.jpg?w=1)
拍品专文
From his very earliest work, such as his cardboard tower Rotolo di cartone or his Dama in the 1960s, children’s games often played a central role in Boetti’s aesthetic. The Faccine colorate (Coloured Faces) were a series of coloured drawings made between 1977 and 1979. For these Boetti had a print with a hexagonal grid of faces made which he then encouraged children to colour in.
The Faccine were to prove the first of an extensive series of works that Boetti would go on to make with children in the 1980s. In 1980 for example, he followed up the Faccine by creating a sequence of counting books using the outline of his young daughter Agata’s hands. Agata herself remembers the creation of the Faccine colorate, writing that for these works, ‘Alighiero had a great quantity of this poster printed. He didn’t sell them but gave them away. He gifted a poster, not an artwork. He would suggest to the those lucky enough to receive it to colour the poster. If, after their intervention, Boetti found it appealing, he would give it the status of artwork (usually by signing it) otherwise it remained a nice poster! My father would advise [the recipients] to have their children colour it, but under these conditions they were [often] terrified and didn’t want to risk entrusting their children with a hypothetical work of art!’ (A. Boetti, Il gioco dell’arte con mio padre Alighiero, Milan 2016).
This Faccine colorate from 1979 is a comparatively rare example in that it has been richly, carefully and completely coloured in using a variety of techniques.
The Faccine were to prove the first of an extensive series of works that Boetti would go on to make with children in the 1980s. In 1980 for example, he followed up the Faccine by creating a sequence of counting books using the outline of his young daughter Agata’s hands. Agata herself remembers the creation of the Faccine colorate, writing that for these works, ‘Alighiero had a great quantity of this poster printed. He didn’t sell them but gave them away. He gifted a poster, not an artwork. He would suggest to the those lucky enough to receive it to colour the poster. If, after their intervention, Boetti found it appealing, he would give it the status of artwork (usually by signing it) otherwise it remained a nice poster! My father would advise [the recipients] to have their children colour it, but under these conditions they were [often] terrified and didn’t want to risk entrusting their children with a hypothetical work of art!’ (A. Boetti, Il gioco dell’arte con mio padre Alighiero, Milan 2016).
This Faccine colorate from 1979 is a comparatively rare example in that it has been richly, carefully and completely coloured in using a variety of techniques.