ........................................................... 108 INTERVIEW ............................................................... 108 APPENDIX-1............................................................ -
Mail-Art CD's in the TAM-Archive Collection
v 1.5 Overview of Mail-Art CD’s in the TAM Archives collection. This is just the rough data for each CD. Updated: Saturday, 15 November 2003 So far 44 CD’s are indexed in this document. TAM-Archive Curator: Ruud Janssen Postal Address: P.O. Box 10388 5000 JJ Tilburg Netherlands www.iuoma.org [email protected] CD collection about Mail-Art in TAM-Archive / Netherlands page 1 of 47 CD number : 2002.01 Title: Travelling – Arte Postal Publisher: Porte Portugal. Description: Self-made CD-ROM of a mail-art project done in Portugal in 2002. CD-R finished in March 2003. Sort of CD: CD-ROM / CD-R / CD-RW / DVD / Small size CD-R (20 minutes) Texts/Booklets: none Source/ Address: unknown Number of CD’s in 1 Archive: Copies sent to: - Copy received from: Organizer project Documentation of Yes project: Private published No Documentation: Other remarks: Well done digital lay-out of the works with a complete menu. CD collection about Mail-Art in TAM-Archive / Netherlands page 2 of 47 CD number : 1998.01 Title: Bureaus 1001 desks Publisher: Guy Bleus with centrum Beeldende Kunst Groningen – Netherlands Description: Documentation of a mail-art project by Guy Bleus – Belgium done for the Cultural centre in Groningen. Sort of CD: CD-ROM / CD-R / CD-RW / DVD / Small size CD-R (20 minutes) Texts/Booklets: Yes Source/ Address: Guy Bleus Administration Centre – 42.292 Postbus 43 3830 – Wellen Belgium Number of CD’s in 1 Archive: Copies sent to: - Copy received from: Guy Bleus / organizer project Documentation of Yes project: Private published No Documentation: Other remarks: Edition of 1000 CD’s was made. -
Starbuck, Madelyn CV
Honoria Madelyn Starbuck, Ph.D. Curriculum Vitae [email protected] Academic History University of Texas at Austin Ph.D. 2003 Curriculum and Instruction Interdisciplinary Doctorate in Communications, Fine Arts and Education Dissertation: Clashing and Converging: Effects of the Internet on the Correspondence Art Network M.A. 1997 Curriculum and Instruction - Instructional Technology Thesis: Pedagogical Effectiveness of MIT's Brain Opera B.A. 1995 Fine Art with specialty in Art and Technology Capstone Project: Honoria in Ciberspazio: The First Internet Opera Professional Experience • Lecturer, Arts and Entertainment Technologies, School of Design and Creative Technologies, University of Texas at Austin, August 2019 - Present • Professor, Foundations, Art Institute of Austin, 2009 – 2020 • Instructor, Art Institute Online, Art Institute of Pittsburgh, 2005 - 2009 • Instructional Designer, Texas Engineering Extension Service (TEEX) August 2005 - 2007 • Usability Consultant, January 2003 – 2005 Polycot Networks LLC. Austin, TX • Program Coordinator, November 2004 - July 2005 Science, Technology and Society Program, University of Texas at Austin • Development Researcher, June 2001-August 2003 Accessibility Institute, University of Texas at Austin • Coordinator, Convergent Media Lecture Series. September 2000-June 2001 Advanced Communication Technologies Laboratory (ACTLab) University of Texas at Austin • Online Community Manager, May 1998-June 2000, WholePeople.com and WholeFoods.com, Austin, TX • Instructional Designer, 1997 Industrial-Strength -
Zaumland. Serge Segay and Rea Nikonova in the International Mail Art Network1
Russian Literature LIX (2006) II/III/IV www.elsevier.com/locate/ruslit ZAUMLAND. SERGE SEGAY AND REA NIKONOVA IN THE INTERNATIONAL MAIL ART NETWORK1 CHARLOTTE GREVE Abstract In the Fluxus-inspired idealistic self-understanding of the mail art network, trans- gression and a destructive relation to stable forms and structures are important ele- ments. Nevertheless, the mail art community is constituted by certain mechanisms of inclusion and exclusion. Thus, on one level, economical and political factors are limitations, which make joining the network difficult and sometimes impossible for artists in poor countries or in countries with a totalitarian regime. On another level, an artist’s belonging to the network community relies on how well he or she re- cognizes and (re-)produces recognizable signs of subjectivity. This “subjectivity” takes the form of signs of authenticity and internal memory, which are used and reused by its participants and, thereby, create a certain communicative language within a group. More than any of the Soviet artists who have been participating in the network, Rea Nikonova and Serge Segay achieved some success in becoming a part of the mail art community. This success relied on how well the artists performed according to the rules by which the network works. Keywords: Nikonova; Sigej/Segay; Russian Avant-Garde; Mail Art According to a narrow definition of mail art, it is with the simple means of one or more elements of the postal “language” that artists communicate an idea in a concise form to other members of the mail art network. According to a broad definition, mail art is about communication. -
Guy Bleus °23-10-1950 Hasselt
www.arteventuno.com Guy Bleus °23-10-1950 Hasselt Individuele Tentoonstellingen 1979 - Brussel, VUB, 5-03/9-03-1979 - Antwerpen, Pannenhuis, 23-03/29-03-1979 - Leopoldsburg, Gemeentehuis, “MAIL-ART pARTy”, 1-09/2-09-1979 - Antwerpen, Galerie Aurora, 1-12/20-12-1979 1980 - Brussel, Le Plan K, april 1980 - Antwerpen, Ruimte Z, “MAIL-ART indirect correspondance; Mail-Art by children”, 30-05/21-06-1980 1981 - Amsterdam (Nl), Shaffy Theater, mei 1981 - Brussel, VUB, “Are you experienced?”, 1-10/30-10-1981, microfilm C - Turnhout, De Warande, “MAIL eARTh / Mail-Art Initiation”, 17-12/10-01-1982 1982 - Hasselt, CIAP, “Mail-ART Exhibition”, 22-01/27-02-1982 - Bergamo (I), Arte Studio, 18-09/1-10-1982 - Brussel, Galerij Entr’Act, september 1982 1983 - New York (USA), La Galleria Dell’Occhio, 17-01/6-02-1983 - Hasselt, Provinciaal museum, “Telegrams”, 26-03/17-04-1983 - Berchem, Cultureel Centrum, “Telegrams”, 4-10/27-10-1983 - Amsterdam (Nl), De Brakke Grond, 19-11/23-12-1983 1985 - Hasselt, Kunstcentrum Il Ventuno, “Mailed in Japan”, 20-9/4-10-86 1989 - Heerlen (NL), Galerie Signe, 4-6/2-7-89 1991 - Aken (D), Galerie von der Milwe, “Great Expectations”, 3-5/15-6-91 1993 - Hasselt, Galerie Il Ventuno,”Private Art Detective”, 13-2/10-4-93 - Heusden-Zolder, Cultuurcentrum, “Building Plans & Schemes”, 8-10/14-11-93 - Hasselt, Galerie Il Ventuno, “The timeless calender Ten years after”, 31-12-93 1995 - Brussel Postmuseum, “Mail Art memorabilia”, ?/5-11-95 Groepstentoonstellingen 1974 - Brussel, VUB, 1-04/4-04-1974 1977 - Brunssum (Nl), Cultureel Centrum,