Network Atlas by Geza Perneczky - Ruud Janssen

395Schwerin: Staatliches Museum^Mail Art. Eastern Europpe in International Network. (Catalogue and Anthology) StaatlichesMuseum Schwerin / Kunsthalle Budapest. Bilingual edition: German and English.318 pages. Schwerin, 1996. Historical overviews by Guy Schraenen, KorneliaRöder, Géza Perneczky ( Hungary), Jiri Valoch (Czechoslovakia), Rea Nikonova(USSR), Constantin Flondor (Romania), Piotr Rypson (Poland), Bálint Szombathy(Yugoslavia), Klaus Werner (Eastern Germany), Eugen Blume (about Robert Rehfeldt),Karla Sachse (about Guilermo Deisler), and a discussion with Gerd Börner,Jürgen Gottschalk, Joseph W. Huber, Birger Jesch, Kornelia Röder, FriedrichWinnes, Lutz Wohlrab, Ruth Wolf-Rehfeldt.^Congress Documenation / Mail Art. Eastern Europpe in International Network (September 13-15, 1996). Staatliches Museum Schwerin. Bilingual edition: German and English.126 pages. Schwerin, 1996. (More → Mail Art & Network Theories)Sciullo, Pièrre di 64 rue Dulong Paris, F-75017 France 1983^Qui? Résiste (Graphzine with thematic issues. A/4, phc. 20-40 p. 1983-, squ. #1-7?) N° 1 Manuel de la Séduction, 2 ...de la Verité, 3 ...Mort,4 ...Zoologie appliquée, 5 ...Femme, 6 ...Carré, 7 ...Nuages.^#1, 5, 7Scott, Michael Orchard House, St. Helens Lane Leeds, LS16 8EU United Kingdom 1980↑ c/o Academy of Arts Liverpool 1979.............................................................................................................................................................°Poste Restante Mail Show. Inv. 42x30 cm. poster, offset. Academy of Arts. About 300 parts. June 10 – July 1, Liverpool, 1979 January 5, 1988 1988~Literature: «(...) BUT NOW: WILL SUCCESS SPOIL CORRESPONDENCE?Perhaps, for those pioneers who were building the mailways across noman'sland in the good old fifties and sixties, the scene, like nostalgia, ain't whatit used to be. The network is so much bigger and looser now – there's probablya whole lotta headshaking going on – standards must drop. Maybe...But I (who wasn't in there way back when) don' think that some sloppyconncetions matter. I think that the mail network is a very beautiful energy system– because it just naturally copes. And I think it is important to understandthat mail art is a system: a system made up of complex, continually re-charchinginterrelationship of individual mailings... To understand what the system, or game,is about, it is necessary to viualize wholes through glimpses of parts (...)This global system is perhaps rather pointless. Maybe it's just an exampleof John Cage's «purposeless play». But in its pointlessness the system ignoresbarriers of sex, race, nationality, color and any of the divisive, exclusive groupingsthat isolate one person from another. Even language need not be a barrier asyou're quite free to use images instead of words.Mail art is an alternative to commercial gallery art. The artists involved aremore interested in the processes and communications than they are in the sale of apiece of work, and the works themselves are low in terms of sale value... They aremore interested in and excited about contact from like-minded artists around theworld than they are in producing saleable works...»(Michael Scott: Introduction to Poste Restante Show, 1979. In: Anna →Banana: About VILE. Letter size, offset, 108 p. SP. Vancouver, 1983. 62-64 p.)Vittore → Baroni: Michael Scott. In: Arte Postale. Guida al network della corrispondenzacreativa. (Text: Italian) AAA Editori. Bertiolo, 1997. 148-149 p.Scott, Pete(!Monty Cantsin!) Also as !Ian Blake!64, St. Annnes Road Belle Uve, Doncaster, DN4 5EA, UK. 1986^SMILE 23 (Smile mutant. A/5, phc., 16 p. 1986-87? #1-2, signed as: