Mail Art

Ray Johnson was an American artist, often referred to as New York's most famous unknown, known artist. Born 1927-died 1995, he was a seminal figure in Neo-Dada and Pop Art. More importantly he is considered founder of a far-ranging Mail Art network which continues today. Ray began to develop the Mail Art movement in the 1950s with the aim of circumventing museums, art markets, and galleries by using the postal service for the dissemination of artwork. In his early years he had periodically staged events which he called Nothing, described as an attitude as opposed to a happening. His work parallel the Happenings of Allan Kaprow as well as later Fluxus artists and art performance. The first of these events in July in 1961-Nothing by Ray Johnson, were performed in a weekly series of New York events, in George Maciunus AG Gallery where Yoko Ono had her first the exhibition. Henry Martin, Art critic and Ray Johnson Ray is now mainly known as a correspondence and collagist artist for his small, irregularly shaped collages which incorporated fragments from popular culture. Notably Lucky Strikes logos, movie stars and celebrity images from fan magazines. In the summer of 1955, he began his silhouette project, creating approximately 200 profiles of personal friends, artists, and celebrities, which were the basis for many of his later collages. Ray carried these collages, called 'moticos' around New York, showing them in public places, recording what people thought of them. It is interesting to note that John Cale, singer from Velvet Underground, wrote the song Hey Ray about his many encounters with Ray Johnson in the New York streets during those years. Mark Bloch, writer, art critic and archivist of Ray Johnson, continued to use the international postal network for his art. In 1978 he founded the Postal Art Network (PAN), a distribution system originally established by Ray as a way to keep in touch with thousands of artists and cultural workers and mail artists. During Mark's stay a few years ago at the Emily Harvey Foundation in Venice, he told me a rather amusing story about Ray. Ray had made thirty 'motico' compositions of a celebrity friend. His friend wanted to buy them but with a twenty-five percent discount. Mark said, "Ray was furious! He hated people bargaining his price down and refused to sell them. Later he accepted the offer, but delivered the collages, with 25 percent, a quarter of each 'motico' cut out of the composition.

'Artists’ lo-fi, DIY and Alternative Publications in South Africa' is published as part of the zines and alternative publications roundtable titled 'What value do printed zines and DIY publications offer in a digital age?' which took place at the Jack Ginsberg Centre for Book Art, Wits Art Museum, Johannesburg, on 10 August 2024 in conjunction with the exhibition 'lo-fi street cred: artists' zines, DIY and alternative publications,' JGCBA, 4 June – 30 August 2024. In this chapter 'Curating artist’s zines, DIY and alternative publications' (in Part One: 'The lo-fi street cred exhibition & its afterlife'), I provide an overview of the 'lo-fi street cred' exhibition and its remit. I tie together the diverse publications that were included (ranging from those produced in the 1960s and ‘70s to works produced just in time for the exhibition’s opening) by means of a brief historical analysis of the milieu that gave rise to alternative publications in South Africa and reflect on the fruitful work of university students whose publications populated the exhibition.

The newspaper stamps of the Duchy of Parma were used to apply an additional fee to all printed matter arriving from foreign states. Although they are sometimes mistakenly regarded as revenue stamps, this brief study aims to illustrate their actual use, in order to properly classify them as postal items. The historical analysis of their use at the Pontremoli Post Office — the only secondary office, along with those of Parma and Piacenza, authorized to use them — seeks to document and explore nearly all known newspaper correspondences, thus providing a more comprehensive overview of this fascinating chapter in postal history.

Dieser Band rekonstruiert Tetsuo Kogawas (1941) Auseinandersetzung mit Walter Benjamin (1892–1940) im Zeitraum von 1978 bis heute. Die hier erstmals auf Deutsch versammelten Texte machen die Entwicklung von Kogawas Denken nachvollziehbar – insbesondere seine Verkettung von Schizoanalyse, kritischer Theorie und Geschichtsphilosophie. Eine zentrale Komponente dieser Konstellation ist das japanische Kanji "kuzu". Es ist stark negativ konnotiert und meint Lumpen, Abfall, Müll oder wertloses Material. In „kuzu” erschließt Kogawa jedoch – oder gerade deswegen – ein produktives Konzept, das scheinbar Wertloses philosophisch auflädt und rekontextualisiert. Die vorliegenden Schriften ermöglichen es, diese Konzeptgenese zu “kuzu” nachzuvollziehen.

