21.02.09 | 11.05.09

Oeuvre postale 1993 Alternating One to One Hundred and Vice Versa 1993 Anno 1990 (Year 1990) 1990 Mappa 1989 - 1992 Cartoline astratte 1987 Codice: Eritrea libera 1975 La Mole Antonelliana 1973 - 1975 Serie di merli disposti a intervalli regolari lungo gli spalti di una muraglia ( Serie di merli disposti a intervalli regolari lungo gli spalti di una muraglia 1971 - 1993 Permutazione e disegni (Lavoro Postale) 1973 Autodisporsi (Lavoro postale) (Placing oneself – Postal work) 1972 Otto lettere dall'Afghanistan Otto lettere dall'Afganistan 1972 Viaggi Postali 1969 - 1970 Dossier Postale (Postal dossier) 1970 - 1971 Lampada annuale 1966 Niente da vedere nulla da nascondere 1969 / 1986 Colonna 1968 Mimetico 1967 12 forme a partire dal 10 giugno 1967 1967 - 1971 Territori occupati Territori occupati 1969 Ordine e disordine 1973 AW:AB=L:MD 1967 Gemelli 1968 Shaman Showman 1968 Io che prendo il sole a Torino il 19 Gennaio 1969 1969 / 1992 Cimento dell'armonia e dell'invenzione 1969 Strumento musicale 1970 The Sighted 1967 Pile 1966 Untitled (Radial Turntable, Zenithal Turntable) 1969 Untitled (Stella Performance) 1969 Petite composition en bois 1962 Senza Titolo 1965 Untitled 1965 Insicuro noncurante 1972 - 1976 Mettere al mondo il mondo 1972 - 1973 Onomino 1973 Iter-vallo 1969 / 1986 AEB 197 la metà e il doppio 1974 Autodisporsi 1974 Autodisporsi 1974 Storia naturale della moltiplicazione 1974 - 1975 Ciò che sempre parla in silenzio è il corpo 1975 Tracce del racconto 1976 Il dolce far niente 1975 Order and disorder 1979 Vento 1985 Wind 1985 The thousand longest rivers in the world - project 1975 Classifying, the thousand longest rivers in the world 1977 Nature, an obtuse matter 1980 Twenty-five times twenty-five six-hundred twenty-five letters 1988 La natura, una faccenda ottusa[Nature, an obtuse matter] 1980 Animal Kingdom – Within oneself 1978 Musical Kingdom – Within oneself 1979 Kingdom of maps – Within oneself 1979 Tra sé e sé [Within oneself] 1987 Everything) 1988 Self-portrait 1993 / 1996

Alighiero Boetti

I sei sensi

1973

Courtesy :

The body always speaks in silence. Boetti urges reflection on this truth, which he writes on the wall during a "two-hand writing" performance in 1975. He will use the same sentence again in Emidio Greco’s film dedicated to him Nothing to See Nothing to Hide. The basis for this type of performance, that the artist conceived in 1970, consists in writing a sentence simultaneously with the right and left hands, as if to simulate the effect of a mirror. Formulated within the event’s ritual, the truths which the artist focuses on take on the power of a revelation or better, a discovery, immediately revealed by the artist’s “feeling and thinking body”. This idea of a "body capable of feeling and thinking" can first be identified in Me Sunbathing in Turin on 19 January 1969 and, later on, in two 1970 performances where Boetti's attention is focused on a precise time reference: Today is Friday 27 March 1970 …h (the artist’s house in via Luisa del Carretto, Turin) or Today is 24 September 1970 … h (Identifications, TV exhibition curated by Gerry Schum). This research on the body takes on a greater feeling of awareness after the artist read Norman O. Brown's book Love’s Body, which Boetti himself quotes on 11 April 1970 in his performance in Munich where he writes: “punto puntino goccia germe”. In the following years the human body as a harmonic whole of thouth and perceptions will return epythomized in the sentences of the Biro series, like I sei sensi of 1973 and Il dolce far niente of 1975.
 

Ciò che sempre parla in silenzio è il corpo

1975

Il dolce far niente

1975

Torino 1940 | Roma 1994
I always find myself talking about the notion of double, which […] is present in all my work. The truth is that it is a natural reality: it is incontrovertible that a cell ...
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