garadinervi : repertori – bulletin : weekly recap

(January 25-31, 2025)

Feb 03, 2025

Internet Archive; UC Berkeley Library, Berkeley, CA: Art, competence and citywide cooperation for San Francisco: Ruth Asawa, An Interview Conducted by Harriet Nathan in 1974 and 1976, The Arts and the Community Oral History Project, Regional Oral History Office – The Bancroft Library Berkeley, University of California, Berkeley, CA, 1980 (pdf ) (audio: California Revealed, Internet Archive).

Archives of American Art, Smithsonian Institution, Washington, D.C. [Baxter Art Gallery records, 1962-1997, Series: Exhibition Files, Box 21, Folder 20; Photo: © Laurence Cuneo]: Ruth Asawa, (poster, announcement), Baxter Art Gallery, California Institute of Technology, Pasadena, CA, October 5 – November 12, 1973; Ruth Asawa: A Retrospective View (1973), 1973.

↗ Ruth Asawa

bpNichol, Paul Dutton, Marshall Hryciuk, Jim Johnstone, Writers Forum, Coach House Press, room 3o2 books

room 3o2 books, Ottawa; Artists' Books and Multiples, Sackville, New Brunswick: bpNichol, Lament: a sound poem to the memory of D. A. Levy who took his own life, November 1968, Ganglia Press, Toronto, 1969; Writers Forum, London, 1969, Second Edition.

room 3o2 books, Ottawa: Paul Dutton, so'nets, Ganglia Press, Toronto, Summer 1976, Edition of 150 copies issued as grOnk Intermediate Series 9 [sonnet covers by Gerard Manley Hopkins].

room 3o2 books, Ottawa: Marshall Hryciuk, words' Woods, Nietzsche's Brolly, Toronto, [May 2010] [«The process of words' woods has been dedicated to the memory of bpNichol.»].

Artists' Books and Multiples, Sackville, New Brunswick: 50 years of Coach House, Coach House Press, Toronto, 2015 (SoundCloud).

room 3o2 books, Ottawa: Jim Johnstone, Write, Print, Fold and Staple. On Poetry and Micropress in Canada, Gaspereau Press, Kentville, 2023.

↗ bpNichol, Coach House Press, Gaspereau Press

bpNichol, Lament: a sound poem to the memory of D. A. Levy who took his own life, November 1968, Ganglia Press, Toronto, 1969 [room 3o2 books, Ottawa. © bpNichol. (via Artists’ Books and Multiples)] — bpNichol, *Lament: a sound poem to the memory of D. A. Levy who took his own life, November 1968* (1969) (cover)

bpNichol, Lament: a sound poem to the memory of D. A. Levy who took his own life, November 1968, Writers Forum, London, 1969, Second Edition [room 3o2 books, Ottawa. © bpNichol] — bpNichol, *Lament: a sound poem to the memory of D. A. Levy who took his own life, November 1968* (Writers Forum, London, 1969, Second Edition) (cover)

Paul Dutton, so'nets, Ganglia Press, Toronto, Summer 1976, Edition of 150 copies issued as grOnk Intermediate Series 9 [sonnet covers by Gerard Manley Hopkins] [room 3o2 books, Ottawa. © Paul Dutton] — Paul Dutton, *so'nets* (cover)

Marshall Hryciuk, words’ woods, Nietzsche’s Brolly, Toronto, [May 2010] [room 3o2 books, Ottawa. © Marshall Hryciuk] — Marshall Hryciuk, *words’ woods* (cover)

Jim Johnstone, Write, Print, Fold and Staple. On Poetry and Micropress in Canada, Gaspereau Press, Kentville, 2023 [room 3o2 books, Ottawa] — Jim Johnstone, *Write, Print, Fold and Staple. On Poetry and Micropress in Canada*, Gaspereau Press (cover)

Franco Vaccari

Fondazione Bonotto, Colceresa (VI): Che più bianco non si può, (emulsion on canvas), 1967; Esposizione in tempo reale, (folded printed cardboard), Venice Biennale 1972, Venezia, 1972; Poesia anonima, poesia trovata, (emulsion and tempera on canvas), 1965; Il sole, (emulsion on canvas), 1967.