In 1972, a small group of artists, thinkers, and printers moved into a large but dilapidated farm house in South Cullompton in Devon. From this rural outpost in the southwest of England they formed the Beau Geste Press, one of the most influential small presses of the 1970s. Between 1972 and 1974 they toured the Fluxshoe exhibition, printed scores of books, and compiled the publication Schmuck, resulting in an extensive network of collaboration with experimental artists from diverse locations. These contributions and collaborations initially originated from Fluxus but eventually expanded into a broad network of conceptual, postconceptual, and intermedial artists. 1 The first part of this article provides a brief account of the Beau Geste Press. Looking at Schmuck, I explore how this magazine was conceived as an "open forum," fostering translocal communication and networks that enabled artistic ideas to be exchanged, and demonstrating possibilities for an alternative artistic economy. In the second section I examine the two Schmuck periodicals that emerged from contacts in Eastern Europe, specifically Czechoslovakia and Hungary, as well as the "missing" Schmuck-a Latin American edition that, although never produced, found an alternative completion. In the concluding part of the article, I

Gisela - il più antico piroscafo a ruote dell’Austria - prende il nome dalla seconda figlia dell’imperatore Francesco Giuseppe I e dell’imperatrice Elisabetta; naviga sul Traunsee (“lacus felix”, come lo chiamavano i Romani) - il secondo lago più grande dell’Austria - situato nella regione dell’Alta Austria (Oberösterreich). Il 26 giugno 1987 sul piroscafo Gisela fu inaugurato il “primo ufficio postale galleggiante” austriaco.

Esta obra se encuentra bajo una licencia internacional Creative Commons CC BY 4.0. Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra no incluida en la licencia Creative Commons CC BY 4.0 solo puede ser realizada con la autorización expresa de los titulares, salvo excepción prevista por la ley. Puede Vd. acceder al texto completo de la licencia en este enlace: https:

La emergencia de las vanguardias poéticas brasileñas en la segunda mitad del siglo XX exigió a los poetas experimentales un reordenamiento estratégico que causó la creación de circuitos de experimentación más allá de las esferas institucionales tradicionales. Esto condujo a la problematización de los modos naturalizados de producción, circulación, categorización y distinción de los diferentes lenguajes/prácticas artísticas y poéticas, a partir de su vinculación con las mediaciones políticas y  culturales de la vida cotidiana y el cuestionamiento (y confrontación) de los elementos constitutivos del  campo del arte –su fuerza institucional y capacidad normativa, pero también su carácter históricamen te constituido y, por lo tanto, sujeto a transformación

BRUSCKY, Yuri.  De las experiencias formales a los  circuitos de experimentación: en torno  a la Teoría de la Guerrilla Artística. Em: VALENTE, Alicia (ed). (Des)hechos del lenguaje: Desvaríos gráficos, sonoros y performativos. Buenos Aires: Museo Nacional Del Grabado; Centro de Arte Sonoro, 2023.
https://museodelgrabado.cultura.gob.ar/noticia/deshechos-del-lenguaje-desvarios-graficos-sonoros-y-performativos/

Questo saggio esplora l'opera di Piermario Ciani, figura centrale del networking e - come si intende dimostrare - anche nelle pratiche verbovisuali degli ultimi decenni del Novecento. Attraverso l'analisi di materiali d'archivio, pubblicazioni underground e progetti editoriali, l'autore ricostruisce il percorso creativo di Ciani, evidenziando il suo ruolo nell'ambito delle ricerche verbovisuali e della comunicazione alternativa. Il contributo si inserisce nel contesto delle sperimentazioni tra parola e immagine, offrendo una prospettiva critica sulle intersezioni tra arte, poesia e controcultura

The subject of this chapter is the archiving of the seemingly unarchivable. At the same time, what I will analyze is one of the most widespread memorial practices that has taken on special popularity in the post-Soviet space today-in an era that already encompasses decades of work with the culture of the Soviet past, including its unofficial culture. These are the practices for preserving not artifacts but rather the life world of this culture-the performative behavior of artists and poets, their lifestyle and material environment, their communication, and ultimately everything that can be brought together under the concept of life creation (zhiznetvorchestvo)-self-mythologization, creation of an artistic K. Smola (B)

La historiografía sobre el exilio español en Puerto Rico parece haberse centrado en el espacio de Río Piedras, residencia de Juan Ramón Jiménez, Pedro Salinas o María Zambrano; sin embargo, la esfera de Mayagüez albergó una estimable vida intelectual relacionada con expatriados republicanos. Los escritores y filólogos Pilar Gómez Bedate y Ángel Crespo iluminaron el valor de ese espacio, como se estudia a partir del relato 'Una nueva vida' (2018) de Gómez Bedate. Ambos se habían trasterrado a Mayagüez en 1967 gracias a Dámaso Alonso, próximo a los dos y pieza clave en su salida y relación. No obstante, ese entorno se les antojó un yermo cultural que determinó su actividad, opacada por su exilio tardío de España. Explorar su significativo sentir elucida la desatención hacia Mayagüez, donde resulta crucial la trayectoria del recinto universitario.

Durante los primeros días de julio de 1971, los artistas Edgardo Antonio Vigo y Guillermo Deisler se encontraron en Buenos Aires con ocasión de la Expo/internacional de proposiciones a realizarinvestigaciones poéticas/71 y la Jornada de Discusión vinculada a aquella experiencia, ambas actividades organizadas por Vigo en el Centro de Arte y Comunicación (CAYC). La agenda del evento se centraba en la poesía visual y los proyectos cercanos a las poéticas conceptualistas. En marzo de ese año, Vigo había invitado a su 1 Este trabajo se basa en los documentos consultados en el Archivo del Centro de Arte Experimental Vigo, La Plata (en adelante, CAEV). A excepción de dos cartas del Archivo Deisler, la correspondencia citada procede del CAEV. Todas las cartas de Vigo fueron escritas y enviadas desde La Plata. Agradezco a Ana María Gualtieri y Julio Lamilla por su generosa guía en la investigación. Desde el fallecimiento de ambos artistas, sus archivos estuvieron bajo la responsabilidad y el afectuoso cuidado de dos mujeres: Ana María Gualtieri, amiga de Vigo, y Laura Coll, viuda de Deisler; fueron ellas, junto a los equipos de profesionales que las han acompañado, quienes permitieron preservar valiosas fuentes documentales, honrando el trabajo y la memoria de estos referentes fundamentales del arte latinoamericano. A ellas, mi más profundo reconocimiento.

This chapter discusses the contact zones between Latin America and Eastern Europe in the
1960s and 1970 by analyzing several cases of collaboration through mail between artists in
the two regions. This study analyzes the different ways in which Latin American and Eastern
European artists’ works interacted in several exhibitions in Brazil in the 1960s and 1970s; the
mail art exchanges between Polish and Brazilian artists; collective exhibitions such as
assembly magazines organized as open and mobile platforms of exchange; and publishing
houses in exile. Engaging with the transversality between the South and the East, the research
argues that these contact zones created a new cartography within a regime of artistic
exchanges that found new territories according to the proximity of purposes and stakeholding
in a kind of collective ideal of various decentered communities of artists. Through the
exhibitions organized, a meeting point for the imaginary community that put together artists
that never met personally but had projects in common, became possible. Although sharing
life under dictatorship, they were living under different orientations and were separated by
geography but were able to have a generous decentered interchange. The artistic production
of Latin American and East European artists of the time shows us a common utopia launched
in these contact zones aiming for a society of free movement, despite the repressive situations
they were experiencing.

