vittore baroni (30 risultati)

Paperback. Condizione: Good. Sensoria From Censorium, a book about "The Network" and "Networkers." Pieces both visual and word by John Marriott, Ich Neuman, Vittore Baroni, Mike Gunderloy, John Held Jr., Ruggero Maggi, Ryosuke Cohen, Daniel Plunkett, Mike Dyer, Shaun Caton and others. Unpaginated. Includes contact information of the parties. Black and white reproduction. Paper with stiff cover. 8 1/2" x 11". Good condition.

Condizione: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Pamphlet. Condizione: Near fine. First Edition. NEW OBSERVATIOPNS 101: Copy CultureFeatures in this issue: "Introduction, Copy Culture: Barbarians in the Copy Shop" by Stephen Perkins and Lloyd Dunn; "Cultural Subversion " by Frank Moore; "Cheap Memes: Zines, Metazines, and the Virtual Press" by Mark Frauenfelder; "Plagiarism: The Truth in Doubling" by Mark Palmer. Other contributors include Vittore Baroni, Peggy Cyphers, Laurence Roberts, Dissemination Network, T.S. child, Al Ackerman, Reed Altemus, Knickerbocker, Piermario Ciani, Antonio Nelos, Franz John and Jean-François Robic. 31 pages. Paper with stiff cover. Near fine condition.

Condizione: NEW.

Brossura. Condizione: fine. Roma, 2005; br., pp. 220, cm 14x21. Prendendo le mosse dai pionieri delle avanguardie storiche, il volume ricostruisce sinteticamente il percorso della cartolina d'artista, spaziando dalle spedizioni concettuali di fluxus alle variopinte bizzarrie del circuito planetario della mail art, da singolari "pezzi unici" alle più stimolanti spedizioni alternative e new pop, fino ad arrivare al fenomeno delle free-card promozionali e alle e-card virtuali via internet. Illustrato, il libro comprende interventi originali e materiali selezionati da artisti e sperti ed editori di cartoline: Anna Banana e Julien Blaine, Guy Bleus, Mario Giavino, John Held Jr., Janosz Kubas, Jürgen O. Olbrich, Enrico Sist, Enrico Sturani. Libro.

Tadelloses, frisches Exemplar. Softcover / Original kartoniert. Kein Versand aufgrund von EPR Regelungen in EU-Länder außerhalb Deutschlands. No shipping to EU countries outside of Germany due to EPR regulations.

Ohne Stempel, keine An- und Unterstreichungen, sehr guter Zustand. Signiert. Softcover. Original Pappmappe.

Ohne Stempel, keine An-und Unterstreichungen. Zustand: sehr gut. Softcover. Original geheftet. Kein Versand aufgrund von EPR Regelungen in EU-Länder außerhalb Deutschlands. No shipping to EU countries outside of Germany due to EPR regulations.

Sehr guter Zustand. Signiert. Softcover / Original gheftet.

Hardcover. Condizione: Very good. First edition. Collection 'C'est mon Dada' n. 21, a collection of small artist's books for visual poetry, experimental texts and works influenced by Dada and Fluxus. This book is the product of a deranged mix-up of details from collages, photos and mixed-media works (ca. 1975-2008) handpicked from my archive, then scanned and multi-layered on the pc with a primitive graphic programme. Combining my lifelong obsessions for the history of r'n'r and Dada, Don't You Rock Me Dada-O is respectfully dedicated to the CabVolt Contingent with thanks to Lonnie D. & The Vipers. SIGNED and DEDICATED. 36 pp; 15x10,5 cm.

