Network Atlas by Geza Perneczky - Ruud Janssen

455^#17, 18, 19, 20Pigeons of Freedom (with → Marx, G. G.) (Commonpress #19) 19.5x13 cm., 25 p., 24 participants. La Plata, 1979^Biopsia (Graphic assembling like an annual in ~25x20 cm. portfolio, dedicated usually to four artists only and a special theme [e.g.: Biopsia #3 =eating sweets], published in a very limited edition. Title-sheet withparticipant names of 24x18 cm., + poster size graphic sheet with pastedon (!) contributions. Very manufactured outfit. 1980-1990s ?,very irregular, #1-20?)^# 1980/2.Small Creative Stamp Collection. (Edited by E. A. Vigo). Portfolio with works by ®G. E. Marx - Vigo (Argentina), L. Spiegelman (USA), P. Below (Germany),R. Crozier (England), Selavy (France), Mesciulam and Cavellini(Italy). 22.5x17.5 cm., red frame print with typewritten text + rubberstamps and artists' stamps pasted on, 10 leaves in portfolio. S. P. 1980^Creative Stamp Project. (One sheet rubber/artistamp publ. devoted to 9 artists, like a photocopied legal size leaflet-magazine. 1981-, #1 only?)^Cloth was cut / tela cortada. 22 - 01 - 85. (2 sheets of painted and collaged leaves, 28x30 cm., in painted and collaged cover. Cloth/network action, '85^To Make a Comic-Strip. (Offset printed «blanc comic-pages» in form of [6x]-accordion + inv. text. 36x35.5 cm, offset) La Plata, 1986^Anteproyecto de proyecto de un pretendido panorama abarcativo. Cat.: A/4, offset. 12 p. Text (Spain & French): R. A. Martín Exh.: Fundación SanTelmo, Defensa 1344, 1143 Capital Federal, Buenos Aires. 1991~Artistamps: ^Enero 1980 (Block of 6 id. stamp images, black, red & rose print, not perforated) «They Died in Poverty». January 1980^About Fulfilled Utopias: The Women (Block of 4 id. stamp images,colour phc., not perforated{30}) n.d.^Preproject for a project (Block of 4 diff. stamps, colour phc., notperforated {30}) n.d. November 4, 1997 1997~Literature:«...Hexagono is a loose-leaf magazine in an envelope presenting the work of manynames familiar to readers of this mag. The tid-bits are all manner of sundry publications,numbered envelopes, mail-art, instructions and transcended puns. Impeccablyproduced (complicated folding jobs, perforated cards, stamped tags hangingfrom strings, etc.). Vigo's work, showing strong affinities to Italian and French (andlately American) experimental literatures, could easily be liked, even praised, wereit to have been produced in Europe. Unfortunately, it has been produced in Argentina,a country of the under-equipped world with the onus of 3rd. World politicalstrife. Vigo (like many others of the Latin American avant-garde) manages to exquisitelyskirt the issues at stake – artists and their society. In doing so they submitthemselves as the pets of the liberal minority of the reactionary establishment. Theirwork, solidly backed by such institutions as Di Tella and now the CAYC (→ Glusberg)(both in Buenos Aires and both under the benign and watchful tutelage ofOAS' Jorge Romero Brest) is at best bland and internationalist. They've becomethe fallacious spokemen of Latin-American culture...»(Felipe Ehrenberg: Notes from the Concrete Jungle / Hexagono '71. In: Kontexts,#5 [→ Gibbs]. Devon, 1972. n. p.)(To the International Books): «The marginal artist has increased his own practiceswith the help of his self designed postal stamps and cancelled seals. Although thesesmall prints have something to do with official postage stamps, they add a lot of unaccustomedvalues the artist has taken from a creative land neighboring to absurd.The consecuence of this dynamics promotes the opening of mail-art, fastening marginalstamps with traditional postal pieces by means of this latter marriage offered