Patrimonio culturale dell'Emilia-Romagna, Bologna; Galleria Civica - Fondazione Modena Arti Visive, Modena: Il repertorio sonoro del grillo di campo, (lithographic ink on paper), Poesie visive, Galleria Elefante, Venezia, October 1967; (2).

Franco Vaccari, Che più bianco non si può, (emulsion on canvas), 1967 [Fondazione Bonotto, Molvena (VI). © Franco Vaccari] — Franco Vaccari, *Che più bianco non si può*, (emulsion on canvas), 1967 [Fondazione Bonotto, Molvena (VI). © Franco Vaccari]

Franco Vaccari, Esposizione in tempo reale, (folded printed cardboard), 36a Biennale di Venezia 1972, Venezia, 1972 [Fondazione Bonotto, Molvena (VI). © Franco Vaccari] — Franco Vaccari, *Esposizione in tempo reale*, (folded printed cardboard), 36a Biennale di Venezia 1972, Venezia, 1972 [Fondazione Bonotto, Molvena (VI). © Franco Vaccari]

Franco Vaccari, Il repertorio sonoro del grillo di campo, (lithographic ink on paper), Poesie visive, Galleria Elefante, Venezia, October 1967 [Patrimonio culturale dell'Emilia-Romagna, Bologna. Galleria Civica - Fondazione Modena Arti Visive, Modena. © Franco Vaccari] — Franco Vaccari, *Il repertorio sonoro del grillo di campo*, (lithographic ink on paper), *Poesie visive*, Galleria Elefante, Venezia, October 1967 [Patrimonio culturale dell'Emilia-Romagna, Bologna. Galleria Civica - Fondazione Modena Arti Visive, Modena. © Franco Vaccari]

iidamiidam

Untitled #302, [2025].

Ketty La Rocca

Radio Città Fujiko, Bologna: Le mie parole, (mixed media drawing on photograph), 1973 [Courtesy Kadel Willborn, Düsseldorf].

Kadel Willborn, Düsseldorf: Le mie parole, (mixed media drawing on photograph), 1973; La cultura che non vive, (mixed media collage on paper), 1964.

GAM – Galleria Civica d'Arte Moderna e Contemporanea, Torino: Appendice per una supplica, (video, b/w, silent; 9'30"; still), 1972.

Libreria di Frusaglia, Pesaro: In principio erat, Centro Di, Firenze, 1971.

Ketty La Rocca, Le mie parole, (mixed media drawing on photograph), 1973 [Radio Città Fujiko, Bologna. © Archivio Ketty La Rocca | Michelangelo Vasta. Courtesy Kadel Willborn, Düsseldorf] — Ketty La Rocca, *Le mie parole*, (mixed media drawing on photograph), 1973 [Radio Città Fujiko, Bologna. © Archivio Ketty La Rocca | Michelangelo Vasta. Courtesy Kadel Willborn, Düsseldorf]

Ketty La Rocca, Le mie parole, (mixed media drawing on photograph), 1973 [Kadel Willborn, Düsseldorf. © Archivio Ketty La Rocca | Michelangelo Vasta] — Ketty La Rocca, *Le mie parole*, (mixed media drawing on photograph), 1973 [Kadel Willborn, Düsseldorf. © Archivio Ketty La Rocca | Michelangelo Vasta]

Ketty La Rocca, In principio erat, Centro Di, Firenze, 1971 [Libreria di Frusaglia, Pesaro. Art: © Archivio Ketty La Rocca | Michelangelo Vasta] — Ketty La Rocca, *In principio erat*, Centro Di, Firenze, 1971 [Libreria di Frusaglia, Pesaro. Art: © Archivio Ketty La Rocca | Michelangelo Vasta]

Ketty La Rocca, La cultura che non vive, (mixed media collage on paper), 1964 [Kadel Willborn, Düsseldorf. © Archivio Ketty La Rocca | Michelangelo Vasta] — Ketty La Rocca, *La cultura che non vive*, (mixed media collage on paper), 1964 [Kadel Willborn, Düsseldorf. © Archivio Ketty La Rocca | Michelangelo Vasta]

Barbara Kruger, b. January 26, 1945 / 2025

Barbara Kruger in her New York City studio, ca. mid-1970s; Photo by Susan Katz for “The Woman I Am” Collection, part of the Archives of Women Artists, National Museum of Women in the Arts, Betty Boyd Dettre Library & Research Center, Washington, D.C. — *Barbara Kruger in her New York City studio*, ca. mid-1970s; Photo by Susan Katz for *“The Woman I Am”* Collection, part of the Archives of Women Artists, National Museum of Women in the Arts, Betty Boyd Dettre Library & Research Center, Washington, D.C.

