the ABSURD (a mail art project) Part 1: The Singles

4johngayer

'the ABSURD' resides within the normal and outside it. Project by John Gayer. ISBN 978-952-69500-0-6

The ABSURD

(a mail art project)

Part 1: The Singles


Cover image: ©Tuğba Taş, Turkey

“to believe that

Absurdity does not exist,

is to deny reality”


a no nonsense mail art project

—&—

Heavenly Goat Road Production

Produced by John Gayer

Helsinki, Finland

2020

ISBN 978-952-69500-0-6


INTRODUCTION

The meaning of words – like how we see images – is always changing.

What they signify today may not agree with what they meant last week

or year and , for all we know, what they might mean tomorrow. As a

term, ‘absurd’ has not escaped that flexibility inherent to language. Just

consider this somewhat angst-ridden definition, for instance:

absurd, noun

: the state or condition in which human

beings exist in an irrational and meaningless

universe and in which human life has no

ultimate meaning —usually used with the 1

see also: —ab-surd´ -ly, adv. — ab-surd´

-ness, n. —ab-surd´-i-ty, n.

Or – given the number of votes and its first place standing – this

radically different and silly example of the word’s use as an adjective:

absurd

crazy, unreasonable, untimely

"That guys Escalade on 24s was absurd"

by willR April 29, 2005 2

Although one can pin point examples of both kinds of absurdist points

of view among the mail art that made its way to Helsinki by way of

regular old-fashioned postal delivery and electronic mail, much of it

1 Merriam-Webster Dictionary (https://www.merriamwebster.com/dictionary/absurd#:~:text=%3A%20completely%20foolish%2C%20unreasonable%2C

%20or,ridiculous%20His%20claims%20are%20absurd), 13 June 2020.

2 Urban Dictionary (https://www.urbandictionary.com/define.php?term=absurd), 14 June 2020. The

number ‘24s’ refers to the size of the vehicle’s wheels.


does not necessarily conform to either of these definitions. The

grimness inherent to the first definition is offset by oblique points of

view and and the deft expression of subtle anomalies. They expose

viewers to the awkward construction of hybrids and unusual, if not

altogether, outrageous scenarios.

One encounters snippets of Turkish, Esperanto, Dutch, Japanese and

other languages, as well as a host of intriguing visual vocabularies. The

content ranges from the expression of gentle humour to anxiety and, in

the case of Liliana Accuña, 3 what amounts to years and years of painful

anguish.

While some contributions arrived despite being disturbed by water or

mechanical damage, a few mailings were absorbed into the project

simply because they unwittingly met the project’s all-embracing

criteria. Unbeknownst to the senders of a couple of junk emails , their

messages appeared to be particularly suitable to being compromised in

this way. Many of the works stand as visual puzzles. The instructions in

a set of games submitted by one artist contains wonderfully examples

of strange wording: ”Oxidation is musical.” The youngest contributor –

look for her drawing of a cat – is just four years old.

Because of the immense volume of submissions – more than 200

contributors participated – this e-catalogue has been divided into three

volumes. Part 1 is dedicated to individual submissions, Part 2

encompasses multiple contributions and Part 3 focuses on multi-page

works.

Given the world in which we live, I see this compilation as making a

case for tackliing the impossibilities of day-to-day life with all the

humour, hope and imperfect talents we humans can muster.

—JG

3 Noiville, F., Legacy of the junta casts a dark shadow over contemporary writers in Argentina, The

Guardian, (https://www.theguardian.com/books/2014/may/13/argentina-military-juntacontemporary-writers-books).