Ausstellung
13.05.23 – 15.07.23
FRAGMENTS OF HUMANITY
DAN & LIA PERJOVSCHI
Kuratiert von Ivana Marjanović

Dan und Lia Perjovschi verflechten ihre beiden künstlerischen Praktiken und bieten dem Publikum verschiedene Sichtweisen auf die Gesellschaft, die Rolle der Künstler*innen und das, was getan werden kann. Jede*r geht von seiner eigenen Art aus, die Gesellschaft zu betrachten: Sehen als Sehen und Sehen als Verstehen. Lia Perjovschi dekonstruiert, wie wir sehen. Dan Perjovschi kommentiert die Gesellschaft und produziert eine fortlaufende Chronik der Menschheit. Dan und Lia Perjovschi leben in Sibiu/Bukarest, Rumänien, und gehören zu den international renommiertesten und einflussreichsten künstlerischen Stimmen in Europa.

Esta pesquisa investiga como algumas obras de arte contemporânea se relacionaram de maneira sistêmica com a comida e como contribuem para a formação de um imaginário crítico e poético sobre sistemas alimentares. As principais obras abordadas têm em comum terem sido criadas por coletivos de artistas ou a partir da proposta de um artista e realizadas através de uma rede de colaboradores, muitas vezes, envolvendo variados públicos. A pesquisa está dividida em duas partes: Canteiros e Fazer junto. Em Canteiros são abordadas três referências históricas das décadas de 1960 a 1980: a série Inserções em circuitos ideológicos de Cildo Meireles; Arte de Sistemas do conceitualismo argentino do CAYC – Centro de Arte y Comunicación (Centro de Arte e Comunicação); e os projetos de Joseph Beuys com múltiplos e alimentos. Em Fazer junto, são abordadas produções artísticas realizadas no Brasil no período entre 2002 e 2019: as obras do Poro que tem relação com alimentos, cozinhar, imaginário gráfico, picnic, comida de rua e espaço público; obras do coletivo Thislandyourland relacionados a questões da terra, incursões agroalimentares, autonomia, colheitas e preparos comunitários; e, por fim, obras de Jorge Menna Barreto que operam as relações entre alimento-paisagem-sociedade, agrofloresta, comida, lugares e contextos específicos.

A translation and revision of a classic document about Postal History of Alsace-Lorraine in which are included all the most relevant details about this 7 months country after the French rule and before the German Empire period.  Historic steps, stamps, offices and a wide part on Military post offices used in the country.

Nello studio delle tariffe postali è a mio parere molto interessante riuscire a capire come si combinino tra loro le diverse valute e le diverse unità di misura. Nel caso in esame ricordiamo che la crazia toscana corrispondeva a circa 7 centesimi di franco francese, mentre l'oncia toscana era pari a 28,32 grammi, quindi 1 denaro era pari a 1,18 grammi

Swiss-Icelandic artist Dieter Roth is largely celebrated as a visual artist who redefined the book as an art-object. While many of his artist’s books present typographical experiments and collaged language material, investigations rarely include close readings. This chapter highlights his poem “Some Variations on 4”—both as a single unit and part of the larger work in which it exists—and argues that, despite its non-linguistic composition and graphic design appearance, the work visually articulates rhetorical elements central to lyrical poetry. Aesthetic response theory is useful for interpreting the visual iconicity of concrete poetry. Drawing on Iser’s concept of “gestalt” as an organized whole that emerges through the process of reading, Roth’s aesthetic object reveals both a conceptual whole and an unexpected readability. Although Roth has created a categorically concrete and therefore almost unutterable work of poetry, it is capable of engaging in a discourse on any aspect of the verbivocovisual.

Los distintos modos en que puede ser leída una publicación cultural brindan algunas respuestas sobre las estrategias y acciones trazadas por un prototipo de revista ensamblada como lo fue Vox, de Bahía Blanca (Argentina). Su diseño, en la matriz del atlas, apuesta por la movilidad de los contenidos, lo que genera variados resultados en la lectura. A partir de esto, se conforma como un objeto que logra trocar elementos nuevos, separados cada uno con cierta autonomía a la vez que emergen nuevos modos de unidad que trascienden a los presentes en las revistas convencionales, donde el mismo portador textual opera como agente ordenador. El resultado es un proceso de gran propensión al intercambio, a la interrelación, a la mezcla y a la apertura hacia otras dimensiones: la literatura, las artes plásticas, el diseño, etc.  En este modo de construcción de sentido, la publicación se puede observar como obra en sí misma.

