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Vittore Baroni (Editor).Arte Postale! #52: Scripta Volant: An Air Mail Poetry Project with signed letter.Forte Dei Marmi, Italy: Near The Edge Editions, 1985.Staple-bound softcover.28 pages including covers.Edition of 200.English and Italian.Very good.Light edge wear. Inside back cover two minor stains, perhaps glue.Arte Postale! #52: Scripta Volant: An Air Mail Poetry Project documents a mail art exhibition that took place as part of the second edition of Ottovolante: "an annual multimedial meeting of poetry" in Florence March 1985. Last page has glued hand-written folded letter.Single-fold typewritten letter with corrections, etc in purple ink addressed to Smegma magazine publisher Torrid Zone Igloo (a.k.a Alex Igloo a.k.a Alex Hirka)."Contributions by Franco Beltrametti, Carlo Pittore, John Bennett, Bern Porter, Gyorgy Galantai, Guy Bleus, Gunther Ruch, Rod Summers,Karl Kempton, Geza Perneczky, J.h.kochan, Pibro Simoni, A. De Araujo, J.n.calleja, Al Ackerman, Guillermo Deisler, Robin Crozier, Piotr Rypson, Ruth W.rehfeldt, Serse Luigetti, ?dgardo Antonio Vigo, Pete Horobin, David Zack, Piermario Ciani, K.s.ernst, Michael Scott, Paolo Bruski (Sic Paulo Bruscky), Jean-pierre Benon, Julien Blaine, And Chuck Stake. Also Included In The Show Archive Works By Damaso Ogaz (Venezuela), S. Gustav Hagglund (USA), Alex T.igloo (USA), Shozo Shamamoto (Japan) Shamamoto" (Of these last four artists, the last two seem to not be present in the catalog)"Alse invited (no answer): Armando Adolgiso, Igor Durisin, Opal L.Nations, Ulises Carrion."ARTE POSTALE! POSTAL ART! (1979-2009) A Mail Art Magazineby Vittore BaroniThe idea of creating a magazine entirely dedicated to mail art came to me in 1979, two years after my first contact with the world of mail art, thanks to a chance encounter with the renowned collector and mail artist Guglielmo Achille Cavellini. I called my self-published periodical simply Postal Art!, with an exclamation point at the end to indicate the exuberance and warmth of the "Eternal Network" (as Fluxus artist Robert Filliou had christened the rapidly developing creative network), a friendly and open circle of authors committed to the free exchange of all kinds of ideas and works, transcending racial, ideological, and linguistic differences. A sort of "social network" that anticipated the Internet with the simple use of letters, postcards, and stamps.Over the course of three decades, I published Arte Postale! with highly irregular periodicity and circulation, often adopting different formats and configurations. In the first two years, I managed to maintain an almost monthly cadence, with a somewhat rough cut-and-paste layout, in the vein of the punk fanzines of the late 1970s. Gradually, the releases became less frequent and more complex in structure and packaging. The first fifty issues of Arte Postale! were produced in limited editions of 100 copies, adopting the "assemblage" strategy pioneered in New York by experimental poet Richard Kostelanetz in his seminal publication Assembling: each participant sent one hundred copies of a single page, postcard, artist's stamp, or other contribution. I then collected the materials together with the addition of a cover and some editorial pages. Many issues of the magazine had a dominant theme (music, badges, poetry, stickers, photographs, Neoism, etc.) or were dedicated to individual mail artists, living or dead (Ray Johnson, David Zack, Lon Spiegelman, Piermario Ciani), while other issues had a free theme but required contributions in specific formats (e.g., no. 24 was a special 3D issue, with small objects contained in a cardboard box; no. 49 was dedicated to miniature works, with the small works collected in an audio-cassette case). After no. 50, I stopped the assembly process and usually printed the entire periodical independently, by photocopy or offset, always adding various manual interventions, making each copy a sort of "collector's piece". The print run varied from the si.
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