Radicalism in the 1960s and 1970s is defined by the emphatic rejection of the latter list. Their idea, rarely significantly changed since then, is that any objects bought and sold in the market are not in fact about the individual needs and desires of those who buy them but are actually about the profit of the few who sell them. Capitalism, on this view, is in fact held up by the ideological domination of politics, education, work and family relationships and ultimately the psychological life of citizens. One slogan of the New Left at that time that I think expresses this nicely, ‘There is a Policeman Inside All Our Heads: He Must Be Destroyed’. That really is another story (a totally fascinating one) but the point is that Boetti went much further.
The real problem, so he thought, lay in the requirement, both social and psychological, to choose anything at all. This is because in the self expression that comes from those choices we are holding ourselves and others up to unrealistic standards of the degree of control and insight in our creations. In other words we believe that the world really can be shaped by the plans of inspired individuals. The upshot of this is that not only do the objects that were previously thought to free us become grotesque limitations, as the new left thought, but so do our attempts to control and shape our own lives. Living your life to some kind of narrative, to have a plan, to ‘know what you want from life’ is in fact a prison.
I’m perfectly willing to admit that I have no idea how to live a life like that, even if I wanted to, and it was perhaps for that reason that Boetti was a conceptual artist and not a philosopher. A major tool of his experiments was chance and randomness. He would send letters to his friends with deliberately wrong addresses using random combinations of stamps which would circle the postal system and occasionally return- at which point he would exhibit them. Even stranger though was where he eventually found a society that he thought expressed his thesis best – Afghanistan. He set up a Hotel there in 1971.
"Afghan homes, for example, are empty: no furniture therefore no objects commonly placed on furniture. There are only a few carpets and mattresses on which people lie down, drink, smoke and eat. I also like the fact that Afghans wear the same clothes at day and at night. Nothing has been added to the landscape. Rocks are moved and used to build cube houses. The resistance with which Afghans oppose our civilisation has always amazed me." - Alighiero Boetti
Leaving aside that the situation he found was at least in part due to simply poverty, the idea that something about the Afghan way of life is intrinsically resistant to grand inspired political narratives and large scale transformative schemes, for the same reason as their rejection of conventional object creation, certainly puts a new spin on the ‘progress’ we are attempting to bring to that country now.
At any rate Afghanistan had a hand in the creation of his series of works called ‘Mappa’. Mappa were a series of embroidered maps of the world. The landmass of each country was covered by that countries current flag. The significance of this was that although he commissioned the work all of its features were, in actuality, totally beyond his control. The work was carried out by multiple afghan craftswomen and the design was down in essence to the geopolitics that formed the shape and colour (because of the flags) of the landmasses (which in turn are a feature of geology).
"For me the work of the embroidered Mappa is the maximum of beauty. For that work I did nothing, chose nothing, in the sense that: the world is made as it is, not as I designed it, the flags are those that exist, and I did not design them; in short I did absolutely nothing; when the basic idea, the concept, emerges everything else requires no choosing." - Alighiero e Boetti, 1974
