The Open World of Dobrica Kamperelic John Held, Jr. Dobrica Kamperelic and I were both born in 1947.1 We came of age in the sixties, a time of great change in the international youth culture. This shift made it possible for a Serb from Beograd to come into communication with an American from New York, to become friends through the mail, eventually to meet one another in person, to continue their friendship, and work together toward a common goal of global creative cooperation among individuals of different cultures. Dobrica and I are both participants in an international network of artists exchanging art and ideas through the postal system. This network was begun in the late forties by the American artist Ray Johnson, who was a friend of John Cage. Johnson applied Cage's technique of chance operations in music to the postal system. Johnson would write to people he knew and people he did not know. He would tell one correspondent to write to other unknown persons. The circles of these exchanges spread outwards and attracted more and more creative people because of the mysterious nature of the indirect encounter. People began to call this new open system for art and exchange through the postal system Mail Art. Mail Art expanded because all the participants have equal importance in this global exchange. There is no geographical center of influence. New York, Beograd, Budapest, Montevideo, Osaka, all are central on this Mail Art map. More remarkable, it becomes apparent that people from all these various places are aware of the new changes going on in alternative creativity. Art became decentralized. Mail Artists avoid judgements of quality concerning another's work. The primary motivation of these artists is not the production of beautiful objects, but reaching out to those in other cultures and building bridges of understanding through common activities. Mail Art dematerializes the art process. Interaction, not object making, is the primary motive for the majority of Mail Artists. People from all age groups, all cultures, and all levels of talent, are able to participate. Mail Artists reject the notion of artistic genius. There is no one person standing at the top of the ladder. Instead, there is a lateral hierarchy of equals engaged in a shared vision. The genius of Mail Art is that the participants have collectively established an open system substituting cooperation for the mainstream artworld's competition. The term artist is sometimes replaced by the term cultural worker, because everyone has an equal claim to creativity. Mail Art demystifies the status of the artist. In the past decade, Mail Art has evolved to a new level. Communication and the transfer of art and ideas have crossed over from the postal system to the new emerging technologies of FAX, Internet, and the World Wide Web. Because the focus of Mail Art was never the postal system, but the transfer of aesthetic communication, the lessons of cooperation and creativity learned in Mail Art could be transferred to other mediums capable of conveying information. Mail Art has become diffused into other mediums, and the term Networker has emerged to signify the creative individual active in a variety of new communication technologies. Although it appears that these new communication technologies have become more technical, there remains a great desire for personal meetings between individuals, who were initially introduced through long distance information transfer. The goal of Mail Art is to connect people, and that can be through the postal system, over the Internet, or through personal exchange. This direct contact in Mail Art Networking is called tourism. In 1986, there were a series of congresses, in which Mail Artists meet to discuss common concerns. Over 500 artists from 25 countries participated in these forums. In 1992, Mail Artists reached out to other Networkers in a series of Decentralized World-Wide Networker Congresses to bring together various artistic networks, like zine culture, the fax underground, rubber stampers, computer bulletin boards, flyposters, and alternative music, to explore similarities in the networking experience. These direct face-to-face meetings between Mail Artists and Networkers are very important. It is all too easy to exist in a virtual reality during these contemporary times. Friendships made through the postal system and other mediums have to be tested to see if they can sustain the impact of reality. People are sometimes tested by very real concerns and problems. They need real friendships to help them through difficult times. Nowhere is this more apparent then in the former Yugoslavia. Before the troubles erupted, there were Mail Artists throughout the previously united region. The conflicts were especially painful for the Serbian networkers, who had been so active in international cultural cooperation. Now they were confronted with a cultural embargo imposed on them by the United Nations. This isolation was in direct contrast to the open system of Mail Art, in which they had become so active. A number of actions were undertaken by Serb artists and their friends abroad to lessen the impact of this