The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Libero Badii explains that his transition from sculpting to painting demonstrated that he was an artist in his prime. According to him, painting could express the communicative meaning of his work. He mentions the "sinister" sense of his artistic work, and some idealistic thoughts concerning the artist and the work of art.
Libero Badii (Arezzo, Italy, 1916-Buenos Aires, Argentina, 2001) was a sculptor whose main output consisted of works of symbolic significance. During the 1950s, following a trip through Latin America, his work was influenced by pre-Columbian art. He created the concept of "the sinister" as both a form of knowledge and a way of feeling. He named his studio-workshop Almataller [SoulShop].
This document is important because it expresses Líbero Badii's aesthetic ideas, which in turn help to place the concept of "the sinister" in space and time. The "sinister," an ambiguous concept of his, refers to everything that is beyond human understanding, that which cannot be grasped. His quest for the dissolution of the autonomy of art languages led Badii to turn his back on bronze and stone and instead embark on an exploration of polychromatic woods. That is, art forms created with wooden strips and planks. Later on, as demonstrated by this exhibition, he renounced sculpture entirely and took up painting and drawing. Badii believed that polychromatic approach to color was the legacy of pre-Columbian art.