Pino Boresta, a pivotal figure in Italian relational experimentation, showcased the digital evolution of his renowned “Testaments” at BOOMing 2026. What began as an analog project in 2003 has transformed into a wearable electronic device within the Bolognese context. This innovation has turned the fair’s staff, including director Simona Gavioli, into luminous, moving works of art.
The Triumph of Wearable Relational Art: Bridging Collecting and Curation
The project has been met with resounding success, transcending mere performance to strongly influence market dynamics. Beyond the BOOMing staff, who sported personalized statements (such as curator Nina Stricker’s declaration: “I will truly become a work of art at the end of the fair”), these devices have become highly sought-after objects. Even prominent figures in Italian art history, like Gian Enzo Sperone, have acquired them.
Boresta’s irreverent approach reached its peak ironic tension at Arte Fiera. As he walked through the stands with his device prominently displayed, bearing the statement: “I, Pino Boresta, am a work of art in every respect, but I will never sell my soul for one euro,” the artist captured the attention of an intrigued and bewildered audience. This provocation echoes his disruptive actions from the early 2000s, but this time carries a triumphant air.
Becoming Masterpieces: Continuous Extraction
Boresta’s relational art project involves direct public participation. By leaving their names at the entrance of BOOMing, individuals had the chance to be officially proclaimed “works of art in every respect” through a raffle. Although the official drawing has been postponed to allow more aspiring masterpieces to register, the lists remain open, fueling anticipation for a new wave of living artworks in the contemporary landscape.
Acquiring an “Electronic Testament” means more than just purchasing a technological gadget; it signifies a transition from being a mere spectator to becoming a permanent exhibition.
