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Special Interest Item
broadsides periodical; 3 unbound pages (laser printed); pamphlet; 8 pages (laser printed); folder (cardboard, perforated, drawing, ink colored); 4 loose sheets (laser printed); collage (acetate, paper, compact disc); 5 loose sheets (photocopied, recto-verso); folder (papercard, graphite drawing, ink jet color printed); folder contents (papercard object); poster (folded); painting (acrylic paint, burlap); pamphlet; 2 pages (photocopied, collaged, twig); print (canvas, silkscreen, collaged, paper); loose sheet (photocopied); folder (paper); folder contents (2 loose sheets, ink jet color printed); loose sheet (folded, photocopied handcolored); collage (compact disc, acetate sheet); pamphlet; 4 pages (photocopied, paper, glitter); drawing (ink); photograph b&w); loose sheet (ink jet color printed); loose sheet (photocopied); envelope (paper, laser printed); envelope contents (4 photocopied loose sheets, pamphlet); pamphlet (string spine); 8 pages (photocopied); print (linocut); loose sheet (photocopied); drawing (ink, ink colored, handwriting); drawing (ink, graphite, crayon); broadside (folded, letterpress); print (photocopied, papercard); drawing (graphite); drawing (graphite, pencil colored); 2 photographs c (folded); folder (papercard, lithograph); print (silkscreen); dawing (acetate sheet, ink, silver paint, gold leaf)
Amato R --Baroni M --Baroni V --Bove A --Giusti F --Lazzarini L --Lini A --Tomei C --Bazzichi S --Mugnaini M
Assembling --Visual Art --Critical Text --Manifesto --Biography --Abstract Markings --Music Score --Typography --Picture Poetry --Calligraphic Text --Micrography --Performance Poetry
Website of Bau (translated automatically from Italian): "The “container of contemporary culture” BAU, also with characteristics of absolute innovation as far as the operating involvement of a heterogenous sampling of cultural residents in Versilia and outskirtses, at the same time becomes part in one wide consolidated tradition in the within of the artistic search of XX the century (and beyond). The collective editions and autoprodotte of multiples of artist in review-container shape can in fact boast illustrious progenitori, which seed it them American review Aspen to the whose realization has contributed well-read and artists of world-wide reputation, or long-lived Assembling plan cured to New York from Richard Kostelanetz, from whose name derives the definition of “assembling magazines” (reviews to assemblage), today widely employed in order to identify this kind of banns.
Aspen, conceived from the journalist Phyllis Johnson while it was found in vacation in omonima the sciistica locality of the Colorado, is a review of published multimediale art in the United States between 1965 and 1971 (one integral version web of the 10 produced numbers finds to www.ubu.com/aspen), with thematic numbers entrusted us of time in time to the direction of various personalities of the international vanguard of the age: as an example, the n. 3 on the POP Art have been cured from Andy Warhol and David Dalton, the n. 4 on the mass-mediatiche theories of McLuhan from its diagram of confidence Quentin Fiore, while George Maciunas and Dan Graham have organized the n. 8 centralized on the activities of the Fluxus group (responsible in its turn of one infinity of multiple collectives to assemblage). Every number of Aspen inside consists of one variety of collected materials of cofanetti of cardboard of shape and variable dimensions: witnesses, photo and print to you in most various form to you, phonographic recordings (in totole 13 very various flexi-disc with poetiche readings, music electronic, jazz, etc), in one case even one coil of Super film.
The collected “melted” materials in cofanetto from Aspen were but in nearly the totality of the cases it prints to you edited by the writing. Various the concept of Assembling, experience with particular Co-founded literary emphasis in the 1970 from already cited the critical one and poet experiences them newyorkese Richard Kostelanetz, of which they are available one dozen of escapes in the arc of a decade: to the participants it came demanded to manually at their own expense print or to create 1000 copies of a job (poetry, text, visual work) in a prefixed format, such pages then came sewn collections and in volume edited by the coordinator. Given to the remarkable amount of participants (a number of Assembling it could contain until 400 pages!), the laborious process of composition and binding of the copies usually came carried out from Kostelantez with the aid of a consistent number of artists and friends, in the course of affixed to you “party of assemblage”. In the frontispiece of the n. 10 of the review (Tenth Assembling - To Collection of Otherwise Unpublishable Manuscripts, edited by Scott Helmes, R. Kostelanetz and David Cole, Assembling Press, New York 1980) are reproduced a series of relative photos to the preparation of a number, with long counters stracolmi of batteries of it prints and several persons to you intente in the impegnativo manual shunting of the pages.
