Cílem této magisterské práce je představit jednoho ze zakládajících členů neoistické skupiny, kontroverzního multimediálního performera Istvana Kantora. Práce se snaží zasadit Kantorovy aktivity do širšího historického, teoretického a politického kontextu. V díle Istvana Kantora se magisterská práce zaměřuje především na jeho krvavá X a na jeho názory na umění a tvorbu. Práce by měla korigovat některé nepřesné informace, které život Istvana Kantora a jeho tvorbu obestírají.

Este estudo trata do desenvolvimento da rede de arte postal na América Latina desde o seu início no final da década de 1960 até a sua presença da XVI Bienal de São Paulo em 1981. Para isso, são retomadas as redes latino-americanas de trocas de poesia experimental estruturadas na década de 1960. Em seguida, são descritas as trajetórias de alguns dos protagonistas da arte postal nesta região, bem como as exposições e publicações coletivas que eles organizaram. Nesse momento, são abordadas as manifestações da rede de arte postal na Argentina, Brasil, Chile, Colômbia, El Salvador, México, Uruguai e Venezuela. Por fim, é analisado o caso específico do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), explicitando como essa instituição conectou-se organicamente à rede. Esta pesquisa tem como ponto de partida acervo de arte conceitual do MAC USP e acompanha a expansão da rede a partir das grandes mostras coletivas realizadas entre 1972 e 1981 na América Latina. Além disso, destaca a relação da arte postal com as ditaduras militares como decisiva na caracterização desta prática entre os latino-americanos. / This study is about the development of the mail art network in Latin America since its beginning at the end of the 60s until its presence on the XVI Biennial of São Paulo in 1981. For this purpose, the Latin American networks of experimental poetry exchange, structured in the 60s, are recaptured. After this, the trajectories of some of the mail art protagonists in this region are described, as well as the collective exhibitions and publications that they organized. At this point, the demonstrations of the mail art networks in Argentina, Brazil, Chile, Colombia, El Salvador, Mexico, Uruguay and Venezuela are approached. Finally, the specific case of the Museum of Contemporary Art of the University of São Paulo (MAC USP) is analyzed, explaining how that institution connected itself organically to the mail art network. This research starts with the conceptual art collection of the MAC USP and follows the expansion of the network from the large collective exhibitions performed between 1972 and 1981 in Latin America. Besides that, it emphasizes the relation between mail art and the military dictatorships as a decisive part of the characterization of this practice among Latin American.

Este estudo trata do desenvolvimento da rede de arte postal na América Latina desde o seu início no final da década de 1960 até a sua presença da XVI Bienal de São Paulo em 1981. Para isso, são retomadas as redes latino-americanas de trocas de poesia experimental estruturadas na década de 1960. Em seguida, são descritas as trajetórias de alguns dos protagonistas da arte postal nesta região, bem como as exposições e publicações coletivas que eles organizaram. Nesse momento, são abordadas as manifestações da rede de arte postal na Argentina, Brasil, Chile, Colômbia, El Salvador, México, Uruguai e Venezuela. Por fim, é analisado o caso específico do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), explicitando como essa instituição conectou-se organicamente à rede. Esta pesquisa tem como ponto de partida acervo de arte conceitual do MAC USP e acompanha a expansão da rede a partir das grandes mostras coletivas realizadas entre 1972 e 1981 na América Latina. Além disso, destaca a relação da arte postal com as ditaduras militares como decisiva na caracterização desta prática entre os latino-americanos. / This study is about the development of the mail art network in Latin America since its beginning at the end of the 60s until its presence on the XVI Biennial of São Paulo in 1981. For this purpose, the Latin American networks of experimental poetry exchange, structured in the 60s, are recaptured. After this, the trajectories of some of the mail art protagonists in this region are described, as well as the collective exhibitions and publications that they organized. At this point, the demonstrations of the mail art networks in Argentina, Brazil, Chile, Colombia, El Salvador, Mexico, Uruguay and Venezuela are approached. Finally, the specific case of the Museum of Contemporary Art of the University of São Paulo (MAC USP) is analyzed, explaining how that institution connected itself organically to the mail art network. This research starts with the conceptual art collection of the MAC USP and follows the expansion of the network from the large collective exhibitions performed between 1972 and 1981 in Latin America. Besides that, it emphasizes the relation between mail art and the military dictatorships as a decisive part of the characterization of this practice among Latin American.