Amidst the growing interest in Chinese women artists’ feminist interventions, this article delves into a less-explored theme in their artistic practices: labour. Through a close examination of two artists’ critical engagement with women’s labour in China, I highlight their Marxist feminist concerns. The first artist, Hu Yinping, creates a work utopia that ensures work autonomy for her mother who had taken on precarious part-time jobs after being laid off. The second artist, Feng Lin, appropriates ready-mades derived from a housewife’s life for her critical enquiry into whether domestic labour or home truly shields women from capitalist relations. It is argued that the two artists make women’s problems with work visible in a post-socialist China, where women’s labour becomes increasingly devalued, less conspicuous, and more precarious. Furthermore, both artists experiment with alternatives to capitalist commodified labour. However, it becomes apparent that Hu Yinping cannot sustain her utopian vision without selling her labour as an artist, and Feng Lin demonstrates that a housewife cannot fully escape the capitalist imposition of work. Ultimately, the interventions of these artists serve as a dual critique of capitalist labour and a revelation of its totality.

A partir del análisis de las relaciones de Edgardo Antonio Vigo con numerosos artistas de Europa del Este, establecidas desde el fin de los años sesenta, este trabajo aborda la cuestión del papel de las redes alternativas durante la Guerra Fría. Se propone no solo revisar las redes de contacto entre los artistas latinoamericanos y el bloque del Este, sino, sobre todo, resaltar la importancia de esos intercambios en el proceso de construcción de una visión horizontal del arte moderno, que escapó a las narraciones occidentalistas sobre la creación cultural inscriptas en el modelo de centro/periferia. A partir de los escritos de los integrantes del grupo Modernidad/Colonialidad, este trabajo intentará revelar si esas relaciones podrían ser consideradas como decoloniales además de descentralizadas.By taking the example of Edgardo Antonio Vigo’s relations with several artists from Eastern Europe, established since the end of the 1960s, this article proposes to question the role of altern...

This book studies how the complex relationship between music, the avant-garde, and counterculture challenges all sorts of boundaries. By exploring the avant-garde as a thoughtful inquiry into experimentation, creativity, and originality, we bring to the fore the "invisible republics" of culture, the ephemeral, the suppressed, and the unconformity of artistic and political undercurrents. Avant-garde and experimental art are international in scope, and their trajectory, as we see it, has been to expand themselves towards a new enlightenment, a critical project, and a rhizomatic entity, albeit with tacit harmony and cohesion. From Bucharest to Paris, London to New York, Paris to Brazil, Cuba, or Chile, to name a few, the same urge for the unknown and anti-art poetics emerged almost simultaneously in every field. We ask how these separate geographical territories (and practices) speak to each other and how this might reshape scholars' historical understanding of European and American modernity.
This is an open access book.

Contrary, perhaps, to the style or apparent intentions of much critical writing, artistic practice is a way of thinking that is irreducible to philosophy. That which is art in its appearance in the world is neither existent due to, nor exhausted by, the interpretation of its origins, its potential metaphysical or onto-political destinies, or in the institutionality that determines it, state or private. Whatever the
art thing is, it escapes from any contextual operation that seeks to
subject and cancel it. Here, I will only refer to visual practices and
leave out of this framework other situated practices such as theatre,
dance, and music, to name a few. Alain Badiou’s words, quoted
above, admit the impossibility of the European philosophical tradition
of suturing the thinking that artistic practices are. Art is a
thinking that cannot be delimited by a thinking outside itself. At
the same time, as is evident, all artistic practices are affected by
many cultural, social, economic, political, technological, geographical,
and material factors. Art is a thinking that is not opposed to its
translatability but avoids any pretended conceptual closure of its
drift. It is a thinking that nomadises.

