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View of “Aldo Tambellini,” 2013.

View of “Aldo Tambellini,” 2013.

Aldo Tambellini

James Cohan | Tribeca

View of “Aldo Tambellini,” 2013.

Let’s get the usual encomiums out of the way: “pioneering,” “little known but influential,” “long overdue recognition.” The language accompanying the revival of interest in Aldo Tambellini is familiar enough, as are the rites. Since 2012, Tambellini’s work has screened at the Centre Pompidou, the Tate Modern, and the Museum of Modern Art; the Harvard Film Archive has assembled a collection of restored prints; and, most recently, the artist was the subject of this retrospective, “Aldo Tambellini: We Are the Primitives of a New Era,” curated by Joseph Ketner.

Known for the swirling black vortexes that pulse through his films, slide projections, and videos, and for the “electromedia” theatrical pieces that fused this imagery with dance, poetry, and jazz, Tambellini has received renewed attention as part of a wider recovery of expanded cinema and projective installations from the 1960s

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