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The ANTI-BRAIN ROT mailart exhibit was hosted during Roanoke VA’s 2015 AFTER MAF (After Marginal Arts Festival – an AFTER effect from the now defunct annual Marginal Arts Festival)

These are BUT A FEW of the many submissions recieved from all over the world.
Wilhelm Katastrof (alias Tomislav Butkovic) will be mailing documentation out.
Tomislav is pictured behind the glass in this photo of postcards on french door window panes.
Mailart was also hung from clips on strings in one room, and spread out on tables in both rooms.
W Katastrof at home
During the opening last weekend, Reid Wood performed the “Xeno’s Donut” score, Tomislav played an audio CD collaged from various contributors (edited & mailed by Mark Sonnenfeld), and the cat went in and out.


https://www.etsy.com/shop/cmehrlbennett
Link to my Etsy site where you can view my accordian book titled: FOURTEEN PICTOGLYPH STORIES, created using a series of artistamps I made from the initial series of pictoglyphs, where some of these images originated.
TV CLUB 001
Full discloser about TV CLUB image: My spouse, John M. Bennett, originated the phrase TV CLUB a few decades ago as a rubber stamp on flourescent orange stickers.

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I have uploaded my jpegs at rubberstamps.net and ordered this set of rubber stamps to use on my mailart! The TV CLUB rubber stamp became a little gift to my husband on our 35th wedding anniversary.
photo-of-cmb-rubber-stamp-set

rubberstamps-001

ONE HUNDRED SESSIONS of sitting and smiling for four hours each session were completed by Benjamin K. Bennett on the final day of May 2015! He began documenting these sessions live back on July 28, 2014 — so it’s taken him less than a year to achieve this goal.

Today he’s moving from our home town of Columbus OH to Philadelphia PA and will be spending time on fixing up a row house he bought – putting in a kitchen, etc. He will be closer to a couple of musicians he often has toured with – Jack Wright (saxophone) and Evan Lipson (bass), and he’s also played with Michael Foster, a wonderful performer from NY. Ben is a wonderful improvisational percussionist who often makes his own wind & percussive instruments. He recently replaced a couple drumheads with skin from roadkill animals.

Ben came over for dinner with us a couple days ago and we were visited after dinner by a couple of people who are making short movies about interesting local artists. They wanted to meet us and see where Ben grew up, and they shot some footage during our chat in the livingroom. Most of the footage will end up on the cutting room floor, but we enjoyed their interest in Ben in any case, and I showed off this interesting painting (see below) Ben had done in high school.

I’m hoping Ben won’t mind me posting a few family photos here. We’ll miss having him nearby, but hope to visit him soon!

HERE is a link to Ben’s bandcamp site – so you can listen to samples from various CD’s.

Ben-and-John-Also

Ben at left. John Also at right.

Ben-as-a-toddler

Ben as a toddler.

collage-by-Ben-on-cover-of-Liber-X

Ben’s collage featured on the cover of his father’s book.

Ben's-painting

The first edition of la M al was published in 2006 by Blue Lion Books, and because it is such a classic stand out, a revised 2nd edition has consequently evolved; published by both Luna Bisonte Prods and by gradient books. 

From the opening poem, “…mumbling in the/attic “roof” out there, mud beyond my head…”, this revised and definitive 2nd edition of John M. Bennett’s classic la M al confirms its position as one of the poet’s best works. Bennett has created a unique language to express the depth and complexity (or the complexity has created the language), of thought and emotion, or emotional thought that are the core of human experience:

…“drain”

a laundry think .but think re diction think a congeries

of faucets faucets like yr “running-sore” a window to a

moon .“a moon all” right a tab le o yr “lips were draped…

The language swarms, swells and ebbs, shatters and recoheres, turns and returns, in patterns that resonate with all the currents, hidden and visible, of the self or selves that inhabit us. An essential book that fully realizes the possibilities of language to contain and know what is.

http://www.lulu.com/spotlight/lunabisonteprods

la M al

Cover by Jukka Pekka Kervinen and C. Mehrl Bennett

https://soundcloud.com/catherine-mehrl-bennett/volodymyr-bilyk-piano-score-played-as-a-rondo-by-c-mehrl-bennett

