Mail Art Chro No Logy

ILLUSTRATIONS
Pages from the publication
VisPo International. A Magazine of Contemporary Visual Poetry,
Near the Edge editions, Viareggio, 2026. Issue No. 2, May 2026. (Ed. by Vittore Baroni)
VisPo International is an assembling periodical dedicated to contemporary visual poetry (Vispo), conceived and edited by the Italian mail artist and visual poet Vittore Baroni (E.O.N. Archive, Viareggio, Italy) under the imprint Near the Edge editions. The first issue appeared in January 2026, inaugurating a series planned to produce no more than three or four issues per year. The second issue, dated May 2026, constitutes the document held in the Artpool archive.

The publication continues and extends Baroni's lifelong engagement with the international mail art and visual poetry network, which began in 1977 when he was introduced to the network by Guglielmo Achille Cavellini. Over nearly five decades, Baroni has organized dozens of collective projects, co-founded the multimedia group TRAX (1981), published 100 issues of the foundational mail art magazine Arte Postale! (1979–2009), and has consistently positioned his practice at the intersection of visual poetry, postal art, and experimental text. VisPo International is a direct heir to this tradition: a hand-assembled publication in a limited edition of 50 copies, each containing original artworks—not reproductions—contributed by participants worldwide.

The second issue is dedicated to Lamberto Pignotti (b. 1926), one of the founding figures of Italian visual poetry and Baroni's former professor at DAMS in Bologna, who turns 100 in 2026. Baroni's editorial introduction—"Never Satisfied!"—reflects with characteristic self-irony on the pleasures and frustrations of organizing an assembling magazine: the unpredictability of contributors, the tactility of original works, and the irreplaceable value of a hand-made paper publication in an era of digital saturation. The issue features 26 contributors from 9 countries, 8 of whom also appeared in Issue No. 1, with contributions including collages, typewriter poems, passport photo montages, anti-fascist word-paintings, asemic writing, and watercolors.

The issue also includes a tribute to Futurist theorist F. T. Marinetti—presented as "Hommage à Baroni Marinetti"—situating VisPo International within the longer history of typographic and verbal-visual experimentation from the Italian avant-garde to the present. The back cover carries the manifesto-like slogan "Don't make War, make Visual Poetry!", reflecting the explicitly political and humanistic stance of the publication in its response to current global crises.


Cover of VisPo International, Issue No. 2, May 2026. Printed on cyan/turquoise card. The title "VisPo international" appears in bold black letterpress-style type within a rectangular border, with the issue number "2" prominently to the right. Below, a central image depicts a stylized globe encircled by an orbital ring of scattered alphabetic characters, set against a dark cosmic background. The bottom of the cover carries the imprint "Near the Edge editions."


List of participants (interior back cover). Contributors to Issue No. 2 are listed in two sections: "Original works from:" (numbered 01–26) and "Texts, images and archive pages." The number №44 appears handwritten on the left half, identifying this as copy 44 of the edition of 50.

List of participants (Original works): Jeff Bagato, Vittore Baroni, Ptrzia (TicTac) Cacciaguerra, Chro-NO-Logy / Artpool, David Dellafiora, Ferran Destemple, Gianni Dorigo, Andrea Familiar, Cinzia Farina, Fausto Grossi, Miguel Jimenez, Gloria Keh, Ignazio Lago, Joel Lipman, Maya Lopez Muro, Serse Luigetti, Lois Gil Magariños, Tohei Mano, Keiichi Nakamura, Juan Fran Núñez Parreño, Jürgen O. Olbrich, Tommaso Russo, Roberto Scala, Ilia Tufano, Daniele Virgilio, Stephen Wagner.

Texts, images and archive pages: Sergio Araht, Vittore Baroni, Marcello Diotallevi, Jim Leftwich, Sandro Montalto, Nonlocal Variable, Daniele Riccola, Umberto Stagnaro, Nico Vassilakis.


Back cover of VisPo International, Issue No. 2, May 2026. Printed on cyan/turquoise card. Features a manifesto text at the top condemning political indifference and calling for a paradigm shift, followed by a central illustration of a young woman in a library wearing a t-shirt printed with the VisPo International globe logo. The slogan "Don't make War, make Visual Poetry!" is printed in bold black at the bottom.


Original artwork by Vittore Baroni (IT). Photo-collage: a portrait of French comic actor Louis de Funès (1914–1983), his expression gleeful and gesturing, emerging from a dense cascade of cut-out typographic letterforms in red, black, and white - the letters are a mixture of printed and cut'n'paste. The piece poses the question "Does humor belong in Vispo?" — a self-reflexive inquiry that de Funès's unmistakable physical comedy answers implicitly. Numbered 44/50, signed "V.B. 26."