Untitled (We won’t play nature to your culture), 1983; Group Exhibition: RE/SISTERS: A Lens on Gender and Ecology, Barbican Centre, London, October 5, 2023 – January 14, 2024.

M HKA Ensembles, Antwerpen: We Are Not What We Seem, (screen print, vinyl, chassis), 1988.

Smithsonian American Art Museum, Washington, D.C.: From the Untitled Portfolio (photo-offset lithograph and screenprint on paper), 1985: Untitled (No); Untitled (And); Untitled (Will).

Barbara Kruger, We Are Not What We Seem, (screen print, vinyl, chassis), 1988 [M HKA Ensembles, Antwerpen. © Barbara Kruger] — Barbara Kruger, *We Are Not What We Seem*, (screen print, vinyl, chassis), 1988 [M HKA Ensembles, Antwerpen. © Barbara Kruger]

Barbara Kruger, Untitled (No), from the Untitled Portfolio, (photo-offset lithograph and screenprint on paper), 1985 [Smithsonian American Art Museum, Washington, DC. © Barbara Kruger] — Barbara Kruger, *Untitled (No)*, from the *Untitled Portfolio*, (photo-offset lithograph and screenprint on paper), 1985 [Smithsonian American Art Museum, Washington, DC. © Barbara Kruger]

Barbara Kruger, Untitled (And), from the Untitled Portfolio, (photo-offset lithograph and screenprint on paper), 1985 [Smithsonian American Art Museum, Washington, DC. © Barbara Kruger] — Barbara Kruger, *Untitled (And)*, from the *Untitled Portfolio*, (photo-offset lithograph and screenprint on paper), 1985 [Smithsonian American Art Museum, Washington, DC. © Barbara Kruger]

Barbara Kruger, Untitled (Will), from the Untitled Portfolio, (photo-offset lithograph and screenprint on paper), 1985 [Smithsonian American Art Museum, Washington, DC. © Barbara Kruger] — Barbara Kruger, *Untitled (Will)*, from the *Untitled Portfolio*, (photo-offset lithograph and screenprint on paper), 1985 [Smithsonian American Art Museum, Washington, DC. © Barbara Kruger]

Angela Y. Davis, b. January 26, 1944 / 2025

Kinfolk Foundation: Angela Davis, San Jose, CA, February 25, 1972 [Photo: AP].

Black Women Radicals: «A photo of Eric Acree (center), director of the John Henrik Clarke Africana Library and curator of Africana Collections in the Division of Rare and Manuscript Collections at Cornell University, when he was age 11 in 1971 with his mother, sisters and family friends surrounded by and holding "Free Angela Davis" posters. [Kheel Center for Labor-Management Documentation and Archives]».

Internet Archive: The Meaning of Freedom, Foreword by Robin D. G. Kelley, Open Media series, City Lights Books, City Lights Bookstore, San Francisco, CA, 2012 [Cover Photograph: Keba Konte].

Internet Archive: Are Prisons Obsolete?, Open Media series, Seven Stories Press, New York, NY, 2003.

Angela Davis, San Jose, CA, February 25, 1972 [Kinfolk Foundation. Photo: AP] — *Angela Davis*, San Jose, CA, February 25, 1972 [Kinfolk Foundation. Photo: AP]

Angela Y. Davis, The Meaning of Freedom. And Other Difficult Dialogues, Foreword by Robin D. G. Kelley, Open Media series, City Lights Books, City Lights Bookstore, San Francisco, CA, 2012 — *The Meaning of Freedom. And Other Difficult Dialogues* (cover)

Angela Y. Davis, Are Prisons Obsolete?, Open Media series, Seven Stories Press, New York, NY, 2003 — *Are Prisons Obsolete?* (frontispiece)

Mumia Abu-Jamal, Leonard Peltier, Prison Radio

Mumia Abu-Jamal, Leonard Leaves Prison, (audio), Prison Radio, January 22, 2025.

