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 I sei sensi 1973 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 Self-portrait 1993 / 1996

Alighiero Boetti

Everything)

1988

Courtesy :

Everything of 1988 is one of a series of tapestries made in Peshawar by Afghan women embroiderers who had fled to Pakistan after the Soviet invasion. Starting from the idea of fragmentation, originated in a 1969 concrete work called Pack, and going through the concept of Identity loss which characterises some of the 1980 works, in the early Eighties Boetti conceives the very first Tutto: countless abstract and figurative forms, slotted together so as to fill the whole area of the embroidery. For each of the colours the same length of thread is used, leading to an optic effect of total saturation.
Designed by the artist, with each iconographic element drawn by his assistants, and woven by people from other cultures who bring their heritage of different traditions, outlook, emotions into the work, the Everything cycle really is the symbol of Boetti’s nomadism, of the fracture between conception and material production he enacts in his attempt to embrace the endless variety of the world.
 

Despite their  opposite look, Twenty-five times twenty-five six-hundred twenty-five letters and Everything share a same encyclopaedic tension. The first one put together, in her white square structure, all sentences and sayings recurrents in Boetti's work, like Twenty-five times twenty-five six-hundred twenty-five letters, which referes to italian alphabet's letters, which allow to compose every world and express every concepts.
The second one, Everything, is one of a series of tapestries made in Peshawar by Afghan women embroiderers who had fled to Pakistan after the Soviet invasion. Starting from the idea of fragmentation, originated in a 1969 concrete work called Pack, and going through the concept of Identity loss which characterises some of the 1980 works, in the early Eighties Boetti conceives the very first Tutto: countless abstract and figurative forms, slotted together so as to fill the whole area of the embroidery. For each of the colours the same length of thread is used, leading to an optic effect of total saturation.
Designed by the artist, with each iconographic element drawn by his assistants, and woven by people from other cultures who bring their heritage of different traditions, outlook, emotions into the work, the Everything cycle really is the symbol of Boetti’s nomadism, of the fracture between conception and material production he enacts in his attempt to embrace the endless variety of the world.
 

Twenty-five times twenty-five six-hundred twenty-five letters

1988

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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