iuoma.org – Interested in Mail-Art?

This interview was done in 1995 by Ruud Janssen. Address: TAM, P.O.Box 1055, 4801 BB Breda , the NETHERLANDS, e-mail : info@iuoma.org. It is possible to spread this information to others, but for publications you will have to get permission from TAM and the interviewed person! Enjoy reading this interview. This is the updated file on 13 June 2015.

 

 

Robin Crozier and Jonathan Stangroom in UK

 
THE MAIL-INTERVIEW WITH ROBIN CROZIER. (1)

Started on: 2-11-1994

RJ : Welcome to this mail-interview. First let me ask you the traditional question. When did you get involved in the mail-art network? Do you have this MEMORY for me?

Reply on: 21-11-1994

RC : If my memory serves me well…. I had been interested in Surrealism since being a student in the fifties. In the sixties I discovered a bookseller with a catalogue listing and number of surrealistic publications some of which I purchased. The catalogue also listed publications from Something Else Press (ed. Dick Higgins).
I already knew about developments in New York in the sixties but this was the first time I had been able to buy books on/by John Cage, Ray Johnson, Merl Cunningham, Daniel Spoerri, Dick Higgins, George Brecht, Robert Filliou, etc… apart from a few I had found in London. From the same press there was also the Great Bear Pamphlet series. These publications introduced me to intermedia and provided me with new perspectives but I still had the problem of finding out how to get into and be part of this new world instead of just reading about it at a distance.
I had also been interested in concrete and visual poetry and towards the end of the sixties I began to make some publications of my own. But where to send them? However, in 1970 a magazine called ‘Pages’ was published in England. It only came out in Winter 1970, Spring 1971 and in 1972 (three issues then folded owing to financial problems. It was dedicated to promoting the avant-garde and included works etc. by some of those I had met through Something Else but also by numerous other creators from Europe and elsewhere that were sometimes new to me.
But what was most interesting was the information section listing publications, magazines, artists, events etc. with contact addresses. So I was able to begin sending my publications out to establish contacts providing me with more contacts and so on. Soon after this a more commercial magazine ‘Art and Artists’ published an article about Robert Filliou. In it he said he was going to have an exhibition at the Stedelijke Museum in Amsterdam and was asking people to send him material that he will include in the show. What an opportunity! So I sent him a number of little packs of this and that for him to include in works or make into works or distribute as he wished. G.J. de Rook visited the show and he and Robert Filliou made up pages from some of my sendings which de Rook then included in a publication he was putting together called ‘Bloknoot’. So, from early 1972, slowly but surely, I became involved in the ‘Eternal Network’ (Filliou) which had been christened ‘Mail Art’ in 1971 by Jean-Marc Poinsot who had organized the envoi action at the Paris Biennale. And then the snowball began to roll……

RJ : This ‘snowball’ has rolled a long time already. Has the mail-art network changed a lot or is it in essence still the same?

Reply on : 24-01-1995

RC : No, I don’t think the network has changed a lot except in its continuing growth in size. Of course, since the early days there has been more writing about and comment upon the network, sometimes attempts to codify or clarify it, essays about what it might be and critical comments about its directions, quality and so on. So -to a degree- it has become something that people can stand back from and view as an entity. It is also increasingly collected into museums and archives so I suppose its getting quite old. I’ve also noticed that now items from the network are beginning to appear in catalogues as saleable commodities. Those dealers aren’t in the network as far as I know but naturally this notion would go against the spirit of the network. Another observation. At one time there was a rapid growth in mail art emanating from oppressive regimes – South America, Eastern Europe, etc. These ‘cold wars’ are now largely relaxed and so I’ve noticed a rapid decrease in mail art from these areas. This may have something to do with my own involvement but I wonder what has happened to the mail artists in the former East Germany now the element of subversion and protest has been removed. For myself and my own activity, when I first began in the seventies then I was into all kinds of things, organizing shows, projects, publications, almost like the joys of spring and a fascination with new toys. “Somebody out there loves me” was a wonderful feeling. I wouldn’t say I had quite reached Autumn yet but I’ve tuned in on certain activities that are more particular to myself rather than try and do everything all the time. But I still can’t resist collecting all those items that come through my letterbox into my archive. I’m always greedy for more

