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拍品专文
'The greatest joy on earth consists in inventing the world the way it is without inventing anything in the process'.
A. Boetti quoted in Alighiero Boetti, exh. cat , Museum für Moderne Kunst, Frankfurt Am Main, 1998 p. 297.
Executed in 1979 this Arazzo (Tapestry) is a playful tautological exercise, an open and self-defining work simultaneously full of both meaning and emptiness anchored around a simple code that does little more than to both construct and signify itself in an elegant form. Here, ranged around the central letter 'O' or perhaps a 'zero', the words 'segno' 'e' 'disegno' ('Sign', 'and' 'drawing/design') have been arranged in a yin and yang-like alternating harmony of black and white squares that together form a larger cohesive square whole.
While the reflexive simplicity of the title Segno e disegno is compartmentalized into a similarly reflexive and alternating pattern of its letters, the structure of the work and the apparent meaning of its title hints at a tautology or doubling principle that is found running throughout Boetti's work. 'The notion of double' Boetti once said, 'is present in all my work. The truth is that it is a natural reality: it is incontrovertible that a cell splits in two, then in four and so on that we have two legs, two arms and two eyes and so on; that mirrors double images; that Man has based his existence on a series of binary models, including computers; that the speech is based on couples of opposed terms []. It is evident then that the notion of couple is one of the fundamental archetypes of our culture []. (Alighiero Boetti, 1988, quoted www.museomadre. it)
This doubling and use of opposites functions in this work, in both the title and the structure of the tapestry by pointing to what Ferdinand Saussure famously called the apparent gap between the 'signifier and the signified'. This concept is here rendered, according to Boetti's guiding aesthetic principle of 'ordine e disordine', (order and disorder) - the idea that order and chaos are both constituent parts of each other - into a beautiful and poetic pictorial expression of the world as a field of perpetual flux held into a fixed system, or vice versa.
A. Boetti quoted in Alighiero Boetti, exh. cat , Museum für Moderne Kunst, Frankfurt Am Main, 1998 p. 297.
Executed in 1979 this Arazzo (Tapestry) is a playful tautological exercise, an open and self-defining work simultaneously full of both meaning and emptiness anchored around a simple code that does little more than to both construct and signify itself in an elegant form. Here, ranged around the central letter 'O' or perhaps a 'zero', the words 'segno' 'e' 'disegno' ('Sign', 'and' 'drawing/design') have been arranged in a yin and yang-like alternating harmony of black and white squares that together form a larger cohesive square whole.
While the reflexive simplicity of the title Segno e disegno is compartmentalized into a similarly reflexive and alternating pattern of its letters, the structure of the work and the apparent meaning of its title hints at a tautology or doubling principle that is found running throughout Boetti's work. 'The notion of double' Boetti once said, 'is present in all my work. The truth is that it is a natural reality: it is incontrovertible that a cell splits in two, then in four and so on that we have two legs, two arms and two eyes and so on; that mirrors double images; that Man has based his existence on a series of binary models, including computers; that the speech is based on couples of opposed terms []. It is evident then that the notion of couple is one of the fundamental archetypes of our culture []. (Alighiero Boetti, 1988, quoted www.museomadre. it)
This doubling and use of opposites functions in this work, in both the title and the structure of the tapestry by pointing to what Ferdinand Saussure famously called the apparent gap between the 'signifier and the signified'. This concept is here rendered, according to Boetti's guiding aesthetic principle of 'ordine e disordine', (order and disorder) - the idea that order and chaos are both constituent parts of each other - into a beautiful and poetic pictorial expression of the world as a field of perpetual flux held into a fixed system, or vice versa.