Alighiero Boetti

Alighiero Boetti. Photo: Pasquale Leccese

 

Alighiero Boetti (1940–94) is one of the most important figures in post-war contemporary art and in the history of Italian art more generally. Rising to prominence in the 1960s and originally tied to the Arte Povera movement, Boetti later sought to distance himself from his compatriots and by the start of the 1970s was undertaking investigations into a string of dualities, from order and disorder, to indeterminacy and logic, and classification and boundlessness. Through drawing, painting, sculpture, embroidery, weaving, mail art and conceptual practices, Boetti engaged himself with an unpredictable and expanding global perspective.

 

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From the outset, Boetti’s Arte Povera assemblages differed from those of his contemporaries; he was not so concerned with metaphor but rather concepts. The playful and often humorous sincerity and directness of their material gesture related more to the object’s function in the real world than abiding to traditional ideas of sculpture. Colonna (1967), a stack of hundreds of paper doilies, or Mimetico (1966), a painting of stretched camouflage fabric, evince an attitude that the choice and assembly of such ostensibly poor materials can constitute the smallest act of artistic creation. He later assigned himself the task of tracing over the grid of squared paper, exploring the idea of pointless, time-wasting work, and filling large sheets with endless biro scribbles.

Informed by his wide travels, Boetti addressed many of the concerns that artists today find equally fruitful; notions related to time and the temporal nature of making art, often with purposeful inefficiency; delegating fabrication to skilled craftspeople; and geopolitics and the social context of labor.  Boetti first visited Kabul, Afghanistan in 1971 and a few months after his first visit he returned to establish the One Hotel with local waiter and entrepreneur Gholam Dastaghir. Here his Mappe (1971–94) were also conceived, colorful weavings depicting maps of the world with the colors of each country filled in with their flag, produced by local craftswomen. For Boetti, the Mappe allowed him to “do nothing”, as not only were they made by others but he didn’t draw or design anything; the shapes of the countries’ borders and the designs of the flags were somewhat fixed. What emerges from the work is its concept with variances left to chance or the choices of the craftspeople, or later physical changes to national borders. Therefore the sea is sometimes pink or Sufi poems are written into the margins. Rather than just opposing order and disorder, he used the processes and logic as a means of creation.

Another project, Viaggi Postali (1969–70) consisted of him sending letters to artists and figures he admired using fictional addresses; once they were returned he sent them on again on imaginary journeys, playing with chance within the order of the postal system and then even classifying them by the color of the stamps. The systems and sequences of classification and the knowledge they create and perpetuate never ceased to interest Boetti. A persistent interest in duality and multiplicity is even seen in the e (and) he added as his middle name, suggesting he is two separate people to challenge the idea of the unified artist. Similarly, by collaborating with creative workers from other cultures, he created a nuanced perspective on global political events and challenged a mode of art production and reception dominated by the west.

 

Works
Alighiero Boetti
Alighiero Boetti
Mappa, 1989

Alighiero Boetti
Mappa, 1989
Embroidery on nettle
115 × 215 cm
45 1/4 × 84 5/8 inches

Alighiero Boetti
Alighiero Boetti
Kabul, 1970

Alighiero Boetti
Kabul, 1970
Collage
57 × 76 × 3.5 cm (framed)
22 3/8 × 30 × 1 3/8 inches (framed)

Alighiero Boetti
Alighiero Boetti
Niente da vedere niente da nascondere, 1969

Alighiero Boetti
Niente da vedere niente da nascondere, 1969
Iron and glass
300 × 400 × 4 cm
118 × 157 1/2 × 1 5/8 inches

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Alighiero Boetti
Alighiero Boetti
Millenovecentosettanta, 1970

Alighiero Boetti
Millenovecentosettanta, 1970
Lacquer on wood
28.5 × 28.5 cm
11 1/8 × 11 1/8 inches

Alighiero Boetti
Alighiero Boetti
Millenovecentosettanta, 1970

Alighiero Boetti
Millenovecentosettanta, 1970
Spray paint on paper mounted on canvas
71.3 × 71.3 cm
28 × 28 inches

