YES!!! we know!!! But these books are proving so popular and there is another waiting list already - so this is a call for Book # 5. Title - Asemic Syntax. I will alter this post as people add their names. DVS has agreed to answer all queries :-)) X. FORMAT - the same as Asemics # 4. Deadline - End of October - that gives everyone over two months to complete. Photographs of format will appear here tomorrow.
WAITING LIST
Rosa Gravino
Julie McBee
Confirmations:
Victoria Barvenko
Nancy Bell Scott
Cleveland Wall
E
Lesley Magwood Fraser
Georgia Grigoriadou*
Katerina
Mary Ann
Yvonne Neidel
Cheryl Penn
Svetlana Pesetskaya
Skybridge Studios
De Villo Sloan
Guido Vermeulen
Svenja Wahl
Theresa Williams
ADDRESSES
Victoria Barvenko
The Rostov Region –
Taganrog -
Street Petrovskaya 15, sq 129 –
347922 – RUSSIA
Rosa Gravino
Chacabuco 833,
(2500) Cañada de Gómez
ARGENTINA
Cleveland Wall
717 Spring Street,
Bethlehem, PA 18018
U.S.A.
E"
Ambassade d'Utopia
38 grande rue
02300 Guivry
France
Lesley Magwood Fraser
4 Robertson Ave
Kloof
3610
Georgia Grigoriadou
Doiranis 19, 54638
Thessaloniki
Greece
Mary Anne
128 Micklegate
York
YO1 6JX
ENGLAND
Yvonne Neldel
Stallschreiberstrasse 54
10969 Berlin
Germany
Katerina Nikoltsou
Glinou 20 Harilaou
Thessaloniki 54249
GREECE
Cheryl Penn
6 Kiaat Close
Glen Anil
4051
South Africa
Svetlana Pesetskaya
Russia - Rostov Area
Taganrog
street Frunze 61 - apartament 15
347900
RUSSIA
Skybridge Studios
207 N Wayne Street
N Manchester, IN 46962-1625
USA
De Villo Sloan
P O Box 1314
Auburn
New York 13021
U.S.A.
Guido Vermeulen
the dispatcher of Signs and Stones,
Thomas Vinçottestreet 81,
B-1030 Brussels,
BELGIUM
Svenja Wahl
Weberstr. 10
D-69120 Heidelberg
Germany
Theresa Williams
1800 Bowling Green Road East
Bradner, OH 43406-9783
USA
Format for Asemic 16 # 5
TWO pages - ie 8 sides.
Tags:
Okay, I'm ready to tackle this one 2.
My only observation is this: once you link asemic writing with syntax, meaning, symbols and codes, it is not ASEMIC anymore bit a kind of VISPO language linked with a reading "you need to have the codes" to understand it. This is interesting in a way because linked with the communication of underground or resistance groups.
On the other hand I've always found the distinction between Asemics (without codes, the viewer determines the reading, so open to a multitude of different readings) and non Asemics (the artists determines the reading when he or she is willing to "unveil" the codes) a bit silly.
To reduce it to Belgian art: it is the difference between the visual art of Henri Michaux (free, non coded) and Christian Dotremont (always linked with a real sentence). But if you see Dotremont's visuals LIFE I challenge everyone to read it! You are drowned in an ocean of signs and even if you know French very well, I doubt that you can determine a few words altogether. A few years ago we had in Mons a retrospective of Dotremont with on the ground floor his Cobra works and on the upper floors his Vispo he called Logogrammes and Logoglaces (he did logogrammes in the snow and the ice of Lapland and the high north of Europe, exists only thru' photographs). I visited the exhibition accompanied by 2 American mail artists and they were so overwhelmed they had to leave the room after a couple of minutes and then said "sorry Guido, we're out of our league here, this is too much, thi is sooo unexpected, we become uneasy". That the visuals of CD were based on real language made no sense or difference at all!
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