Abstract
This article identifies what the recognition of forms of collaboration in the mail art network suggests to us today about a distribution of experiences. This was not fixed only in objects, but in exchanges of moments, affections, preoccupations, political positions and collective desires, that were anticipated as episodes of correspondence through a “Collectionism of place” and an estrangement of what circulates. The action of receiving remains implicit the act of sending, and also considers the translation of object or letter received as crucial. For any cultural exchange, translation is vital to activate the content and its significance in the new scenario where the contents of the letter are displayed.
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