Tamas St. Turba

*1944, (Hungary)

Czechoslovak radio
(1968 / ... - brick, glue, sulfur, cord - unlimited multiple)

When Czechoslovakia was invaded by Soviet army in 1968, people resisted to the repression of political reforms through creative means. After people were forbidden to listen to radio broadcasts, they started attaching antennas to bricks as a sign of protest.
Nothing more than painted bricks, these fake radios started to spread among the population pretending to listen to them, and although they were useless as a communication device, they were continuosly confiscated by the Russian Army. It is still unclear if this was caused by the genuine thought these were hidden audio equipments or because they were seen as anarchic pieces of art.
An early example of marriage between media and activism, these “devices” represent, for Tamás St. Turba, (poet, musician, and performance and Fluxus non-artist), “the mutation of socialist realism into neo-socialist realism: a non-art art for and by all”.

Bloody Film
(1968 / ... - film, blood - unlimited multiple)

New unit of measurement
(1965 / ... - lead bar - unlimited multiple)

Pour Empêcher le Méchant
(1972 / ... - unlimited multiple)

St.Rike Bow
(1972 / ... - broken bow - unlimited multiple)

International Parallel Union of Telecommunications (IPUT)
(trust.ee in bankruptcy: Tamás St.Turba (aka Szentjóby, Stjauby, St.Aubsky, Emmy Grant, T. Taub, St.Auby, etc.)

