Am 24.10. jährt sich der Todestag von Martin Bernhardt zum 25. Mal. Aus diesem Anlass wurde unser Film von 1990 auf youtube hochgeladen (aus urheberrechtlichen Gründen hier ohne Ton):
Der letzte gemeinsame Super-8-Film von Martin Bernhardt (1961- 2000) und Lutz Wohlrab (Kamera) entstand 1990 in der Nähe von Ueckermünde am Stettiner Haff. Er trägt den Titel “Der Dampfer” und wurde von uns “ein Gedicht” genannt, weil wir seit langem versuchten, alle Form- und Genregrenzen aufzulösen. Dazu schrieb Michael Gratz 2011: “Ein Lied des polnischen Musikers Czesław Niemen ist auf der Tonspur des Films. Leute meiner Generation sind elektrisiert, wenn sie nur die ersten Takte hören. In dem Film sieht man den Künstler Martin Bernhardt, wie er sich bemüht, einen morschen Dampfer flott zu machen. Kein Helfer nirgends, er muß alles allein machen, zieht das Schiff ins Wasser, streicht den Bug mit ein paar Strichen frischer Farbe und ergreift das Steuerrad – der Dampfer hat gar keins mehr, egal, er nimmt ein großes Abzeichen der DDR-offiziellen vormilitärischen „GST“, Gesellschaft für Sport und Technik, und steuert den Dampfer damit. Ach, Martin. Deine Gedichte lesend überfällt mich Trauer. Wir könnten Leute wie dich brauchen.” aus Lyrikzeitung & Poetry News, 11.1.2011, hier der Link zum ganzen Text: https://www.planetlyrik.de/martin-bernhardt-das-mas-allen-lebens-ist-die-axt-sagt-der-baum/2011/01/
Artpool’s new collection display will be opening on 9 October – 28 November 2025
1135 Budapest, Szabolcs street 33–35., Building D
Opening speech by Professor Marie Boivent, Université Rennes 2, curator of the collection display
9 October, 17:00
ROUND TABLE DISCUSSION Participants: Marie Boivent, Dr. Henar Rivière, Departamento de Historia del Arte, Universidad Complutense de Madrid & Viktor Kotun, Artpool
10 October, 15:00
Born in La Plata, a city located sixty kilometers from Buenos Aires, Edgardo Antonio Vigo (1928-1997) Argentine artist and well known figure of Latin American artistic resistance in the 70s, developed a prolific, multifaceted, and experimental practice over the course of his forty-year artistic career, one that defies categorization. From assembling impossible machines to new poetry, from wood engraving to photocopying, from collages and paintings to actions in public spaces, he constantly navigated between techniques, media, and genres. Influenced by the avant-garde and concrete art, his work engages a conceptual stance as much as it evokes Fluxus attitudes.
This chamber exhibition at Artpool aims to highlight Vigo’s special relationship with artists’ periodicals and show how he embraced this medium, having quickly realized that these publications, as shared creative spaces that are simple to produce, are also powerful means of dissemination. Vigo was constantly involved in alternative collective periodicals, both as a contributor and as a publisher. He himself launched several series, including four periodicals: W.C. (5 issues, 1958–1960), DRKW ’60 (3 issues, 1960), Diagonal Cero (28 issues, 1962–1969), and Hexágono ’71 (13 issues, 1971–1975).
The collection display is based on the Mail Art exchanges conducted by György Galántai and Júlia Klaniczay, founders of Artpool, which made it possible to assemble a collection of postcards by Vigo, as well as numerous Mail Art periodicals from Europe, North America, and Latin America to which the Argentinian artist contributed (sometimes with Graciela Gutiérrez Marx, with whom Vigo formed the duo G. E. Marx Vigo from 1979 to 1983).
Vigo’s work, long recognized in Argentina and Latin America thanks to numerous academic studies and several landmark solo exhibitions, remains relatively unknown in Europe, with too few events dedicated to it.
This collection display at Artpool, as an essential historical archive of Mail Art, aims to contribute to his recognition in Europe by giving visibility to this marginal yet essential poet, artist, and publisher.
Mail Artists Index 