Writing on the Wall. Selected Prison Writings of Mumia Abu-Jamal, Edited by Johanna Fernández, Foreword by Cornel West, Open Media series, City Lights Books, City Lights Bookstore, San Francisco, CA, 2015; Cover Art: Cesar Maxit.

↗ Free Mumia, Free Leonard Peltier Now, Prison Radio

Mumia Abu-Jamal, Writing on the Wall. Selected Prison Writings of Mumia Abu-Jamal, Edited by Johanna Fernández, Foreword by Cornel West, Open Media series, City Lights Books, City Lights Bookstore, San Francisco, CA, 2015 — *Writing on the Wall. Selected Prison Writings of Mumia Abu-Jamal* (cover)

Feminist Collages NYC

«nadie es ilegal» (published online on January 27, 2025).

↗ Feminist Collages NYC

Karel Martens, Charlotte Martens, Diederik Martens, Martens & Martens

Dutch Design Daily; Dutch lettering history: Martens & Martens, 30 km signing, Amsterdam, 2024 (video).

↗ Martens & Martens

Karel Martens in the Diepenbrockstraat in Amsterdam; photo: JW Kaldenbach — *Karel Martens in the Diepenbrockstraat in Amsterdam*; photo: JW Kaldenbach

Otti Berger (Zmajevac, October 4, 1898 – KL Auschwitz, 1944)

Otti Berger am Arbeitstisch, ca. 1931 [Photographer: unknown. Bauhaus-Archiv / Museum für Gestaltung, Berlin] — *Otti Berger am Arbeitstisch*, ca. 1931 [Photographer: unknown. Bauhaus-Archiv / Museum für Gestaltung, Berlin]

«Bauhaus Archiv Berlin (BHA), Otti Berger, Folder 5, Inv. Nº 8040/166», in Marisa Vadillo Rodríguez, An introduction to the impact of Bauhaus multi-disciplinary pedagogical model on its female students, «AusArt» – Journal for Research in Art, Vol. 8, No. 1 (2020): Arte y/en/desde la universidad, pp. 259-270 (pdf, text).

↗ Bauhaus-Archiv | Museum für Gestaltung

Haroldo de Campos, Décio Pignatari, Augusto de Campos

Caetano Veloso… en detalle: Ivan Cardoso (photograph), Haroldo de Campos, Décio Pignatari, and Augusto de Campos, 1971.

Haroldo de Campos, Décio Pignatari, and Augusto de Campos, Datiloscrito do manifesto Plano-piloto para poesia concreta (1958) [«Noigrandres», No. 4, 1958]; in Marcelo Noah, Entre o pós-tudo e o porvir: aproximações entre Augusto de Campos, João Giberto e Caetano Veloso, «Revista Rosa», Vol. 3, No. 1, 2021.

Décio Pignatari, Poesia pois é poesia, Companhia das Letras, São Paulo, 2025; Cover: Augusto de Campos.

Touché Livros, Curitiba; Monoskop: Décio Pignatari, (1974), Semiótica & Literatura: icônico e verbal, oriente e ocidente, Cortez & Moraes, 1979, Second Edition.

Touché Livros, Curitiba; Monoskop: Décio Pignatari, (1968), Informação, linguagem, comunicação, Editora Cultrix, São Paulo, 1981.

Haroldo de Campos, Décio Pignatari, and Augusto de Campos, Datiloscrito do manifesto Plano-piloto para poesia concreta (1958) [«Noigrandres», No. 4, 1958]; in Marcelo Noah, Entre o pós-tudo e o porvir: aproximações entre Augusto de Campos, João Giberto e Caetano Veloso, «Revista Rosa», Vol. 3, No. 1, 2021 — Haroldo de Campos, Décio Pignatari, and Augusto de Campos, *Datiloscrito do manifesto Plano-piloto para poesia concreta* (1958) [«Noigrandres», No. 4, 1958]

Décio Pignatari, Poesia pois é poesia, Companhia das Letras, São Paulo, 2025 — *Poesia pois é poesia* (cover)

Décio Pignatari, (1974), Semiótica & Literatura: icônico e verbal, oriente e ocidente, Cortez & Moraes, São Paulo, 1979, Second Edition (Monoskop here) [Touché Livros, Curitiba] — *Semiótica & Literatura: icônico e verbal, oriente e ocidente* (cover)

Décio Pignatari, (1968), Informação, linguagem, comunicação, Editora Cultrix, São Paulo, 1981 (Monoskop here) [Touché Livros, Curitiba] — *Informação, linguagem, comunicação* (cover)

Dutch lettering history

Manuscript, 1937(?), (26 leaves, maker unknown) [Private Collection].

