Alighiero Boetti

Boetti’s art often emphasizes collaboration and the importance of collective effort. In works like *Tutti insieme* (All Together, 1972), Boetti placed equal emphasis on the process of creation, inviting others—whether artisans, friends, or strangers—to participate in the making of the artwork, effectively dismantling the traditional concept of the artist as a solitary genius. His *Arazzi* (tapestries), for instance, were crafted in collaboration with weavers from Afghanistan, creating intricate compositions of text and abstract forms that blur the line between art, craftsmanship, and conceptual inquiry. Through these collaborations, Boetti invited both the artist and the viewer into a shared, open-ended process of meaning-making.

In addition to his large-scale installations and conceptual works, Boetti's exploration of the concept of time and chance often extended to his use of language, numbers, and systems. His works such as *La Metafisica* (Metaphysics, 1987) or *Gli alfabeti* (The Alphabets, 1974) were deeply influenced by his interest in codes and language as systems of communication, often employing combinations of letters and numbers that question the very notion of what is comprehensible or meaningful.

Born in Turin, Italy, Boetti studied at the Accademia di Belle Arti in Rome and quickly became a prominent figure in the Italian avant-garde. His artistic career saw him move from traditional forms of painting to more conceptual works that engaged with global issues, spirituality, and philosophical exploration. In the 1970s, Boetti moved to Kabul, Afghanistan, where he lived for several years, further expanding his artistic vocabulary and embracing the cultural cross-pollination that would mark much of his work.