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1.
SIGNALS #1-11 (in 10), all published (London: Centre for Advanced Creative Study, August 1964 - January/February/March 1966).
Large-format tabloid newspaper, printed on glossy paper in black, with different colour inks to covers from second issue. The first issue (spelled Signalz) comprises a single sheet folded centrally to make 4pp., later issues enlarging to 12pp. (24pp. for the double issue #3/4 and the final two issues). Illustrated. Ed. Paul Keeler and David Medalla. Design by David Medalla.
A complete run of the journal for the Centre for Advanced Creative Study, later the Signals Gallery, which in its first issue announced that it “will contain news items on the activities of the Centre, documentation and critical studies on the Centre’s artists, as well as original writings by the artists themselves.”
Named after a series of tensile sculptures by Takis, Signals documented the gallery’s series of exhibitions and art events and published a wide range of European and Latin American artists’ writings, as well as poetry, critical writings and news, providing an important forum for the discussion of experimental and (predominantly) kinetic art. With its interdisciplinary approach, espousal of the avant-garde and cultivation of international networks, the short-lived gallery also helped pave the way for other innovative art spaces in London, including Indica and the Arts Lab, both of which gave exhibitions to artists previously shown at Signals.
Artists and writers who contribute to or appear in the bulletin include: Marcello Salvadori (whose idea of the Centre, dating back to 1961, was originally his); Hélio Oiticica; Alejandro Otero; Gustav Metzger; Alain Jouffroy; Sinclair Beiles; William Burroughs; Alan Ansen; Brion Gysin; George Andrews; Jean-Jacques Lebel; Victor Musgrave; Liliane Lijn; Nicolas Calas; Sergio de Camargo; Carlos Cruz-Diez; Jésus-Raphael Soto; Lygia Clark; Takis; Li Yuan-Chia; John Sharkey; and many others.
Issues #1, #2, #5 and #11 show faint horizontal creases where originally folded for mailing; neat archival repair to spine of issue #11; o/w Near Fine (all issues previously laid flat for long-term storage).
Together with:
i) original Prospectus for the Centre for Advanced Creative Study (May 1964). Stapled 4pp. booklet, grey printed wrappers. Address of Paul Keeler and David Medalla’s shared flat at 92 Cornwall Gardens (near Gloucester Road, where early exhibitions were held) written out in ink to inside upper wrapper; old central vertical crease; o/w Very Good;
ii) three invitation brochures for exhibitions organised by Paul Keeler at Signals, 39 Wigmore Street, London, October 1965-August 1966 (Jésus-Rafael Soto, Alejandro Otero and Soundings Three). Illustrated folded cards, designed by David Medalla (each approx. 25.5x14.5cm. when folded). Very Good.