Hardcover. Condizione: As New. Limited Edition. 28 PRIVATE PRESS VOLUMES FROM THE REDFOXPRESS - CO MAYO, IRELAND: NB: Only the first listed is Flat Signed by the Author. Most of the volumes are As New, others are at least Fine, unless stated. All are matching in style and are 15cm. Hardcovers, thread and quarter cloth binding. Laser printing on ivory paper. I believe that no more than 200 copies of each was published 1st Listing - C'est mon dada ; nr 11. As New. 40 unnumbered pages : color illustrations ; 2nd Listing; Published 2011, C'est mon dada ; no. 57, 48 unnumbered pages : colour illustrations.[ As New ]; 3rd Listing : published 2020 [ As New ], C'est Mon Dada, 140, 1 volume (unpaged) : color illustrations. 4th Listing : Published 2020, C'est Mon Dada, 141, [ As New ] 1 volume (unpaged) : color illustrations ; 5th Listing : Published 2019, C'est Mon Dada, 138, As New; 1 volume (unpaged) : illustrations (some colour); 6th Listing ; published 2011, As New, C'est mon dada ; no. 59. 1 volume (unpaged) [42 ] : illustrations ; 7th Listing : Published 2008, C'est mon dada ; no. 15. [36] : color illustrations. As New ; 8th Listing : Published 2008, C'est mon dada ; no. 21, As New, 40 unnumbered pages : color illustrations. 9th Listing : Published 2010, C'est mon dada ; no. 51, As New, 1 volume (unpaged) [41] p : chiefly illustrations (colour) ; 10th Listed : Published 2011, C'est mon dada ; no. 55, As New. 40 unnumbered pages ; 11th Listed : published 2012, C'est mon dada ; no. 75. 40 unnumbered pages : all color illustrations ; As New. ; 12th Listed : published 2012, C'est mon dada No 69, "February 2012"--Final page. [41] p. : col. ill. 13th Listed : Published 2012, C'est mon dada. No 72 ; [41] p. : col. ill. ; 15 x 10 cm. Very good, covers with some marking [ see image ] internally fine+; 14th Listed : published 2012, C'est mon dada. ; 74, As New copy. [41] p. : colour. ill. ; 15th Listed : published 2015, C'est mon dada ; 95, As New. 48 unnumbered pages : chiefly color illustrations ; 16th Listed : published 2015, C'est mon dada ; 125, 40 unnumbered pages : illustrations (black and white, and colour) Fine copy. 17th Listed : published 2020, C'est mon dada. 146. [41] p. : col. ill. ; 15 x 10 cm As New. ; 18th Listed : published 2009, C'est mon dada. ; 33 . Fine copy. [41] p. : col. ill. ; 19th Listed : published 2008, C'est mon dada ; no. 20. As New. Text in English. 40 unnumbered pages : color illustrations ; 20th Listed : published 2008, As New, C'est mon dada ; no. 17. 36 unnumbered pages : color illustrations ; 21st Listed : published 2010, C'est mon dada ; no. 45., As New- 40 unnumbered pages : illustrations (some colour) ; 22nd listed : published 2019, As New, C'est mon dada, no. 129, 40 unnumbered pages : chiefly illustrations.; 23rd Listed : published 2009, C'est mon dada, no. 32, 40 unnumbered pages : chiefly illustrations (some colour) ; As New.; 24th Listed : published 2019, C'est mon dada ; 133. Very nice example. [41] p. : col. ill. 25th Listed : published 2020, C'est mon dada. ; 144. As New. [41] p. : col. ill. ; 26th Listed: published 2018, C'est mon dada. ; 124 As New. [41] p. : col. ill. ; 27th Listed : published 2013, As New, C'est mon dada ; nr. 77 . As New. [41] p. : col. ill. ; 28th Listed : published 2018, C'est mon Dada ; nr. 121. As New. [41] p. : col. ill. Lovely Group. Signed by Author(s).

Softcover/Paperback. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #58: The B.A.T. Manual.Viareggio, Italy: Near The Edge Editions, 1988.Staple-bound softcover. 36 pages including covers + collective stamp sheet, folded magazine page w Bob Dylan review in Italian by Baroni, and 4 artists' stamps in original rubber-stamped and collaged mailing envelope.Edition of 300.Very good. Envelope has minor creasing as well as handwritten address, postage markings and stamps as well as stickers, rubber stamps and collage elements.Arte Postale! #58: The B.A.T. Manual consisted of "A Mail Project by Vittore Baroni" to "Break Art Taboos & Old Toys". B.A.T. - INDEX. (alphabetic order): Barbara A.amEnde, Ben Allen, A1 Waste Paper Co., Gerard Barbot, Vittore Baroni, John Bernd, Bizarr, Ian Blake, Guy Bleus, Buz Blurr, Nenad Bogdanovic, G. Achille Cavellini, Cracker Jack Kid, Dogfish, Mike Duquette, Arturo Fallico, Charles Francois, H.R. Fricker, Volker Hamann, John Held Jr., Kate & Alex Hirka, Birger Jesch, Ray Johnson, Gerald Jupitter-Larsen, Bob Kane, Marten Korner, Arto Kytohonka, Mr. Luce, Guido Lusetti, Ruggero Maggi, Reima Makinen, Robert C. Morgan, Luigi Morosin, Mogens Otto Nielsen, Rea Nikonova, Jurgen O. Olbrich, Mark Pawson, Franco Piri-Focardi, Walter Rovere, Gunther Ruch, Michael Scott's last letter, Serge Segay, and Lon Spiegelman.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 single copy of no. 53 (a special issue prepared by Mark Pawson as a tribute to my publication) to the 600 copies of no. 63, containing a 7" vinyl single by the group Le Forbici di Manitù with the anthem of the 1992 Decentralized Networker Congress. Over thirty years, around a thousand authors from sixty countries have participated in the magazine.Although regularly available to the public by subscription, Arte Postale! has mostly been exchanged free of charge for similar materials or publications by other mail artists, in keeping with the "free exchange" and anti-commercial spirit typical of mail art. The publication has also been sent to a select number of archives, museums, and libraries around the world: a complete collection is held in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry (Miami, USA), as well as in the VEC Archive (Netherlands) managed by Ros Summers, and in the Guy Bleus Archive in Belgium. A variable number of copies are also included in many other important museums, public libraries, and private collections in Italy and abroad. In 2007, to celebrate my thirty years in the mail art circuit, I produced five issues of Arte Postale! connected to five different projects and group exhibitions, thus providing a new impetus to the magazine's circulation.Despite all its practical limitations and its persistent underground status, mail art remains a powerful affirmation of creative collectivism, a viable model of do-it-yourself cultural activism based on cooperation and solidarity. Not even the rapid spread of the Internet in the 1990s dissuaded thousands of practicing mail artists from continuing to use envelopes and stamps in favor of more immediate (and often cheaper) electronic communication. Email, along with cell phones and other new technologies, has become an invaluable aid to creative networking, but the rampant commercialism of many art-related websites has made veteran mail artists rather wary and wary of the digital medium. Many mail artists believe that online art projects still can't replace the surprise and pleasure of receiving unexpected gifts in your mailbox every day, with letters and packages to touch, open, and smell. So mail art survives into the th.

