Network Atlas by Geza Perneczky - Ruud Janssen

369& concept art, also assembling issues {125-150}. Contributions byD, Mayor, H. W. Kalkmann, P. Finch, J. Valoch, M. Nannucci, C. Padín,J. Urban, P. Stembera & others. A/4, offset, ~100 p. or: A/4 materialcollected and fixed into letter files of 35x25 cm. 1970-72, 3-4x yearly?)°Xprmntl ptry. 22.5x15.3 cm., offset colour + collage, 60 p. Ed. Exp/Press.Nijmegen NL, 1971°Proefonderzoek. A/4, mimeogr. + collage, broad-cloth, 72 p. {75} Ed. Blooknoot, 2nd series, #3. Arnhem NL, 1971°Ten signed cards. (Offset {50}, U. G. Stikker, G. J. Rook, K. Groh, J. Valoch, J. Gerz, M. Nannucci, H. W. Kalkmann, R. Crozier, C. Padín, M.Gibbs) Ed. Exp/Press, Utrecht. 1972^Life. (Xeroxed mini book of 10.5x7.5 cm., 12 p.) In-Out Productions, → Carrión. Amsterdam. 1973°Woord, Beld, Werkelijkheid. (As an anonym publ.) (20x20 cm., offset, 72 p. Works by H. Clavin, P. van Dijk, H. Damen, R. Joseph, G. J. de Rookk, U. G.Stikker) 't Hoogt, Utrecht. 1974°Visual Poetry Anthology: 133 poets from 25 countries. (A/4, mimeographed? 230 p.) Bert Bakker, Den Haag, 1975^Stempelkunst / Stamp-art, 1975. Cat.: A/4, 84 mimeographed leaves (one of the ® first rubber stamp art publs., voluminous book by works of 104 artists).Exhibition: in the comm. hous «'t Hoogt», Utrecht NL, 1975^Stamp Art, 1976. (with U. → Carrión). Cat.: A/4, 94 mimeographed leaves. ® (with introduction texts & rubber stamp art bibliography) DaylightPress. Exh.: Other Books and so... (→ Carrión), Amsterdam, 1976°Visuele Poezie: Zes Visies. (with Eldert Willems) Anth. 20.5x145 cm., offset, 109 p. Universiteit. Amsterdam, 1976°^Kunst per post. Doc. 23.3x15.5 cm., offset, 28 p. 87 parts. / Librije Beeldende Kunst. Zwolle, Netherlands, 1977°Stempelen: een handeling. Cat.: /De Nederlandse Kunst Stichting, Den Haag, 1980 ® ~Literature: «International Visuele Poëzie ('T Hoogt, Utrecht – Museum, Rotterdam – VanGogh Museum, Amsterdam) displayed the work of 133 poets / artists from 25countries – it is interesting to note in comparison that the prestigious PoetryInternational which was on in the same building when the exhibition was in Rotterdamcould only muster around 30 poets from 10 or so countries.What is most evident from this show is that considerable advances havebeen made since the last major show of new poetries, the Stedelijk Museum'sexhibition in 1970 called ? Concrete Poetry. The queustion as to what is notconcrete poetry, and what has been happened since the so-called „death“ of concretepoetry, is well answered in this new show, which concentrates mainly onworks made since 1968. (...) not meant to be a retrospective survey, but muchmore oriented towards newer, still tentative directions.Visual Poetry, as the organiser G. J. de Rook explains, is poetry incorporatingan extra-verbal element, such as drawing, photography, video, objects,environments, etc. Or it may emphasise the purely plastic elements of letters andother reduced linguistic orms. Visual poetry has tended to move away from themore „literary“ approach of concrete poetry. The visual poet is more likely tothink of himself as an artist operating within the visual dimension of the originalmeaning of the word „poetry“ – to make. What gives the work a unity and a valueis a concern for language beyond the boundaries of writing and/or conventionalmeaning. The creation of metta languages. (...)The book of the exhibition Visual Poetry Anthology, edited by G. J. deRook and published by Bert Bakker, is highly recommended as it contains aselections of work from each of the 133 paticipants in the exhibition.»(News and Reviews. In: Kontexts, #8 [→Gibbs]. Amsterdam, 1976. 15 p.)Eldert Williams & G. J. de Rook (eds.): Visuele Poëzie – zes visies. (Six essays,