cultural embargo. Inside the country, a number of the Serb artists gathered together to participate in anti-embargo actions, including publications, exhibitions, performances, and media appearances. Outside the country, correspondents continued to communicate with the friends they had interacted with for many years. Some like Peter K�stermann, Angela Pahler, and myself came to visit. But to my mind, the most important action during this conflict, was the decision of Dobrica Kamperelic to continue publication of his magazine Open World. Before the violence started in the former-Yugoslavia, Dobricia's magazine listing Mail Art projects and exhibitions, networking news and events, was one of the bright stars in the communication constellation composing a community of international creativity. He had, indeed, created an open world of global exchange. The format of OPEN WORLD has remained constant throughout it's publishing history. Four double sided and folded sheets are collaged and then xeroxed with a plethora of information on mail art shows, projects, photographs of performances, images from the network, rubber stamp impressions, news and network gossip. Each issue also contains a brief introduction. It is this personal prologue to the networking information following that I have traced in marking the deterioration of worsening tensions in the former Yugoslavia, and the resulting printed and social activism manifested by the artists involved in the swirling conflict. The leadership Kamperelic manifested in continuing his Mail Art info-zine despite worsening political, social and financial conditions in his country is one of the most important mail art activities of the nineties. I began my correspondence with Dobricia in 1986, when he sent me OPEN WORLD #13. We became regular correspondents, and I began to receive all issues published since then. In October 1989, I visited Dobricia in Belgrad, spending a week at the University Cultural Center, performing, and meeting other Yugoslavian networkers. While there, I witnessed the runaway inflation hauntingly symbolized by the wads of floating paper bills floating in public fountains. It was very shortly after that visit that the situation in the former Yugoslavia began to deteriorate. Eventually, the United Nations placed a cultural embargo, and well as an economic one, against the Yugoslavian Serbs, who stood accused by the United Nations of arming the Bosnian Serbs. This cultural embargo was especially painful to Yugoslavian artists, who were always at the forefront of contact with their Western counterparts. In addition to my own visit there in October 1989, when Belgian networker Jos� VdBroucke was also present, Daniel Plunkett, the editor of ND magazine visited in December 1989. Perhaps more meaningful was the reported visits of Zagreb, Croatia, multimedia and Mail Artists, Milko Valent, Marigan Cekolj, Ivok Kunac, and Sead Begovic. All this activity was reported about in OPEN WORLD #48. Reported visits were expected from Shozo Shimamoto of Japan, Siglinde Kallenbach from Western Germany, and Ken Friedman from the United States. In OPEN WORLD #49 a subtle shift in tone began to intrude. Although most of the issue is devoted to the beginning of Art Strike 1990-1993, which at that time was running rampant through the Network, and Dobrica wrote that he still expected, "the friends/networkers as our guests this summer, as we did each summer," he also noted that we was contemplating the renaming of OPEN WORLD after the 50th issue to NEW AGE. We had talked of this during my visit, and I told him I opposed the name change, because the term had specific connotations in the United States. In OPEN WORLD #50, Dobrica agreed, writing that "After our thoughts expressed in OPEN WORLD #49 about new magazine/fanzine named NEW AGE (we think about some democratic changes here + around the world), our dear friend John Held Jr. has written to us how is better old name - OPEN WORLD. We accept his whole explanation - yes, its better: semantic, firstly." Elsewhere Dobricia hinted that some were inquiring about conditions in Yugoslavia, to which he wrote, "What's change in LIFE/ART in East some friends ask us?-NOTHING! We stay OPEN as before." We try to find new solutions about OPEN WORLD in actual chaos here...and continue with alternative art activity." But this chaotic condition referred more to personal financial and employment problems than with political problems. OPEN WORLD #53 continued this theme noting that, "Dear friends, summertime and networkers/nomads make tourism. "We were just visited by many people from Zagreb and west-north part of Yugoslavia with who we have nice cooperation." Very few OPEN WORLD issues are actually dated, but OPEN WORLD#56 is noted as being published on October 10, 1990. Dobrica's editorial reads, "YES, save our HOME-save the eARTh!...But also save YUGOSLAVIA! Ecological, economical, political YU Problems are big." In the last issue of the year, civil war is raised as a real possibility. "Well, here is OPEN WORLD #57, last one in this hard 1990. We hope NO last one forever?!...Of course, it depends on may things here: if civil war don't happen