En esta propuesta de tesis doctoral abordamos el movimiento artístico Mail Art realizando un estudio en profundidad de los antecedentes y el contexto, que ha configurado tanto su forma teórica como práctica y artística. Los inicios del Mail Art, se presenta una tendencia de creación entre los artistas que conforman esta red. El canal, introduce la intervención de los espacios, además de ser portador de un mensaje que, en muchas ocasiones establece interacción entre varios individuos y permite la expresión libre y la circulación de multitud de documentos, ideas y materiales que se conjugan. La intención que define inicialmente al Mail Art es el de crear un circuito e intercambio de piezas artísticas, y Ray Johnson y la New York Correspondance School normalizan el canal del correo como el medio que predomina en los envíos. El colectivo germano-americano de carácter neo-dadaísta llamado “Fluxus†recupera las postales que Duchamp manda a sus conocidos y los sellos que grupos como los Nuevos Realistas y artistas que lo componen como Yves Klein, o el dadaísta Kurt Schwitters, que completaba los collages que realizaba con la impresión de sellos. En las últimas décadas del siglo pasado, circulan fanzines que dedican sus páginas casi exclusivamente al Mail Art, Arte Postal, Eternal Network o movimiento llamado también “Comunicación a Distancia†. En España, concretamente se publican los fanzines P.O.BOX, Boek y AMAE, que aunque han dejado de editarse, se publicaron en ellos la mayor parte de los artículos que se escribían acerca del movimiento y actualmente, la web boek861 sigue en funcionamiento y se actualiza constantemente, gracias a los investigadores que estudian el movimiento y a los artistas que comparten en la plataforma virtual sus trabajos y aportaciones. P.O.BOX, publicó artículos en relación al Mail Art, y también, trabajos relacionados con ámbitos alternativos como la poesía visual, y la huelga del arte, así como las actividades que proponen desde el Mail Art, artistas que plantean la posibilidad del Do-It-Yourself, apostando por la creatividad conjunta, procurando renunciar a la mera contemplación del espectador. Esta intención conecta con la experiencia que supone visualizar películas como Caché, que nos sirve de ejemplo a lo largo de esta tesis doctoral, ya que, plantea, desde la imagen en movimiento, la provocación suficiente para que el espectador aprecie lo singular de los sistemas de comunicación, y lo modificable de la conducta a través del correo. Se integra video, dibujos y mensajes. Material que elabora una construcción de la figura de un observador, que nos identifica en un marco social de cotidianeidad, y que describe, de forma muy acertada, comportamientos que se presentan inestables ante la visibilidad de acontecimientos que denuncian con mucha claridad los avatares sociopolíticos y culturales que afectan al protagonista del film, y también, inevitablemente al espectador que ocupa una butaca. Artistas que han denunciado injusticias sociales y situaciones dictatoriales también han hecho uso del Mail Art, que entre otras obras, destacan las “Pinturas Aeropostales†. El proyecto creativo, que se propone para realizar la investigación, se presenta desde una acción de Mail Art que pretende completar el conocimiento sobre el medio del correo conjugado con el arte, como método expresivo desde la práctica. Para ello, se han elaborado una serie de piezas impresas en formato postal cuyo motivo principal son las puertas con las que, simbólicamente, se ha intentado hacer referencia a mínimo espacio que existe entre lo público y lo privado. / In the proposal of this PhD thesis we cover the artistic movement Mail Art by undertaking an in-depth study of background and context, which has formed its theoretical, as well as pragmatic and artistic shape. The early days of Mail Art provide a creative trend among artists belonging to this network. The channel introduces the interaction between spaces, and it is also the message carrier that often provides a platform for interaction among individuals and provides free expression and flow of large numbers of documentation, ideas and other material that can be combined.   The aim that initially defines Mail Art is the creation of a network and exchange of artistic pieces. Ray Johnson and the New York Correspondence School normalised the mail channel as a predominant means of courier. “ Fluxus†, a German-American collective with  neo-Dadaist character, recvers the postcards Duchamp sends to his acquaintances. The collective recovers stamps that New Realistic groups, such as artist like Yves Klein or the Dadaist Kurt Schwitters, completed the collage that he made with the print of stamps. In the last decades of the last century there were fanzines circulated their pages almost exclusively to Mail Art, Courier Art, Eternal Network or movement also called “Communication at a Distance†.    