welcome to the International Union of Mail-Artists. This Blog gives you information and links to all activities undertaken by Ruud Janssen, who started with Mail-Art in 1980 and is still active. Since 1970 working with computers too, so you can acces large amounts of data….
Today I have been working on some more asemic works. This time on green paper with Indian ink and on top of that white permanent ink. So that brings soms structures and gives a permanent structure. I made several works also because I might be experimenting with new layers on ut as well
When I work with ink I always use permanent ink. I know that it creates structures as well, and I love touching the final result of a drawing when the paper and ink have joined into the structure
It is the first experiment with white ink however. As I see it now, it works quite well, and I might just get me some more bottles of that since I can then draw better on other colours, and also can write on the indian ink in black as well.
The photos were made while the white ink was still wet. I hope they are drey now, so I might continue with the next phases.
When I draw I am always in drawing modus as I call it. I never know what will come out, but I know I want to create something. The essence is the creating. I make things. That might explain the text “Hope for new art is lost when you are in a museum”. You see so many things that are created that you don’t feel the need to create new things.
The drawing above has to do with the networking component of my art. In Mail-Art you share you art with others, and what you create goes straight to the one it is made for. I meet a lot of artists that aren’t connected to the network, and they have a hard time finding a ‘public’, someone who will react to what you see and make. In Mail-Art the network is your public. Only the Galleries and Musea are excluded from that network. No money is involved in the mail-art network other then the sending costs and the buying of materials to make your work.
But sometimes I am at the border of these two worlds. In the Art world you don’t just give away your art. You sell it, exhibit it, catalogue it, and build a portfolio. When I make drawings that aren’t made on envelope but on traditional thick paper. I tend to keep the drawings and pass on copies of the drawings. Somehow it is difficult to give away the things I create. I also don’t sell it. I just keep it as one big collection of which I am not sure where it will end up.
The IUOMA is also a network. Part of the mail-art network, but actually a large network of creative people working together in the mail-art tradition. Nowadays on a digital platform where the plans and productions are communicated too.
Here are some Add and Pass on papers that I had my hand on and which are sent into the network. They come from all kind of directions, and also go in all kind of directions. On each paper you can find the traces of several people.
Card to Richard Canard (USA) as a reactio to his card. We are comparing the digital mail-art world and posting things in advance before the receiver even receives the mail. his card just went in the P.O. Box, but Richard won’t get if for another week. What he can do is feel the structures I painted on the other side for him.The digital viewers have no idea of this structures……
To keep the flow going I send Ryosuke Cohen an enveloppe every two weeks. That way the Brain Cells as a reply do come in. I am currious if he reaches the 1000th issue. That is only a few years away, but a year in mail-art is a costly one with the current postal rates.
On the envelope I use an artistamp that Mars Tokyo sent me. They were for the 25 years celebration of the IUOMA. I am using them on my outgoing mail. Seems more fitting then just archive the complete sheet in the collection. With this passing on more people will see it. With archiving you are never sure if someone will ever look through the archive. That problem is there. Some major archives of mail-art are now in museums, but only researchers will go through them. They will hardly get to any public place where others can see it.
Sample of mail-art I sent out. This envelope I sent in 1992 to Anna Boschi in Italy. In the end 90-ies I asked mail-artists to sca my envelopes and send the images back to me. That resulted in images like these.
“Het verzenden van informatie via telefoon, of het versturen van een stukje telefoon per post” is written on the card attached to a piece of telephone. I sent the object to Guy Bleus in 1992 for his collection. In those years the digital communication was already taking place. I had the digital TAM-Bulletin online, and some communication-lines went via the phone-lines to the first Internetconnections. Mind you, the WWW concept was to start a year later in 1993, so it was all just happening.
The piece was a play with the moving from the analogue world into the digital world. And also how equipement used in the digital world would be sent through the analogue world.
In 2002 I sent this TAM logo to Guy Bleus in Belgium. The logo was used for years as a sjabloon for ink spraying (envelopes, artworks, etc….) . The logo was sent like this, so no enveloppe, also to test the mailing system, and also because it is always fun to send out objects.