NOIRE

Turntable is an invitation to tune in to the time that turns and returns, to the energy that envelops things and sets them back into circulation.
At its center is Alighiero Boetti, in an exhibition curated by Matteo Noire.

All it takes is a gesture—minimal yet radical: a movie camera placed on the platter of a record player spinning wildly. This is how Turntable (1969) was born, an unseen film by Alighiero Boetti and the beating heart of this exhibition. The gaze becomes rhythm, rotation, filmic matter in motion.
The exhibition continues with a survey of Boetti’s most significant works: Tra sé e sé (Between self and self, 1987) — the self doubled on the edge of the page: head, arms, and hands gripping a pencil; the image extends into a totem of shapes that sprout one from another. Insicuro Noncurante (1975) — a small museum of his thought and a homage to Marcel Duchamp. Manifesto (1967) — the names of sixteen artists and their secret combinations of eight symbols. Dossier postale (1969–70) — epistolary tales of imaginary journeys. Territori occupati (Occupied Territories, 1971) — Israel’s occupation of territories up to Sinai between 1967 and 1971.Within this same current of energy flow the works of Valentin Carron and Jonathan Monk. Bottle Man (Suavely, 2017) by Carron — the silhouette of a fallen body composed of empty bottles, where the virtual realm of the web turns into physical presence. Each bottle, stamped and replicated, carries the echo of nights of drinking and of images slipping from the screen into the exhibition space. 1111 (2019) by Jonathan Monk — from a fake Boetti tapestry, a challenge to find, in 11 minutes, the greatest number of four-letter English words and transform them into poems. A playful exercise that turns language into visible matter.

The works gathered here are like traces on a vinyl record: each carries a sound, an echo, a heartbeat.