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SCREW ON!, New York, 1962

Aldo Tambellini: Screw flyer 1Aldo Tambellini: Screw flyer 2Aldo Tambellini: Screw flyer 3El Diario Screw
Aldo Tambellini: Screw on!, view 1Aldo Tambellini: Screw on!, view 2
click on image to enlarge

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THE SCREW
a newsletter of social consciousness | March/April 1962 | Issue #1

Editorial: This is the first issue of THE SCREW. We are in a period of starvation and lethargy. The artist is dying a controlled death. The young generation is flabby and old - the old have consumed the original fire. The artists have always been the great spirit of any society. They are now reduced into a castrated bourgeois class. We cannot remain cold and impersonal in front of the cancerized death of the artist.

ARTISTS IN AN ANONYMOUS GENERATION ARISE
The time has come to expose the cancerizing corruption of the whole art scene. We must rip open the diseased bellies of the galleries and museums. We the artists are the creators. And as such, let us not bend our asses but stand up with dignity. Out with the brain washed, undecided middle of the road, front, back, side, the one always on the safe side, the cool man. We need hot minds, creative minds, an open decided attack on the present system, decision, commitment, words for action and a clarification of the present situation.
The cool man must get his ass out of the deep freeze.

ARTISTS IN AN ANONYMOUS GENERATION ARISE
If Wall Street is making the arts, let the strength of our conviction be our weapon. We artists are responsible for the present ORGANIZATION, BIRCH SOCIETY WALL STREET SOCIETY OF THE ARTS. How long can the artist wear the fig leaf to hide his castration?
Collectors have been wiping our behinds with dollar-toilet-paper. The so-called beat vomitation of words words words has now turned into a mild academic diarrhea.
Let the man who speaks come out and act. Let's take our head from under mother's bed out into the sunlight. Let's flush away the benzedrine pills, mescaline pills and the whole paraphernalia of numbness of the brain. We must be awake to acknowledge the present gangrene.
Wall Street is making our art, the galleries are making our art, the museums are making our art, the critics are making our art. WHERE THE HELL IS THE ARTIST?

ARTISTS IN AN ANONYMOUS GENERATION ARISE
Are we supposed to be waiting in some uptown cafeteria for the golden spoon to be shoveled into our toothless mouth? Are we to be standing naked in line for the ceremony to be performed in our behind?
It is our responsibility to save our nation. It is not the threat of the bomb. But to witness the horrifying, agonizing death of our creative spirit, that is the threat. When the creative spirit has no longer a strength to voice its belief, there is the death. When our youth has gone from conformity to robotization, there is the death. When the myth of success is controlling the mind of our youth, there is the death. When the dream of arriving is a comfortable rubberized pillow, there is the death.
Creation is the power of a belief to be forwarded at the expense of any price. Our youth needs shots of vitality.

ARTISTS IN AN ANONYMOUS GENERATION ARISE
Notes: A LETTER TO THE YOUNG ARTIST IN AN ANONYMOUS GENERATION was read in The Hall of Issues December 6, 1961. On Friday, March 16, a meeting took place in the studio of Aldo Tambelllnl to discuss the social situation of the artist. We welcome any material of revolutionary nature attacking the present situation of the arts.
Send material to Aldo Tambelllnl, 217 E. 2nd, N.Y.C. see original

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why should you dare to think
why should you dare to stand
why not remain that flexible
malleable kneadable
moldable material
so clearly understood
by the firm
gripping hand
as a chlorophyll-flavor
chewing gum
in the drum
of a stirred casserole
as a masterfully conceived
masterpiece
never rising
below or above
the prescribed
behavior code

why should YOU dare to change

when the careful
skillful choice is made
by the few who know
dictates you
directs you
yet remain
back of bullet-proof protected
glass boxes
with earphone
and guards
furnished by the democratic
protection system
of the organization

why YOU THE ARTIST

should you dare to think
WHY YOU THE ARTIST
should you dare to stand
when you constantly fear
not being democratic
being what they call a liberal
why should you

EXPRESS A COMMITMENT

when you want to be pure
from being labelled
prejudiced when you want
to believe
that you are free
with expression

THAT YOU ARE FREE
THAT YOU ARE FREE
THAT YOU ARE FREE

why should they
make you a man
when your in-between stage
gives you a goal
in the habitual
constant process
of swallowing
your regurgitating saliva
of guilt

YOU CAN'T SPIT
YOU CAN'T SPIT
YOU CAN'T SPIT

be a eunuch
for fear of commitment

see original

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COMMENT: In the spirit of the NO!art manifestations of the old boys and young girls at the March Gallery on East Tenth Street, and the Peace demonstrations Agitprop of Sam Goodman and other NO!artists (with whom I had a close personal relationship):

I put into reality, into the truth of the streets, THE EVENT OF THE SCREW protest- performance, July 12th 1962, in front of the Modern Art, Whitney, and Guggenheim Museums.

I bequeathed to those art business institutions, the award of the GOLDEN SCREW. My broad-sheet THE SCREW, published in its #5 edition, the musical score and lyrics of THE SONG OF THE SCREW, which was performed by the Puerto Rican singing group THE BELLE-TONES. My wife Elsa was the dancer who performed inside the OVERSIZE SCREW, which per requirement of the law, was topped with our country's banner. A young elementary school teacher, Myrna Fine, presented the AWARD OF THE SCREW, a hardware SCREW painted IN GOLD, on a black velvet cushion, to an art-Capo of the Modern Art Museum. I didn't hear from any of the art mausoleums, for a long time. They didn't telephone me, to SCREW UP their business.

Meanwhile, the NO!-struggle without any lethal weapons, it must be happening some underground place, despite the turn-coat Pop-artists, and Yuppie SCREWED contemporary auction-fashions.

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