Act of mail communication has been considered artistic action not earlier than in 20th century. The name was applied to it: 'mail art' ; it becomes the synonym of democratic art. Initially, artistic production of 'mail art' involved all media which prey magic of mail: letters, postcards, parcels, post stamps, seals, commemorative and celebrative prints. Communicate / project of 'mail art' was democratically variegated, and presentations and exhibitions of 'mail art' were multiple. During the 70-s 'mail art' was already an independent and autonomous. Its manifesto was produced by Ulises Carrion, a Dutchman. What was the subject - and matter - of the mail exchange was art, purely and exclusively. All attempts to define what the 'mail art' is were marred by the name itself. Guy Bleus was the author of its understanding. According to him the term denominates art: of communication by mail, telephone, cable, telex, fax, floppy disc, or a computer. The art is of the procesual nature; acting is more important than creations. Art of mail is also a collective activity, it is a direct or indirect dialogue. Close to the end of the century, the term of 'mail art' broadened to include networking (art activity involving the net). From the start, 'mail art' was NOT the art. Trend or gender, but was a new manner of creating new space in which art and sister areas of activity function. The programme for 'mail art' set forth for 21th century assumes that it shall transform itself, or evolve into, a mass games of peaceful exchange.
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
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