Alighiero Boetti (1940-1994)
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Alighiero Boetti (1940-1994)

Uno Nove Otto Zero (One Nine Eight Zero)

Alighiero Boetti (1940-1994)
Uno Nove Otto Zero (One Nine Eight Zero)
signed, titled and dated '1980 UNO NOVE OTTO ZERO alighiero e boetti' (on the reverse of the third element)
ballpoint pen on paper mounted on board, in four parts
each: 39 3/8 x 27 5/8in. (100 x 70cm.)
overall: 39 3/8 x 110 ¼in. (100 x 280cm.)
Executed in 1980
Galerie Albert Baronian, Brussels.
Galerie Guy Bärtschi, Geneva.
Acquired from the above by the present owner in 1996.
Geneva, Galerie Guy Bärtschi, Alighiero e Boetti, 1996 (detail illustrated in colour on the cover; illustrated in colour, pp. 15-16).
Frankfurt, Museums für Moderne Kunst/ Galerie Jahrhunderthalle, Alighiero Boetti. Mettere al mondo il mondo, 1998, p. 331 (illustrated in colour, p. 163).

Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Further details
This work is registered in the archives of Alighiero Boetti, Rome, under no. 611.

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Annemijn van Grimbergen
Annemijn van Grimbergen

Lot Essay

‘A word changes into a sign, into a compilation of commas which means something. You see, that is a rule’, Boetti observed. ‘One of my biro works was called Seguire il filo del discorso (following the thread of the conversation) You follow the thread of these commas. To follow the thread of a conversation is tautology, and quite apart from the rule, there is the structure of the transformation of the word into a sign. This is what you must make visible, you must render the comma visible as something that is not stable, that is unstable, and these small white points stand on a background hatched by another hand’ (Alighiero Boetti cited in Alighiero Boetti. Mettere al mondo il mondo exh. cat. Frankfurt 1998, p. 63).

Asserting themselves in the human imagination like magical constellations set within a sequence of vast, fluctuating colourful fields of energy and endeavour, Boetti’s biro works are ‘concentrates of time’. Seemingly both empty and full at the same time, they are works that convey’, the artist said, ‘a physical impression of extended, immense time.’ (Alighiero Boetti quoted in Alighiero Boetti. Mettere al mondo il mondo exh. cat. Frankfurt 1998, p. 59)

This comparatively rare four-colour example executed in 1980 comprises of four separate hand-crafted monochrome biro panels each rendered in one of the main commercially available biro colours - red, black, green and blue. Together these panels combine to create single, unified picture that, through a coded system of cyphers self-reflexively asserts its own title and date: ‘One’, ‘Nine’, ‘Eight’, ‘Zero’.

This title/date is conveyed through a sequence of commas or apostrophes laid out against the coloured grounds in a systemised grid that corresponds to the letters of the Latin alphabet arranged vertically at the side of the work. Vague, enigmatic and conventionally indicative of the absences, pauses and empty spaces that exist between the letters of most West European languages, these punctuation marks here take part in a coded linguistic system that spells out (left-to-right) the words, ‘uno, nove, otto, zero’ (1,9,8,0).

Though monochrome, each of the four hand-drawn colour fields is also similarly indicative of a paradoxical state of stasis and flux, emptiness and fullness. Each monochrome panel has been painstakingly and individually worked by one of Boetti’s collaborators in a unique hand-crafted style so that its seemingly blank surface has been filled with colour. According to instructions from Boetti that allowed for and indeed actively encouraged the variation of an individual style in the long, painstaking process of cross-hatching, each coloured panel has consequently been ‘filled in’ by a different hand and making use of a different style. Indicative of the process of collaboration and of the unified diversity that such collaboration brings about, the resultant four-part picture becomes, in this way, a sumptuous visual manifestation, in both space and time, of the unique set of rules by which the work has come into being. Indeed, as Boetti said of these works: ‘All that is important is the rule. Anyone who does not know it, will never recognise the prevailing order in things, just as somebody who does not know the order of the stars will always see confusion where an astronomer has a very clear view of things.’ (Boetti quoted in ibid, p. 311.)

Boetti’s comparison of these works with the stars in this context is revealing. Looking to some extent like constellations, these playful, tautological and often, as here, self-reflecting monochromatic pictures are open, self-defining images that are simultaneously full of apparent emptiness and meaning, anchored to and around a simple code. As the typically self-reflexive title of this work - Uno, Nove, Otto, Zero - indicates, such works are spatial and temporal extensions of what Ferdinand Saussure famously identified as the gap between the ‘signifier and the signified’, into a beautiful and poetic pictorial expression of a fixed system and perpetual flux.

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