The exhibit continues in the attic of the palazzo
On the floor - "Alternating from one to a hundred and vice-versa" (1993-94) - Alighiero Boetti (1940-1994)
The proportion calculated by Alighiero Boetti is: a kilim is to a carpet what a drawing is to a picture. To make a kilim like Alighiero's takes three months and and four people, both adults and children; it is not a question of age, but of skill. It is a community, the economy of a neighborhood, of a village.
About two years ago something very different happened in France, in the classrooms of about thirty schools of fine arts and twenty private homes. In another civilization, in another state of consciousness, the fifty kilims were designed as they are today, each one different from the next.
Over the course of this journey, the city of Rome has played a pivotal role as it often has in history. In three days, the drawings that arrived from France in fifty red portfolios were photocopied, reduced in size, cut out, glued on to backings and finally turned into models measuring one meter ten by one meter ten, and ready to be shipped to Pakistan.
The exhibit continues in the attic of the palazzo
On the floor - "Alternating from one to a hundred and vice-versa" (1993-94) - Alighiero Boetti (1940-1994)
The proportion calculated by Alighiero Boetti is: a kilim is to a carpet what a drawing is to a picture. To make a kilim like Alighiero's takes three months and and four people, both adults and children; it is not a question of age, but of skill. It is a community, the economy of a neighborhood, of a village.
About two years ago something very different happened in France, in the classrooms of about thirty schools of fine arts and twenty private homes. In another civilization, in another state of consciousness, the fifty kilims were designed as they are today, each one different from the next.
Over the course of this journey, the city of Rome has played a pivotal role as it often has in history. In three days, the drawings that arrived from France in fifty red portfolios were photocopied, reduced in size, cut out, glued on to backings and finally turned into models measuring one meter ten by one meter ten, and ready to be shipped to Pakistan.