In Spain, the fanzines P.O. BOX, Boek and AMAE are specifically published, which although they have ceased publication, most of their releases included articles about the movement. Currently, the web boek861 is working and updated regularly thanks to the researchers who study the movement and artists who share their work and contributions to the virtual platform. P.O. BOX published articles related to Mail Art and also studies related to alternative fields such as visual poetry, and the ‿strike of art‿. P.O. Box also published proposed activities by Mail Art, artists that provide the possibility of Do-It -Yourself, supporting joint creativity, trying to avoid the passive attitude of the viewer. Artists who have denounced social injustices and dictatorial situations have also made use of Mail Art, which, among other works, highlights the "Aeropostal Paintings". The creative project, which is proposed to carry out the research, is presented from an action of Mail Art that aims to complete the knowledge about the mail medium conjugated with art, as an expressive method from practice. For this purpose, a series of printed pieces have been produced in postal format, whose main motive is the doors with which, symbolically, an attempt has been made to refer to the minimum space that exists between the public and the private. This purpose is linked with the experience of watching films such as Caché, which serves as an example throughout this PhD thesis. This is because it provides, from the moving image, enough provocation for the viewer to appreciate the singularity of communication systems, and changing behaviour through the mail. Video, drawings and messages are integrated. Material that elaborates a construction of the figure of an observer, that identifies us in a social framework of everyday life, and that describes, in a very correct way, behaviors that are unstable in the face of the visibility of events that clearly denounce the socio-political avatars and that affect the protagonist of the film, and also, inevitably, the spectator who occupies a seat. / En aquesta proposta de tesi doctoral abordem el moviment artístic Mail Art realitzant un estudi en profunditat dels antecedents i el context, que ha configurat tant la seva forma teòrica com pràctica i artística. Els inicis del Mail Art, es presenta una tendÿncia de creació entre els artistes que conformen aquesta xarxa. El canal, introdueix la intervenció dels espais, a més de ser portador d'un missatge que, en moltes ocasions estableix interacció entre diversos individus i permet l'expressió lliure i la circulació de multitud de documents, idees i materials que es conjuguen. La intenció que defineix inicialment al Mail Art és el de crear un circuit i intercanvi de peces artístiques, i Ray Johnson i la New York Correspondance School normalitzen el canal del correu com el mitjà que predomina en els enviaments. El col·lectiu germano-americà de caràcter neo-dadaista anomenat "Fluxus" recupera les postals que Duchamp mana als seus coneguts i els segells que grups com els Nous Realistes i artistes que el componen com Yves Klein, o el dadaista Kurt Schwitters, que completava els collages que realitzava amb la impressió de segells. En les últimes dÿcades del segle passat, circulen fanzines que dediquen les seves pàgines gairebé exclusivament al Mail Art, Art Postal, Eternal Network o moviment anomenat també "Comunicació a Distància". A Espanya, concretament es publiquen els fanzines POBOX, Boek i AMAE, que tot i que han deixat d'editar-se, es van publicar en ells la major part dels articles que s'escrivien sobre el moviment i actualment, el web boek861 segueix en funcionament i s'actualitza constantment, gràcies als investigadors que estudien el moviment i als artistes que comparteixen a la plataforma virtual els seus treballs i aportacions. POBOX, va publicar articles en relació al Mail Art, i també, treballs relacionats amb àmbits alternatius com la poesia visual, i la vaga de l'art, així com les activitats que proposen des del Mail Art, artistes que plantegen la possibilitat del Do-It -Yourself, apostant per la creativitat conjunta, procurant renunciar a la mera contemplació de l'espectador. Aquesta intenció connecta amb l'experiÿncia