Alighiero Boetti
Alighiero Boetti
Tutto, 1988

Alighiero Boetti
Tutto, 1988
Embroidery on nettle
100 × 107 cm
39 3/8 × 42 1/8 inches

Alighiero Boetti
Alighiero Boetti
Fortuna e Sfortuna, 1993
Piegare e Spiegare
Un pozzo senza fine, 1991

Alighiero Boetti
Fortuna e Sfortuna, 1993
Piegare e Spiegare
Un pozzo senza fine, 1991

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Alighiero Boetti
Alighiero Boetti
Ononimo, 1973

Alighiero Boetti
Ononimo, 1973
Biro on paper, framed, 11 parts
70 × 100 cm each
27 5/8 × 39 3/8 inches each

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Alighiero Boetti
Alighiero Boetti
Insicuro Noncurante, 1966-75

Alighiero Boetti
Insicuro Noncurante, 1966-75
Mixed media
82 sheets, each 55 × 45 cm
Box: 65 × 46 × 7 cm
82 sheets, each 21 5/8 × 17 3/4 inches
Box: 25 5/8 × 18 × 2 3/4 inches

More views
Alighiero Boetti
Alighiero Boetti
Insicuro Noncurante, 1966-75

Alighiero Boetti
Insicuro Noncurante, 1966-75
Mixed media
82 sheets, each 55 × 45 cm
Box: 65 × 46 × 7 cm
82 sheets, each 21 5/8 × 17 3/4 inches
Box: 25 5/8 × 18 × 2 3/4 inches

Alighiero Boetti
Alighiero Boetti
Da uno a dieci, 1980

Alighiero Boetti
Da uno a dieci, 1980
Printed cards, 10 panels, colour, published by Emme Edizioni
25 × 37 × 0.7 cm
9 7/8 × 14 5/8 × 1/4 inches

More views
Details
Alighiero Boetti

Alighiero Boetti
Mappa, 1989
Embroidery on nettle
115 × 215 cm
45 1/4 × 84 5/8 inches

Alighiero Boetti
Mappa, 1989
Alighiero Boetti

Alighiero Boetti
Kabul, 1970
Collage
57 × 76 × 3.5 cm (framed)
22 3/8 × 30 × 1 3/8 inches (framed)

Alighiero Boetti
Kabul, 1970
Alighiero Boetti

Alighiero Boetti
Niente da vedere niente da nascondere, 1969
Iron and glass
300 × 400 × 4 cm
118 × 157 1/2 × 1 5/8 inches

Alighiero Boetti
Niente da vedere niente da nascondere, 1969
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Niente da vedere niente da nascondere, 1969

Alighiero Boetti
Niente da vedere niente da nascondere, 1969
Alighiero Boetti

Alighiero Boetti
Millenovecentosettanta, 1970
Lacquer on wood
28.5 × 28.5 cm
11 1/8 × 11 1/8 inches

Alighiero Boetti
Millenovecentosettanta, 1970
Alighiero Boetti

Alighiero Boetti
Millenovecentosettanta, 1970
Spray paint on paper mounted on canvas
71.3 × 71.3 cm
28 × 28 inches

Alighiero Boetti
Millenovecentosettanta, 1970
Alighiero Boetti

Alighiero Boetti
Tutto, 1988
Embroidery on nettle
100 × 107 cm
39 3/8 × 42 1/8 inches

Alighiero Boetti
Tutto, 1988
Alighiero Boetti

Alighiero Boetti
Fortuna e Sfortuna, 1993
Piegare e Spiegare
Un pozzo senza fine, 1991

Alighiero Boetti
Fortuna e Sfortuna, 1993
Piegare e Spiegare
Un pozzo senza fine, 1991
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Fortuna e Sfortuna, 1993
Embroidery on nettle
17.8 × 19 × 2 cm
7 × 7 1/2 × 7/8 inches

