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NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
ALDO TAMBELLINI, born 1930 in Syracuse, U.S.A. Mother from Italy. Father from Brazil taken to Italy as a child where he grew up during the World War II. Survived bombing of his neighborhood. Returned to U.S. after the war. He created together with artists and filmmakers an underground-counter-culture in New York in 1959. Video and multimedia pioneer. 1969 he got the International Price of the "Filmfestspiele in Oberhausen", Germany. Created the Black Gate Theatre in New York, the first multimedia theatre. Many poem-publications. Co-operates with black poets and musicians. He died on November 12, 2020 at the age of 90 years in Cambridge, MA (USA).
The Aldo Tambellini Art Foundation is dedicated to the advancement of the works of Tambellini and the protection and promotion of contemporary art. Furthermore the Foundation seeks to ensure Tambellini’s works are accessible to all via permanent placements and loans in galleries and museums throughout the world.
►ALDO TAMBELLINI homepage
►ALDO TAMBELLINI wikipedia
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2021 A TRIBUTE TO ALDO TAMBELLINI | Brooklyn Rail, Brooklyn, NY
2020 CONDOLENCES | Facebook
ALDO TAMBELLINI | Obit in New York Times
ALDO TAMBELLINI | Obit Art News, New York
2018 FLASHES OF THE FUTURE | Ludwig Forum, Aachen/GERMANY
2013 WE ARE THE PRIMITIVES OF A NEW ERA | James Cohan Gallery, New York
2012 RETRACING BLACK | Tate Modern, London
BLACK ZERO, AVANT-GARDE JAZZ, AND THE COSMIC VOID | New York
2011 BLACK ZERO | Chelsea Art Museum, New York
2010 BLACK IS | Pierre Meinard Gallery, Cambridge, MA
DIETMAR KIRVES' INTERVIEW WITH ALDO | Video, Cambridge, MA
BLACK FILM SERIES | Nightingale Theatre, Chicago, IL
ALDO TAMBELLINI'S BLACK FILM SERIES | Harvard Film Archive,
Cambridge, MA
TAMBELLINI DISCUSSES BLACKNESS | The Crimson , Cambridge, MA
ALDO TAMBELLINI: BIRTH OF GENIUS | by Lisa Paul Streitfeld, New York
2009 THE LIBERATION POETS COLLECTIVE | Pierre Meinard Gallery,
Cambridge, MA
BLACK GATE COLOGNE | Pierre Meinard Gallery, Cambridge, MA
BLACK ZERO | White Box, New York
VENOM, ETERNITY AND OTHER DISCREPANCIES | Experimental Filmclub,
Dublin
MEMORIES OF A SYRACUSE NEIGHBORHOOD | Syracuse University, NY
2008 INTERSTITIAL ZONES | Argos Centre for Art & Media, Brussels
ALDO TAMBELLINI'S PERIOD PHOTOGRAPHS OF BROOKLYN
brooklynhistory
MAITRES DES TEXTURES | La Cinémathèque française, Paris
BUSHWICK FILM FESTIVAL | Brooklyn, NY
RETROSPECTIVE SCREENING | Anthology Film Archives, New York
2005 CROSS-CULTURAL COMMUNICATIONS | The Russian Samovar, New York
WILD BOYS, BAD BOYS, OUTSIDERS, AND ORIGINALS | Clayton Gallery,
New York
2003 NO!-ON SHOW | Gallery Berlin Art Project, Berlin/Germany
1994 NO!art with Boris Lurie and Isser Aronovici | Clayton Gallery, New York
NO!art involved artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