From 1961 on, Tamás St.Turba was involved in traditionally-oriented art and from the mid-60s the politically-based contest poetry of the Dumb Poets' Circle. In 1963 he began copying and distributing manuscripts of the banned author Béla Hamvas. In January of 1966, following his unsolvable semantic problems, he made the aesthetic and ethical decision to write his “final” poem, dedicated to János Pilinszky, and end his activity in art.
​Beginning in 1965 he had already defined his first intermedial action-objects; in the spring of 1966, having reevaluated his relationship with the here and now, he writes the first verses in Hungarian inspired by Pop Art, as well as visual, concrete and action-verses. The summer of 1966 saw him conduct the first happening in Hungary with Gábor Altorjay and Jankovics Miklós. Hitherto classified as a right-wing mystic by the State Security Authority (ÁVH), the authorities now gave him the code name “Schwitters” and began surveillance of him as an extreme left-wing anarchist, impeding his operations. This would accelerate a radicalization of his activities. Beginning in 1966 he translates, copies, and illigally distributes texts related to the Fluxus. He joins the Mail Art movement. In 1967, he takes part in Tadeusz Kantor's Panoramic Sea Happening in Kolobzeg, Poland; after an unsuccessful attempt to defect to Sweden from there, he is delivered back to Hungary. After this point he was denied a passport even to other eastern European countries.
​Participates in exhibitions both in Hungary and abroad, showing his drawings, visual-, etc.-poems, paintings, photographs, objects, environments, and other works, and organizes happenings, actions, action theater, action film theater, fluxconcerts, readings, lectures, and more, while making films and publishing abroad – all of this being semi-legal or illegal, and attracting the vengeful response of the Hungarian authorities.
​In 1966, he founds the International Parallel Union of Telecommunications (IPUT) under the code name Parallel Course/Study Track. Its goal is the “collective implementation of a level of reality parallel to the status quo,” and its primary slogans: Art is kitsch; History is kitsch, as well as Art is all that is prohibited. Be prohibited! In 1969, he joins the group IPARTERV, because he interprets this acronym as signifying the “Intermedia, Pop Art, Events, Change, Plot.”
​In 1972, he begins to work with the thematics of Strike, leading to the Subsist.ence Level St.andard Project 1984 W (SLSP1984W). His lecture at the Young Artists Club, Budapest, in 1975, Make a Chair! (hommage à George Brecht), deals with the “mutation basis of the Duchamp gambit ('Non-art as art') by the George Brecht development ('Non-art as art as non-art-art'): SLSP1984W is the pan-logical solution to the mythical 'failure': the theo-technical developing of Free Will” (IPUT)
​Because of his involvement with the samizdat movement, he is arrested together with the writer George Konrád and sociologist Iván Szelényi in 1974 and expelled from Hungary. Being a dual citizen of Switzerland and Hungary, marries for donating, so securing the Swiss nationality and passport to a Hungarian person without rights. He leaves the country in December of 1975 and, after six months travels around Europe, he settles in Geneva. He begins a friendship with the collectors and sponsors André l'Huillier and Richard von Goetz, both support the development of SLSP1984W and purchase a substantial number of his art and non-art-art pieces, meanwhile he organizes the L’Huillier-collection in a “non-Darwinist psychochromatic” order.
​In 1976, he opens the new center of IPUT, whose two main divisions are the Parallel Inspection of the People and the International Gray Cross, where preparations for the Five-Year Plan 1979-1984 W are underway until 1979. He breaks with for-profit galleries in 1977, and founds the institution called the Near East European Free University for Unemployed West Europeans, including the departments of Ast.ronomy, Rock&Roll, and St.rike (NEFUWASROST). In 1977 IPUT announces publicly the inevitable coming of the Subsist.ence Minimum Allocation.
​Between 1978-80 he was a post-graduate student at High School of Visual Arts, where his mentor was Cherif Defraoui, and at the Free Seismosophic University of Geneva.
​In 1979, declaring “I want to be a Christian”, he leaves the Roman Catholic Church. Beginning in 1980 he organizes several Non-art-art Strikes in Switzerland and by proxy in Hungary and Belgium.
​In 1980, as part of the Five-Year Plan, following the suggestion of the American psychologist James H. Bedford, the first cryonized human being, The Mutant is realised in the laboratory of the International Telecommunication Union (ITU) in Geneva. This is the Phase I of SLSP1984W in the wake of the heterarchical fusion between the IPUT and the ITU. The Mutant is an artificially new individual, initiated/reprogrammed by means of her mind-controlling will by biofeedback aquipment and conscious naming through voluntarist combinations by IPUT, made up of given elements of creationist/evolutionist mythological cycles. The Mutant is the one, who wants to survive without work solely by the Subsist.ence Minimum financed by the military budget. She is presented at the Museum of Natural Sciences and the Museum of Ethnology in Geneva. These presentations ultimate aim is to bring about a scientific/mythological legalization of the process and result.
​In Phase II, The Mutant Class – an artificial social class - is also defined through its conscious naming by IPUT in the Appartement Gallery, Geneva, in 1981. The Mutant is not alone. There are 700 Swiss citizens who request each year the Subsist.ence Minimum Allocation for 24 hours free-time (in 1981), and there would be much more if once it is constitutionally achieved. (23 percent of the Swiss voting population demanded the Unconditional Basic Income in the referendum of 2016.)
