iuoma.org – Interested in Mail-Art?

welcome to the International Union of Mail-Artists. This Blog gives you information and links to all activities undertaken by Ruud Janssen, who started with Mail-Art in 1980 and is still active.

Incoming from Mr. Colori – Netherlands

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A large enveloppe arrived yesterday from Mr. Colori (Chaam, Netherlands).  In is was a splendit catalog from the exhibition and project he did called : Van Bosch naar Bruegel, Bruegel after Bosch.

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A full colour catalog with reprints of all the works sent in, and also a complete participant list. One of thos catalogs that remembers you from the past when these things were produced. Nowadays most mail-artists can’t find sponsors for such a very fine production. So I am very glad to have received this masterpiece. Will fit wonderful in the archive. And please don’t forget that the exhibition can still be visited in Den Bosch, Netherlands.   Have a look at the website for details:

info https://www.facebook.com/mii.colori

foto galerij op de projectwebsite  http://bruegelproject.blogspot.nl

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My Blogs – Ruud Janssen

On Blogger I have lots of Blogs. Here is a complete overview of one of my accounts:

Fluxus Heidelberg Center – 2003

Fluxus Heidelberg Center , founded 2003

Founded by Litsa Spathi and Ruud Janssen

click here to go straight to the main menu
The Fluxus Heidelberg Center site is the place where all Fluxus activities of the artist-duo Fluxus Heidelberg (Litsa Spathi and Ruud Janssen) are documented. It includes interviews with Fluxus-artists, photos of performances, historic facts, full documentation of all performances by Fluxus Heidelberg, Fluxus Poetry by Litsa Spathi, an overview of all publications by the Center and by other Fluxus related artists. You will find information about how to contact them, links to other sites that are interesting for you and a sitemap.

The Center itself was founded in July 2003 and is building up a large collection of Fluxus material. Both artists are active in the Fluxus-world for years and are in contact with founders and active players of this movement. Their Fluxus-activities is a continuation of the early Fluxus-movement. They use the modern techniques in their performances and document their activities in digital and printed form. A large set of digital photos and digital Fluxus Poetry is published on this site. The modern life with its hectic situations forms the playground for their performances. Just click on the changing logo to enter this site.

The variations of the logo as shown above is just a small version (size 182 kByte) of the real performance (size 1,89 Mbyte) which you can see by clicking SEE THE COMPLETE VARIATIONS. You can also visit the FLUXUS HEIDELBERG CENTER BLOG to read about the latest news on Fluxus.

During the last years we also publish a lot of our writings and visuals on BLOGS. Have a look at : Fluxlist Europe or Fluxus Heidelberg Center BLOG or Fluxus Heidelberg Center Videos to name a few.

Variations on logo | Main Index | Overview Performances | Contact-Information | Publications | Calendar | Updates | Fluxus Journal | Fluxus Links Overview
(c) 2003 – 2013 by the Fluxus Heidelberg Center.
 

Charts

IUOMA_Ning_2010 Math_Physics-Art_2010 Networking_Athens_2010

It is in my nature to make charts of things. Studying Physics and Mathematics only made that worse, and it results sometimes in beatiful charts that document the things I see connected. Mindmaps they are called sometimes too, and above you see a few of those that I made in the last years.

Also when designing websites I used to make the sitemaps before I started building the digital works. Some samples are also interesting to see even after all these years:

fhc0310b fhc0401a fhc0401b

The last two have additional drawings by Litsa Spahi in them. She thought out the concept for Fluxus Heidelberg Center, and I realized the digital website by make things digital.

see more at: http://www.fluxusheidelberg.org/sitemap.html

The Undying Art of Mail

source: http://www.brokenpencil.com/features/the-undying-art-of-mail

We used to send mail, and there used to be an underground movement of artists who made mail art. Laura Trethewey tracks down the artists who made the postal system an integral part of their work to find out how mail art is faring in the age of the Internet.

By Laura Trethewey ,

Monday, July 11th, 2011

In the mid ’90s, Rubberstampmadness –a periodical that at the time covered mail art and rubberstamping– was a 136-page glossy, colour magazine with classified ads, letters to the editor, a subscription base of 12,000 and retail sales of 8,000 copies. In 1992, publisher Michael Malan wrote, somewhat wishfully that “in the ’60s, it was drugs. In the ’70s, it was sex. In the ’80s, it was money, who knows, in the ’90s, it may be rubber.” But then came the Internet. Throughout the ’90s Rubberstampmadness’s focus shifted as less and less mail art filtered in and stamping, as a hobby unto itself, took off. Today, the mag runs the occasional issue on mail art, but with a limited print run of 7,000 copies. As the decade wound down, the WorldWide Web began to undermine the power of print and paper. A long running indie art tradition was faced with, if not extinction, then at the very least the daunting task of reinvention.

