ALIGHIERO & BOETTI1990
Apparently his works seem light, inclined to show us their story without any other complication or symbolicism but those dur to their external aspect.
However the one who masters his metalanguage is continually stimulated not to stop, not to be satisfied by watching, but to be at stake.
The game allows the artist to dislocate continually the understanding of the work, to put a check on conventions, on the dull and obstinate search for solutions (interpretative).
« Passe-partout », like all games, has its own rules. The rules the artist uses to reach the balance between, the elements that constitute the work and provide a key for reading.
The work covers the floor. The central figure inscribed in a pentagon, is formed by five different drawings of architectural structures known as archs. The « islamic » arch has been turned toward the Mecca, using a compass.
A writing working as a frame says :
« PASSEPARTOUTAPARISNELLAA- PRIMAVERADELL’ANNOMILLENOVECE- NTONOVANTAALIGHIEROE-
The letters A are filled with red colour. The writing is a rebus. Knowing the rules one can start playing but without being sure of the solution.