↗ Dutch lettering history

Rolf Glasmeier

100 Beste Plakat, Berlin; Museum für Gestaltung Zürich: Darius Gondor / Gondor Kommunikationsdesign, Glasmeier – Retrospektive Rolf Glasmeier, Museum für konkrete Kunst, Ingolstadt, June 1 – July 20, 2008.

Triptychon, (collage out of pieces of packing paper on fibre), 1979 (source).

kaufhaus-objekt briefumschläge, (envelopes on fiberboard), 1975 (source).

Kaufhaus-Versand-Objekt, (cardboard on fiberboard), 1976 (source).

Stefan Schuelke Fine Books, Köln: Rolf Glasmeier. Kaufhaus Objekte, Kreis Gelsenkirchener Kunstfreunde, Gelsenkirchen, 1971 [Exhibition: April 7-29, 1971].

Darius Gondor / Gondor Kommunikationsdesign, Glasmeier - Retrospektive Rolf Glasmeier, Museum für konkrete Kunst, Ingolstadt, June 1 – July 20, 2008 [100 Beste Plakat, Berlin. Museum für Gestaltung Zürich] — Darius Gondor / Gondor Kommunikationsdesign, *Glasmeier - Retrospektive Rolf Glasmeier*, Museum für konkrete Kunst, Ingolstadt, June 1 – July 20, 2008 [100 Beste Plakat, Berlin. Museum für Gestaltung Zürich]

Rolf Glasmeier, Kaufhaus-Versand-Objekt, (cardboard on fiberboard), 1976 [© Rolf Glasmeier] — Rolf Glasmeier, *Kaufhaus-Versand-Objekt*, (cardboard on fiberboard), 1976 [© Rolf Glasmeier]

Rolf Glasmeier. Kaufhaus Objekte, Kreis Gelsenkirchener Kunstfreunde, Gelsenkirchener Kunstfreunde e.V. district, Gelsenkirchen, 1971 [Stefan Schuelke Fine Books, Köln] — *Rolf Glasmeier. Kaufhaus Objekte*, Kreis Gelsenkirchener Kunstfreunde, Gelsenkirchener Kunstfreunde e.V. district, Gelsenkirchen, 1971 [Stefan Schuelke Fine Books, Köln]

Carlo Ciussi

A arte Invernizzi, Milano: Untitled, (oil and mixed media on canvas), 2005; Untitled, (oil and mixed media on canvas), 2005; Untitled, (oil on canvas), 2005; Untitled, (oil and mixed media on canvas), 2005; Untitled, (oil and mixed media on canvas), 2005; Untitled, (oil and mixed media on canvas), 2005; Bibl.: Carlo Ciussi. Sequenze di instabili equilibri, Edited by Francesco Tedeschi, A arte Invernizzi, Milano, 2005 (pdf); Exhibitions: A arte Studio Invernizzi, Milano, September 15 – November 11, 2005; Lorenzelli Arte, Milano, September 15 – October 15, 2005; Palazzo Isimbardi, Milano, September 15 – October 31, 2005].

ERPAC – Ente Regionale per il Patrimonio Culturale del Friuli Venezia Giulia, Codroipo (UD); Teatro Comunale Giuseppe Verdi, Pordenone: Carlo Ciussi, Untitled, (oil and mixed media on canvas), 2005 [Bibl.: Carlo Ciussi: Opere su carta 1962-2002, Text by G. Pauletto, Centro Culturale Casa A. Zanussi Pordenone, Pordenone, 2002].

