Retracing Black

Aldo Tambellini Black Electromedia Performance at Black Gate, 1967
Aldo Tambellini, performance of Black Zero, 1965, at Black Gate Theater. Photo by Ehrlich.

Aldo Tambellini, his experimental work in television and cinema. Fascinated by the blurring of boundaries between creative disciplines, he began to fuse film projections with music, dance, poetry, painting and spoken word, producing kinetic, sculptural installations. An artist and a poet, Tambellini began working with overpainted, scratched or perforated 35mm film slides, calling the results ‘lumagrams’ and projecting them onto the sides of buildings, as in Black Light (1966-67). His early, large-format black paintings were done in a fast, ‘low’ style, employing gloss paint, enamel and sand. The works’ imperfect state of preservation is a result of Tambellini’s radical spontaneity and his practice of deliberately exhibiting his work outside institutional and commercial contexts.

i am intereted in Tambellini, because his broad media and immersive experience with all the combined media + art forms that he curated together. He focuses on the merging of the private dimension of everyday life and the public dimension of television. Thus, i’m very intrigued with the notion of black, the unknown, origin and entropy, the zero ground, Avant-Garde Jazz, and the Cosmic Void. All of these elements are done in a very experimental mash up in monochromatic shades and sharp industrial sound.

+ other than exploring colour and emotion with expressive style, black is also a very versatile shade to create a purer essence of feeling with its tone, form, shade and texture…

+ i am engaged with the fast ‘low’ style of his way of working, the imperfect and spontaneous practice that i can immerse into my way of thinking and let the universe force take control

Leap into the Void

Yves Klein“Saut dans le Vide” /  “Leap into the Void “, 1960
Lee Gallery

Yves Klein tricked the world with this iconic photograph. In October 1960, Klein hired the photographers Harry Shunk and Jean Kender to make a series of pictures re-creating a jump from a second-floor window that the artist claimed to have executed earlier in the year. To complete the illusion that he was capable of flight, Klein distributed a fake broadsheet at Parisian newsstands commemorating the event.

 “Today the painter of space must, in fact, go into space to paint, but he must go there without trickery or deception,” he wrote. “He must be capable of levitation.”

reflection

+ this work arised from the parody / irony and some kind of trickery toward the public. This can be seen to highlight the artist’s fascination with mysticism and the symbolic. Klein claimed that from childhood, he possessed a supernatural power of levitation, which is evidently what he was trying to enact with this piece of work. 

+ Leap into the Void is contradictory to a demonstration of freedom and constraint. It seems a blunt act of disobedience against convention and the body as well as the laws of nature. 

+ We share the same interest in emptiness, void, and the infinite characteristic of space…

https://www.metmuseum.org/art/collection/search/266750

https://publicdelivery.org/yves-klein-leap-into-the-void/#The_meaning