que suposa visualitzar pel·lícules com Memòria cau, que ens serveix d'exemple al llarg d'aquesta tesi doctoral, ja que, planteja, des de la imatge en moviment, la provocació suficient perquÿ l'espectador apreciï la singularitat dels sistemes de comunicació, i el modificable de la conducta a través del correu. S'integra vídeo, dibuixos i missatges. Material que elabora una construcció de la figura d'un observador, que ens identifica en un marc social de quotidianitat, i que descriu, de forma molt encertada, comportaments que es presenten inestables davant la visibilitat d'esdeveniments que denuncien amb molta claredat els avatars sociopolítics i culturals que afecten el protagonista del film, i també, inevitablement l'espectador que ocupa una butaca. Artistes que han denunciat injustícies socials i situacions dictatorials també han fet ús del Mail Art, que entre altres obres, destaquen les "Pintures Aeropostales". El projecte creatiu, que es proposa per realitzar la investigació, es presenta des d'una acció de Mail Art que pretén completar el coneixement sobre el medi del correu conjugat amb l'art, com a mÿtode expressiu des de la pràctica. Per a això, s'han elaborat una sÿrie de peces impreses en format postal el motiu principal són les portes amb les que, simbòlicament, s'ha intentat fer referÿncia a mínim espai que hi ha entre el públic i el privat. / Covaleda Vicente, I. (2017). En el Umbral del Mail Art a través de la mirada de Michael Haneke en "Caché" (2005) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/95417

À partir des années soixante, les nouvelles technologies ont colonisé les champs culturels. Prenant acte de cette puissance technologique, les artistes se sont mis à transformer ces dispositifs en outils de recherche esthétique. C'est ainsi que le Web est devenu un support à la fois pour les oeuvres d'art numérique et la réalisation de net oeuvres, et pour une mise en réseau universelle. Dans le même contexte, des critiques, des théoriciens et des philosophes ont annoncé un état de crise (comme l'avaient mentionné Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Véronique Fabbri, Daniel Lagoutte, etc.). Selon eux, cet état est dû à un manque de communication et à une dissolution des courants artistiques, voire à une perte progressive de la communication entre les artistes. Comme le Web, l'e-mailing a généré plusieurs fantasmes de communication, il a institué également la réactivité et l'interactivité entre des individus. Pour cela, j'ai choisi d'approfondir mes recherches en thèse sur des pratiques artistiques qui peuvent toucher la crise de la communication et qui sollicitent une mise en réseau des artistes. Progrès pratique : En 2006, j'ai reçu un e-mail contenant une oeuvre scannée de l'artiste belge Luc Fierens. J'ai transmis cette image à environ 7000 adresses e-mails d'artistes en sollicitant leurs interactions, afin d'acquérir presque 200 contributions et réponses dont quelques-unes sont exposées sur le blog suivant : http://ramziturki.artblog.fr/11/. Mon acte consiste à analyser et à mettre en valeur la communication entre les artistes à travers un outil télé-communicationnel contemporain. / Since the sixties, new technologies have conquered cultural areas. Thanks to technological power, artists have transformed these technologies into tools of aesthetic research. Thus, the web has become a medium for digital art as well as network design in addition to establishing universal networking. In the same context, criticizers, thinkers and philosophers have announced a state of crisis (As announced by Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Veronica Fabbri, Daniel Lagoutte, etc.). According to them, this crisis is due to lack of communication and dissolution of artistic movements, surely progressive loss of communication between artists. In the Web world, email has emerged several communication fantasies. It has also established the reactivity and the interactivity between people. For this, my research Thesis focuses on artistic practices that impact positively on communication between artists. This research also proposes an artist networking. Practical progress:In 2006, I received an email containing a scanned work of Luc Fierens, a Belgian artist. I emailed this work to nearly 7000 addresses of artists to solicit their interactions. This is to acquire about 200 contributions and answers, some of which are described on the blog: http://ramziturki.artblog.fr/11/. My Thesis aims to analyze and enhance the communication between artists via tools of modern communication.