Alighiero Boetti
Fortuna e Sfortuna, 1993
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Piegare e Spiegare
Embroidery on nettle
24 × 24 cm
9 1/2 × 9 1/2 inches

Alighiero Boetti
Piegare e Spiegare
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Un pozzo senza fine, 1991
Embroidery on nettle
23.5 × 23.5 cm
9 1/4 × 9 1/4 inches

Alighiero Boetti
Un pozzo senza fine, 1991
Alighiero Boetti

Alighiero Boetti
Ononimo, 1973
Biro on paper, framed, 11 parts
70 × 100 cm each
27 5/8 × 39 3/8 inches each

Alighiero Boetti
Ononimo, 1973
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Ononimo, 1973

Alighiero Boetti
Ononimo, 1973
Alighiero Boetti

Alighiero Boetti
Insicuro Noncurante, 1966-75
Mixed media
82 sheets, each 55 × 45 cm
Box: 65 × 46 × 7 cm
82 sheets, each 21 5/8 × 17 3/4 inches
Box: 25 5/8 × 18 × 2 3/4 inches

Alighiero Boetti
Insicuro Noncurante, 1966-75
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Insicuro Noncurante, 1966-75 (detail)

Alighiero Boetti
Insicuro Noncurante, 1966-75
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Insicuro Noncurante, 1966-75 (detail)

Alighiero Boetti
Insicuro Noncurante, 1966-75
Alighiero Boetti

Alighiero Boetti
Insicuro Noncurante, 1966-75
Mixed media
82 sheets, each 55 × 45 cm
Box: 65 × 46 × 7 cm
82 sheets, each 21 5/8 × 17 3/4 inches
Box: 25 5/8 × 18 × 2 3/4 inches

Alighiero Boetti
Insicuro Noncurante, 1966-75
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980
Printed cards, 10 panels, colour, published by Emme Edizioni
25 × 37 × 0.7 cm
9 7/8 × 14 5/8 × 1/4 inches

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Alighiero Boetti
Alighiero Boetti

Alighiero Boetti
Da uno a dieci, 1980 (detail)

Alighiero Boetti
Da uno a dieci, 1980
Details
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Exhibitions at Sprüth Magers
Alighiero Boetti

Alighiero Boetti
Insecure Unconcerned
March 29–May 25, 2024
New York

At the core of Alighiero Boetti’s inventive and conceptually rigorous practice lies a philosophical interest in the liminal space between polarities. Raising existential questions centered around the theme of ordine e disordine (order and disorder), his modern parables and metaphors playfully delve into the complexities and contradictions of the human condition.

Monika Sprüth and Philomene Magers are honored to present Insecure Unconcerned, a solo exhibition of works by Boetti, on the occasion of the thirtieth anniversary of the artist’s death. The show at the New York gallery is dedicated to the late Pasquale Leccese, a close friend of Boetti’s and curator of the artist’s previous presentations with the gallery: Early Works, Sprüth Magers, London (2003) and Works 1966–88, Sprüth Magers, Munich (2002). Before he died last year, Leccese was planning to curate Insecure Unconcerned in celebration of Boetti. Comprising artworks from four decades and providing an overview of his seminal oeuvre, the exhibition will include Insicuro Noncurante (1966–75), Tutto (1988) and Mappa (1989), “Biro” drawings (1975–78), selected “Arazzi” (1977–94), and Aerei (1983–89), alongside rich archival material.

Arte Povera and 'Multipli' Torino 1970–75
Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, Salvo, Gilberto Zorio
curated by Elena Re
September 18, 2014–April 2, 2015
Berlin

In 1970 Giorgio Persano opened 'Multipli', his first gallery in Torino. 'Multipli' was exceptional for its time. Working with Arte Povera artists and with other Italian artists linked to the conceptual art of the era, 'Multipli' produced a significant body of multiples from 1970 to 1975.

