Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
  • ICAA Record ID
    743858
    TITLE
    La saludable simpatía de León Ferrari / E. A.
    IN
    Atlántida (Buenos Aires, Argentina). -- Mar. 1961
    DESCRIPTION
    p. 57, 80 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Newspaper article – Reviews
    BIBLIOGRAPHIC CITATION
    Azcoaga, Enrique. "La saludable simpatía de León Ferrari." Atlántida (Buenos Aires), March 1961.
    NAME DESCRIPTORS
Editorial Categories [?]
Synopsis

The (anonymous) critic offers a formal review of León Ferrari’s sculptures, underscoring both the essential content and the tender nature of the works. He also refers to Ferrari’s technique as the one of a ceramic artist.

Annotations

León Ferrari (1920–2013) was born in Buenos Aires, the son of Augusto Cesare Ferrari, the Italian artist and architect. The younger Ferrari was a latecomer to the plastic arts, a status which allowed him to function as a link between the generation of artists from the late fifties and the young avant-garde of the sixties. His early works were ceramic sculptures, but in later years he experimented with wire structures, with a visual form of writing, and with collages. There are two distinct themes running through his work: one is a strong condemnation of military dictatorships, American imperialism, and the ideology of the Catholic Church. The other has a more formalistic quality, expressed in a conceptual style and, at times, in the surrealist tradition. His 1965 object-montage, titled Civilización Occidental y Cristiana [Western Christian Civilization], was censured at the Centro de Artes Visuales del Instituto Torcuato Di Tella [the Torcuato Di Tella Institute’s Visual Arts Center] (see documents 743800, 744085, and 761879). It depicts a Christ mounted on a US Air Force bomber that is plunging Earthward. Ferrari was involved in the political conceptualism movement of the seventies (particularly Tucumán Arde, in 1968). In response to the most recent Argentine military dictatorship’s repressive regime (1975-83), he went into exile in Brazil, where he explored a variety of ideas, such as formalism and the reproducibility of a work, as well as the spatial relationship between sculpture and music (see documents 743960, 744392, and 743870, among others). In 1984 his work was once again exhibited in Buenos Aires, where he finally returned and settled.  

An article concerning Ferrari’s work during his ceramic period.  

File clipping, no record of page number on file.

Researcher
Roberto Amigo
Team
Fundación Espigas, Buenos Aires, Argentina
Location
Archivo León Ferrari, Argentina.