No binding. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #59: Alternative Philately.Viareggio, Italy: Near The Edge Editions, 1989.Unbound, folder with pouch of stamps to front.4 folded sheets = 16 pages including covers + four sheets and stamp sheet = 21 pages.Edition of 500.Very good. Slight corner wear.Arte Postale! #59: Alternative Philately is an issue devoted to artists' stamps, both "postal" and rubber. Unbound, there is a pouch of artists' stamps attached to front cover as well as stickers to back. A folded sheet for Baroni's Home Art Gallery is included featuring the first three exhibitions by G.A. Cavellini, Masami Akita (Merzbow), and S. Gustav Hagglund. A folded sheet featuring a selection of artists' rubber stamps "mixed" by Vittore Baroni with some hand stamping by Mark Pawson and a hand-stamped sheet by Henning Mittendorf to back. A folded sheet largely in Italian, except for first page. A stamp sheet. A sheet by Marcel Stüssi. A sheet by Guy Bleus. A signed, numbered and blind-stamped gray sheet featuring a rubber-stamped sheet by Geza Perneczky. A folded catalogue is included as well. Contributions: Ben Allen, Larry Angelo, A1 Waste Paper Co., Anna Banana, Fernand Barbot, Gerard Barbot, Vittore Baroni, Michael Bidner, Guy Bleus, Mark Bloch, Buz Blurr, Nenad Bogdanovic, Bernard Boigelot, Luca Brunori, Bsp, Bruno Capatti, Nicola Catalano, Piermario Ciani, Ryosuke Cohen, Gaetano Colonna, Alessandro Corsi, Cracker Jack Kid, Creative Thing, Dazar, Avelino De Araujo, De Media, Marcello Diotallevi, Dogfish, Andrej Dudek-Durer, Mike Duquette, Arturo Fallico, Harley Francis, Charles Francois, Hans-rudi Fricker, Gyorgy Galantai, Massimilano Gatti, Gino Gini, Antonio Gomez, Graf Haufen, Lotte Rosenkilde Hansen, John Held Jr., Art Hilary, Alexander Hirka, Stewart Home, Luca Isabella, Leavenworth Jackson, Paul Jackson, Stephen Jacob, Miroslav Janousek, Birger Jesch, Joki, Josean M.l., Ka, Kowa Kato, Arto Kytohonka, Pascal Lenoir, Gianluca Lerici, Lipinsky, Serse Luigetti, Ruggero Maggi, Reima Makinen, Manuel Marin, Arch. Melandri, Henning Mittendorf, Emilio Morandi, Rea Nikonova, Jurgen O. Olbrich, Clemente Padin, Pandora's Mailbox, Mark Pawson, Geza Perneczky, Franco Piri Focardi, Carlo Pittore, Steve Random, Marc Rastorfer, Robert Rocola, Rudi Rubberoid, Gunther Ruch, Robert Ruscoe, Fran Rutkovsky, Saval, Achim Schnyder, Serge Segay, Shmuel, Alfredo Slang, Chuck Stake, Stamp Axe, State Of Being, Marcel Stussi, Alberto Valente, and Svan Wichert.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 single copy of no. 53 (a special issue prepared by Mark Pawson as a tribute to my publication) to the 600 copies of no. 63, containing a 7" vinyl single by the group Le Forbici di Manitù with the anthem of the 1992 Decentralized Networker Congress. Over thirty years, around a thousand authors from sixty countries have participated in the magazine.Although regularly available to the public by subscription, Arte Postale! has mostly been exchanged free of charge for similar materials or publications by other mail artists, in keeping with the "free exchange" and anti-commercial spirit typical of mail art. The publication has also been sent to a select number of archives, museums, and libraries around the world: a complete collection is held in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry (Miami, USA), as well as in the VEC Archive (Netherlands) managed by Ros Summers, and in the Guy Bleus Archive in Belgium. A variable number of copies are also included in many other important museums, public libraries, and private collections in Italy and abroad.

Softcover/Paperback. Condizione: Very Good. 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 single copy of no. 53 (a special issue prepared by Mark Pawson as a tribute to my publication) to the 600 copies of no. 63, containing a 7" vinyl single by the group Le Forbici di Manitù with the anthem of the 1992 Decentralized Networker Congress. Over thirty years, around a thousand authors from sixty countries have participated in the magazine.Although regularly available to the public by subscription, Arte Postale! has mostly been exchanged free of charge for similar materials or publications by other mail artists, in keeping with the "free exchange" and anti-commercial spirit typical of mail art. The publication has also been sent to a select number of archives, museums, and libraries around the world: a complete collection is held in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry (Miami, USA), as well as in the VEC Archive (Netherlands) managed by Ros Summers, and in the Guy Bleus Archive in Belgium. A variable number of copies are also included in many other important museums, public libraries, and private collections in Italy and abroad. In 2007, to celebrate my thirty years in the mail art circuit, I produced five issues of Arte Postale! connected to five different projects and group exhibitions, thus providing a new impetus to the magazine's circulation.Despite all its practical limitations and its persistent underground status, mail art remains a powerful affirmation of creative collectivism, a viable model of do-it-yourself cultural activism based on cooperation and solidarity. Not even the rapid spread of the Internet in the 1990s dissuaded thousands of practicing mail artists from continuing to use envelopes and stamps in favor of more immediate (and often cheaper) electronic communication. Email, along with cell phones and other new technologies, has become an invaluable aid to creative networking, but the rampant commercialism of many art-related websites has made veteran mail artists rather wary and wary of the digital medium. Many.

