ALDO TAMBELLINI: BIRTH OF GENIUS
This is the ravishing poem that Aldo Tambellini sent me on my way to Cambridge on February 22. It was written about Pregnant Woman (above) that will be in my upcoming exhibition at the Pierre Menard Gallery, Woman in the 21st Century: Margaret Fuller and the Sacred Marriage, taking place as part of the Margaret Fuller Bicentennial.
I was headed to Cambridge for an event at the Harvard Film Archives, presented by its erudite director Haden Guest, whose razor sharp introduction cut to the heart of the matter: the timeless value of the artist’s groundbreaking work in experimental film in the 1960s.
“Why black? That is a big philosophical question,” Aldo said from the podium, adding. “That is enough.”
The program was initiated with Black on Black, a short video released last year which sums up Tambellini’s boundary smashing vision combining his many disciplines to a virtual iconography of blackness. His poetry is sculpted on the screen and read by Neiel Israel and Askia Toure’ (below). Words form spirals and a sphere that enters the consciousness like an eternal chant “Creation and Destruction. Destruction and Creation.”
“I became conscious because of the racial, the cosmic, the visual aesthetic,” the artist said after the screening. “The first cosmanuat who walked in space said it was black. I was really excited.”
Aldo and I had an instant connection at our impromptu meeting at Pierre Menard Gallery last summer. He was finishing up his meeting with gallery owner John Wronoski when I walked in and was immediately drawn to one of his black paintings (above) propped against the gallery wall. “WOW!” Pure Kundalini in its natural form of the spiral. I was enthralled. Was it the genius or his paintings?
Both! He was with his partner, Anna Salamone, who told me how the artist’s works were rediscovered after being thought lost for many years. My hands moved, completely on their own to channel the Kundalini energy into the aura of the artist that my connection with his art had ignited in my spine I never in my life had such an experience of a cycle being completed in a single moment of time! From the creator to the observer instantaneously transformed into participant generating energy received from the art into the creator.
The New Paradigm revealing itself!
Aldo still claims today, with some surprise, that I completely understood his art with that initial connection with his painting, Yet, there seem to be no limitations to his depth of understanding about the universe and the hidden truths surrounding the time and space connection I am constantly discovering new things about Aldo Tambellini and his crystalline vision of an interconnected universe. “We earthlings are all one!” It isn’t just talk, but he lives it. Always remaining on the outside, but close enough to reveal his knowledge of the “The Screw” (actually a performance that went with the SCREW Paper published to encourage ” an anonymous generation to arise,” see description at http://aldotambellini.com/video.html) That is the Heisenberg Principle at work! With this understanding of his role as participant and observer in his own interactive artistic experiments, Aldo absorbed the Shadow, or Saturn.
By understanding his role (eleventh house Saturn) as leader of a new (Mars in Aries) movement in the collective, he could turn his attention to the transpersonal energies represented by Uranus (television) and Neptune (film).
Working with the very material of these mediums, he transformed his art, and himself in the process, into a vessel of transpersonal energies. In astrological terms, he redefined art (the stelium in Taurus, the sign representing art, in the second house of values) as the capacity for human interconnection (the trine from the Taurus Sun and Moon to the Eleventh House Saturn).
The birth came through considerable opposition (Pluto opposing Saturn) and rebellious (Uranus) struggle (Aries) to claim the Self (First House) by acting, with his female partner, as midwife (Pluto in Cancer) to a Creative (Fifth House) movement (opposition to Saturn in its ruler of Capricorn strongly placed in the Eleventh House of the Collective)
have never been so deeply moved by any work of art as BLACK PLUS X Aldo’s short film about black kids at Coney Island; he reversed the negative so the kids were white and the water was black.
Anna quoted the Grove Press Catalogue which says the use of the negative was: ”The artist’s answer to the race problem.” And even though I am color blind in regards to race, it turned my perceptions up-side-down. Getting on the subway at Harvard Square an elegant black man told me how much he liked my outfit. We sat next to one another on the train and talked. He was from Africa and runs an interactive global development project. It seemed to me that his soul was as deep as his skin was black. So deep that it had no bottom. Why, I thought, do such depths bother white people, so bound by their limitations? Could our obsession with materialism be the “antidote” to our fear of such primal darkness? Wouldn’t that mean a fear of deep space? The Unknown? I surrendered to his blackness, the depth of his soul, and by the time I got to Brookline, I believed this was the most beautiful human being I had ever met.
