Pick of the Week for July 25th, 2012
Granted, to write a rave review of a show closing in four days is regretable. But when the art work on display and the curatorial excellence is so remarkable, it would be more of a crime not to sing its praises. The exhibition in question is the remarkable retrospective of Alighiero Boetti titled Order and Disorder at the Fowler Museum. Boetti was an artist of the highest magnitude. His intellectual approach to image making was both conceptual and deeply sincere, a rare combination. We in Los Angeles owe a debt of gratitude to co-curators Alma Ruiz and Christopher G. Bennett and the Fowler Museum for bringing the work here, installed thoughtfully and educationally.
Alighiero Boetti (1940-1994) rose to aesthetic prominence out of the Arte Povera movement coined and propagated in Italy of the the mid to late 1960′s. The “everything can be art” radicalism of that period seems almost quaint in the slap dash aesthetics to be witnessed in our current MFA infested landscape of non-exceptionalism. Boetti early on began a collaboration with Afghan women who would embroider his texts, altered maps and puzzle-like patterns onto cloth and linen. The effect immediately became both highly contemporary and infused with the folksy hand hewn execution of old world tradition. It also became a signature style, immediately recognizable and thus iconic.
The text pieces, in a myriad of languages, draw you in with their mathematically derived structure. They have content and pattern. They ache for a reading, both literal and metaphorical.
The map pieces, replacing the physical shape the boundaries of nations have with their corresponding flags, embrace a world ethnographic paradigm. Much like Jasper Johns’ flag, the shape, color and pattern is predetermined but the execution lends endless variation. And over time, national identities, boundaries and flags changed thereby lending an air of historical trajectory.
Lastly, and perhaps most rapturously, Boetti’s Tutto (Everything) pieces are funny and poignant. They initially read as allover/endless patternation. Then one’s eye begins to identify figures and objects all intricately interlocked like puzzle pieces. These single color silhouettes dance a syncopated rhythm of optimistic chaos.
The exhibition pairs a generous sampling of Boetti’s oeuvre with historical examples of embroidery of the Afghan artisans. Documentary photographs supplement the display lending an extra layer of narrative that makes everything more compelling. In the hands of less accomplished curators the inclusion of historical context and photographs could place a pall of ivory tower dogma on the proceedings but I’m pleased to say that no such stuffiness is to be witnessed here.
I beseech you, for all that is holy, get your aesthetically malnourished buns to the UCLA campus immediately and see this show before it closes this Sunday July 29th, 2012.
-Mario M. Muller, Los Angeles, July 24th, 2012
also by Mario M. Muller
- Rinko Kawauchi at Rose Gallery - May 18th, 2013
- Que Serra, Serra at Gagosian - May 16th, 2013
- Paris Photo, Los Angeles - April 29th, 2013
- Matt Wedel at LA Louver - April 19th, 2013
- George Stoll at Maloney Fine Art - April 11th, 2013