A arte Invernizzi, Milano: XXII, (oil and mixed media on canvas), 1965; VII, (oil and mixed media on canvas), 1965; [XXX], (oil and mixed media on canvas), 1965; Untitled, (oil and mixed media on canvas), 1965; Bibl.: Carlo Ciussi. La pittura come fisicità del pensiero, Text by Francesca Pola, Designed by Tiziana Invernizzi, Potographs by Bruno Bani, Danilo De Marco, and Sergio Martucci, Venezia A arte Invernizzi, Milano, 2018 (pdf); Exhibition: A arte Invernizzi, Milano, February 7 febbraio – April 4, 2018, in collaboration with Archivio Carlo Ciussi.

Collezione Peggy Guggenheim, Venezia [Private Collection]: LIV, (oil and mixed media on canvas), 1965; Catalogue published on the occasion of the exhibition Carlo Ciussi, a section of the exhibition Postwar Era. A Recent History, Curated by Luca Massimo Barbero, Collezione Peggy Guggenheim, Venezia, January 23 - April 4, 2016 (pdf).

«Arte.it»: XXXV, (oil and mixed media on canvas), 1965; Exhibition: Carlo Ciussi: pittura come umanità allo stato puro, Curated by Francesca Pola, Galleria Civica Harry Bertoia, September 11 – October 17, 2021.

«Artibune»; A arte Invernizzi, Milano: Carlo Ciussi, III, (oil and mixed media on canvas), 1965 [Photo: Bruno Bani]; Exhibition: Carlo Ciussi: La metamorfosi del colore, Curated by Davide Mogetta, Fondazione Ghisla Art Collection, Locarno, March 19 – August 21, 2022, in collaboration with Archivio Carlo Ciussi.

A arte Invernizzi, Milano: VI, (oil and mixed media on canvas), 1990; LXXII, (oil on canvas), 1990; XVI.1992, (oil and mixed media on canvas), 1990; Exhibition: Carlo Ciussi: Una danza di tracce e colori, Curated by Lorenzo Madaro, A arte Invernizzi, Milano, February 25 – April 29, 2025.

↗ Archivio Carlo Ciussi

Carlo Ciussi, Untitled, (oil on canvas), 2005 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano] — Carlo Ciussi, *Untitled*, (oil on canvas), 2005 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano]

Carlo Ciussi, LIV, (oil and mixed media on canvas), 1965 [Collezione Peggy Guggenheim, Venezia. Private Collection. © Archivio Carlo Ciussi, Milano] — Carlo Ciussi, *LIV*, (oil and mixed media on canvas), 1965 [Collezione Peggy Guggenheim, Venezia. Private Collection. © Archivio Carlo Ciussi, Milano]

Carlo Ciussi, [XXX], (oil and mixed media on canvas), 1965 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano] — Carlo Ciussi, *[XXX]*, (oil and mixed media on canvas), 1965 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano]

Carlo Ciussi, VI, (oil and mixed media on canvas), 1990 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano]

Carlo Ciussi, LXXII, (oil on canvas), 1990 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano] — Carlo Ciussi, *LXXII*, (oil on canvas), 1990 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano]

Carlo Ciussi, XVI.1992, (oil and mixed media on canvas), 1990 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano] — Carlo Ciussi, *XVI.1992*, (oil and mixed media on canvas), 1990 [A arte Invernizzi, Milano. © Archivio Carlo Ciussi, Milano]

Anna Torelli, Anna Maria Sacconi, gramma_epsilon

From the group exhibition The Different Revolution, Curated by Paolo Cortese, gramma_epsilon, Athens, November 12, 2024 – February 25, 2025: Anna Torelli, Ninna nanna, 2003; Anna Maria Sacconi, Sister, sister, sister..., 1994.

↗ gramma_epsilon

Neo Neo

Black Movie 2025, (visual identity, poster), 26th Edition, Black Movie – International Independent Film Festival, Genève, January 17-26, 2025.

↗ Neo Neo

Swans

Covet The Cover: Filth L.P. #1, YGLP 1, Young God Records, 1980/1990.

Gianpaolo Pagni

FLORA & FAUNA (la naissance), (acrylic on adhesive paper; 'Flora & Fauna' album page, Édition Edis, 1983), 2021.

↗ Gianpaolo Pagni

herman de vries

herman de vries - summer press, Kunstmuseum Den Haag, September 28, 2024 – February 16, 2025.