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Original Score by Volodymyr Bilyk

volodymyr bilyk rescored by cmb 001

Volodymyr Bilyk rescored by C Mehrl Bennett

https://soundcloud.com/catherine-mehrl-bennett/volodymyr-bilyk-rescored-by-c-mehrl-bennett

Link  —  Posted: May 16, 2015 in collaboration, sound art, visual poetry
Tags: , , , ,

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Go to my Etsy Site if interested in purchasing one of these limited edition accordian books:
https://www.etsy.com/shop/cmehrlbennett

Mark Bloch flux police badge

What is Fluxus
By Mark Bloch
July 9, 2012
Fluxus was an international group of thinkers, artists, composers, performers and designers that first networked themselves together in the late 1950s, then became a performance collective when they took their name in 1962, then a way of working with time and materials and eventually an art movement creating work in several dimensions and media that lasted from the early 60s through the late 70s and beyond on three continents, blazing the aesthetic trails that were to define the next half century of art history. They shattered old aesthetic boundaries and explored new ones, while grappling internally with their communal identity, under the guidance of their own conflicting, shifting, and morphing opinions of who they were and what they were up to as both a group and as individuals, without clear or firm parameters of what criteria might define their association. They ebbed and flowed as a collective, against the odds, disappearing and reemerging like a simple but mysterious prop in a magician’s routine, through schisms, chasms, reorganizations and excommunications. Many members are now gone, some deceased, some scurrying away quietly in the night under the radar with others lionized in enormous spotlights in life and in death, with the final few, more than a handful, still amongst us today, creating dynamic new senior citizen fluxworks or as in the case of the youngest members, now in very late middle age, finally enjoying their occasional newfound status as Old Masters, dog-tired “concept” artists who taught a very old art world a few new tricks. Fluxus has always defied traditions by establishing new ones, transcended geographical limitations by staking out unfamiliar territory, and most importantly by virtually fusing together in deceptively simple ways all the medium-based approaches of the middle 20th Century, creating entirely new genres that we take for granted today out of the old ones as a replacement status quo for a New Millenium. Fluxus participants were among the first to embrace a “do-it-yourself” mindset, exposing process as superior to end products while producing startling and surprising results, circumventing existing institutions by utilizing everyday objects, approaches and activities to successfully blur boundaries between art and life. George Maciunas, a made-to-order autocrat for his times and the group’s Lithuanian-born gatekeeper and visionary czar, instigated and organized art experiences as a collaborative social process, breathing new creativity into an established art world that slowly came to accept the group’s contributions not only as valid but as important and essential to the changing times. Maciunas and the other Fluxus artists he attempted to control, individually and en masse, created thought-provoking works that turned an elusive, ephemeral approach to shaping ethereal forces of anarchy into playful manifestations of art “product” existing in two and three dimensions or as events in time, captured and frozen by their instructions and posters or in beautiful photographs or by-products. They created art that resonated like poems for their times or like zen koans producing a series of aftershocks more akin to spiritual experiences or thrills had in any amusement park or both than to the conventional aesthetics and other familiar goings on in the staid commercial art world. They delivered work that goosed their audiences or tickled onlookers with subtle punch lines that forced their creative contemporaries and the public at large to approach life in the decades since, whether they knew it or not, with a freshly minted Fluxus attitude of their own that they themselves slyly assumed they had invented. But Fluxus had bubbled up from within and rendered an artworld constitutionally unprepared to assimilate it, defenseless against its playful reach. Fifty years ago, Fluxus began to prepare the fertile ground required for a completely transformed art world to emerge in another century and they did so elegantly, admirably and without much hype or fanfare.
(Note: Badge and essay published with the permission of Mark Bloch, “The Post-Flux Police”)

Note from this blog’s editor:
The use of the term “Post-Fluxus” when referring to today’s practitioners of fluxus influenced intra-media artists, and the academic use of the term “movement” when referring to historical fluxus activities, implies that Fluxus is dead, but as an ATTITUDE, Fluxus is still very much ALIVE.
– CMB