Documents of 20th-century Latin American and Latino Art

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  • ICAA Record ID
    754139
    TITLE
    Conocimiento siniestro Nº 7 “Testamento artístico” : madera policromada, bronces, dibujos, serigrafías, cartones, año 1974-75 / Libero Badii; Fotografías Caldarella-Bancheri
    DESCRIPTION
    p. 4-9, 12-17 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Book/pamphlet article – Testimonials
    BIBLIOGRAPHIC CITATION
    Badii, Libero. Conocimiento siniestro Nº 7 "Testamento artístico": madera policromada, bronces, dibujos, serigrafías, cartones, año 1974-75. Author's edition. Buenos Aires, 1975. Fundación Espigas, Buenos Aires.
    GEOGRAPHIC DESCRIPTORS
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Synopsis

On the one hand, Libero Badii describes his work, Conocimiento siniestro Nº 1 Los Muñecos (1967-68) [Sinister Knowledge no. 1 The Puppets (1967-68)] as a new direction in the "vision of seeing reality." On the other hand, the work Testamento artístico Conocimiento Siniestro No 7 [Artistic Temperament Sinister Knowledge no. 7] implies the unity of philosophical and aesthetic thought, as well as of the development of his theory on the sinister. In this document, Badii establishes a timeline of the process he followed in the creation of the series.

Annotations

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 an example of the books that Badii published to illustrate his creative process based on several core aspects of his work. In Los muñecos [The Puppets] he used polychrome wood to express the totemic feature of pre-Columbian art as a form of portraying what is ungraspable (or, "the sinister," as he referred to it). These polychrome wooden pieces, which he started producing in the late-1960s, recharged Badii’s international reputation because of the way in which he applied color on his sculpture.

This copy is dedicated to Aída Carballo, December 1976.

Photographs:  Estudio Caldarella y Banchero.

Researcher
Roberto Amigo
Team
Fundación Espigas, Buenos Aires, Argentina
Credit
Courtesy of Marta Rosa and Ana Luisa Badii, Buenos Aires, Argentina
Location
Fundación Espigas, Buenos Aires, Argentina