soon, if we'll have enough money, if something or someone don't stop our activity or make us dependent on political opinions...We just hope!" Dobrica continued to voice his concerns in the following issue. "The future of OPEN WORLD hasn't reason in this situation; all over are dark clouds within silver line and we are not optimists as before. Be we (personally would like to stay in corresponDANCE with all mail art friends and wish new full contacts." While the world was turning it's attention to the Persian Gulf, Kamperelic was warning his readers of conflict in his own country. "Here's new OPEN WORLD and Appeal - STOP THE WAR everywhere! Save YUGOSLAVIA! Think about the FUTURE!...OPEN WORLD call all of you to support our appeals!!!" Elsewhere in the issue fellow Serbian artist Andrej Tisma from Novi Sad contributes a piece on spirituality in art. "The time for spiritual art has come. For thousands of years humankind has been led toward self-neglect and stupor, toward the creation of idols and myths it can believe in. For the moment, financial power rules the world, alienating man from work and from his fellow man. The time has come to go back to true human nature, and nurture it through love, understanding and spirituality. The new artist, the modern shaman, must heal society, nature and the cosmos by radiating his positive spirit and poetic inspiration to the whole universe." In OPEN WORLD #60, information begins to be reported about reactions to the Yugoslavian situation by other networkers. In a letter dated February 13, 1991, Jos� VdBroucke writes that, "Actually we are very less informed about the situation in your country, all media mad about the great football-match at the Gulf now, so your troubles are not interesting for our newspapers." Dobrica responds that, "the situation in Yugoslavia is NOT simple for explanation: some people would like to be out of YU and we (Serbians) would like to be with others who would like the same. OPEN WORLD always has been for YUGOSLAVIA." Elsewhere it is hinted that contacts are beginning to fall off. "We haven't fresh news from Mail Art friends in France, such as: Daniel Daligand and Jacques Massa, Fran�oise Duvivier, Philipe Laurent, Jean-Paul Laszlo, Pierre Marquer, etc. We don't know WHY, just hope we'll renew contacts soon. In any case, any news from France is welcome. We couldn't believe that mail-art network in France is NOT so active as before. Please, inform us." OPEN WORLD #61, published in the Summer of 1991, chronicles the first outbreak of violence, although it is downplayed. "No, civil war don't become in Yugoslavia, besides some local accidents last time and some violent people. We still try to save UNITED YUGOSLAVIA and you can help us with appeals to your governments. Political/economical/national crises is very deep and hard, so we need INTERNATIONAL UNDERSTANDING/HELP!" At the same time Dobrica notes the forthcoming publication of his book, Art as Communication, and notes expected visits from artists Bob Kirkman (USA), Mogens Otto Nielsen (Denmark), and Elena Neskorod (USSR). By OPEN WORLD #62, published in the Spring of 1991, Kamperelic has given up on a united Yugoslavia. "We live in some kind of CHOAS and believe now civil war don't come, but about UNITED YUGOSLAVIA, we doubt it. Croatians, Slovenians, Albanians...wouldn't like YU. We, Serbians would like YU and try to save it!" In the next issue he is even more pessimistic. "Dear friends, here's OPEN WORLD #63 in this hard time in Yugoslavia, maybe last one - maybe no. WHY? Slovenia and Croatia should be separated very soon. In this case probably very bad reactions in our Serbian people." Still Dobrica reported on the expected arrival of guest Mogen Otto Nielsen, Bob Kirkman, Peter Kustermann (Germany), Fernando Aquiar (Portugal), and Sofia Martinou, as well as the recent mail art activities of Svjetlana Mimica, a Croatian artist new to the field. OPEN WORLD #64, published in Fall 1991, continues this darkening tone. "In this hard/incredible situation in Yugoslavia, with many fights, local war, may dead people, many people who left their homes (one of Dobrica's old friend from Zagreb also spend some days at our home), extraordinary political and economical problems...Dark clouds circulate in our country, black birds doing bad job. Yugoslavia does not exist as before, and we're afraid about the future, although the fact that we haven't (total) civil war, just accidents in Croatia." Bob Kirkman's visit is reported. Mogens Otto Nielsen cancelled. Finally, in the following issue of OPEN WORLD, still adorned with such phrases as "World-Wide Art," "Underground Art," "and "Without Frontiers," around the masthead, the darkening tone turns black. "Dear mail-art friends/networkers - here's the WAR! Real war with many dead people, many destroyed homes, many tragic individuals and collective destinies/fates, thousands and thousands people left their homes and coming here as refugees. As Serbians and (still!) Yugoslavs we thinkin' how save Serbian people under neonazistic power in Croatia and how save YU. We are very sad about destiny of Serbian people, but also Croatian people. We wouldn't like