Alighiero Boetti
111, 1994
3715-BK
Signature red cloth cover with photocopies of newspapers and some of his earlier pieces . Edition of 160 copies signed and numbered. 30.5x21.5cm
Price Upon Request
Alighiero Boetti
Cieli ad Alta Quota, 1992
4093-BK
Puzzle on paper, 6 parts,
Price Upon Request
Alighiero Boetti
I Mille Fiumi Più Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world), 1977
10243-BK
8 3/8 x 6 3/8 x 2 1/8 in. (21.5 x 16.5 x 5.5 cm)
Deluxe issue with hand sewn cover. Printed by Boetti in Ascoli Piceno, 1977. Text by Anne-Marie Sauzeau-Boetti. 1006 pages.
Boetti worked with Anne-Marie Sauzeau on this book for over seven years. The desire to reduce the world to the binary logic of “right or wrong” may well be an acrobatic feat of highly refined, abstract intelligence but it is knowledge that bypasses the world. At the time, the world’s rivers hadn’t been measured and measurements fluctuated substantially, regarding not only the source, but even the course and the mouth of the rivers. Fluctuations up to 100 miles in length were no exception. In the book, each page is devoted to one river with a factual list of its technical data. The book conveys metaphor, process, and reality. This copy is #31 of 150 deluxe copies, with hand-sewn cover. Ex-collection Umberto Morera.
Price Upon Request
Alighiero Boetti
I Mille Fiumi Pi√π Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world), 1977
7371-BK
8 3/8 x 6 3/8 x 2 1/8 in. (21.5 x 16.5 x 5.5 cm)
Printed by Boetti in Ascoli Piceno, 1977. Text by Anne-Marie Sauzeau-Boetti. Edition with red cover, numbered; 1006 pages. Produced over seven years, Boetti collaborated on this book with art critic Anne-Marie Sauzeau. Boetti had a keen interest in the relationship between chance and order, numbers and the world in various means of organization and classification, and the ways in which cultural order is imposed on the complexities of nature. Known to many scientists as “Boetti List,” the thousand plus-page book categorizes a thousand waterways in order of their length according to the most reliable documentary sources at the time. Each page is devoted to one river with a factual list of its technical data. The book conveys metaphor, process, reality—at once poetic and scientific. Edition of 500 copies.
Price Upon Request
Alighiero Boetti
ALIGHIERO BOETTI (Turin) "BESPRECHUNGSVORTRAG". MANGIONE SALVO (Turin). Aktionsraum 1, Munich, Germany. April 11, 1970., 1970
3694-PR
Exhibition poster. Black silkscreen printed on white paper. Text in German. Very good condition. 34 x 24". Reference: pp. 116 - 117 AKTIONSRAUM 1 ODER 57 BLINDENHUNDE. A 1 Informationen Verlagsgesellschaft mbH, Munich, Germany. August 1971. Arte Povera. Aktionsraum 1 was a space for transgressive thought and activity in a politically hot climate, serving as an art-making stage and arena for social critique. Fittingly what remains are not the actions nor commodifiable objects, but the announcements pasted on city walls and streets; the throwaway gesture. Boetti's image in the poster: it's titled "gemelli" and the original work is a photographic postcard (10x15) that was sent out to friends by Boetti. In this image Boetti divided his person in "Alighiero" and "Boetti", two different faces of the unique person.
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Alighiero Boetti
Dossier Postale, 1969-70
11721-BK
13 3/4 x 9 3/4 in. (35 x 25 cm)
Boetti designated 26 recipients, primarily artists (Giulio Paolini, Ettore Spalletti), art critics (Lucy Lippard, Arturo Schwarz), dealers (Konrad Fischer, Leo Castelli), and collectors (Count Panza di Biumo, Corrado Levi). To each recipient Boetti assigned an imaginary itinerary, a trip to certain specific places in Italy or elsewhere. The program was to send an express mail envelope, presumably empty, to each person at each stop along their itinerary. Since the itineraries were imaginary, the addressee would naturally not be found, and therefore the envelope would be returned to its sender, Boetti, who would place the returned envelope inside a somewhat larger one. This new envelope would then be addressed to the second stop on the journey, with, of course, the same result. With each step, the outer envelope would grow larger, and its contents would grow thicker, denser with history and information. But the addressee would never see or know of any of the envelopes or its contents, which would ultimately remain with the artist. This Copy #31 comes in 3 red cloth bindings made by the artist
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