<p>This dissertation analyzes experimental art movements in Hungary and the former Yugoslavia from 1968 to 1989, examining the variety of ways that artists responded to the ideological and practical failures of communism. I also deliberate on how artists, living in the specter of Marxist ideology, negotiated socio-political and cultural systems dominated by the state; how they undermined the moral consciousness that state socialism imposed from above; and how they created alternative ways of being in an era that had promised the opening of society and art but that failed that pledge. I suggest that some artists increasingly questioned the state's hegemony in everyday relationships, language, and symbols, and attempted to neutralize self-censorship and gain sovereignty over their own bodies and minds through "decision as art." The dissertation approaches authoritarian domination within the context of the artists' aesthetic choices, especially the development of conceptual and performance art as a mode of opposition. Deliberating on the notion of decision as central to the conceptualization and execution of resistance to the state, I focus on the alternative ways in which Yugoslavian and Hungarian artists made art in variegated forms and modes of ethical commitment. I argue that such art must be understood as an active decision to live in and through art while enduring political circumstance.</p> / Dissertation

This thesis aims to understand Wolf-Rehfeldt’s place in the unofficial art world of the GDR by examining her work in light of her status as a clerical worker with social rather than professional ties to the art world. She stands out within the East German Mail Art context, not just for her inventive use of a typewriter to create abstract figurations, but for the way she used it to interject considerations of gender and power into a network of artists overwhelmingly dominated by men with her open-ended Typewritings.” Through historical research and close readings of her work, this study uncovers how Wolf-Rehfeldt's Typewritings indicate that Mail Art was a space to share stylistic experiments, and her sophisticated treatment of feminist and abstract themes. My research reveals that the record of who was involved in the GDR’s experimental art scene is incomplete, with still more to be found. A deeper look at Wolf-Rehfeldt’s background confirmed that she was more enmeshed in Mail Art than the historical record indicates, suggesting the need for further study on the influence and involvement of women in the movement.

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In diploma thesis Open Call I focus on unequal position of artists in current art world in which, despite the transparent practices like open calls, still persists the cult of name, the power of networking and personal recommendation. This topic I artistically process in form of practical artistic intervention, which is close to the tactics of 1:1 scale of Arte Útil - specifically by creation of software tool called Nomin. Its purpose is to support weakened or marginalized groups of artists. Nomin uses properties of email protocol SMTP to allow its users-spectators to send fake self-recommending emails - from email addresses of famous curators to the inboxes various galleries or other art institutions. During development of program Nomin and its technical background (software documentation, web page etc.) I followed the paradigm of free, libre, open source software (FLOSS) and also the methodology of agile software development in order to provide in this gesamtsoftwerk the users-spectators with fully functional, user-friendly software and give them possibility to influence further development of Nomin or directly participate on it. Created artwork is thus not a single artefact but rather a set of interconnected objects and practices grounded in the network of social bonds and behaviours which balances on the edge of institutional critique, useful art, participatory art and collective performance.