Softcover/Paperback. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #57:The Box Game.Forte Dei Marmi, Italy: Near The Edge Editions, 1987.Staple-bound softcover. 28 pages including covers + "How To Play" folded-sheet laid in.Edition of 500.Very good. Minor creasing to spine.Arte Postale! #57: The Box Game is an add to and send back issue with illustrations as well as descriptions of works sent back.Illustrations of work by Jean-Luc Andre, Carol Stetser, Kim IL Jung, Arturo Fallico, Saval, Mark Pawson, Yonny & Dolly Zippy, Jean-Pierre Benon, Robin Crozier, Ann Schxnyder, S. Gustav Hagglund, Ruth Wolf-Rehfeldt, Clemente Padin, Jurgen O. Olbrich, JPF Illusion Production, Peter Bergner, Nick, Guy Stuckens, Marcello Diotallevi, Laurance Angelo, Peter Below, Carlo Pittore, Peter Ahlberg, Swarz & Laura Spazio, and Rea Nikonova.Descriptions of work by Osvaldo Ligouri, James Koehnline, Katherine Hirka, Robert C. Morgan, Betty Danon, Mario Giavino, Piotry Rypson, Rod Summers, Cracker Jack, Kum Nam Baik, Patrizia Masnini, Carol Stetser, Gerald Jupitter-Larsen, Robert Swierkiewcz, Francisco Felipe, Walter Rovere, Jenny de Groot, Herbert A. Mayer, Pawel Petasz, Betty Arndt, Brunori and Corsi, Volker Hamann, and Charles Francois.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 single copy of no. 53 (a special issue prepared by Mark Pawson as a tribute to my publication) to the 600 copies of no. 63, containing a 7" vinyl single by the group Le Forbici di Manitù with the anthem of the 1992 Decentralized Networker Congress. Over thirty years, around a thousand authors from sixty countries have participated in the magazine.Although regularly available to the public by subscription, Arte Postale! has mostly been exchanged free of charge for similar materials or publications by other mail artists, in keeping with the "free exchange" and anti-commercial spirit typical of mail art. The publication has also been sent to a select number of archives, museums, and libraries around the world: a complete collection is held in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry (Miami, USA), as well as in the VEC Archive (Netherlands) managed by Ros Summers, and in the Guy Bleus Archive in Belgium. A variable number of copies are also included in many other important museums, public libraries, and private collections in Italy and abroad. In 2007, to celebrate my thirty years in the mail art circuit, I produced five issues of Arte Postale! connected to five different projects and group exhibitions, thus providing a new impetus to the magazine's circulation.Despite all its practical limitations and its persistent underground status, mail art remains a powerful affirmation of creative collectivism, a viable model of do-it-yourself cultural activism based on cooperation and solidarity. Not even the rapid spread of the Internet in the 1990s dissuaded thousands of practicing mail artists from continuing to use envelopes and stamps in favor of more immediate (and often cheaper) electronic communication. Email, along with cell phones and other new technologies, has become an invaluable aid to creative networking, but the rampant commercialism of many art-related websites has made veteran mail artists rather wary and wary of the digital medium. Many mail artists believe that online art projects still can't replace the surprise and pleasure of receiving unexpected gifts in your mailbox every day, with letters and packages to touch, open, and smell. So mail art survives into the third millennium, even though my magazine, probably the longest-running mail art publication ever, concluded its jo.

