Géza Perneczky - Ruud Janssen

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
^Altern (Growing Old). Cat.: A/4, phc., 58 p. 333 parts. Texts by H. Mittendorf
~
Literature:
(German, English). Exh.: Historisches Rathaus. Frankfurt, March 7, '98
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Géza Perneczky: The Magazine Network. The trends of alternative art in the light
of their periodicals 1968-1988. Edition Soft Geometry. Köln, 1993. 79 p.
«...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,