Original artwork by Artpool's MA CHRO-NO-LOGY. Minimalist collage/visual poem titled "Hommage à Baroni Marinetti" (French: "Homage to Baroni Marinetti"). A collaged portrait of F. T. Marinetti (founder of Futurism) and Baroni is reproduced with a label reading "Baroni Marinetti" in red on a white field, traversed by a diagonal perforation line—suggesting both a postal routing mark and a typographic/Futurist compositional device. The piece positions Baroni as a conceptual heir to Marinetti's verbal-visual experiments.


Original artwork by Serse Luigetti. Dense typographic visual poem using large black letterforms on a light blue ground, with the word "REAL" printed in red in the upper left corner. A central elliptical highlight contains smaller multicolored letters (A–H), creating a contrast between the monumental, mirrored/fragmented outer text and the colorful alphabetic cluster within. Characteristic of the Vispo aesthetic explored throughout the issue.


Original artwork (asemic/rubber stamp work) by Jürgen Olbrich. A circular, overlapping cluster of rubber stamp impressions in blue ink on pale green paper, creating a dense, illegible palimpsest of repeated text fragments—partially readable as references to a Hamburg address ("2000 Hamburg 60," "Postf. 4b 60 08 40") and the phrase "GESELLSCHAFT MIT" (German: "company with"). The layering of multiple stamp impressions transforms legible address data into an abstract visual poem. A black hole-punch mark appears in the upper right corner.


Original artwork by Tommaso Russo (IT), signed "TR" in the upper left corner. An ultra-minimal work: a nearly blank white page with only faint pencil dashes at irregular intervals and the handwritten fraction "44/50" in the lower left. Referenced in Baroni's editorial text as an example of deliberate provocation or radical reduction in the context of the assembling format.


Original artwork by Ilia Tufano (IT). Large-format typographic visual poem spelling "fascinazione" (Italian: "fascination") using cut-out letterforms in black, white, and deep red/maroon on white ground. The overlapping, fragmented letters create a dense, almost volumetric composition. According to Baroni's editorial, this work constitutes an anti-fascist statement: the word "fascination" is assembled letter by letter as a visual-political act, playing on the double resonance of "fasci-" in Italian.


Never Satisfied! by Vittore Baroni — the editor's introduction to Issue No. 2. The text describes Baroni's fifty-year involvement in the mail art exchange circuit and the circumstances of launching VisPo International as an assembling magazine dedicated to verbal-visual research. Illustrated with a visual poem by Sergio Araht captioned "Equis Presley (2026)": a silhouetted figure in an X-pose, referencing Elvis Presley.


Continuation of Baroni's: reflecting on the conventions and frustrations of assembling publications (numbering, signing, photocopying, thematic relevance). Illustrated with a work by Sergio Araht captioned "Gato (2026)": a geometric, pixelated black cat figure constructed from angular lines, with the word "gato" (Spanish/Portuguese: "cat") rendered in bold Constructivist-style type.


Conclusion of Baroni's editorial, enumerating specific contributions and thanking participants. Illustrated with a work by Sergio Araht captioned "Vicio Anunciado (2026)": the word "CAFÉ" rendered in large, overlapping cut-letter typography, partially reversed.


Concluding paragraph of Baroni's editorial, dedicating Issue No. 2 to Lamberto Pignotti on the occasion of his 100th birthday. Illustrated with a work by Sergio Araht captioned "Che (2026)": a large portrait-format text image in which the face of Che Guevara is constructed entirely from the repeated syllable "CHE" in varying typewriter-like type sizes, creating a typographic halftone effect.


Artist's statement by Vittore Baroni in a bordered text block, titled "Statement for a 2025 VisPo show in Maastricht, NL, curated by Rod Summers." The text traces Baroni's development as a visual poet from his encounter with Lamberto Pignotti at DAMS in Bologna (1974) through his entry into the mail art network in 1977, his collaborations with Italian experimental poets (Sarenco, Miccini, Perfetti, Spatola, Fontana), and his long-standing practice of collage-based verbal-visual work.


Interior page 14. Text contribution by Marcello Diotallevi: "Elegia alla Poesia Visiva / Elegy to Visual Poetry" (bilingual Italian–English). A brief elegiac meditation on the advanced age of the visual poetry tradition and its remaining custodians—veteran mail artists. The text also celebrates Lamberto Pignotti's centenary.


Work by Marcello Diotallevi (IT): "Lettera da Citera" (Letter from Citera, no date). A full-page typewriter text portrait: the profile of a reclining human figure is composed entirely of densely packed, randomly arranged alphabetic characters typed on a typewriter, creating a dark monochrome image from typographic texture—a classic technique of the visual poetry tradition.

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