DA UNA COLLEZIONE PRIVATA EUROPEA
Si prega di notare che per questo lotto vi è un ulteriore dazio doganale pari al 6,5% per gli acquirenti italiani.
Please note that this lot is subject to an additional custom duty of 6,5% for Italian buyers.
Tutto is the complex result of a radical immersion into the shapes of Alighiero Boetti.
In 1967 Boetti created a combination of cement and asbestos inside a large vase, and named it Pack. The work is now unfortunately lost. This mixture that contains all matter and represents the thought process that accompanies Boetti in his journey to the discovery of all possible forms that will culminate in 1980 with the Perdita d’Identità (Loss of Identity), a cluster of figures drawn on paper that represent a pulsating mass of collective memory, a warning about the inextricable complexity, and twisted, yet extremely fascinating nature, of the products of man and nature.
Since the 1980s the artist has commissioned Afghan tapestries from Afghan women. His "recipe" travelled from Rome to Kabul, thenceforth passing into the expert hands of a group of embroiderers who had the fundamental role of configuring Boetti’s work. The tapestries are sewn according to the automatic chaotic rules of the unconscious and variegated according to the author's thought. "In order to avoid creating hierarchies among the colors I use them all" (Alighiero Boetti in A. Zevi, Alighiero and Boetti: Writing, Embroidering, Drawing, Corriere della Sera, 19 January 1992).
The silhouettes embroidered on the large tapestry recall recognisable forms: the silhouette of an airplane in flight, the profile of an animal or the outline of an instrument with an interesting shape. Everything embodies the principle of the charm of chaos in art, "a project that has the value of beauty that does not fear to flow into decoration" (Angela Vettese, Non marsalarti: instructions for the use of Boetti, 1996). As Mariuccia Casadio writes, "The tapestry of Alighiero and Boetti has certainly disclosed a new and captivating conjugation of high and low, concept and technique. A playful, noisy, spectacular articulation and proliferation of transgressive choices and traditional practices. An inlay of technical memory and aesthetic innovations. Preciously and cheerfully changing combinations of symbols and meanings, numbers and words, geographical places and geometric grids. A competition between order and disorder, right hand and left hand." (Alighiero Boetti, Quasi tutto, Bergamo 2004)
After all, as David Eugene Smith said, mathematics and poetry have a close relationship of kinship because they are both daughters of the imagination. And nothing like Tutto embodies this affirmation to the fullest.
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