"In Another Moment, an exhibition at Gallery SKC in Belgrade in September 1971, replicated At the Moment, an exhibition in Zagreb a few months earlier. This catalogue, for the later exhibition, documents the first." moma.org
"At the start of the 1970s, a number of exhibitions blossomed simultaneously that were to transform correspondence art and mail art from private activity to public access. The first projects were the major mail art shows organized by Marcia Tucker at the Whitney Museum, to which Ray Johnson’s personal friends and New York Correspondence School colleagues were invited, and the 1971 Biennal of Paris, curated by French art historian and critic Jean-Marc Poinsot, involving the several dozen figures who were at that time seen as the leading artists in the field." Friedman: op. cit.
"When in 1971 Jarosław Kozłowski sent a manifesto of NET to over 350 addresses of artists and critics around the world, his intention was to create an open network for the communication of art ideas. Authored by him with Andrzej Kostołowski, the manifesto called for the exchange of “concepts, propositions, projects and other forms of articulation” without any central governance or coordination—a strictly anti-institutional, and a highly radical idea at the time, in the thoroughly controlled society of the People’s Republic of Poland. In fact, after initially producing a few addenda to the first mailing list and sending it to an even wider circle, Kozłowski stopped being able to control the network altogether.” Moskalewicz: op. cit.
“Spoofing both Ray Johnsons’ New York Correspondance (sic) School and the public school distributed Weekly Reader, Fluxus artist Ken Friedman began publishing a two-sheet newsletter in 1971, resulting in an address list fueling much of the avant-garde international activity in the early seventies.
Mancusi, writing with hindsight on the history of The NYCS Weekly Breeder in 1981, stated that, “In 1972 Ken Friedman asked Stu Horn to edit the Breeder. The Breeder at this point was making use more and more of collage. Later that year, before Stu left for Europe, he asked me to edit The Weekly Breeder, which I did (along with Bill Gaglione) until Fall 1974, when The Very Last Weekly Breeder was published. It was during this period that The Weekly Breeder served as a model for the numerous other ‘dadazines’ that soon blossomed around the country. In looking over these pages one should keep in mind that they predate today’s ‘punk’ graphics by almost 10 years.” Held, John, Jr.: Before Punk and Zines: Bay Area Dada, in: Stendhalgallery.com, 2010
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