Géza Perneczky - Ruud Janssen

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
.............................................................................................................................................................
^Osaka 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.)