I related to what Askia Toure’, a black poet said at Aldo’s film screening, “Aldo showed us that black is beautiful.” How like the Black Madonna to deliver black Americans into the heights of the academy through the black medium of film!
OK. So what is this message of birth coming from Anna and Aldo? When I told Anna how much I would love to have Aldo in my show, she immediately knew what piece I was after, even though I didn’t know myself Pregnant Woman. And then, Aldo sent me the poem, which provided the work with even deeper meaning than the secrecy of the Black Madonna that Margaret Fuller carried with her pregnancy of Angelito.
What I wrote in my Black Madonna essay was: the virgin just about to give birth below the altar at Chartes Cathedral. Aldo has brought that ancient legend of the Black Madonna into the form that I didn’t even expect to discover in Black Madonna. It is the form of the Black Madonna herself.
Pregnant Woman sums up Margaret Fuller on so many levels.
And I can see it all lined up in the heavens where Aldo’s art takes root. In May, when the show goes up, Uranus, the Awakener will be contacting his Mars and entering the evolutionary passage through his T-Square. I read this as the lift- off for completely comprehensive and interconnected ouevre. Each passage unified, the whole trajectory reflects a New Paradigm — the cycle of universal interconnection that is the cosmos.
The Movement I have been actively seeking and writing about with the emergence of the icon of the 21st century was lacking the genius whose unification of art, practice and connection to the Self serve as a beacon to others struggling in the chaos of the paradigm shift. Aldo was born under the cardinal T-square between the outer planets of Saturn, Pluto and Uranus that triggered the Great Depression. We are experiencing such a configuration this year as the world economic order breaks down.
The multidisciplinary art of Aldo Tambellini reveals the paradox of the creative genius: the deeper the plunge into the creative darkness, the bigger is the light. Knowing Aldo has revealed in high relief the difference between creative for the sake of being creative and creative as a bringer of light to humanity, the true Promethean spirit.
Let me look at this poem more closely:
Ok, well I read dark matter as the Kundalini. Our surrender to this power removes us from our human limitations and connects us to the immense sky of the Cosmos. The last two lines are like a Zen koan or riddle. How can we read the sky if we close our eyes? But there the connection between outer and inner is complete: As I quote Nassim Haramein: ‘When we go within, we encounter the universe.”
I always ask artists if what they do is conscious or not. They inevitably say it is conscious. Aldo has the best answer, which seems to be the only adequate answer: he is conscious, yet he is channeling an intelligence outside of himself. I dare to presume to label this as the intelligence of the cosmic order revealing itself through the paradigm shift embodied in Pregnant Woman.
“There is no revolution without a man and a woman at its source,” says Aldo. This is the reality that Margaret Fuller lived with her partner, Angelo Ofilli. Their son, Angelino, was the child of the Italian Republican Revolution, born out of the unified passion of his parents. In being forced to keep the child, and her marriage, a secret, Margaret Fuller became the Black Madonna. And considering that the Black Virgin was the icon of the Templars, who still today aim to overthrow the Vatican, the myth she embodied — partner in the overthrow of the Pope to restore the ancient icon of the “sacred marriage” to rulership — was all too apt.
In Tambellini’s Pregnant Woman, Margaret Fuller is re-visioned as birth mother via a transcendent work of art — both personal ( the creator giving birth to himself) and universal (the earth mother nurturing the delivery of a new archetype into the collective consciousness in unison with cosmic timing). The form at the foundation of this work is the Tambellini motif of the circle, the sphere. As woman gives birth to her true Self, she creates a new cosmos. That is what we will be celebrating on May 23, 2010 when Woman of the 21st Century opens across the street from Harvard University, where Margaret Fuller now has an exhibition space dedicated to her!
Can academics continue to ignore the female genius that gave birth to the American literary canon, now reborn as a 21st century icon?