Serbian and Croatian extremists. As the internationalists and humanists we thinking' just how STOP the war!? We're very disappointed because many lies circulate throrough world's mass media machine...especially about Serbians and YU army... Unfortunately, we haven't communication with Croatian m. a. friends (if they stay our friends?), we haven't PTT and the rest of normal communications... Dobrica as Serbian 'soldier for the TRUTH! no, this is NOT time for joking, could be real soldier if war will expand. But, how lose my/our OPEN WORLD in that case?! And ideals..." However, throughout the issue there are signs that hope is still alive. In OPEN WORLD #66, the first issue of 1992, there is a poem published by Svjetlana Mimica of Croatia called, "The Hidden Face of the War." A report of Andrej Tisma's "Street Meetings," an action, "to find the possibility for the dialogue with/between people, bringing a message of love and understanding," is published. German artist Siglinde Kallnbach based a performance on "Peace in Yugoslavia," to which Dobrica responded, "Her meditation with artists for PEACE in YU is sign of friendship and understanding what we need here now." But, of course there are continuing problems. "We're really tired of the bad news, dramatic events, we need PEACE very much, but now new big problems: ISOLATION! Economic/political/cultural...isolation of YU and our Serbian people...We need communication and your support NOW!" This support was slow in coming. In OPEN WORLD #67 Kamperelic writes that, "We are just disappointed with some reactions from some m. a. people about situation here, but its result of strong propaganda and many lies about YU and Serbian people which circulated through mass-mass-mad-machine...We're very afraid of of the total war here soon." In the next issue these fears are made manifest. "We hope our 'conflict' with Mr. Luce is finished NOW. We'd like PEACE HERE more than you'd like it, be sure dear friend." Although the war raged on outside of Serbia, there were serious financial problems: inflation of 2000%, post office increases of 150%. The news in the next issue of OPEN WORLD #69 was mostly about the various Networker Congresses taking place in the United States, Switzerland, Germany, Italy, Australia, and elsewhere. Dobrica celebrated the publication of his book Art as Communication. Plans were being made for a Networker Congress in Belgrade in June 1992. But in the next issue the tone turned bleak. "Here's OPEN WORLD #70 - probably last issue of OPEN WORLD. SORRY, with inflation at more than 9000% everything is a problem (art material/paper/PTT service...food!). Actions were initiated in spite of this including an exhibition, "Open World," at the Happy Gallery in Belgrade, and a fax-art project, "Open World-Deblockade Action. In Baranja, three Serb networkers (Bogdanovic, Jovanovic, Gogolyak) held a Networker Congress on a battlefield issuing a manifesto that read in part, "Participants of this Network Congress are, in the first place, against the war but for a true art. They are against policy of destruction but for a creative victory. We, as the authors who work for a long time in a network, want this world opened-without frontiers, ideologies, nationalisms and other things which make people apart...On this network congress which took place under the war circumstances, it was impossible to create artistically. That's why we say to all network authors in the world: we would be so happy that all other congresses take place in peace and to have their basic ideas: free communication, creative personal contacts, meetings without daily policy events - what we hadn't on the battlefield in Baranjsko Petrovo Selo." During mid-1992, the World-Wide Decentralized Networker Congresses were raging across the networking map. At year's end there would be over 200 such Congresses in over 30 countries. It was an attempt by mail artists to link the various networking communities, such as zinesters, computer enthusiasts, independent sound and music distributors, rubber stampers, faxers and fly-posters, to examine common concerns in alternative cultures. Yugoslavian networkers played an important part in this international dialogue. They were involved in an extreme situation testing the resolve of participants in intercultural communication art, in which the Yugoslavian contingent was an integral part. OPEN WORLD #71 reported on the Belgrade Networker Congress of June 13, 1992. Signed by 12 Serbian artists, Kamperelic wrote, "Our theme was OPEN WORLD, BLOCKADE, and INTERNATIONAL COOPERATION. This story/appeal/scream could be named FROM UTOPIA TO ENTROPIA. All our appeals, declarations, open letters...to save Yugoslavia and stop war have been without real effects... Is this world an OPEN WORLD, world without any kind of borders, and international cooperation. We also help many human actions all over the world - and NOW? We call all networkers to come here and see the truth!" The Serbian artists were beginning to focus their concern on the embargo -cultural, economic, political- imposed upon the Serbian government to limit their assistance of the Bosnian Serbs. Continue to Part II |