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Portrait Aldo Tambellini, Photo: Anna Salamone

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.

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2021  REVERENZ AN ALDO TAMBELLINI | Brooklyn Rail, Brooklyn, NY
2020  KONDOLENZEN | Facebook
           ALDO TAMBELLINI | Nachruf New York Times
           ALDO TAMBELLINI | Nachruf Art News, New York
2018  FLASHES OF THE FUTURE | Ludwig Forum, Aachen
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 INTERVIEWS 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
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, New York

2008  INTERSTITIAL ZONES | Argos Centre for Art & Media, Brüssel
           MAITRES DES TEXTURES | La Cinémathèque française, Paris
           BUSHWICK FILM FESTIVAL | Brooklyn, NY
           RETROSPECTIVE SCREENING | Anthology Film Archives, New York
2007  THE WRITER'S BRUSH | Pierre Menard Gallery, Cambridge, MA
           A CULTURAL HISTORY OF SYRACUSE
           Thinc's Company Gallery, Syracuse

2005  CROSS-CULTURAL COMMUNICATIONS
           The Russian Samovar, New York

           WILD BOYS, BAD BOYS, OUTSIDERS, AND ORIGINALS
           Clayton Gallery, New York

2003  NO!-ON SHOW | Galerie Berliner Kunstprojekt, Berlin
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.

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