"we didn’t use the term Neoism until later, in early 1979. I returned to Montreal in November 1978 and I took a job as janitor. I got in touch with Vehicule Art, a local artists-run organization, and proposed a mail art event that was called Brain In the Mail. The opening of the Brain In the Mail show took place on February 14, 1979 and mostly it is considered to be the beginning of Neoism. Even though I came up with the name only a couple of months later and typed the word Neoism for the first time on a Smith-Corona typewriter on May 1, 1979, in Apt. 215, at 1100 McGregor Street, to be really exact." Istvan Kantor with Daniel Baird, The Brooklyn Rail, 2004, brooklynrail.org
"A one-page newsletter for Hungarian artists mainly about Mail Art news, to stimulate local MA activities. Altogether 30 issues (1980: 1–5, 1981: 6–18, 1982: 19–30) were published. A4 photocopy (from issue no. 6 on preprinted stationary), rubberstamped. Editors: György Galántai and Júlia Klaniczay, graphic design and realization: Galántai. The first issue appeared as part of the publication 'the artpool.'" ARTPOOL - The Experimental Art Archive of East-Central Europe, Artpool, Budapest, Hungary, p. 44. (Ed. by György Galántai – Júlia Klaniczay)
"Enrico Crispolti and Franco Summa set up in Pescara an exhibition titled Postal Medium containing works by Cavellini, Basilio Cascella and other mail artists. In Pescara Cavellini made a new writing performance on some panels and on the body of Gianni Romeo." Wikipedia
“the other projects I wasn’t officially allowed to show, I exhibited in my apartment which I declared a ‘Red-Y-Made Center’ at the beginning of the state of war in Poland (December 13, 1981). In its lifetime (December 1984 - October 1988), the Red-Y-Made Center organized unofficial and uncensored exhibitions for 68 artists from 17 countries.” Schulz, Thomasz: Tobeornot, oder ein Mailartist in einem totalitären Land sein, in: Mail Art – Osteuropa im internationalen Netzwerk, Schwerin, 1996, p. 248.
“The 7th issue of VILE, called STAMP ART, is a special, limited edition of 300 copies of hand-stamped pages by 200 artists in the International Network. It was edited by Gaglione, and was in the works for the better part of two years. […] The first 200 went to contributors, the 3rd hundred sold out within a year. Since then Gaglione has continued his interest in rubber-stamp works, and has produced 4 editions called STAMP ART, in which participants send 150-200 copies of their page.” Banana, Anna: Mail Art in Canada & Western U.S.A., in: Mail Art Then and Now, The Flue, Vol. 4, No. 3-4 (special issue), 1984 Winter, pp. 25-28.
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