This once private process of making, sending and receiving mail art is now very much public and online. A quick Google search for “Mail Art” turns up hundreds of scanned images from Germany, Russia, India, almost anywhere in the world. This open and immediate exchange of ideas and artwork is very different from its scattered, hidden-in-plain-sight beginnings in the ’50s. Mail art emerged out of the influence and work of three geographically disparate art movements: the New York Correspondence School, the Nouveau Realistes in Europe and the Fluxus movement in Japan. It was a simple way to connect people all over a rapidly globalizing world, and a way to repurpose that ultimate symbol of technocratic triumphalism, the post office. Turn a postcard into a collage, mail a decorated envelope stuffed with all types of bricolage, and the act itself becomes art, prodding confused machines, awed postal workers and unsuspecting recipients into a different space, if only for a moment or two. As Mark Evard, the National Director of the Canadian Union of Postal Workers with over 20 years experience delivering mail, explains it: “I’ve seen decorated bottles, a coconut, a shell, empty Kraft Dinner boxes that have been decorated. Technically, we’re not supposed to be reading the mail, but normally when stuff like that comes through, people show it around to the other letter carriers in the aisle where they work.”

Some send around notebooks to be filled page-by-page with artwork or writing. Another popular objet d’art is a set of homemade stamps, more often called artistamps, a term coined by London, Ontario artist Michel Bidner in the ’80s. If there was such a thing as stated rules in mail art, they would include a few loose guidelines: Anyone can be a mail artist, all senders shall receive a response to a piece of sent art and pretty much anything can be considered mail art. In a time of cold war repression and obsessive commercialism, mail art challenged barriers and crossed borders. And it was just plain fun. As New York-based artist Sylvia Kleindinst puts it, during her adventures in mail art in the mid-’80s to mid-’90s: “I was writing to 40 or 50 people. My mailbox was always filled with these wonderful cards,”

But then came the Internet. “I think actually getting on the computer sort of killed mail art for me,” Kleindinst says. “I went into corresponding through Yahoo groups.” And other obstacles to the traditional practice of mail art arose around the dawn of the new millennium. “In the early ’70s, postage was six cents to anywhere in the world,” points out BC-based mail artist Ed Varney. “I could mail to 300 people for $18. Now, the same mailing would cost about $325 (assuming 100 Canadian, 100 USA and 100 international addresses — and weighing not over 30 grams). That’s a difference that can’t be ignored.”

With costs rising and new technologies threatening to usurp the viability of the practice, it’s hardly surprising that mail artists started to take their cues from the web. Dutch mail artist Ruud Janssen began experimenting with early Internet technology, such as the Bulletin Board System (BBS) in the mid-’80s. By 1990, he was ready to take his mail art community newsletter, the TAM-bulletin, online via BBS. (“Send anything that has to do with BRAINS,” reads a call-out in the inaugural electronic issue in November, 1990.)

Today, Janssen is one of the most prominent advocates of the online mail art community. He runs The International Union of Mail-Artists (IUOMA) with over a thousand members from all over world. The IUOMA operates as a sort of hyper-creative Facebook. There are updates of who’s friends with whom and photo albums of recent vacations, which are needless-to-say wholly unrelated to the practice of mail art. Yet the site is also a testament to how rich and sophisticated the online world of mail art has become. Many creative undertakings are coordinated through the IUOMA, such as a mail-art novel with over 30 artists contributing a different chapter. Its first seven chapters are already completed and online. The writing itself is entirely informed by the breakneck pace of the Internet with nods to month-old events, like Malcolm McLaren’s death, the iPad and the Icelandic volcano that shut down European airspace. Fittingly, the plot includes a mysterious mail art storyline, with a near nerdish similarity to fan fiction. There are also serious discussions conducted through IUOMA, some that even question the very foundation of mail art itself. One, posted by Janssen asks, “Do we need still [sic] snail-mail when we have forums like these?”

Many argue that we do. In fact, BC-based Ed Varney, one of Canada’s most well-known and active mail artists who has dutifully sent and received for close to 40 years, argues that relying on the Net may threaten the democratic underpinnings of mail art. “More and more the documentation is appearing on the Web, which sort of ignores the fact that many artists, particularly from third world countries, don’t have access to the Web,” he writes in an email. Clearly, those not on the web are shut out from adding to the mail-art novel, among countless other projects that have and will originate and be dispersed online. The Dutch artist Janssen tracks visitors to the bright orange IUOMA website, keeping an eye out for travelers from places like Africa or China. He says he does see the odd visitor, but so far he’s not received much from these countries. In May, Janssen began a blog called Chinese Mail-Art to actively pursue Chinese artists who might want to be found. So far, he’s had no success. “You first need an address,” he writes and mentions that at this point he’s planning to walk into Chinese restaurants and simply ask people whether anyone has contacts he can write to.

