This exposition is a highly original, wide-ranging journey of discovery into the work of Alighiero Boetti, a leading 20th-century Italian artist, at a time when his art is enjoying great popularity. Curated by Luca Massimo Barbero, the Director of the Institute of Art History at the Fondazione Giorgio Cini, with the collaboration of the Alighiero Boetti Archive, Alighiero Boetti: Minimum/Maximum shows the results of an unprecedented selection and comparison: the exhibition will explore the contrast between the smallest and largest formats of all the most representative series of works by the Turin artist, thus focusing on one of the themes that best illustrate Boetti’s creative procedures. The exhibition has been organized by the Fondazione Giorgio Cini in collaboration with Tornabuoni Art.
“The exhibition enables viewers to explore a non-anthological and highly unpredictable itinerary of relations, unique in its kind, created by bringing together Boetti’s large-sized works from public and private collections”, explains Luca Massimo Barbero. “It is the result of a coherent project specially conceived for Venice at a time of great international acclaim for one of the most important exponents of Italian art.”
Divided into sections with a total of over twenty works, the exhibition includes Boetti’s most significant series (Embroideries, Maps, Everything and Biro), and some lesser known works such as Coloured Tokens, The Natural History of Multiplication and Covers. There are also some previously never publicly shown works, such as the coloured tokens of Summer 70 (1970) – loaned directly by the artist’s family – and Titles (1978), one of the largest formats in the monochrome Embroideries. In the exhibition there will also be one of the largest works from Mimetic (1967), a very early Boetti series, on loan from the Fondazione Prada.
The format is a crucial theme in understanding how Boetti conceived and produced his works. It is directly connected to the concept of time as, for example, in the first work on the exhibition itinerary, Summer 70, a roll of paper twenty metres long, on which Boetti stuck thousands of self-adhering tokens. This work is unique in terms of its size and for having introduced in such a striking way the theme of the time required to contemplate a work of art. Meaningful in a complementary way, the minimum-format works represent the other extreme in the dialectical opposition in Boetti’s creativity.
Isola di San Giorgio Maggiore
Venice | Italy