Network Atlas by Geza Perneczky - Ruud Janssen

340zine“? Larry Bob, in Holytitclamps (#10, 1992), offers some pertinent characteristics:„There is no apostrophe in zine. Zine is not short for magazine. A magazine isa product, a commercial commodity. A zine is a labor of love, producing no profit,and frequently a loss, of time at least. In a magazine, information is just anotheringredient, thinly sliced layers to keep the cream filling of advertising from stickingtogether. Information is the reason a zine exists; everything else, down to the paperit's printed on, is there to convey information.“ (...)Someone who insists upon the importance of the punk scene in the developmentof zines is Aaron, the editor of Cometbus, who in his latest issue (#29, 1993),takes me to task about the wording of my 'call for submissions' for the show: „Theother thing about all this zine talk that's pissing me off is evident in an announcementI got in the mail for an upcoming zine show. It said 'Fanzines=artzines, homozines,litzines, femzines, musiczines, personalzines, punkzines, comczines' or somethingto that effect. To read it you'd get the impression 'punkzines' are some littlebastard faction of fanzines, when in reality fanzines havew been nurtured and hypedalmost exclusively by the punk scene for the last 15 years!“ (...)It is these diverse and personal accounts of zine publishing that reallyconstitute the substance of this catalogue. From the range of statements its possibleto begin to discern a pattern to this activity and to chart the emergence of number ofcommon concerns expressed by different editors from different communities. Thethree themes that emerge repeatedly from the editors' statements are: Contact, Communicationand Exchange.» (Steve Perkins: Introduction. In: International ZineShow. Cat.: 1992-93.)^Stephen Perkins: Artifacts of the Eternal Network. Essay in the exh. cataloguewith the same title. 30.5x22 cm., offset, (accordion, 3x) 6 p. ATCA (→ Milman)The University of Iowa Museum of Art. 1997«Permanent Press» Box 6858, Station A. Toronto, M5W 1X6 Canada 1977End Paper (Very visual art magazine. Colour offset print, 25,5x25 cm. horizontal, ~10 p., issues with double turnable down pages. 1977?- )Perneczky, Géza Archive & Ed. Grosse Witschgasse 3-5. Köln, D-50676 Germany 1975↑ Pius str. / Vorgebirgsplatz 10 / 2. Köln, D-5000 - “ - 1970↑ Hidegkúti út 37 Budapest, XII. Hungary 1960.............................................................................................................................................................^Five Books (also as Numbered Books) (Hand made mag. with orig. paperworks, photo and plastic collages, printed by hand and with rubber stamps.Conceptual works in underground style and with a polit art colour{50 or 2x50}. A/4, mix. techn. ~4-6 leaves in cover. May-Sept. 1970,monthly, #1-5) Budapest^# 1, 2, 3, 4, 5^Important Business. Information from East to West. (Mag. with conceptual works and video performances by Hungarian and Czech artists. A/4 size,~8 unbound offset sheets in portfolio. 1972-73. #1-2) Köln, 1973^#1, 2^Stamping by little objects... and other stamp activities {~100-250} (Portfolios with ® A/4 matter: ~8 p. rubber stamps + text, photo, or image pages. 1973-84 ~yearly: Stamping Silence, 1974; Spirit Stamping, 1975; Memory,1977; Stamping in Italy, 1978; Night Stamps /photo technic, 1979;Stamping Bird Twittering, 1980; Very Alternative Art / Merde, 1981;Albino, 1981; Breakage, 1982; Isolated, 1982; Pseudo Computer, 1984;The Secret Life of the Cologne Cathedral, 1984, etc.)^International Stamps I-II. {365} (The rubber stamps: «secret» & «merde» in 8 lan- ® guages published in the form of A/4 brochures, each publ. by 8 handmadestamps on 16 p.) 1980-81^Post Infinite. (Mail Art publ. {200} with artistamps, rubber stamps and collages ®