Mappa del mondo 1988

Editor: This striking artwork, Alighiero Boetti's "Mappa del Mondo" from 1988, uses mixed media, including acrylic paint, to depict a world map composed of national flags. It really pops, especially with its vibrant colors, but there is something unsettling about how those bright, familiar symbols are used in a geographical way. What cultural narratives do you find embedded in this piece? Curator: The unsettling feeling is, I think, quite intentional. Consider what a flag represents: national identity, yes, but also often complex histories of power, conflict, and shared values – or imposed ones. Boetti's "Mappa" overlays these onto geographical spaces, essentially claiming them for those ideologies. Given its creation date, 1988, during the late Cold War, what statement is being made with the now-defunct USSR occupying such a large expanse with the red flag? Editor: I see what you mean. It's like each flag is not just a marker but a claim of ownership, echoing colonial mappings of the past. But with a nod to folk art styles, there is an intentional flattening of geopolitical powers. Curator: Exactly. Boetti also deliberately involved Afghan refugees in the actual production of these "Mappa" artworks, which were tapestries usually, further complicating notions of authorship and national identity. These textiles become imbued with stories far beyond Boetti’s original concept. Can we truly disentangle artistic intention from cultural and political reality, once symbols enter the shared consciousness? Editor: That adds a whole new dimension! The map becomes not just a representation but a collaborative artifact, charged with the experiences of the people who created it. Thanks, this gives me a lot to think about. Curator: My pleasure. It's important to always consider how visual symbols and signs can carry memory, both collective and individual.