blue ballpoint pen on canvas-backed paper 11 pieces
21.02.09 | 11.05.09
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
I sei sensi
Private collection/ Kunstmuseum Liechtnstein, Vaduz
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.
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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