​Phase III (in 1981) sees the founding of the country, the 24th Canton, of those who reject military science as the overconsumption of the forbidden fruit. This takes place again through the naming contained in its 90-minute founding speech at the St. Borromée Chapel in Friburg, Switzerland. Only an application of the Holy Heterarchy, the Subsist.ence Minimum Allowance, constitutionally-sanctioned funding reallocated from the war-budget for participants in the Mythical Strike, can ensure the functioning of the myth that constitutes the pattern recognising, seizing and developing the Free Will: an end to the Mythical/Biblical Six Punishments: that is, to the subjugation of women by men, to the painful birthing, to the temptation to over-consumption of the spawns, to the destruction of the soil, to the work and to the death outside of Eden. “Down with Original Punishment! We Demand Amnesty!”- these are the words of the IPUT Manifesto. “While implementing ‘I am responsible for all&everything!’ – an inherent extra-mythical agenda for a given myth, as outlined in the pop-solipsist §2 of the Constitution of the 24th Canton, our only possibility of breaking out of the Mythical Blockade lies in practical implementation of the heterarchical transcendence of the degenerate creationist and the aberrant evolutionist myth cycles which are the consequences of the actualisation of the result of the mythic dichotomy of the mythic Good/Bad.” IPUT presents the first three Phases of the Subsist.ence Level St.andard Project 1984 W at the Kunshalle of Luzern and at the Musée Rath of Geneva in 1984.
​Starting in 1984 and finishing in 1996, there is a broader application of the SLSP1984W: Phase IV, consisting of research on Anatomical Immortality by the operation Katabasis Soterologiké: revisiting and abolishing the Inactual Mythic Hell. “Using the name T. Taub (‘T. Deaf’), he examines the inevitable process and outcome of Jackob Boehme’s Turba, 12 years of soundings, creating an extrapolary new arrangement of the building blocks of the reigning myth defined as Good/Bad in an aesthetic sense by the State/Church/Market in 3334 images (Baddrawing) and sentence-captions that accompany them (Badtitle). The process and outcome of the operation in an aleatoric/soteriologic (in other words, inevitable) sense, as a psychomutational epic of the non-art-art of the Strikers Living at the Subsist.ence Level summarizes all in the midst of the storm.” (IPUT). 3334 documents: drawings paintings, photographies, silkscreens, and texts constitutes the Book of sounding. (All digitised and published on USB card by Renée L’Huillier, the owner, in 2013.)
​In 1987, he opens with the financial help of André L’Huillier the Ruine Gallery, based on the principle of “No Profile/No Profit/No Pros/No Prole”, which he runs according to heterarchical principles: the exhibiting artist him/herself is his/her own gallerist.
​During the Sabbatical Year of 1989-90, he circles the globe in precisely one year as an honorary member of the International Flat Earth Society. This way he gets one day earlier into the future, so he sees today the tomorrow moments by moments. He saw the demolishing of the Iron Curtain one day earlier in NYC. He saw also that his deputy-assistant kicked him out from his post at the L’Huillier-collection one day earlier before his return to Geneva. And Taima, his grown-up daughter told her on that day: “I have no time to meet you tomorrow, because I meet Jule today.” This was the moment to return to the motherland to predict the future.
​“In the wake of the Hungarian Putsch of 1989, IPUT returns to Hungary in 1991, where it opens a Near East European Homogeneous Branch, from which it directs the post-1984 phases of Myth Correction, that, among other activities, transforms Hungary’s central symbol, the Statue of Liberation on Gellért Hill to the Statue of the Soul of Liberty.” (IPUT communiqué).
​Meanwhile, as director of a non-profit, state-run gallery in Budapest, stages Unikons, sole art pieces made by polyglot artists, one by one during some eighteen months. Then he is kicked out by the usual financial withdrawal-trick of the authority.
​Under the banner of Myth Correction again, he opens the NeoSocialist-Realist IPUT’s Global Counter Arthistory-Falsifiers Front (NETRAF) in 2001, which assembles, in 2003, the Portable Intelligence Increase Museum – Pop Art, Conceptual Art, and Actionism in Hungary during the 1960s (1956-1976), which is presented to great success both in Hungary and Austria, Germany, Slovenia. This documents the hitherto largely unknown corpus of that period, consisting of some 1100 works, banned or neglected by the closed-minded state security apparatus under the so called proletarian dictatorship. He, as superintendant of IPUT, simultaneously organizes Fluxconcerts, exhibitions and other events. Initiates the first direct democratic (extra-parliamentary) popular referendum in Hungary in 2002, which will be followed by dozens of other votings in Budapest and the countryside and in Warsaw, Prague, Wien, Nurenberg, Hamburg, Berlin, Paris, Milano. The issues on the referendum include joining the NEWNEEFLUGREEZ (Neutral Weaponfree Near-East European Fluxus Green Zone), or the Subsist.ence Level St.andard Allocation – the Basic Income, channeled from the military budget, or the liberating effects of the St.Rike, or the free-will-operations of transforming bad into good, or against free-sex through the withdrawal of lovemaking as Lysistrate from those who work, etc. ​
​Beginning in 1991 insuring him of having total autonomy, he accepts the invitation for lecturing in the newly established Intermedia Crèche of the Hungarian Mercantile-Military Penalty University of Fine Arts. He is the sole lecturer about Intermedia as such, because the department, according to its aim, should have been named Multimedia Crèche. The title of his lectures: Parallel Course/Study Track II – Anatomical Immortality. Due to his postulate of the appropriate application of the terminology “Monomedia – Mixed Media – Multimedia – Intermedia” in the context of “Art – Non-Art-Art”, and due to his demand for Direct Democracy, that is, the equal rights of students and professors and for the abolition of punishment and corruption and calumny at the university as well, in 2012 he is kicked out by the means of the fake financial withdrawal-trick again. All his efforts of freeing the badwill by goodwill day and night during 21 years were in vain again. He was not able to impliment a real change – as the surrounding society was not either again. The Milgramian 83 percent authoritarians won against themselves again. So, he declares again: “I am, the talentless, responsible for all&everything again and again!”
​He continues the instigation of the non-art-artistic St.Reik Macht Frei-program for and by the talentless, self-repressed majority. He constructs by the four mediatic, computerised Direct Democratic Voting Booth Environments of IPUT in order to catalyse the inevitable constitutional introduction of the Basic Income tomorrow financed by the military budget, the destructive surplus if it is consumed today, the Prohibited Fruit of the Myth.