Kröller-Müller Museum, Otterlo: unity, (crayon on paper), 2006; concept, (a sheet of black paper folded resulting 4 pages), «the eschenau summer press & temporary travelling press publications» 18, the eschenasu summer press & temporary travelling press publications, 1981, Edition of 150; this, (publication containing 20 pages with texts (poetry) in printed typewriter letters, stapled and in gray cardpaper cover), «the eschenau summer press & temporary travelling press publications» 37, the eschenasu summer press & temporary travelling press publications, 1996, Edition of 150; botanische werke : distelsamen, (publication containing 8 sheets black paper with list of (7) seeds + 7 sheets with small cellophane bags), «the eschenau summer press & temporary travelling press publications» 34, the eschenasu summer press & temporary travelling press publications, 1995, Edition of 150; my poetry is the world..., (bluestone and text in gold paint), 1974 [«'my poetry is the world ...' was made by herman de vries in 1974 on the occasion of the first Symposion in Gorinchem, a periodically organized art event for constructivist and concrete art. The tile lay on the sidewalk in front of Kunstcentrum Badhuis in Gorinchem (run by Antoinette Hilgemann-de Stigter) from 1974 to 1984 and then from 1988 to 2008 in front of the gallery Art Affairs in Amsterdam. In 2015 Antoinette & Ewerdt Hilgemann donated the stone to the Kröller-Müller Museum, where it lies in the path to the sculpture garden of the where visitors can walk across it»].

Kröller-Müller Museum, Otterlo; Kunstmuseum Den Haag: hommage aan de chaoten, (random selection of characters from the text ‘de drang der vernieling is tegelijkertijd een scheppende drang’; coloured ink on paper), [published by Van Reekum Museum, Apeldoorn and Apollohuis, Eindhoven, 1981, Edition of 120 numbered copies], 1969/1981.

Centre national des arts plastiques, Paris: v68-161 de lijnen, (6 sheets with one random line on each page and a text by herman de vries 'de lijnen'; black ink on paper, in wrapper), herman de vries, arnhem, 1968, Edition of 7 [Photo: Fabrice Lindor].

↗ herman de vries

herman de vries, *hommage aan de chaoten*, (random selection of characters from the text *‘de drang der vernieling is tegelijkertijd een scheppende drang’*; coloured ink on paper), [published by Van Reekum Museum, Apeldoorn and Apollohuis, Eindhoven, 1981, Edition of 120 numbered copies], 1969/1981 [Kröller-Müller Museum, Otterlo. Kunstmuseum Den Haag. © herman de vries]

herman de vries, v68-161 de lijnen, (6 sheets with one random line on each page and a text by herman de vries ‘de lijnen’; black ink on paper, in wrapper), herman de vries, arnhem, 1968, Edition of 7 [Centre national des arts plastiques, Paris. © herman de vries. Photo: Fabrice Lindor] — *v68-161 de lijnen* (portfolio, cover)

herman de vries, my poetry is the world…, (bluestone and text in gold paint), 1974 [Kröller-Müller Museum, Otterlo. © herman de vries] — herman de vries, *my poetry is the world…*, (bluestone and text in gold paint), 1974 [Kröller-Müller Museum, Otterlo. © herman de vries]

my poetry is the world
i write it every day
i rewrite it every day
i eat it every day
i read it every day
the world is my chance
it changes me every day
my chance is my poetry

Ben Vautier

Saint-Martin Bookshop, Bruxelles-Brussel. Fondazione Bonotto, Colceresa (VI): J'aime et j'attaque, (artist's book made of 11 leaves (mood sheets) presented in a folder), 1975.

Fondazione Bonotto, Colceresa (VI): Cache pour lire votre journal en pensant à Dieter Rot (Cache pour D. Rot), (perforated paper sheet), 1967 [Part of «Fourre Tout» No. 2, 1967, Edition of 250]; Cache pour lire votre journal en pensant à Dieter Rot (Cache pour D. Rot – FF), (perforated paper sheet), 1967 [Included in Gift to Luigi, 1998]; A Little Book of Ben, «Future Culture» No. 14, Reflection Press, Stuttgart, 1970, Edition of 25; Regardez moi cela suffit je suis art, (postcard), Photograph by Ad Petersen, Nice, 1964.

