Saturday, July 7, 2012

Exhibitions | Alighiero e Boetti

  “Do you know why dates are so important? Because if you write, say, ‘1970’ on a wall, it seems like absolutely nothing, but in thirty years’ time . . . Dates have this beauty: the more time passes, the more beautiful they become.” 

"Mi Fuma il Cervello"
MoMA hosts Alighiero Boetti: Game Plan, a retrospective, organized in collaboration with the Museo Reina Sofía in Madrid and the Tate Modern in London, of works by Italian artist Alighiero e Boetti (1940–1994). Boetti was one of the representatives of the Arte Povera, a movement which similarly to conceptualism and minimalism was making use of common every day materials as well as incorporating thought process in the artwork.

Boetti was often incorporating reflections and aphorisms in his work:
“First of all I prefer thought. This is the basic thing. I really think manual skill is secondary. . . . It’s taking things from reality. Everything, however small and humble, always has a beginning and stems from reality.”
“I went to a supplier of building materials. It was thrilling to see the wonderful things that were there! Seeing all these materials filled me with such crazy enthusiasm, in the end it turned to nausea! But still, some of the best moments in Arte Povera were hardware shop moments.”
“For me, the work on the embroidered maps achieved the highest form of beauty. For the finished work, I myself did nothing, in the sense that the world is as it is (I didn’t draw it) and the national flags are as they are (I didn’t design them). In short, I did absolutely nothing. What emerges from the work is the concept.” 
“I have done a lot of work which presents a visual disorder that is actually the representation of a mental order. It’s just a question of knowing the rules of the game. Someone who doesn’t know them will never see the order that reigns in things. It’s like looking at a starry sky. Someone who does not know the order of the stars will see only confusion, whereas an astronomer will have a very clear vision of things.”

  “Often when I draw I use both of my hands. Normally I am right-handed. When I draw with my left hand it is a kind of conversation with myself exploring the positive and the negative, the ego and alter ego, the order and disorder and mounting it on paper. It is as if on one hand there is Alighiero and on the other, Boetti.”