Network Atlas by Geza Perneczky - Ruud Janssen

351~Source:Literature:print on white paper) July 28, 1987^ Hapunkt Fix kommt nach Texas (Sheet of 9 id. stamp images, blackand red print on yellow paper, not perforated) September 1987^Texas Post N D (Sheet of 18 id. stamps, black and red print on whitepaper) N D, 1990N. D. (Flyer with subscription data & publ. list. «N D serves as a document forexchange and contact between a growing int. network of active artists, musicians,and an involved udience...We feature articles and interviews with musicians,composers, artists, and cover performance, audio art, mailart, casettes...») In theoffer: → Jupitter-Larsen's published essays, large list of ND's CDs, 7'' records,casettes, etc. n.d. (1994)«This publication (#4) espouses a tri-pronged approach of „Contact-Exchange-Document“. What shows is sweet concern; caring without being too precious...Revies, loads of mailart contacts with a heavy leaning toward the cassette musicexchange culture. Slick, useful item.» (Lightworks [→ Burch], These Things Too[Print review], N° 17, 1985, 27 p.)«The main reason for publishing was to put out information and news that I wasgetting in the mail and to do interesting interviews with people who I felt wereinteresting, but were not being covered in other magazines. The goals of N. D. are„Contact-Exchange-Document“... Document is the magazine itself which publichesthe contact and exchange. I mainly hope that N. D. can be used as a tool for othersin which to meet others and exchange ideas and work with. There needs to be a lotmore collaboration and sharing of ideas. N. D. stands for „New Deal“, or „Newdawn“ take your pick. (...) most [of the artists] are involved in some sort of networking.Some are involved with casettes, music, performance or other mediums.(...) N. D. is soemthing that I plan on being a lifetime process. I feel I will be involvedwith it all for a long time to come.»(Françoise → Duvivier: N D magazine, Paris Texas. (Interview with Daniel Plunkett)In: Metro Riquet, #7, Sept. 1989, n. p.)Poinsot, Jean-Marc ? ? France 1971^Mail Art. Communication a Distance Concept. Cat.: 21x26 cm. horz., offset, 212 p. Édition CEDIC, Paris, 1971 / On the occasion of the Biennalede Paris, Sect. «Envois» (The first larger Mail Art show and publicationwith a theoretical analysis, the establishing the term «Mail Art» at all.Poinsot's exhibition concept in Paris reflects the early stage of the MailArt giving preference the Fluxus movement and the representatives ofthe conceptual works.)Artists: M. Alocco, B. Amiard, É. Andersen, Arman, W. Aue, I. Baxter,B. Vautier, J. Beuys, C. Boltanski, D. Buren, J. Charlier, J. Dibbets,M. Duchamp, A. M. Fine, R. Filliou, G. Maciunas, K. Friedman, J. Furnival,J. Gerz, L. Gosewitz, K. Groh, R. Hastings, G. Hendricks, D. Higgins,D. Huebler, R. Johnson, O. Kawara, A. Kirili, Y. Klein, H. Koetsier,G. Konkoly, J. Le Gac, J. C. Moineau, New Eter, The New York CorrespondenceSchool of Art, R. Page, N. J. Paik, G. Pane, E. Prini, C. Richard,D. Rot, T. Schmit, C. Shiomi, K. Staeck, P. Stembera, E. Tót, W. Vostell,R. Watts.~Literature:(CONCERNING THE TITLE:) MAIL ART. This expression underscores the useof postal material, while not neglecting the specific characteristics of the institution.It designate mailing, by which we man sending a simple object or documentthrough the postal system, as well as the system of exchange and the particular formthrough which the message is expressed. We have prefered the term «mail art» to«postal art», since it seems richer in connotations.