Alexander Limarev, Russia


Aleyna Gürgen, Turkey


Amadeu Escórcio, Portugal


Ana Pobo Castañer, Argentina


Angela Caporaso, Italy


Anja Mattila-Tolvanen, Finland


Arina Bezdamova, Russia


Arina Kukarina, Russia


Artyom Shatalov, Russia


Arziye Bağıran, Turkey


Ayşe Kuzu, Turkey


Aysenur Kirkin, Turkey


Azmi Dalbudak, Turkey


Bariş Ulaş Akyollu, Turkey


Barış Yüksel, Turkey


Betül Nas, Turkey


Betül Tarhan, Turkey


Beyza Levent, Turkey


Beyza Nur Akarsu, Turkey


Beyza Nur Gelgeç, Turkey


Birsen Limon, Turkey


Bruno Cassaglia, Italy


Butuhan Özgür Akgül, Turkey


Chris Carré, France


Clemente Padin, Uruguay


Dale Roberts, Canada


Daniele Virgilio, Italy


Darya Obabkova, Russia


David Otis Johnson, France


Dilan Ünal, Turkey


Dursun Emre Karoğlu, Turkey


Edita Varinská, Germany


Elif Arpacı, Turkey


Elif Denk, Turkey


Elif Gülşen, Turkey


Elif Günay, Turkey


Elif Sevindir, Turkey


Elifsu Keskin, Turkey


Emine Akhan, Turkey


Enes Aslantaş, Turkey


Esra Aydoğan, Turkey


Estheranna Stäuble, Switzerland


Fatma Kaşıkçıoğlu, Turkey


Feride İşlimen, Turkey


Furkan Ege Çelik, Turkey


Furkan Gümüş, Turkey


Gianfranco Brambati, Italy


H. Mert Tanrıverdi, Turkey


H. Talha Ulupınarlı, Turkey


Hacer Odabaşı, Turkey


Halil Furkan Durna, Turkey


Hervé Alexandre, France


Hilal Egemen Özer, Turkey


Horst Tress, Germany


Huoneistokeskus Lauttasaari, Finland


Hüseyin Berk Gürsoy, Turkey


İmren Burcu Yavuz, Turkey


İsrahan Aşık, Turkey


İrem Duman, Turkey


İrem Nur Ekin, Turkey


İrem Özcan, Turkey


Irene Ronchetti, Argentina


Jan Theunick, Belgium


Jerzy Stepniak, Poland


John Gayer, Finland


José Rufino, Brazil


Kemal Ozyurt, Turkey


Kübra Aladağ, Turkey


Kübra Polatel, Turkey


Kübra Yalçın, Turkey


Lars Schumacher, Germany


Laura Andreoni, Argentina


Leslie Atkins, the Netherlands


Liliana Acuña, Argentina


Lorenz Mueller-Morenius, Germany


Lutz Beeke, Germany


M. Cevher Sarıyıldız, Turkey


M. Selman Özkaya, Turkey


M. Yusuf Bozkan, Turkey


Margarita Stepanova, Russia


Maria Fofanova, Russia


Maria Mashkova, Russia


Maria Quiroga, Argentina


Mark Herman, France


Marzia Maria Braglia, Italy


Maya López Muro, Argentina-Italy


Medium Theresa


Mehmet Ali Akyüz, Turkey


Mehmet Şahin, Turkey


Mehmetali Karoğlu, Turkey


Melike Toğaç, Turkey


Meral Ağar, Turkey


Merja H. Lepistö, Finland


Merve Cansel Nezir, Turkey


Merve Ekmekc, Turkey


Meryem Arıcı, Turkey


Michael Leigh, United Kingdom


Miche-Art-Universalis, Belgium


Miguel Jiménez, Spain


Mirjana Tijanić, Serbia


Monica Rex, United States


Muuberra Bulbul, Turkey

Intuition


Müge Okten, Turkey


Muhammit Mücahit Güler, Turkey


Musa Safvan Akgül, Turkey


Nalân Danâbaş,Turkey


Nazlı Miray Toprak, Turkey


Neslihan Yildz,Turkey


Néstor Rossi, Argentina


Nezihe Nur Önal, Turkey


Oana-Catalina Gavriliu, Romania


Olcay Polat, Turkey


Orlando Javier Pelichotti, Argentina


Oronzo Liuzzi, Italy


Öykü Harmancı, Turkey


Özge Baysal, Turkey


Özge Çakal, Turkey


Özge Nihal Eryıldız, Turkey


Pedro Bericat, Spain


Piroska Horváth, Austria


Posti, Finland

Mail Strike: 11 - 27 November 2019

Image: Uusi Suomi online, 13 November 2019


Poul Poclage, Denmark


Rossana Veronesi, Italy


Rukiye Özdemir, Turkey


Ruslan Mubarakshin & Gleb Kalsin, Russia


Sait Toprak, Turkey


Seçil Gürbürz, Turkey


Seda Yılmaz, Turkey


Sedef Debre, Turkey


Selin Eraydin, Turkey


Sena Muhtaroğlu, Turkey


Şerife Altuntaş, Turkey


Serse Luigetti, Italy


Şevval Küpeli, Turkey


Seyda Nur Kızmaz, Turkey


Şeyma Ural, Turke


Şilan Özer, Turkey


Slim Blanks, Canada


Süheyla Katar, Turkey


Susan Gold Smith, Canada


Susana Abbona, Argentina


Tamara Wyndham, United States


The Wasted Angel, Belgium


Tuğba Taş, Turkey


Türkan Elçi, Turkey


Uwe Klein, Germany


Valentina Ștefănescu, Romania


Virginie Loreau, France


Viviana Fatima Andrada, Argentina


Vlado Njaradi, Serbia


Yahya Özcan, Turkey


Yaren Tuncer, Turkey


Yasin Yüksel, Turkey


Yiğit Kuloğlu, Turkey


Zavarof, France


Zehra Nur Gezer, Turkey


Zeki Samet Sarıtaş, Turkey


Zeynep Deniz Önder, Turkey


Zeynep Düz, Turkey


Portrait of the curator

Project blog:

postboxtomailboxnoplainart.blogspot.com

Contact information:

John Gayer

Taivaanvuohentie 3 B 13

00200 Helsinki, Finland

4johngayer@gmail.com


‘the ABSURD’

resides within the normal

and outside it

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