The designs for artistamps sent to the World Art Post competition announced by Artpool in 1981 were numbered in the order they arrived. This incidental order determined the editing of the film, which is a sequence of still pictures. The sound, independent from the images, but at the same time connecting them, is a montage of sound works sent by the same participating artists.(Artpool)
Excerpt from Galántai's Diary from 1982 STAMPFILM - The accidental as montage-technique In response to an invitation of mine, between December, 1980 and December, 1981, about 600 artists from 35 countries submitted 731 entries for a (self)memorial stamp design. As they arrived each day, consecutive numbers were assigned to the stamp designs (photos, drawings, texts, all the size of a stamp and edged, like a stamp, in a frame of "perforation"). As the days passed, the accidental sequence of the pictures began to turn into an intelligible series, as if the successive designs were continuations of one another. The remarkable result that the 731 stamp designs added up to a coherent series gave me the idea of making a film of this accidental montage.The filming, the enlarging of the scale, and the emphasis put on the element of consecution allows the viewer to share the excitement of the series' unpredictable formation. The music in the film-which also came from the artists who supplied the pictures-is independent of the images shown at any particular time; the occasional consonance is coincidental.
Excerpt from the text by Anna Wessely written for the World Art Post catalogue in 1982 The [artistamp] action had a time dimension as well. The temporal sequence of artists' stamps as delivered by the postman, realizes a random montage of pictorial forms which, as a whole, becomes significant on a new level as one single statement speaking many languages simultaneously. This temporal aspect has naturally led to a documentation in film.