Jonathan A. Hill, Bookseller, Inc.; Unoriginal Sins, Eals Farm, Eals, Brampton: A Little Book of Ben, Reflection Press, Stuttgart, 1970, Edition of 25.

Unoriginal Sins, Eals Farm, Eals, Brampton: Ben: écritures de 1958 à 1966, Daniel Templon, Paris, n.d. [1971].

Ben Vautier, Galleria Lia Rumma, Napoli, December 16, 1972.

Studio Gariboldi, Milano: Ben Vautier: «fluxus c'est la vie».

Ben Vautier, Cache pour lire votre journal en pensant à Dieter Rot (Cache pour D. Rot), (perforated paper sheet), 1967 [Part of «Fourre Tout» No. 2, 1967, Edition of 250] [Fondazione Bonotto, Colceresa (VI). © Ben Vautier] — Ben Vautier, *Cache pour lire votre journal en pensant à Dieter Rot (Cache pour D. Rot)*, (perforated paper sheet), 1967 [Part of «Fourre Tout» No. 2, 1967, Edition of 250] [Fondazione Bonotto, Colceresa (VI). © Ben Vautier]

Ben Vautier, A Little Book of Ben, Reflection Press, Stuttgart, 1970, Edition of 25 [Jonathan A. Hill, Bookseller, Inc.. Unoriginal Sins, Eals Farm, Eals, Brampton. © Ben Vautier] — Ben Vautier, *A Little Book of Ben*, Reflection Press, Stuttgart, 1970, Edition of 25 [Jonathan A. Hill, Bookseller, Inc.. Unoriginal Sins, Eals Farm, Eals, Brampton. © Ben Vautier]

Ben: écritures de 1958 à 1966, Daniel Templon, Paris, n.d. [1971] [Unoriginal Sins, Eals Farm, Eals, Brampton. © Ben Vautier] — *Ben: écritures de 1958 à 1966*, Daniel Templon, Paris, n.d. [1971] [Unoriginal Sins, Eals Farm, Eals, Brampton. © Ben Vautier]

Ben Vautier, Galleria Lia Rumma, Napoli, December 16, 1972 [Art: © Ben Vautier] — *Ben Vautier*, Galleria Lia Rumma, Napoli, December 16, 1972 [Art: © Ben Vautier]

Ben Vautier: «fluxus c'est la vie» [Galleria d'arte Studio Gariboldi, Milano. © Ben Vautier] — *Ben Vautier: «fluxus c'est la vie»* [Galleria d'arte Studio Gariboldi, Milano. © Ben Vautier]

Ben Vautier: «regardez moi cela suffit je suis art», (postcard), Photograph by Ad Petersen, Nice, 1964 [Fondazione Bonotto, Colceresa (VI). © Ben Vautier, Ad Petersen] — *Ben Vautier: «regardez moi cela suffit je suis art»*, (postcard), Photograph by Ad Petersen, Nice, 1964 [Fondazione Bonotto, Colceresa (VI). © Ben Vautier, Ad Petersen]

Sonia Sanchez

Office of Public Relations Collection, WCU Special Collections, West Chester, PA: Sonia Sanchez at West Chester University, West Chester, PA, April 1995.

Bloody Sunday, January 30, 1972 / 2025

Patrick Doherty, age 32 / Gerard V. Donaghy, age 17 / John F. Duddy, age 17 / Hugh P. Gilmour, age 17 / Michael G. Kelly, age 17 / Michael M. McDaid, age 20 / Kevin G. McElhinney, age 17 / Bernard McGuigan, age 41 / Gerard McKinney, age 35 / William A. McKinney, age 27 / William N. Nash, age 19 / James J. Wray, age 22 / John P. Young, age 17 / John Johnston, age 59 — «who were murdered by British Paratroopers on Bloody Sunday 30th January 1972».

↗ The Museum of Free Derry

Madres de Plaza de Mayo

«il manifesto»: Las Madres de Plaza de Mayo, Buenos Aires, 1985 [Photo: Eduardo DiBaia/Ap].

Note: about the journal, “how” has priority over “what” in a synchronic and diachronic process, and following the chains of posts is the best way to “read” and "de-scribe" it—in the bulletin, for summary reasons, the posts are aggregated by names and sources.

State bene.

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