In 1969 poet-artist Alain Arias-Misson (born
in 1936 in Brussels) staged The Public A MADRID Poem in the Spanish capitol. He had friends carry the human-sized, white cardboard letters A, M, A, D, R, I, and D through the streets to generate words in an anagrammatic fashion from this matrix at various precise locations: in front of the parliament and imposing churches, in busy streets, and on popular squares. The performative and ephemeral literary form of the Public Poem that he had invented shortly before allowed him to write a text in the social context of a city. He describes it as an “enactment of language—fluid, enmeshed in the real-street processes.” In a country that was still dominated by the Fascist regime of dictator Francisco Franco, such a poetic guerrilla action of appropriation of urban space, neither announced nor officially authorized, was a risky undertaking. For this reason, it had to be “capable of vanishing, while preserving its eminent public, spectacular character.” This is the most complete documentation of this significant event ever published. It consists of thirty-six photographs with statements by the artist on their backsides that give insight into what happened in the course of the Public Poem. They are accompanied by two manifesto-like texts and the reproduction of a collage from 1969 based on a map of Madrid on which the stations of this Public Poem are marked.

avec le soutien de l'Institut d'études et de recherche sur le droit et la justice (IERDJ), ont le plaisir de vous inviter au 9h15 | Introduction et présentation du projet de recherche Antonia Baraggia (Université de Milan) et Eleonora Bottini (Université de Caen Normandie) 9h30-11h00 | Première session • La responsabilité pénale des ministres en France et en Italia : profils constitutionnels Présidence de session : Lorenza Violini (Université de Milan) Jean-Baptiste Contargyris (Université de Caen Normandie) : La réforme française sur la responsabilité pénale des ministres à la lumière du contexte et des actes préparatoires Martina Iemma (Université de Milan) : La réforme italienne sur la responsabilité pénale des ministres à la lumière du contexte et des actes préparatoires Giuseppe Arconzo (Université de Milan) : Les immunités politiques entre l'art. 68 et 96 de la Constitution italienne

Craft has been an important part of mail art practice throughout its relatively short history. While the theoretical underpinnings of the mail art network have been the focus of much of mail art literature due to the political context from which mail art emerged, craft remains almost entirely ignored. However, craft remains an important factor in the production of mail art works exchanged via the postal system, particularly as many contemporary mail artists have returned to a nostalgic handcrafted (i.e. objects made by hand or hand-drawn) way of working as part of a larger exploration into the ways in which communication systems frame our identity and social relationships. In comparing the work of these contemporary mail artists to some of mail art’s earliest and well-known practitioners, craft emerges as a fundamental element in the development of mail art as an artistic genre. While the avant-garde aspects of mail art practice have shifted to reflect a dialog between old and new systems of communication, a hallmark of the current time period, a sustained interest in exploring how these systems frame our identity and relationships continues to unite mail artists across time.

This thesis examines two threads in the history of mail art: a networking approach dedicated to open participation and a crafted approach dedicated to the art object. It then follows these two threads across three generations. Mail art is an international phenomenon that evolved over the past sixty odd years due to the efforts of a dedicated and growing group of individuals. American artist Ray Johnson and the international artistic group operating under the banner of Fluxus are discussed as establishing mail art as a separate form through their creation of the mail art network. The generation that followed Johnson and Fluxus expanded on the free and open ethos of the mail art network, making it a cornerstone of mail art practice and embracing new technology. Finally, this study examines work by contemporary mail artists who have not yet been historicized and who return to a craft approach in the production of mail art. Using Glenn Adamson's theory of craft, this thesis concludes that craft is an equally pertinent aspect of mail art practice and that, although it is underemphasized in mail art's first two generations, it is a dominant factor in the production of mail art today.

Mada škola koja je pripremala buduće akademske građane, gimnazija je svojim programom rada izgrađivala i radno vaspitanje. Svake jeseni, kasnih oktobarskih dana tih sedamdesetih godina prošlog stoleća, učenici su bili na društveno korisnom radu na raznim parcelama kovinskog poljoprivrednog kombinata: u Bavaništu, Pločici, Mramorku, Kovinu ... Bile su to nezaboravne sedmice kada se za kratko odlagala i nacrtna geometrija i književnost romantizma i ostalo gradivo, a s voljom, mladalačkim entuzijaznom, neizmernom pozitivnom energijom, u vedrom raspoloženju brao kukuruz, tovario, prebirao ... A onda užina i sve to pod ogromnim jesenjim nebom.

