Network Atlas by Geza Perneczky - Ruud Janssen

371^# 1/1, 2; 2/1, 2, 3; 3/1; 4/II., 2, 4^NOMO The Zine (Graphzine in the style of «art, prose or poetry». Digest, phc., 16 p. 1991-95, sbim., ~16#)^#1-12, #Aug.'94, #Nov.'94, #Febr.'95, #May'95^Turning Forty. Cat.: Digest, phc., 16 p. 1991~Literature: (The Rubber Fanzine): In a world where there is a fanzine for everything, it's onlycommon sense to have one for the rubber-stampers. I espacially enjoy this onbecause much of the work avoids the cutesy & simply decorative in favor of worksof art that usually stand on their own...»(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 14 p.)«...When did you get involved in the mail-art network? (Reply 1996):Sixteen years ago. At the time I owned a store in Bellingham called „ThePostcard Palace“, which sold postcards and notecards. I saw some „art rubberstamps“ at a trade show and added some of them to the stock of the store. I thinkHero Arts was the line I bought. Of course I had to play with them; on day a friendof mine, Bob Urso, came in while I was stamping and mentioned that he was startinga rubber stamp company (BOBZ) and that stamps could be used for mail art.That was the first I heard of it......The name Rudi Rubberoid was designed to be the name of the editor ofmy first publication. The Rubber Funzine (TRF), which had very little to do withmail art as such. (...) So, of course, eventually I wanted to do my very own zine.Since I was by that time also pretty well involved in rubber stamping I decided tomake that my emphasis. The first issue was largely my own work, after that I letother people do the art, I stuck to the editing. The zine had a long (four years) andhonorable run, I was quite happy with it for a while. It was one of the first, if notthe first (actually I think it was the first) zine to deal exclusively with rubber art,rather than rubber stamping in general, as did Rubberstampmadness (→ Sperling),etc... However, TRF operated on a subscription basis, and that was a hassle... Oneof my few criteria was that all contributions had to have at least some rubberstamping in them, and eventually I found I was turning down some very cool stuffon that basis, as well as poetry, rants, photos etc. So I folded TRF and, after asuitable „Moment of Silence“ (quite a while, actually), started Nomo.Nomo-The-Zine was a smaller, more mailable format, could not be subscribedto, printed letters, poetry, drawings, eraser-carved art, just about anything.I did continue to print rubber stamp art, but the emphasis more and more turned tomail art and its related icons. I had a lot of good contributors; Blaster Al (→Ackerman),→ A1 Waste Paper Co., Dr. Cranart, Any Salyer, Larry Angelo, Pag-Hatthe Rat-Girl, Michael Pollard, Ruud → Janssen, the inimitable Fearless Freep,and too many others to name, as they say...»(Ruud → Janssen: The Mail-Interview with Rudi Rubberoid. A/5, phc.,16 p. TAM-Publ.: TAM-960140, Tilburg, 1996)«Rubberstamp»→ AppendixRubinstain, Lev Leningradskoje Shosse 5“A“ – Itogi Moscow, 125871 Russia 1990→ Moscow Performance GroupRuch, Günther 315 Route de Peney Genève-Peney, CH-1242 Switzerland 1995Launching the Out-Press (Over 20 different issues {20-600} in handmade style, 1973-96)Post-Products Editions (60 unique items to mail / rest material, 1976-86)^Vergangenheit/Gegenwart/Zukunft. Film, photos, installations, actions and poems at the Ateliers Ecart, Genève, March-April, 1976. Co-edition by Ecartand G. Ruch: Horz. A/5, colour offset, 36 p. 300 copies, 100 signed}Genève, 1976