Géza Perneczky - Ruud Janssen

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
^A 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
^Artists' Books / Künstlerbücher - Buchobjekte (with Havekost, Dierks, & Schröder)
Cat.: 19x19x26 cm., offset, 1420 p., ∆-format! / Bibliographie und
Information System der Universität Oldenburg.. 1986
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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.
Géza Perneczky: The Magazine Network. The trends of alternative art in the light
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 55-56 p.
«...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)