As the editor of Node Pajomo zine doesn’t like online appearance we won’t upload any pictures about this awesome zine full of with mail art listings and descriptions of various zines and cds.
However we publish here two summary the editor wrote about two Plágium2000 publications.
Tom Soy: Letters. The Wannabe Betters, Plágium2000, Vienna, 2010
Luc Fierens – Kótun Viktor: Special Agents, Postfluxbooklets – Plágium2000, 2014
David Dellafiora (ed.): ReSite, No. 8, Vol.2
ReSite is an assembling publication where pages have an element of audience participation or interaction. ReSite is part of the tradition of Fluxus editions where anyone can perform an action or score. In addition to this performance-based approach, ReSite taps into the rich tradition of the avant-garde with contributions of manifestos and documentation of art actions.
ReSite encourages participation by writers and musicians to produce visual scores and manifestos as well as continuing the call for contributions by conceptual artists. Please pass on the word to anyone who would like to be in future issues.
David Dellafiora, June 2014
Alwina UK Vittore Baroni Italy Horst Baur China John M. Bennett USA Angela Behrendt Germany JF Chapelle FranceDavid Dellafiora Australia Joaquin Gomez Spain Uli Grohmann Germany Susan Hartigan Australia Magda Lagerwerf The Netherlands Serse Luigetti Italy Sonja Benskin Mesher UK Peter Müller Germany Andrew Maximilian Niss Germany Cheryl Penn South Africa Lubomyr Tymkiv Ukraine Kotun Viktor Hungary Daniele Virgilio Italy
check out other pages from this publication at David Dellafiora’s blog:
Earlier issue of this assembling publication on this blog:
Luc Fierens – Kotun Viktor: Special Agents, 2014
Received this beautiful bookin exchange for Plágium2000‘s Fanzine Show Catalog. The book was published in 2011. The following words of Geof Huth taken from Visualizing Poetics blog describe his collage works.
Luc Fierens ended last year with a short but significant exhibition of his works entitled “Sulla Strada [On the Road]—Luc Fierens” at the U Man /Contemporary /Art /Space /Project in Marano d’Isera, Trento, Italy. This exhibition covered Luc’s career as a visual poet and collagist from 1984 through last year, and the catalog of the exhibition presents these in chronological order, which allows us to see how Luc’s style progress from a fairly rough-hewn one to a style almost as polished as the glossy advertisements that became the main source of fodder for his poems.
Luc is an artist for the world, so his works are “written” in English, French, Flemish, Italian, German, and even wordless. And certainly combinations of the above. His poetry is the poetry of appropriation and anti-approbation. Often his poems focus on the the subjugation of the populace through the power of commercialism. This is most evident with his works using the feminine form, sometimes sexualized, to show the contemporary woman’s fate, in the hands of commerce, to be objectified, sexualized, starved, controlled, and made mute. Often in one of Luc’s collages, a woman’s mouth is covered or removed. She may be spoken to, but she cannot speak.
So his poetry is often political, but it is also humorous, as in a table of four gentlemen discuss the meaning of art, the making of art, the meaning of language, the way a dreamer dreams himself into being and scratches out the words to make any of the sense they need.
His poems are about the human mystery of our times, where we are filled with hope and abundance and despair, and terror at the possibilities we have devised. And ours was, if I’m reading the second poem above correct as being in Spanish, an expensive era, one that cost us dearly, because if Mammon didn’t get you then all manner of believers would. For the believers are the most dangerous of us all.
Luc is a poet. He may hide himself as an artist, but that is only the shape he takes to make these poems, and I think they are important because they are about the process of living and making sense in a world increasingly complex and increasingly focused on money. And I think they are important because he has that collagist’s eye that allows him to take disparate images and words and patch them together into a whole world, one both dazzlingly beautiful and horrific, and at exactly the same time, in exactly the same place.
Comment received on this post from Luc Fierens:
brilliant posting upload and the nice clear words of geof huth, i only want to add, i adore women, their beauty is my only certainty, security in this world i cling to, the rest is fake. Women’s beauty is my only metaphor of reality , really.
David Dellafiora (Ed.): Kart No. 24
KART magazine is an assembling publication created to promote artistic and cultural diversity. KART is an ongoing project, with no deadlines, and work is accepted on a continuing basis. KART is produced in limited editions of 40. The KART back catalogue is now in the collection at the National Arts Library, Victoria & Albert Museum, London. KART will also showcase as part of the Field Study International display at the V&A from April to August 2011. David Dellafiora (curator) Jan 2011
Australia: Helen Amyes • Spowart & Cooper • Toni ann Dowd • Marianne Midelburg France: JF Chapelle • Bruno Sourdin Germany: Angela Behrendt • Jürgen O. Olbrich Hungary: Tom Soy Italy: Vittore Baroni • Serse LuigettiNetherlands: Magda Lagerwerf UK: Sue Vallance USA: Reed Altemus • John M. Bennett