The banns “to assemblage”, you multiply yourselves internationally from years' 70, represent in theirs with an independent and tendentially cooperativistica alternative to the traditional editoria. Generally, who means to promote a experience of this type circulates invites demanding to the collaborators the shipment of or more pages with witnesses or visual jobs, produced directly from the single participants in a prefixed number of copies (usually between the 50 and the 100, but she can be arrived also to very advanced pullings, like in the event of Assembling), on a topic specifically assigned or to free subject. In the greater part of the cases, the pages produced at their own expense from the participants are not simple photocopies (these often come indeed announced publicly), but sheets of various interventati nature and consistency manually in varied way: with designs, colorations, stamp, bendings, application of photo, collages or other. All that, insomma, that he would be unthinkable to find between the pages of one normal review. The packages of sheets receipts from or the coordinators come then shunt to you of containers of several manually inside fogge, or bind with cover and adding to you of introductory text, cards on the authors and other eventual redazionali apparatuses. Or more copies of the assembled multiple therefore come then delivered or sent free of charge every collaborator, while the remaining quantitati ones to you they serve like exchange material, they come sendes to you as documentation to arches to you and to libraries or places in sale in order to recover expenses supported in the confezionamento and promotion of the product. To receive to house a review of assembling is equivalent to accommodate one small, variopinta and heterogenous “extension at domicile”.
Assembling the retort therefore, in less pretenziosa garment, some modalities of the multiple or the folder of author. Generally, but, they are not mercantile or merely promozionali purposes but it objects to you of collettivistico and documentativo type to motivate the production of plans to assemblage, above all in areas subject to limitations in the press freedom (com' is happened in several States of Europe of the East before the fall of the Berlin wall), or for circular information on expressive shapes neglected from the official circuits of the art, like in the event of the Latin American visual poetry of' 60 and' 70. Typical characteristics of the publication to assemblage are therefore its economization (every satisfied author the press of the own pages), the absolute freedom in form to you and in the regularity, the circulation nonprofit (the copyright of single pieces remain to the authors) and the accent place on the collaboration spirit and cooperation.
On the history of this type of banns they have been prepared several extensions, between which it deserves to remember that one of 1997 near the library of the University of Pennsylvania, Networking Artists & Poets: Assemblings from the Ruth & Marvin Sackner Archive of Concrete & Visual Poetry. From the similari catalogue of this and other retrospettive desume that mainly diffuse and known the experiences of assembling are those spillages from the international circuits of the poetry they and of mail art (the art experiences itself mails them), two nets basements whose ramifications often have been intersected and overlapped. Banns to mostly poetica connotation are diffuse above all in the years' 70 and' 80 in various countries of the Center and South America: between these, Algo Pasa, Karimbada, Punho Magazine, Projeto Povis, International Book and other titles published them from the Argentines Edgardo-Antonio Vigo and Graciela Gutierrez Marx and UNI/vers (;) cured from esule Chilean Guillermo Deisler. Other vital centers of poetico-visual production are Spain (Orgon, Texto Poetico, Piedra Lunar, Green Pintalo de, Carpeta El Paraiso) and the countries of the East (SVEP, Total, Box Project, Tango), without to forget Italy (Geiger di Adrian and Maurizio Spatola, Surprised Envelope of Carla Bertola, Continuation A-Z of Luciano Caruso and Stelio M. Martini, Ad hoc edited by Sergio Cena, etc).
As far as instead the mail art, worthy plans of famous are Hands Art, of which the French Pascal Lenoir it has assembled beyond 100 numbers, the Given Californians cured from Richard Meade (a number for ciascuna letter of the alphabet) and Stamp published Art from Bill Gaglione (dedicated to the artist stamp), the Hungarian Leopold Bloom (every number inspired to a step of the Ulisse di Joyce), the Germans Miniature Obscure (cubical or circular collection in refined scato them) and Pips (in voluminosi box of cardboard in which it can capitare to find gloves from garden, popcorn envelopes and other bizzarrie), at last the review to itinerante direction Beloveds inaugurated from the Dutch Bart Boumans and the productions multimedium of the international group Trax (box of postcards more audio cassette, cartelle of copy art, etc). Curatissima in the graphical system and the always various and amazing format (numbers seals to you in jars from conserve in metal, within vaschette in aluminum, envelope of serigrafata burlap, etc) is then the British Cactus Network, inspired to one critical radical of the languages of the average and singular for its nature (car) didactic, being inside been born of an academy of art with collected collaborators perlopiù within schools of art of various nations. At last, rising of “general test” of BAU has been in 1998 the confection Sofo Glu assembled Glu and incellofanata in tray for alimony from Antonino Bove with jobs it originates them of a dozen of authors (Albani, Barsottelli, Lora Totino, Miccini, etc), inside inspires you to one singular experience of performativa review of a breeding (and with the collaboration) of beyond 7000 turkeys."