Mail Art Periodicals - MoMA

Cage: Anti-Embargo Magazine. Alexandar Jovanovic, Editor.
Odzaci, Yugoslavia. 1992-1994.
No. 1 (December 1992). Offset. 11 3/4"x8 1/4". (24 pages).
"Yugoslavia is under the unfair cultural embargo at this moment. We, Yugoslav
networkers, are aparted from the world. We are in the cage of embargo of the
new world order." Active Yugoslavian networkers, including Nenad Bogdanovic,
Andrej Tisma, Jaroslav Supek, Sandor Gogoljak, and Dobrica Kamperelic, report
on their conditions under a United Nations cultural embargo. Information on
Yugoslavian Mail Art Congresses in Odzaci, Baranja, Beograd and Sremski
Karlovci. Mail Artists Peter Küstermann (Germany), Angela Pähler (Germany),
and Vesselin Sarieff (Bulgaria) lend support.
No. 2 (April 1993). Offset. 11 3/4"x8 1/4". 35 pages. Text and graphics
dealing with the United Nations cultural embargo of Yugoslavia. Yugoslavian
contributors include Rorica and Dobrica Kamperelic, Andrej Tisma, Gogoljak
Sandor, Mitrovic Vladimir, Branko lazic, Miroljub Todorovic, Nenad Bodanovic,
Jaroslav Supek, Slavko Matkovic and Balint Szombathy. Mail Artists outside of
Yugoslavia contributing to the issue include Günther Ruch (Switzerland), John
Held, Jr. (USA), Ruggero Maggi (Italy), Guy Bleus (Belgium), Vittore Baroni
(Italy), Ryosuke Cohen (Japan), et al.
No. 4 (October 1993). Offset. 11 3/4"x8 1/4". 32 pages. Anti-embargo
carved rubber stamp impressions by Andrej Tisma (Yugoslavia), artistmps by
Sandor Gogoljak (Yugoslavia), essays by Dobrica Kamperelic (Yugoslavia) and
Andrej Tisma (Yugoslavia). Contributions by Giovanni Strada (Italy), Shozo
Shimamoto (Japan), Fernando Agular (Portugal), Paulo Bruscky (Brazil), et al.
No. 5 (July 1994). Offset. 11 3/4"x8 1/4". 60 pages. "'The networker's
spirit' has been realized in which 38 artists from 18 countries took part...In this
action I have asked the artists-networkers to send me their breath in the bottle
because believe that in each of our breath there is a part of our soul, a part of
soul energy, a part of our intellect, of our existence and our ethos. For this action
I have asked the artists to intervene on the bottles so that by this act they could
become artistic objects which shall remain as permanent trace and document
this action."
Calgary Philatelist. Dale Speirs, Editor. Calgary Philatelic
Society, Calgary, Canada. 1998.
Issue 28 (February 1998). Photocopy. 8 1/2"x5 1/2". 12 pages.
"Notes Toward a History of Artistamps," by John Held, Jr. (USA). "There have
been several attempts to define artistamps. Some say that artistamps must be
perforated, be of a certain size, produced in multiples (as opposed to original