Softcover/Paperback. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #54: The Cornucopia Catalogue.Forte Dei Marmi, Italy: Near The Edge Editions, 1985.Staple-bound softcover.28 pages including covers.Edition of 300.English.Very good.Light edge wear. Minor surface tear front cover.Arte Postale! #54: The Cornucopia Catalogue documents a mail art exhibition that took place at Artestudio."In June 1985, a first showing of Cornucopia was held at Artestudio in Pontenossa, Italy, as part of the 9th Neoist festival organized by Emilio Morandi: I pain- ted with giant marker-pen a big horn on large sheets of paper attached to one wall of the gallery, then I glued photocopied reproductions of all the contributions over the horn opening, in place of the fruits. Afterwards, the whole tabloid was rolled and hung outside in the street, for all the town to see, and remained at Artestudio as documentation of the event. This was just one way of utilizing the material collected, a proper exhibition of all the original pieces, now neatly piled up in a cardboard box, will hopefully take place in summer or autumn 1986 at the Museum Fur Fotokopie in Mulheim an der Ruhr, West Germany - run by artist Klaus Urbons, who expressed his interest. If others want to book the Cornucopia box for a showing, contact me at the usual address for details (Vittore Baroni, Via Raffaelli 2,55042 Forte dei Marmi, Italy.)."One artists' stamp by Helgi Sky Fridjonsson is present in eachcatalog.Arte Postale! #54: The Cornucopia Catalogue stamp supplement present. PCD(?), Martin Kvist, Dr.Piotr Aakoun, Guy Bleus, Eddy Devolder, Jean Pierre Devresse, Charles Francois-R.A.T., HP2 & co., Paridada, Guy Stuckens, Thierry Tillier, Johan Van Geluwe, Rudi Wilderjans, Paulo Bruscky, Guillermo Deisler, Mark Dicey, Drew Duncan, Gerald Jupitter-Larsen, Poul Esting, Mogens Otto Nielsen, Steen Møller Rasmussen, Hans Jurgen Hess, Birger Jesch, Philippe Billé, Michel Champendal, Bruno Charpentier, Daniel Daligand, David Dufresne, Horus, Alexandre Iskra, Pascal Lenoir, Pierre Longuet, Yves Maraux, Jacques Massa, Robert Morillo, Didier Moulinier, Lucien Suel, Costis Drygiannakis, Vlasis Rassias, Luciana Arbizzani, Franco Ballabeni, Vittore Baroni (editor), Piermario Ciani, Gaetano Colonna, Antonio de Marchi Gherini, Salvatore de Rosa, Marcello Diotallevi, Bianca Laccarino, Lamberto Lambi Caravita, Carmine Lubrano, Ruggero Maggi, Emilio Morandi, Enrico Oliva, MP Fanna Roncoroni, Mariella Soldatini, Giovanni Strada, Angelo Vitale, Ryosuke Cohen, Misao Kusumoto, Mauricio Guerrero, Ko de Jonge, TAM-Ruud Janssen, Joseph Semah, Helgi Sky Fridjonsson, VEC-Rod Summers, Sonja Van der Burg, Pier Van Dijk, Rafael Flores, Peter R. Meyer, Lukas Spao Mson, H.R.Fricker, Gunther Ruch, Ben Allen, Keith Bates, Monty Cantsin, Robin Crozier, Pete Horobin, Mark Pawson, Barry E.Pilcher, Roger Radio, Clemente Padin, Darlene Altschul, Gerard Barbot, John M.Bennett, Carolyn Berry, Mr.Bop, Edgard A.Bushmiller, Chambers, Dazar-Omahaha, Lloyd Dunn, Susan Dworski, K.S. Ernst, Mr.Fabulous, Arturo G.Fallico, Mark Givens, S. Gustav Hagglund, John Held, jr., Leavenworth Jackson, Eleanor Kent, Richard Meade, Elvin Moore, Don Morgan, Teresinka Pereira, Stephen Perkins, Carlo Pittore, Private World, Radio Free Dada, Steve Random, Joel Smith, Carol Stetser, Florence Weisz, Yrizarry, Ioan Bonus Aas, Graf Haufen, Joki Mail Art, Siglinde Kallnbach, Ulrich Kattenstroth, Jurgen Olbrich, Klaus Peter, Furstenau, Markus Reichert, E. Seifried, Rolf Staeck, Klaus Urbons, Tom Winter.Sorry if anybody has been left out, catalogue assembled in November 1985, last contributions arrived in Sept-October." 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 eac.

Softcover/Paperback. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #55: Mail Art Handbook with signed letter.Forte Dei Marmi, Italy: Near The Edge Editions, 1986. Staple-bound softcover. 28 pages including covers. Edition of 500. Very good. Light edge wear. Arte Postale! #55: Mail Art Handbook is an idiosyncratic introduction to mail art with some examples of mail art by A.1. Waste Paper Company. Ltd., T. Lowes, Blaster Al Ackerman, and Bread & Puppet, etc.Two rubber stamps by Baroni, signed at "End of Programme" and numbered on back cover. Arte Postale! #55: Mail Art Handbook stamp sheet present, Marty Cantsin printed stamp sheet, 1986 Decentralized Worldwide Mail-Art Congress postcard, 3 Ethereal Open Network stickers, and typewritten letter with handwritten corrections, etc addressed to Alex & Kate (Smegma magazine publisher Torrid Zone Igloo (a.k.a Alex Igloo a.k.a Alex Hirka) and Kate (Klammer ?).INTRODUCTION. Here comes at last, after painful delay due to laziness and worldly occupations, my small Mail Art Handbook: surely not a serious piece of scholarship nor a profound attempt to unveil all the multiple facets of postal networking. It is more a condensed "reader's digest" of MA, some scratches over the surface, thoughts erupted from the heart rather than objective researches and figures. After over ten years in the network, I still understand it more by intuition than by statistics. MA is a mental process as well as a physical one. An invisible psychic link, an imaginary web that takes different shapes in the mind of each networker. Here I project my own ideal web unto you. It's a subjective but thoroughly honest viewscape: please take notice and react! Once again, for evident simple reasons of economy and for easier communication with as much people as possible, I printed only a monolingual edition. I hope thet all non-english speaking readers will forgive me (in particolare I miei conterranei!) and freely help them- selves with dictionaries and imagination. On the other hand, I hope that all english speaking readers will excuse my far from perfect mastery of the language."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 single copy of no. 53 (a special issue prepared by Mark Pawson as a tribute to my publication) to the 600 copies of no. 63, containing a 7" vinyl single by the group Le Forbici di Manitù with the anthem of the 1992 Decentralized Networker Congress. Over thirty years, around a thousand authors from sixty countries have participated in the magazine.Although regularly available to the public by subscription, Arte Postale! has mostly been exchanged free of charge for similar materials or publications by other mail artists, in keeping with the "free exchange" and anti-commercial spirit typical of mail art. The publication has also been sent to a select number of archives, museums, and libraries around the world: a complete collection is held in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry (Miami, USA), as well as in the VEC Archive (Netherlands) managed by Ros Summers, and in the Guy Bleus Archive in Belgium. A variable number of copies are also included in many other important museums, public libraries, and private collections in Italy and abroad. In 2007, to celebrate my thirty years in the mail art circuit, I produced five issues of Arte Postale! connected to five different projects and group exhibitions, thus providing a new impetus to the magazine's circulation.Despite all its practical limitations and its persistent underground status, mail art remains a powerful affirmation of creative collectivism, a viable model of d.

