Network Atlas by Geza Perneczky - Ruud Janssen

424Szczelkun, Stefan 85 St. Agnes Place London, SE11 4BB United Kingd. 1986^Artists Liberation: rough notes 1986. (A/4, phc., 22 p. ) S. P. London, 1986 Ruins of Glamour, Glamour of Ruins. Cat.: Unpopular Books, London /Exh. in Chisenhale Studios, London, 1986^Collaborations. (A/5, offset, 112 p.) Aldgate Press, London, 1987 ~Literature: (Artists Liberation, 1986. Content and final notes by the author):1 GENERAL OPPRESSION OF HUMAN CREATIVITY2 THE VITAL ROLE OF ARTISTS AND THE VALUE OF ART3 ART & CLASSThe Invisible New Working Class Intelligentsia / The Illusion of Scarcityof result for Art / Exploited rather than privileged Identity and Politics /Where are They Now? / The Power of Artists / How Can Artists Get WhatThey Want?4 THE QUEUSTION OF THE QUALITYThe End of „Quality“ / Beauty and Beast / The Failure of Success5 CLASS CONSCIOUS CULTUREIs This Why Modern Art is Incomprehensible? / Fine Arts Claim to Superiority/ Personal Histsory versus Art History / Marginalised Groups /A Class Conscious Art? / The Problem of Collective Working / PossibleCharacteristics of a Working Class Art / Terms: Working Class Defined6 ARTISTS SUPPORT ARTIST7 BRIEF VIEWPOINT OF AUTHORROUGH NOTES ON ARTISTS LIBERATIONThese notes on Artists Liberation from a working class (male, white, Anglo-Polish, ex-catholic, able bodied, heterosexual) viewpoint. However, I thinkartists liberation is for all artists regardless of class background. At the sametime, each viewpoint has its particular experiences to relate and contributionsto make to the general picture.I would like to hear from artists of all viewpoints on the topics raised here.Write to me at the address below.»(Ruins of Glamour...): «...the show was later broken into and destroyed. Thecontents page promises essays such as, „Excremental Culture“, „OublieBaudrillard“, „Sex Without Secretions“, „Panis Sex: Processed Feminism“,„Estheticized Recommodifications“ etc...» (Stephen → Perkins: Catalogues.In: Box of Water, N° 3, 1987)(Collaborations): «...this book is a stimulating chronicle of collaborations Stefanhas been involved with between the years 1983-87. Within this context this bookoperates at various different levels. 1) an examination of the part images play insystem of oppression, 2) the nurturing of a functioning art practice created fromand within daily life, 3) the implications of a new art practice that emphasises therelation between artists (and artists and people) as central to the art process, and 4)an attemp to solve the documentation, archiving, and historicising problems ofperformance and ephemeral work. Using this framework Stefan looks at andexplores all the varied motives, obstacies, and problems inherent in this kind ofcollective cultural activity. Full of reviews of shows, photo-documentation, artistsstatements, excerpts from performance scripts, and other miscellaneous articles.This book is strong and much needed step towards the creation of a „culture withoutcurators“.» (Stephen → Perkins: Magazines. In: Box of Water, N° 4, 1988)Collaborations (Interview). In: Metro Riquet, N° 6, Paris, Jan. 1989 (→ Duvivier)Szefferski, Roland Urbanstrasse 48 J. Berlin-61, D-1000 Germany 1985^(Without title) Copy art on transparent paper, 5 original leaves in cover of A/4. n.d. ^Telephone Booth – Wroclaw. 1981-82. Self edition, A/4, phc., 50 copies. 1985