Although here it was not the way of the impressionist art of the surface and the way of a deeper, ontological art that have parted as in Lukács’s manifesto. Rather, the strategies of the Hungarian neo-avant-garde became impossible at the end of the 1970s, and the new emerging artistic directions of the 1980s had much greater political, ethical and aesthetical differences than the existing artistic fractions of the neo-avant-garde in the 1970s. In my essay I am going to examine this wider change through the example of the Hungarian issue of Ephemera magazine (Fig. 1).

This paper examines the role of monumental socialist modernist art in the so-called Kádár era of Hungary (1957-1989), and through taking a closer look at specific monumental works designed by Gyula Hincz discusses how the relationship towards these artworks shifted after the political regime change of 1989. First, it analyses the working mechanism of state commissions for monumental public art, showing the complex nature of the works in the time of their inauguration. It then continues with some small contemporary case studies on how these works are used and interpreted, how they (dis)appear in museums, temporary exhibitions and various other forms and places of visual culture. The general aim of this paper is to provide a new reading to this contested period of Hungarian (art) history, introducing a group of artworks that rarely got any academic recognition in today's scholarship.

In 1972, playing with persona and identity, I slipped into the peanut shell which I had made from papiermâché, and effortlessly assumed the role of Mr. Peanut with elegance and aplomb. It seemed a sensible stance in an era preoccupied with the dematerialization of art. My interest in film animation had led me, in 1970, to appropriate the easily recognizable and simple-to-draw Planters Peanuts anthropomorphic named "Mr. Peanut." First came the flipbook, which was later translated to film. These early efforts were realized at Intermedia, Vancouver, and before long, people were calling me "Mr. Peanut." The name stuck. Simultaneously, I was ideating with Michael Morris a modus operandi for bypassing the existing gallery structure by working directly with others in a network. The concept became known as "Image Bank" (now Morris/Trasov Archive), and was carried out largely by the postal system with a fake bureaucracy made up of rubber stamps, stationery, envelopes, postage stamps, annual reports, and much compiling of address lists and directories. Mr. Peanut took to the streets in 1972, with appearances in Toronto, Halifax, New York, Victoria, and Los Angeles. These appearances-besides being great photo opswere intended to create the atmosphere of an "art city." LJ How did the idea begin, to have Mr. Peanut run for Mayor of Vancouver in 1974? What was the significance of having Mr. Peanut's "empty shell" run for public office?

CENTER FOR ITALIAN MODERN ART
STUDY DAY CONFERENCE
12 JUNE 2O24 NEW YORK, USA

In my paper I will examine briefly the main characteristics of three artists, Nanni Balestrini, Katalin Ladik and Attila Csernik, and than highlight some key points of the comparative analysis.

During the 1960s and 1970s, artists’ periodicals flourished as a new artistic medium. Strikingly, artists behind these alternative publications often claimed a peripheral position, assuming a geographical anchorage far from the capitals and main artistic centres. This paper addresses how the notion of periphery manifests itself in four European artists’ periodicals published during the 1970s. It will focus on their distribution strategies, their ideological positioning, the works they disseminated, and the artists’ writings and statements they featured. First, the analysis of three European alternative periodicals — Neon de Suro (Spain, 1975–82), Schmuck Magazine (England, 1972–76), and Commonpress (Poland, 1977–91) — will highlight how a peripheral position far from the capitals and the main artistic poles could become a strength, even a real editorial strategy. Such preoccupations were not, however, reserved for artists outside the official art scene: the question of periphery also found its place, albeit in different ways, in more institutionalized periodicals. This will be evident in the case of the Italian periodical La Città di Riga (1976–77), the focus of the second part of this paper, which negotiated the idea of centre and periphery right from its name. Through the case studies of these four periodicals and the analysis of coeval theoretical contributions, this paper aims to shape an elastic notion of the relationship between centre and periphery, at the same time derived from and applicable to the experimental editorial strategies of artists’ periodicals from the 1970s.