Softcover/Paperback. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #47: The Ma Show Show No Catalogue The Ear Show.Forte Dei Marmi, Italy: Near The Edge Editions, 1984.Staple-bound folded softcover.11 10/16" x 8 5/16".10 sheets, two double-sided.Numbered edition of 100.Very good.Light unobtrusive creasing at edge.Back cover has unobtrusive minor closed tear with crease, inside back cover has surface tear with artists' stamp half attached to paper.Arte Postale! issue 47: The Ma Show Show No Catalogue The Ear Show is an odd issue documenting a mail art exhibition(s?) with news of artists and other mail art exhibition and project announcements. Contributions by Carol Stetser, Tom Pack, Henning Mittendorf, Günther Ruch, Robin Crozier, Larry D. Smith, Ulises Carrión, Florence Weisz, Robert Swierkiewicz, POW' Art, Peter Kustermann, Open Head Arts, and Mp Fanna Roncoroni, etc. Work by artists listed on back cover of issue doesn't all appear to be present.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 single copy of no. 53 (a special issue prepared by Mark Pawson as a tribute to my publication) to the 600 copies of no. 63, containing a 7" vinyl single by the group Le Forbici di Manitù with the anthem of the 1992 Decentralized Networker Congress. Over thirty years, around a thousand authors from sixty countries have participated in the magazine.Although regularly available to the public by subscription, Arte Postale! has mostly been exchanged free of charge for similar materials or publications by other mail artists, in keeping with the "free exchange" and anti-commercial spirit typical of mail art. The publication has also been sent to a select number of archives, museums, and libraries around the world: a complete collection is held in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry (Miami, USA), as well as in the VEC Archive (Netherlands) managed by Ros Summers, and in the Guy Bleus Archive in Belgium. A variable number of copies are also included in many other important museums, public libraries, and private collections in Italy and abroad. In 2007, to celebrate my thirty years in the mail art circuit, I produced five issues of Arte Postale! connected to five different projects and group exhibitions, thus providing a new impetus to the magazine's circulation.Despite all its practical limitations and its persistent underground status, mail art remains a powerful affirmation of creative collectivism, a viable model of do-it-yourself cultural activism based on cooperation and solidarity. Not even the rapid spread of the Internet in the 1990s dissuaded thousands of practicing mail artists from continuing to use envelopes and stamps in favor of more immediate (and often cheaper) electronic communication. Email, along with cell phones and other new technologies, has become an invaluable aid to creative networking, but the rampant commercialism of many art-related websites has made veteran mail artists rather wary and wary of the digital medium. Many mail artists believe that online art projects still can't replace the surprise and pleasure of receiving unexpected gifts in your mailbox every day, with letters and packages to touch, open, and smell. So mail art survives into the third millennium, even though my magazine, probably the longest-running mail art publication ever, concluded its journey with issue no. 100 (December 2009, documenting the audio art festival Klang!), which appeared exactly three decades after the completion of the first three issues (October-November-December 1979), a trilogy also themed around music.Vittore Baroni biography Vittore Ba.

Softcover/Paperback. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #56: Mail Art & Money Do Mix / B.A.T Report One.Forte Dei Marmi, Italy: Near The Edge Editions, 1987.Staple-bound softcover. 32 pages including covers. Edition of 100.Very good. Swiss coin affixed to cover has fallen off, but is present. Minor creasing and waving from inserts. "Internal Network Synthetic" Vittore Baroni pin in plastic bag affixed to page 18 by sticker. A couple instances of rubber-stamps and postage stamps throughout.Arte Postale! #56: Mail Art & Money Do Mix / B.A.T Report One is devoted to the divisive issue of money and mail art.Art and responses by Ray Johnson, Blaster Al Ackerman, Robin Crozier, Pascal Lenoir, Pete Horobin, Philippe Billé, Pawel Petasz, Leonhard Frank Duch, Clemente Padin, Hilda Paz, Paulo Bruscky, Avelino de Araujo, Mark Pawson, Creative Thing, Pat Fish, Anna Banana, John M. Bennett, F.C. Jerkoffsky, A1 Waste Paper Co., Tony Lowes, Gallantai, Serge Segay, Shozo Shimamoto, Rod Summers, Open Head Arts, David Zack, Guy Bleus, H.R. Fricker, Günther Ruch, and a sticker by Ryosuke Cohen."The Chainbreaker" photocopy / collage in plastic bag with an Arte Postale! info sheet laid in at last page."Discard ANY project that does not have the driving pow er to keep you awake all night, without making you fee 1 tired. Mail Art exerted onto me this eerie power, an d still does, so it cannot be that bad. This issue of ARTE POSTALE! is completely devoted to a rather controversial subject: MAIL ART & MONEY (DO MIX). I'm not having a lot of fun flogging the "MA philosophy" of pure and unselfish exchange, I usually prefer to consider the positive aspects of networking instead of the faults, yet M ONEY is an issue that always pops out when you talk in private with a mail artist. We should not skip the complex pattern of responses that are a cons equence of living in a material(ist) world. Without the Money-God you do no t get envelopes or stamps. Lon Spiegelman, who coined the catch phrase "MA and Money Do Not Mix", is one of my best friends in the mail: this issue is definitely not meant to be a rebuke to Lon's saying, that I find extremely healthy by the way, nor it intends to demonstrate any final truth. I devised a plan to involve other people into this project: I sent out REAL BANKNOTES to a selected number of mail contacts, inside a newsletter/invitation-form called THE B.A.T. (reproduction here on the left). The results of the test are published in the following pages. My personal attitude towards Mail & M oney is very tolerant, unless people is being overtly unfair. If a mail art ist charges for his publications or artworks, I simply do not buy anything, unless I am SO MUCH interested to submit to his/her rules. If someone sells his archive (with my works in it) there is very little I can do, I suppose that anybody is free to burn, treasure or sale what has been presented as a gift (though an old Italian saying warns that by selling gifts you get BAD LUCK). But there have been many cases and misdoings that really turned me i nto an avenger monster. To give you just an example, some years ago Maurizi o Vitiello from Naples organized a MA show sending out thousands of invitat ions (he begged some mail-lists from me with ceremonious letters). He promi sed a catalogue and went to the extent of asking more refined artworks to t he artists who submitted "poor" contributions. In the end he made a little show in a private gallery, exhibiting only a selection of works, and obviou sly never bothered to publish a catalogue (sounds like a spaghetti version of the Franklin Furnace Fiasco, uh?). I am sure that things like this are h appening all the time, with a percentage of artists and "curators" that are only exploiting the kindness of other people for their own petty ego-power games. We should not be afraid to denounce and boycott any MA villain. Afte rall, Money is Hell currency, and only honest mail artists go to Heaven. VITTORE BARONI a.k.a. the Forrest J.Ackerman of MA."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 specif.

