On 5th December 2010, Ruud Janssen the founder of IUOMA (International Union of Mail Artists) sent me a word painted onto an envelope – ZALOP.
ZALOP was part of his ongoing Fluxus Score begun in September 1988. (Letter included in book). His Fluxus Score sounds deceptively simple: –
SCORE : FLUXUS WORDS
By Ruud Janssen
1. Think of a new word that doesn’t exist
2. Promote it as a new word
3. Determine the meaning of the word
4. Promote the word worldwide
This book contains a brief introduction to etymology and traces the direct historic line of ZALOP and its projects back to a date -5/12/2010. How words enter language and become common usage is a fascinating study.
On 8/1 2012 I formed a group on IUOMA called ZALOP – A Group to promote the world wide acceptance and use to the word ZALOP.
The meaning I gave the word:
ZALOP means ABSOLUTELY NO WAY DEFINITELY NOT NADA NIX. It is essential this word is said in an emphatic tone. Accents do not matter in this regard.
ZALOP is still in use and theEyedrum Art & Music Gallery (Atlanta, USA) will present Zalop: Illusory Correspondence Art, a Mail Art show which opens on February 15, 2014 running through to March 16, 2014.
ZALOP is not done.
In 1942, two farmers in Mildenhall, Suffolk unearthed a collection of metal objects whose origins and value they did not recognize. Left in a barn until 1946 after the war, the “Mildenhall treasure as it became known was hailed the most outstanding collection of Roman bronze and silverware found anywhere in the late Roman world. The most outstanding piece was named the Great Dish – or Neptune dish as his head is at its center. That’s the official story.
The real story is that this is the Bhubezi Vessel from where all secret language flows. The mythical creatures which border the dish animate every 50 years after cogitating the Bridge Problem. Their solutions form mythical asemic symbols which find their way to appointed owners via the medium of Between. The traveller has found 5 so far at the Doors. She needs another 13 in order to unlock the codes on the Phaistos Disk.
The common knowledge versions on that artifact are incorrect too.
Unique Book, Coptic binding, mixed media, hard cover, 16 double sided pages.
As I’ve stated before, some artists books seek to disrupt traditional reading patterns, rebel against the rules of typography and embody the idea of a book as art object rather than imparter of decipherable knowledge. At the same time, very rarely do they deny the complex origins of The book.
I asked Petru about her work and she wrote that “…as the project progressed, I thought of the nature of books. (One actually can’t work without thinking as well. Artmaking provokes thought.) A book usually implies text. Since it is an artist’s book, the text does not have to be coherent or even readable. So I started using it as tonal value and texture. The text became a mark, a part of a visual or mark-making vocabulary…”
Petru’s book reinforces our understanding that experienced meaning is dynamic, constantly under revision, refutation, qualification while physical text has an atmosphere of immobility – its visually static. By interfering with its form, the versatility and complexity of its visual capabilities can be realised.
A thought: In a world where all boundaries are merging and definitions become increasingly indistinct, an organic approach to text and image bespeaks the current deconstruction of language and sign into a meld which is at once exciting, but that the same time frightening. Are we overlooking the fact that as a carrier of thoughts, ideas, prayers, promises and interaction, text is more versatile and functional than image? Words act as storage systems for thought. How can a personal idea be fully expressed without words? OK OK ☺ – an OLD discussion, but one I still find relevant. Petru – this is a beautiful book, loads of work – I appreciate the fact you found it difficult to part with.
Everything you needed to know. A dissertation in fact , on ‘Empty’.
Lately, I have been curious about schisms within popular Christianity. I wonder at the whys and the results more than the whens.
The book is made from a discarded print I found while clearing out for the new year. It was cut up and reassembled in a jumbled way – the way which was not its original format. Just slicing the print this way was insufficient to describe the physical act of ill treatment humanity has inflicted on its fellows and worse, the total lack of respect for Words that do not belong to them.
I cut the pages too. The worse thing about man-made structures of belief is that they actually deny the truth of God and kill faith.