Perhaps the reason Janssen is so persistent in tracking down artists cut out of the loop by the Internet is because bringing unlikely people together is one of the notable accomplishments of this underground art movement. Romanian artist Iosif Kiraly writes in Eternal Network: A Mail Art Anthology: “In the ’80s, Mail Art was, for me, and many artists from communist countries, the only possibility to have a contact outside of our borders.” He makes this point concrete in his 1982 performance of a massive envelope holding several people, explaining that often in oppressed countries the only true part of you to escape is through the mail. American mail artist Kleindinst still corresponds with a Russian mail artist, who contacted her shortly after the Berlin Wall came down. They’ve been exchanging work for close to 20 years now, although she admits she was at first hesitant about corresponding with a Russian after so many years of Cold War propaganda.

Despite the drawbacks, for Janssen the Internet is less a threat to traditional mail art than an additional way to carry on the tradition. In what is already an art form based around communication, another way in which to connect can only strengthen the movement. “An artist shouldn’t be trapped in one medium,” he writes via email. “Communication in art is an essential factor. That is one of the essential points in mail art.”

Laura Trethewey gratefully acknowledges the financial support of the Ontario Arts Council’s Writers’ Reserve Program.

– See more at: http://www.brokenpencil.com/features/the-undying-art-of-mail#sthash.fK44uIRo.dpuf

Chinese Mail-Art research

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Some years ago I was doing research on where the chinese mail-artists are?  With the upcoming economy some years ago a new generation of mail-artists would arise for sure and I wanted to stimulate that a bit. So these pamphlets went out and I also made a special website for the process at:

http://chinesemailart.blogspot.nl/

Where I documenten the things that happened and were sent and received, It brought some new interesting contacts and even some publications and exbibitions. But with the chinese recent financial crises, the contacts just vanished and all there stil is are the postings and papers…….

郵件藝術

How to make a synthesis assay

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How to make a synthesis assay

Are the  before dawn when you have to write an essay of synthesis for a class or an exam. Unfortunately, you have no idea what a essay summary, much less how to write one. Do not be afraid, I am here to help! A synthesis assay takes ideas and information from multiple sources to form a coherent whole. Continue to step 1 to start learning how to write an essay of synthesis.

It understands the concept of a synthesis assay. The purpose of a trial is to synthesis revealing connections between parts of one or multiple works in order to present and support ultimately a statement about a topic. In other words, when you research a topic, for example : ART, you should have information about art academic papers, you will look for connections that can become a solid perspective on it. Different types of assays synthesis can be categorized as follows:

  1. Synthesis of argument: this type of essay has a solid thesis statement that presents the point of view of the writer. Organized logically relevant information from research to support the point of view of the thesis. White papers business known as status reports often take this format. This is the kind of synthesis assay that students write an exam.

Review: often written as a preliminary to a synthesis of argument essay, a critical essay is a discussion of what has been written previously on the subject, with a critical analysis of the sources covered.

Explanatory background or synthesis: This type of essaying helps readers understand a subject categorizing the facts and presenting them to promote understanding of the reader. It does not propose a particular point of view and, if you have a thesis statement, this is weak. Some white business books take this format, although it is more likely to have a view, albeit discreet.

2. Choose an appropriate subject for an essay of synthesis. Your topic must be broad enough to gather several sources related, but not enough to bring together widely divergent sources. If you have a free choice of subject, some preliminary reading can help you decide what you want to write. However, if you are writing an essay of synthesis for a class, you may be assigned a topic or you have to choose from a list and still in case of doubt and help always prefer https://www.advancedwriters.com

Example of a broad topic reduced to a reasonable subject for an essay of synthesis rather the overall theme of social networks, you can discuss your views on the effects that text messages have had on the Spanish language.

3. Choose your sources carefully and read. If you’re going to take an examination, in some cases you provide sources.

4. Your thesis is the main idea presented in the trial. Should include the issue and declare your opinion about it. It should be presented as a complete sentence.

5. Reread your sources to find pieces that support your thesis. Check your sources and select quotations, statistics, ideas and key facts to support your thesis. You will use throughout your essay.

If you plan to take a statement of opposition to your mind and find inconsistencies in it, you should also find some quotes that contradict your thesis statement and plan ways to refute them.