November 19, 2017
November 29, 2017

Third tome / part 2


EDITED BY: Archivio Alighiero Boetti




The current scientific direction of the second part of the Third Tome is entrusted to Mark Godfrey, young curator of the Tate Modern and esteemed art historian (author of a recent Alighiero Boetti monograph and co-curator of the Game Plan exhibition, which saw the Alighiero Boetti’s work in the three offices of Tate, Moma and Reina Sofia).
In resuming, with enthusiasm and esteem, the reins of the work on the General Catalog, Godfrey underlined the continuity with the methodological approach of his predecessors Annemarie Sauzeau and Jean-Christophe Ammann, who disappeared recently, in 2014 and 2015, which gave body not only to the previous volumes, but provided the structural imprint for the possible classification of the whole work of Alighiero Boetti. At the same time, the English curator has redefined and updated the boundaries of publication in a more modern sense, linked to new interpretations of the work.
The Committee of Honor, which offers its approval and its supervision, is composed of Lynne Cooke, Sir Nicholas Serota, Philippe Vergne and Achille Bonito Oliva, while the Scientific Committee by Carolyn Christov-Bakargiev, Hans Ulrich Obrist, Laura Cherubini and Giorgio Verzotti.

This second part follows, obviously, the chronological arc of the first, from 1980 to 1987, but the works are of a completely different nature. Compared to the Biro and the Airplanes, the big embroideries, as well as the Maps, the works, object of study of this new volume, are more ‘personal’, sometimes private, often realized by Boetti without delegation and constituted mostly by works on paper. A large quantity of heterogeneous sheets, dimensions and iconographies is at the center of crucial years for the artist – often reflecting changes – who sees the possibility of Afghanistan being barred (only in 1986 will he start a new possible production in Pakistan), which undergoes changes in personal life (including the painful separation from Annemarie Sauzeau) and a change in the tunnel, and therefore the market, compared to the seventies. A complex decade of emptiness and impasse, which results in a new creative vitality and a ‘revolution’ of new cycles (La natura, una faccenda ottusa, Calligraphy, Covers, Clessidra cerniera e viceversa, etc.)

In addition to the works on paper, in the second part, will be present, even the small embroidery (which testify and reconstruct the beginning of production in Pakistan highlighting the continuity attempt and at the same time the changes compared to the embroideries of the ’70s), the editions (smaller than the previous decade) and the ‘Arte Povera’ remake, or a core of works in which Boetti, especially on occasions of exhibitions, rebuilt the destroyed or missing works or no longer owned by the 60s and 70s and in particular of Arte Povera.

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