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.
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.
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.