The SLSP1984W partly or completely was presented:
1977: Galerie Gaetan, Geneva;
1977: Free International University, Documenta 6, Kassel;
1980: Museum of Natural Sciences; Museum of Ethnology; Galerie Appartement, Geneva;
1981: Chapel St.Bartolomée, Fribourg, CH;
1984: Kunshalle, Luzern; Musée Rath, Geneva,
1985: The Kitchen, NYC,
1987: Forum Stadtpark, Graz; University of Zagrab;
1996: Mucsarnok/Kunsthalle, Budapest;
1996-97: Musée Rath, Geneva;
1998: Gallery Bartók 32, Budapest;
1999: Theatre Komédium, Budapest;
2002: Moscow Square, Budapest;
2004: Gallery van Gelder, Amsterdam;
2005: MMG Gallery, Budapest;
2006: Kunstbunker, Nurenberg;
2007: Karneval-Karneval, Hamburg;
2008: Zahenta, Warsaw;
2009: Württembergischer Kunstverein, Stuttgart;
2009: Nova Galerija, Zagrab;
2011: Wiennafair, Wienna; transitdisplay, Prague;
2013: Ludwig Museum, Budapest;
2016: amt-project, Milano; Museum of Contemporary Art, Belgrade.

​Prizes: 1970: Béla Pásztor Prize for Poetry, established by Sándor Weöres; 1971: Kassák Prize from the Magyar Műhely literary magazin, Paris; 1974 and 1975: Spring Exhibition Prize from the Young Artists’ Club; 1994: Locus Signi Ribbon from Loose Pages, Budapest; 1996: MAOE Prize for his oeuvre; 2000: Novacom Prize for the multimedia publication of Henry Flynt 2, the organ of IPUT, originally a handprinted-publication in 1982, for its further-developed version on the internet; 2006: a radical group of students of the Intermedia Crèche of the Military Punishment Executive Fine Art University of Hungary honors him with the title and prize of “Unworthy Artist”, 2007: the mass-organization of young Hungarian artists, FKSE awards him the crypto-antroposophic Klára Herczeg Prize. In the same year, the turncoat Hungarian government attempts to recuperate his oeuvre by means of a Munkácsy Prize, but St.Auby redirects it in establishing the János Major Prize, which he bestows on his camarades Péter “Motor” Schmidt, Duke János January Baksa Soós, Miklós Mécs, and János Major himself. In 2009 he is awarded with the Mécs Miki Prize by Mécs Miklós.

(Translated from Hungarian by Jim Tucker and Tamás St.Turba)