Softcover/Paperback. Condizione: Very Good. Vittore Baroni (Editor).Arte Postale! #26: Year Book 81.Forte Dei Marmi, Italy: Near The Edge Editions, 1981.Staple-bound softcover. 16 pages. Numbered edition of 100.Very good.Light unobtrusive creasing at edge.Arte Postale! issue 26: Yearbook 81 is a slim issue, largely dedicated to a list of Baroni's correspondents, and a listing of Arte Postale! issues to date, with visual art by Baroni, Bill Gaglione, Gustav Hagglund, Ginny Lloyd, Enrico Piva, etc.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 single copy of no. 53 (a special issue prepared by Mark Pawson as a tribute to my publication) to the 600 copies of no. 63, containing a 7" vinyl single by the group Le Forbici di Manitù with the anthem of the 1992 Decentralized Networker Congress. Over thirty years, around a thousand authors from sixty countries have participated in the magazine.Although regularly available to the public by subscription, Arte Postale! has mostly been exchanged free of charge for similar materials or publications by other mail artists, in keeping with the "free exchange" and anti-commercial spirit typical of mail art. The publication has also been sent to a select number of archives, museums, and libraries around the world: a complete collection is held in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry (Miami, USA), as well as in the VEC Archive (Netherlands) managed by Ros Summers, and in the Guy Bleus Archive in Belgium. A variable number of copies are also included in many other important museums, public libraries, and private collections in Italy and abroad. In 2007, to celebr.

Paperback. Condizione: Very Good. Book. 295 x 210 mm, staple bound exhibition catalogue for International Artists' Books Exhibition, October 18 - December 7, 1987. Introductory essay by Marta Kovalovsky (Hungarian, with English translation); a text by Guy Bleus entitled 'Why Artists' Books?' (Hungarian, with English translation); and 37 b&w plates by artists such as Gyorgy Galantay, Robert Swierkiewicz, Robin Crozier, Geza Perneczky, Klaus Groh, Vittore Baroni and Peggy Horgan. Documents the first of the international artists' books exhibitions. Comes together with two signed letters from the director and curator of the Szent Istvan Kiraly Muzeum.Condition: some handling marks and light wear to covers, slight ding to bottom corner, rust to parts of staples but no major bleeding, light toning to four inside pages and some handling marks. No writing or tears. Overall VG.

Condizione: Ottimo. Prima edizione. Pubblicazione d'artista. 6 fogli sciolti; 29,5x23,7 cm Fogli sciolti in cartellina editoriale.

Ohne Stempel, keine An-und Unterstreichungen, guter bis sehr guter Zustand. Original Pappbox.

Ohne Stempel, keine An-und Unterstreichungen, guter bis sehr guter Zustand. Original Pappbox.

Condizione: Very Good +. 140x100mm postcard. Printed on one side only with artist's black circular rubber stamp on recto together with lithographic image of performance/event (processional work covered Roman litter and all participants wearing togas on an Italian urban street). Purple rubber stamp on verso with artist's name and address. No edition size given, undated (early 1970s). Provenance: Art Information Centre.