This monograph provides a comprehensive overview of the artistic career and legacy of Hungarian artist Attila Csáji. The book features text contributions in Hungarian, English, and German, covering Csáji's diverse artistic output, from his early surrealist and abstract paintings to his pioneering work with laser technology and holography. The publication includes numerous reproductions of Csáji's artworks, as well as archival material documenting his influential role in the Hungarian avant-garde movement.
ISBN: 963 04 9150 8

Este trabajo corresponde a una comunicación presentada en el 5º Congreso Internacional: "Buenas prácticas con TIC". Celebrado en la Universidad de Málaga, 14-16 de octubre de 2015.Se presenta y analiza la técnica del dibujo digital, y se propone una definición. Se compara el dibujo digital con las técnicas de dibujo tradicional. Se enumeran las ventajas y desventajas de la técnica y del uso de esta tecnología. Se presenta una recopilación de herramientas digitales online que han sido utilizadas mediante prácticas exploratorias y se elabora un listado de recursos en red valorados. El proceso para obtener y presentar los resultados ha sido de evaluación experimental en la práctica del software libre existente en Internet para dibujo digital y la recopilación de información sobre su creación.It presents and analyzes the technique of digital drawing, and a definition is proposed. Digital drawing compared to traditional design techniques. listed the advantages and disadvantages...

Zielinsky inaugura sua sede em São Paulo apresentando a produção do artista brasileiro Claudio Goulart. A mostra é uma parceria com a Fundação Vera Chaves Barcellos, instituição privada e sem fins lucrativos, que desde 2015 é responsável pela salvaguarda do acervo do artista.

Fragmentos da memória é a segunda individual póstuma de Claudio Goulart no Brasil e a primeira realizada em São Paulo. Com o intuito de resgatar a trajetória e a obra de Goulart, a mostra propõe um olhar atento à produção desse importante artista que, mesmo com projeção internacional, é pouco conhecido no cenário brasileiro. A exposição parte da íntima relação de Goulart com a memória, temática que atravessa sua produção e se faz presente em imagens apropriadas e de referências históricas, bem como em fragmentos de paisagens por onde passou e habitou.

Mit der Entgrenzung und Diskursivierung des Kunstfelds kam es in den 1960er Jahren zu einer grundlegenden Erweiterung der Definition expositorischer Praxis. Tradierte Vorstellungen einer Ausstellung als Schauzusammenhang von Kunstgegenständen wurden von einem neuen Verständnis des Ausstellens abgelöst, das den Moment des Öffentlichwerdens von Kunst stärker perspektiviert. In ihrer transnational angelegten Studie zeichnet Regine Ehleiter nach, wie sich im Zuge dieser Entwicklung das Ausstellen zeitgenössischer Kunst punktuell vom Galerieraum auf die Seiten von Publikationen verlagerte. Neben bekannten Katalogausstellungen der New Yorker Conceptual Art werden Fallbeispiele aus verschiedenen künstlerischen und geografischen Kontexten im Zeitraum von 1963 bis 1970 diskutiert, deren ausstellungshistorische Relevanz sich erst aus heutiger Perspektive rekonstruieren lässt. Zu ihnen zählen insbesondere Ausstellungen von Fluxus und visueller Poesie in den „tragbaren Galerien“ von Christian Chruxin in Westberlin, Mail-Art-Projekte des japanischen Konzeptkünstlers Matsuzawa Yutaka sowie ausgewählte Bulletin-Ausstellungen der Amsterdamer Galerie art & project. Mit ihrer Analyse trägt die Studie zu einem multiperspektivischen Verständnis des Ausstellens in Publikationen bei.

This paper is licensed under a Creative Commons Attribution-NonCommercial License Bu makale Creative Commons Attribution-NonCommercial License altında lisanslanmıştır. Bu makale en az iki hakem tarafından incelenmiş, iThenticate yazılımı ile taranmış, araştırma yayın ve etiğine aykırılık tespit edilmemiştir. Araştırma & Yayın Etiği This article was reviewed by at least two referees, a similarity report was obtained using iThenticate, and compliance with research/publication ethics was confirmed.