Oh, and another thing. Snail Mail -which used to be mail art before the appearance of more recent technologies- is being ended by these technologies. However, I suppose, I must betray my status as something of an ’eminence grouse’ in the network by stating that I still prefer handwriting to typing and the original to the multiple. The personal touch. ‘My touch is the touch of a woman’ said Ewa Partum to me through the mail and when I met her she gave me a red rose. Lovely.

RJ : This ‘being greedy for more mail’ is for most mail-artists the reason to keep on sending out mail-art. But you probably also have the problem that you have to select what you are able to answer. Obviously you’ve chosen for the personal mail as a priority. Am I right?

Reply on : 8-3-1995

RC : To begin with, when one begins to become part of the network one is surprised and happy to receive anything but gradually, as the volume increases, selection occurs. My pet hate is chain letters that go straight into the bin. Does anyone respond to them? Next in line are these photocopied sheets asking you to add something and send them on to someone else. I suppose I do send these on but don’t add to them myself – just in case else wants to. Just to keep the network ticking over. As for individual artists I tend to respond more quickly to those who send me something personal rather than those who send out masses of bland photocopies. Of course photocopies have their place, mostly in publications but are not particularly exiting as a personal greeting. And then there is the question of gender. Being male, I am naturally drawn to respond to female advances (although this statement may not apply to everyone) as there is some kind of sexual fission involved. But, again, why are there more male than female artists in the network? Don’t ask me. I’ve no idea whilst on the subject of response, I generally don’t reply to exhibition requests unless they come to me directly. So, yes, as you say, its ‘personal mail as a priority’. But then there’s the question of whether ‘personal’ through the mail is better or more than ‘personal’ through meeting people directly.

RJ : In 1986 there was the ‘Tourism’-year and lateron in 1992 there was the DNC-congress year. Did you participate in those or did you meet mail-artists on an individual basis? Maybe tell a few memories of some meetings you had and what it taught you?

Reply on : 11-5-1995

RC : I did not participate in the Tourism year of 1986 or the congress year of 1992. On the whole I like to meet people through the mail. I suppose I see the network as a device for not having to meet people. However, over the years I have met a number of networkers….. In no particular order (of time or merit). Anna Banana and Bill Gaglione came to Sunderland to give some Futurist performances and talk to the students at the college (now University) where I teach. They were on a whirlwind tour of Europe (if this is England it must be Monday – or vice versa) and were highly organized. Anna spent a lot of the time making works of art. Bill seemed rather tired. Emilio Morandi also visited me in Sunderland with his wife and son. They were on a tour of the British isles looking at standing stones and stone civiles. They were very friendly and brought me an enormous ice-cream for my birthday. I visited Neils Lomholt in Hou, Denmark. He was working in a school for handicapped young people and invited several artists over a few months to work with the pupils. I was able to use ideas of communication evolved from mail art to get in touch and receive a response from the young people in spite of physical and language barriers. David Zack had been there just before me and I met him when I arrived. He left the next day but I gained the impression of a chaotic, generous vital person who had been most simpatico with all the young people. Another time I visited Poland and met Andrej and Ewa Partam and a number of other Polish mail artists and artists. Ewa gave me a red rose (“my touch is the touch of a woman”). At that time Poland was still very much part of the regime of “our big friend” (Russia) so I experienced numerous examples of repression at first hand. I stayed with Ulises Carrion for about a week in his flat in Amsterdam. I had an exhibition in Stempelplaats , a stamp art gallery at the time. What an energetic person. Through him I went to see Peter Van Beveren and many others associated with the network. I have been in contact with Jos