Soft cover. Condizione: Very Good. 1st Edition. Canada: ID Press, circa late seventies / early eighties.  Softcover. Unpaginated.Good.  Minor chipping bottom right spine front cover bottom right and back cover bottom left.  1/2" unobtrusive closed tear front bottom left at spine.Minor toning, creasing, and edgewear. Presentable copy of this scarce SIGNED artists' book.  Please see third photo for inscription.  In this artist's book, Hambleton details the original "Murder Research" in which 620 "image murders" were committed in 15 North American cities over a three year period. A subsequent mail-art project comprised of 240 artists' responses to Hambleton's request to complete the identity of "Mr. Reeee" (the mass killer) is also documented. Includes comments on the process by 28 of the participating artists including Hambleton, Ulises Carrión, Robin Crozier, Peter Below, David Zack, Leonhard Frank Duch, Ko De Jonge, Robert Rehfeldt, Judith A. Hoffberg, John Dowd, Noemi Maidan, Ken Friedman, Ed Varney, Anna Banana, Patricia Tavenner, Lon Spiegelman, Mike Crane, Miroljub Todorvic, etc.  R. Dick Trace It was a pseudonym of Hambleton. The Perpetual Cyclic Calendar operates as a slide ruler. An inner shaft can be moved in and out to predict the future of the artist. The phallic shaft is fully extended in peak years of productivity, retreating post-coitus style during the slump years. A major thrust in creativity was anticipated in 1984, 2000, 1982-1983, 1983-1988. To drive the point home, the rise and fall of Hambleton's creativity is plotted in stylized graphs and charts, like the projected profits and losses of a corporation. Almost complete list of contributors: John M Bennett, Buster Cleveland, Opal Louis nations, Nicola Frangione, Rolf Staeck, Peter Below / Mixed Media Edition, Sera Fin, Angelika Schmidt, Robert Rehfeldt, Claudio Goulart, Lincis, Andre akshun man Stitt, Pat Larter, Ray Varnbuhler, Dietrich Helms, Robin Crozier, Ti Parks, Dik Walraven, Guglielmo Achille Cavellini, Anna Banana, Richard C Johnson, G.E. Marx Vigo, Klivar Miroslav, Mp. Anker, Ulises Carrión, Terro, Hermann Gruber, Romano Peli, McGregor, Andrzej Wielgosz, The Emulatables, Geisha Among Barbarians, Franz Immoos, Leonhard Frank Duch, Joaquim Branco, Patrick, Michael Scott, J Medeiros, Ruth Wolf-Rehfeldt, VEC, theo Koning, Paul Carter, Silvio Spada, dave fobes, Falves Silva, Lomholt Formular Press, Jean-Paul Albinet, Ken Friedman, Horst Tress, Pier Van Dijk, Rachel Greenaway, Sophie H Sarlas, Riuko Ishida, Robert Joseph, Tom Hosier, Tommy Mew, Raymond Zablockis, J Battis, Wanderspüdz, S M Scott, Michele Perfetti, Poki Olson, Carlo Pittore, Ko De jonge, Femail Art, Dadaland - Bill Gaglione, John Baldessari, Jacques Juin, J Art Erdmann, Joachimage Frank, Horst Hahn, Gary Laskin, Luna Lust, Henryk Bzdok, Priscilla Birge, Albrecht D, Vino Malaise-Scilla, Kiyoshi Haruyama, G Rich, Guy Schraenen, Clifford Neal, Jerry Dreva, Bern Porter, Pawel Petasz, Bucher Max, Musicmaster, Diane Wood, Charlie Brown, Artfoot, Irene Dogmatic, Michele Perfetti, Rhoda Mappo, ID Baezkowski, Buster Cleveland, Louie Lewy, Paulo Bruscky, Ephemerealities Limited, Prost Viviane, K A Klammer, Ron Brownson, D Mcdonald, R M Greenaway, Dick Larter, Sunday Painter, Janos Urban, Gerald Jupitter-Larsen, Raul Marroquin, Alex Torrid Zone Igloo, Richard Schneider, Evelyn Berland, Marc Cassidy, Ewaneye, Michael Gibbs, Steve Durland, Bill Doherty the Artist, Barbara Helton-Berg, Madeleine Duff, Judith Hoffberg, Geoffrey Cook, Mario Lara, Jack Keguenne, William Louis Sørensen, Johan Van Geluwe, Vittore Baroni, György Galantai, Klaus Groh, Ely Raman, Maria Fitzgerald, Miroljub Todorovic, Mary Reed Daniel, Armin Hundertmark, Sphinx, Aaron Flores, Miss Invisible, Russell Butler, Baron Infinity Mind, Rotta Rinaldo, Miss Mew, High Performance - Linda Burshaw, Franz Immoos, Valdir Dos Santos, Artura Fallo, James Lineham, Carinca, Pablo Pikasshole, Marc D'champ, Diane Dixiecud, Endre Tót, Al Blaster Ackerman. Signed by Author(s).

Revue produite par Mind Invaders (Piermario Ciani) et Lt. Murnau (Vittore Baroni), avec des contributions de : Piermario Ciani, Vittore Baroni, Ado for Towns, George Anderer, CC et CC, Massimo Giacon, Cristina Masutti, Moreno T., Daniele C., Diego S., Emanuel. 1981. Une plaquette agrafée 23 x 23 cm, non paginé. Deux disques vinyl 45 t. Un de in Invaders et un de Ice & the Iced. Avec quelques ephemera divers comme un autocollant Cavellini, des autocollants, des cartes postales.

Forte dei Marmi, Near the Edge Editions, 1982. Dans son enveloppe d'origine un ensemble d'ephemera : affiche, cartes postales, fanzine. Une partie des ephemera n'est pas visible car encore dans un fanzine scellé par une bande collée. Avec un autographe de Baroni.

Forte dei Marmi, Near the Edge Editions, 1982. Dans son enveloppe d'origine un ensemble d'ephemera : affiche, cartes postales, fanzine.

Forte dei Marmi, Near the Edge Editions, 1982. Dans son enveloppe d'origine un ensemble d'ephemera : affiche, cartes postales, fanzine. Une partie des ephemera n'est pas visible car encore dans un fanzine scellé par une bande collée. Avec un autographe de Baroni.