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The piece collapses the distinction between artwork, mail, and freight: consistent with Fluxus mail art practice, it treats the postal system itself as an active medium, and an ordinary material as a sufficient vehicle for artistic intent.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54215270629715,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/KentoTjeerd1.png?v=1783345818"},{"product_id":"aps-no-6-world-art-post","title":"APS No. 6. World Art Post","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54304448610643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/WorldArtPost_e3a05ced-7aaf-4806-a8d2-81bb27f8b5b8.png?v=1784035680"},{"product_id":"aps-no-11-everybody-with-anybody","title":"APS No. 11. 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Developed in collaboration with Daniel Santiago, \u003cem\u003eClassified Magazine\u003c\/em\u003e was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). \u003cem\u003eClassified Magazine\u003c\/em\u003e assembles a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). Paulo Bruscky transformed the utilitarian language of the classified section into a space for reflection and artistic proposition. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778466730323,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4547.png?v=1787993621"},{"product_id":"aktual-schmuck-no-4","title":"Aktual Schmuck [No. 4]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn its relatively short run, from 1972 to 1976, \u003cem\u003eSchmuck\u003c\/em\u003e magazine produced eight international issues: No. 1, \u003c\/span\u003e\u003cspan\u003eSchmuck Presents Real Schmuck\u003c\/span\u003e\u003cspan\u003e (1972); No. 2, \u003c\/span\u003e\u003cspan\u003eIcelandic Schmuck\u003c\/span\u003e\u003cspan\u003e (1972); No. 3, \u003c\/span\u003e\u003cspan\u003eHungarian Schmuck\u003c\/span\u003e\u003cspan\u003e (1973); No. 4, \u003c\/span\u003e\u003cspan\u003eAktual Czechoslovakia Schmuck\u003c\/span\u003e\u003cspan\u003e (1974); No. 5, \u003c\/span\u003e\u003cspan\u003eTeutonic Schmuck\u003c\/span\u003e\u003cspan\u003e (1975); No. 6, \u003c\/span\u003e\u003cspan\u003eFrench Schmuck\u003c\/span\u003e\u003cspan\u003e (1974); No. 7, \u003c\/span\u003e\u003cspan\u003eGeneral Schmuck\u003c\/span\u003e\u003cspan\u003e (1976); and No. 8, \u003c\/span\u003e\u003cspan\u003eJapanese Schmuck\u003c\/span\u003e\u003cspan\u003e (1976). Edited by the three core members of Beau Geste Press – Felipe Ehrenberg, Martha Hellion, and David Mayor – the magazine was conceived as a cooperative “assemblage” project, bringing together dozens of pioneering avant-garde, Fluxus, and conceptual artists from around the world, including Robert Filliou, Dick Higgins, Carolee Schneemann, Marcel Broodthaers, Christian Boltanski, and Mieko Shiomi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Czechoslovakian issue was coordinated by Milan Knížák, leader of the Aktual Group, who smuggled out documentation of radical street performances and other experimental work. Under strict government censorship, artists behind the Iron Curtain turned to \u003cem\u003eSchmuck\u003c\/em\u003e and the wider Mail Art networks as clandestine channels for circulating and publishing their work. Through ingenious strategies of concealment, they disguised radical visual poetry and politically sensitive material as apparently meaningless doodles, sketches, or typewriter exercises.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe conception of this particular issue can thus be understood as a form of cultural survival. Knížák himself was brought before a Prague court and charged with discrediting the image of Czechoslovakia. He was ultimately acquitted, and the issue he had conceived as early as 1972 travelled safely to Devon, where it was published intact by Beau Geste Press two years later. Curated by Knížák, it brings together texts, drawings, photographs, and ideas by Soňa Švecová, Helena Pospíšilová, Robert Wittmann, J. Patočka, P. Tichý, Zdenka Žižková, Jan Maria Mach, V. Korejs, M. 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As we learn from the first page, the volume contains almost all of the correspondence exchanged between Budapest and Geneva by Endre Tót and John Armleder during the preparation of Tót’s solo exhibition at Ecart in June–July 1974. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBeyond the evidence of the exhibition’s development itself (projects, models, and plans), these documents introduce Tót’s work in the spirit and language in which he conceived it. We encounter traces of instruction stamps, preparatory studies for \u003cem\u003eOne Dozen Rains Postcards\u003c\/em\u003e (1971–1973), and tautological letters conceived almost as concrete poems, consisting of the repetition of a single phrase:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if…”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe correspondence has generally been presented in chronological order. Tót’s documents are most often typewritten, while Armleder’s are handwritten. 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