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Alighiero Boetti
Alighiero Boetti

20th Anniversary Show
John Baldessari, Alighiero Boetti, George Condo, Walter Dahn, Thomas Demand, Thea Djordjadze, Peter Fischli David Weiss, Sylvie Fleury, Andreas Gursky, Jenny Holzer, Gary Hume, Axel Kasseböhmer, Karen Kilimnik, Astrid Klein, Barbara Kruger, Louise Lawler, Jean-Luc Mylayne, Nina Pohl, Richard Prince, Ed Ruscha, Frances Scholz, Andreas Schulze, Cindy Sherman, Rosemarie Trockel, Andrea Zittel, Philip-Lorca diCorcia
April 25–October 18, 2003
Cologne

In 1983, Monika Sprüth opened her Cologne based gallery with a solo show by Andreas Schulze. Starting from the idea to establish a forum for young and unknown artists, the central focus of the gallery concept was developed in the discourse of the 80s. The gallery program was completed by recourses to artistic attitudes of the last 40 years. This research, motivated by reflection on contemporary art history, was more and more realized in cooperation with Philomene Magers who directed her Bonn gallery since 1992. After a few years of loose cooperation, Monika Sprüth Gallery and Philomene Magers Gallery aligned with each other after, and together the Monika Sprüth / Philomene Magers Gallery opened up in Munich in 1999.

Press

Size matters: the large and very small art of Alighiero Boetti
The Art Newspaper, review by Gareth Harris, May 11, 2017

Alighiero Boetti: “La Forza del Centro”
The New York Times, article by Roberta Smith, March 7, 2013

Giving Time to Time
Tate ETC, article by Mark Godfrey, Spring 2012

“One of the most important days in my life”
Tate ETC, article by Hans Ulrich Obrist, Spring 2012

Alighiero Boetti: Nuseo Nacional Centro De Arte Reina Sofía, Madrid
Artforum International, review by Anna Lovatt, March 2012

Alighiero e Boetti
Frieze, review by Luca Cerizza, September 2009

On the Road to a State of Grace
Tate ETC., essay by Brooks Adams, Summer 2008

Alighiero e Boetti: Whitechapel Art Gallery, London
Artforum International, review by Barry Schwabsky, February 2000 

Alighiero E Boetti & Frédéric Bruly Bouabré: Dia Center for the Arts 
Artforum International, review by Robert Farris Thompson, March 1995

Alighiero E Boetti
Parkett, article by Jean-Christophe Ammann, 1990

Biography

Alighiero Boetti (1940–94). Selected solo exhibitions include Museo Nacional Centro de Arte Reina Sofía, Madrid (2011, traveled to Tate Modern and Museum of Modern Art, New York), Contemporary Arts Museum, Houston (2002), Whitechapel Gallery, London (1999), Museum für Moderne Kunst, Frankfurt (1997), Galleria Nazionale d’Arte Moderna, Rome (1996), La Biennale di Venezia (1995), Museum of Contemporary Art, Los Angeles (1994), Palais des Beaux-Arts, Brussels (1994), Kunsthalle Basel (1978) and Centre d’Art Contemporain, Geneva (1977).

https://www.archivioalighieroboetti.it
http://www.fondazioneboetti.it

Awards, Grants and Fellowships
1990 Premio Speciale della Giuri, La Biennale di Venezia, Venice
Public Collections
Castello di Rivoli Museum of Contemporary Art, Turin
David Winton Bell Gallery at Brown University, Providence, Rhode Island
Fonds Regional d'Art Contemporain (FRAC) Bourgogne, Dijon
Fundación Proa, Buenos Aires
Fundació Suñol, Barcelona
Gallerie di Palazzo Leoni Montanari, Vicenza
GAM - Galleria Civica d'Arte Moderna e Contemporanea, Turin
Goetz Collection, Munich
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Kunstmuseum Lucerne
Migros Museum, Zurich
Museo di Arte Moderna e Contemporanea, Trento
Museum of Contemporary Art, Los Angeles
Museum of Contemporary Art, Sydney
Museum of Modern Art, New York
Palazzo Grassi, Venice
Philadelphia Museum of Art
Stedelijk Museum voor Actuele Kunst, Ghent
Tel Aviv Museum of Art