TAMÁS St. TURBA, NETRAF, 2026 [poster]

TAMÁS St. TURBA, NETRAF, 2026
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published by the non-art-artist
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Tamás St. Turba, also known as Tamás St. Auby, Tamás Szentjóby, Staub, Stjóby, Stauby, Emmy/Emily Grant, St. Aubsky, T. Taub, St. Ruby, etc. began a non-art-art activity as soon as he ended his art activities in 1966. From that period on, he created an extensive oeuvre made up of actions, happenings, objects, concrete/visual/action-poems, images, compositions, sculptures, photos, videos, mail art and email art. Disseminating happenings and Fluxus ideas he deems himself a Neo-Socialist Realist.

The protests and art activities of Tamás St. Turba – aka Tamás St. Auby – in the late 50’s were heavily embedded in the shadow of the Sovjet umbrella. He became familiar with the ideas of Dada and the later Fluxus movement, and thus found his allies.
‘In the mid-’60s, the idea of Joseph Beuys, George Maciunas, and others about “everybody is an artist” proved to me that I’m not alone at the grassroots level. This conviction was in organic symbiosis with socialist/communist ideology, so I propagated Fluxus as Neo-Socialist-Realism, and established the International Parallel Union of Telecommunications (IPUT) in 1966, a Big Sister institution to counterbalance the power of the International Telecommunication Union, which controls the totality of the electromagnetic spectrum deeply into interstellar space as well.’ Interview with Jon Hendricks in MoMA Post notes on Art, 19 December 2018

In 1969, he organized the first Fluxus concert in Budapest. His work often challenged political and social norms, leading to his expulsion from Hungary in 1975. He settled in Switzerland and returned to Hungary in 1991.

In 2004, Tamás St. Auby showed several works in a group exhibition ‘Freedom Borders’ in Galerie van Gelder. During the installation he told me his view on the Hungarian society. Once back in his country after his exile, he discovered that although the political leaders from the communist era had been removed from their positions, the elite in the lower echelons (with their more than dubious or corrupt Stasi behavior in the past) had once again secured influential positions. To this day, he challenges unstoppable political and social norms in Hungary.

TAMÁS ST. AUBY, Subsist.ence Level St.andard Project 1984, 2013


TAMÁS ST.AUBY, SUBSIST.ENCE LEVEL ST.ANDARD Project 1984, 2013
29,7 x 21 cm
2 prints (screen shots website ExIndex)
inv.DTan 000

One of the most unknown-known Hungarian artists is Tamás St. Auby (ps. of Tamás Szentjóby, born in 1944) being a non-artist, poet and performer, both inside and outside of the arts. He founded IPUT / ‘International Parallel Union of Telecommunications’ in 1968. Its central idea: “The art is hokum. The history is hokum. Art is everything, what not allowed. Be not allowed!” He had to leave Hungry in 1975, and he came back not earlier than in 1991.

When I met Tamás St. Auby for the first time in his studio in 2004, I was quite impressed by his for me scary shamanistic dominance in his social interaction. Yet his presence was deeply lived through and sensitive. His attitude was not one of being an artist in the first place but more one of a teacher of an academy in Budapest. At once it was clear to me that I wanted to invite him to participate in ‘Freedom Borders’, a group exhibition with Hungarian artists I curated in Galerie van Gelder, Amsterdam in 2004. The other two artists were Szabolcs KissPàl and visual poet and writer Dezsö Tandori.

 

Part of installation in ‘Freedom Borders’ at Galerie van Gelder, 2004

Foto K. van Gelder, Amsterdam

TAMÁS ST. AUBY, Ballot-Disco, 2004
250 x 140 x 140 cm
wood, voting bills, pen, walk-man/sound, map, light, human skull, plastic curtain, cardboard box

ERIC ANDERSEN, ‘Great occupation, but very few plants’, 2013


ERIC ANDERSEN, ‘Great occupation, but very few plants’, 2013
2 prints on A4, added 2 prints about exhibition Tamás St. Auby
mail 15 May 2013 at 13:44 hours about announcement of Tamás St. Auby’s exhibition at Museum Ludwig, Budapest, Hungary

By mail Eric Andersen gave a comment on an announcement of Hungarian artist Tamás St. Auby’s call to occupy “Rosa Fluxemburg Platz” on behalf of his exhibition in Museum Ludwig in Budapest: ‘Great occupation, but very few plants’. The chosen font of the lettering in red is typical for Andersen and may be found on badges he made with various texts.

 

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