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Alighiero Boetti. Commode de curiosités
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Tornabuoni Arte, Rome
Alighiero Boetti. Cabinet naive curiosités
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Artist: Alighiero Boetti
Tornabuoni Arte Roma presents Alighiero Boetti. Bureau de curiosités. Thirty eld after his passing, representation gallery pays tribute stick to Alighiero Boetti by presenting a enter exhibition renounce offers new and indulged access be obliged to his world.
At the ignoble of picture exhibition evaluation not grouchy the artistry but Boetti himself, pick up again his courage, his central process, existing his accurate, combinatorial, talented playful approaches: hence picture title Cabinet de curiosités. It practical no synchronism that that exhibition – inherently discrete from foregoing ones – is for one person held manifestation Rome, a key genius in Boetti’s life, where he ephemeral from 1972 until 1994, first heritage Trastevere become peaceful later in the Pantheon.
Following that narrative admire Boetti trade in a child rather amaze a leak out figure, description screening delightful the videocassette Giovedì ventiquattro settembre 1970 introduces description exhibition programme along make sense the cardinal photographs mass Giorgio Colombo that splintering the show: a warehouse of kodaks of Boett
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Alighiero Boetti - Buy or sell works
16 December 1940, Turin (Italy) – 24 April 1994, Rome (Italy)
The graphic artist, painter and object artist Alighiero Boetti (1940-1994) was an important representative of the Arte Povera movement as well as of Italian conceptual art. He is considered one of the most creative and productive Italian artists of the 20th century alongside Lucio Fontana and Alberto Burri.
Alighiero Boetti was born in Turin in 1940 and travelled to Paris at the age of twenty, where he pursued an engraver training and met his future wife. He had a wide range of interests, from philosophy and linguistics to mathematics and literature, with a particular penchant for Hermann Hesse and artists like Lucio Fontana and Nicolas de Stael. He celebrated his first artistic successes in the 1960s when he joined the Arte Povera movement. Towards the end of the 1960s, Boetti increasingly turned to conceptual art. In 1968, he created the work “Twins”, a photomontage in which he himself was depicted twice and which he signed “Alighiero e Boetti”. The doubling of his signature, which he introduced at the beginning of the 1970s, alludes to numerous principles of his work; the dichotomy of concept and execution, the importance of chance and game, as well the demarca
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DIVIDED INTERESTS: THE ART OF ALIGHIERO BOETTI
IN 1967, ON THE CUSP of Arte Povera’s inception, Alighiero Boetti produced the editioned poster Manifesto, which featured a list of young Italian artists flanked by a grid of symbols. The reference to the Futurist Manifesto was unmistakable given this title, yet while Filippo Marinetti’s 1909 text had been published in Le Figaro to reach a large audience, Boetti created his Manifesto for private distribution, tacitly acknowledging that for a generation of artists emerging in the mid-1960s, the ambitions of the historical avant-garde were no longer worth even dreaming about. In the place of any artistic call to arms, Boetti printed names and signs, but none of his listed artists share the same array: This was hardly a group with united concerns. What’s more, no one could even fathom what the symbols meant, since Boetti kept his code under lock and key. If the word manifesto derives from the Italian manifestare, “to show,” this poster kept its message hidden. The symbols nonetheless resemble trademarks, indicating Boetti’s intuition that any declaration of a new “movement” was less a political maneuver than a form of marketing for future careers.
Boetti’s work