Network Atlas by Geza Perneczky - Ruud Janssen

537~Literature:March 1993. – Neoism anthropologically illuminated.^SMILE issue 100. My Alphabet. Digest, 8 p. Amherst MA, March 1993. – Textpages identical with those in SMILE Saturnalia.Stewart → Home: To Tell the Trouth?( The Confession / The Background / SmileBegins / Collaborators / Breakdown / A New Iidentity). In: Lightworks [→ Burch],N° 19, Winter 1988-89, 30-32 p.«Smile is infectious. Ads a magazine of multiple origins it can and has appearedanywhere it wants. Donning the mantle of Monty Cantsin, its founder, variousartists have published their own version of Smile. This may seem a bit like Commonpress,Pawel →Petasz's magazine of revolving editorship, and it is, butlooser, miles and miles looser. Smile relates to Neoism a helter-skelter philosophyof Cantsin aki to T.V. evangelism, dada and hyberbolic time travel. Neoism is atits amorphous heart about freedom – spontaneous, unbridled, go-anywhere freedom.Smile is an artifact of those ecplorations... Karen Eliot's Smiles are clenchedfistedand political – real potent. Smile / Snarl was thematically treated by Vittore→ Baroni in a cassette / magazine format. Perhaps the most amazing version isthat of → tENTATIVELY, a convenience of Baltimore. His collection came in aclear plastic pop bottle – each page printed on transparent stock. Like so manysmiles you could see right through it. The real Monty Cantsin is a bit of an itinerantbut hangs his hat in Canada. Try 1020 Lajoie Avenue, Outremont, Quebec H2V1N4. Or simply start Smiling your-self.»(Lightworks [→ Burch], Glimmerings [Print review], N° 18, Winter 1986-87,48 p.)(Smile, issue 100, «My Alphabet», Statement): «Hello and welcome to the 100thissue of SMILE, the international magazine of happiness and self-enslavement.SMILE is founded on external relations: its universe is textual, constituted bysimilarities and differences. The traveling Neoist who imitates voices and speech,facial expressions and gesticulation is the nucleus of this universe. Her voyage iscamouflaged as an exploration of the semiotic zone in the episodical sequence ofthe medieval romance, beginning with her „death“ as the spectacle of containment.Neoism avoids the term „Mimesis“, but hints at it when mentioning the ritual rootsof its undertaking. The Neoist negates „representation“ and shifts the notion ofmimesis to a puraly linguistic level. Although this magazine presupposes languageas the initial condition of its mechanism, its textual space has already expanded tosuch a degree that it will be capable of perpetuating itself in unlimited semiosis.»(Smile, issue 100, «My Alphabet», Amherst MA, 1993. 2 p.)^Ford, Simon: Smile Classified. Cat.: A/5, phc., 12 p. National Art Library / Victoria& Albert Museum, London. March-August 1992^Smile / The Anatomy of Neoism. (A late appeared & collective edited issue aboutNeoism entitled with a hint to the Smile mania. A/4 horz. size, phc. 28 p. 1992, #1)The Memorial Group ( Monty Cantsin, Natalie Slovikoski, Björn Balcke, MarkBloch, Oliver Gassner, Graf Haufen, Stewart Home, Helix Lott, Jena Parson, BertSchuck) Berlin? 1992Géza Perneczky: With Love and Sabotage (About Neoism and Radicalism in theMail Art) In: The Magazine Network. The trends of alternative art in the light oftheir periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 152-175 p.Stephen → Perkins: SMILE Magazine: Collective identities and the Mechanics ofHistoricisation. Graduate Art History Symposium, University of Iowa School ofArt. Iowa City, 1999.