Home > Catalogue > Venezia Arti > 26 | 2017 > Alighiero & Boetti: About the Signature as Identity and Duplication

Alighiero & Boetti: About the Signature as Identity and Duplication

Stefania Portinari    Università Ca’ Foscari Venezia, Italia    



On a 1968 spring morning, on Peschiera avenue in Turin, Alighiero Boetti (1940-94) splits himself in two, portrayed by the photograph Twins: a photomontage that not only shows a replica of him, as much as reveals him as a ‘different’ reduplication, with minute modified details. From that work of art, previously disclosed from others evoking the topic of the double, in 1972 he separates also his name as artist’s signature and from 1973 will entitle many exhibitions “Alighiero and Boetti”, until the graphic variation “Alighiero Boetti” in 1984. The permutation of the formal variant of his signature – combining with a perturbation of his biography - reveals a self-awareness investigation and a strategy of poetics. He claims a specific role as artist embedded in the art system, posing attention on a certain type of authorial presence in a moment when – especially for minimal and conceptual art – reflections about author’s disappearance and not autograph creation are singularly increasing. The declared multiplication or replacement of himself becomes a device validated by the enactment of collaborative practices, but also bonds on a time of artistic experimentations.

Dec. 20, 2017
July 17, 2017

Keywords: Signature1968DuplicationAlighiero Boetti1972Contemporary Art

Copyright: © 2017 Stefania Portinari. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.