Paparella, Aldo to Libero Badii, Minturno, December 28, 1974. Fundación Espigas, Buenos Aires.
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.
Aldo Paparella writes to Libero Badii about the people who have visited him and mentions Argentinean sculptor Alberto Heredia. Paparella sends the normal end-of-year greetings.
Libero Badii (Arezzo, Italy, 1916-Buenos Aires, Argentina, 2001) primarily developed sculpture with symbolic meanings. In the 1050s, his work was impacted formally by Pre-Columbian art after a trip through Latin America. He elaborated his concept of "the sinister," both as a form of knowledge and of feeling. He called his studio-workshop Almataller [SoulShop].
Aldo Paparella (Minturno, Italy, 1920-Buenos Aires, Argentina, 1977), a soldier in the African campaign in the Second WW, was held prisoner in France. Paparella arrived in Argentina in 1950, becoming an innovator of non-figurative, informalist sculpture. At the end of the1050s, with the series Sugerencias [Suggestions], he assembles waste materials. The aggressive use of sheet metal turns the piece into something informal, and Paparella begins to think starting with the object, more than from a traditional conception of sculptural language. This idea is developed in his Muebles inútiles [Useless Furniture].In the early-1970s, he makes the Monumentos inútiles [Useless Monuments], his most significant work, out of humble materials.
The correspondence between Aldo Paparella and Líbero Badii during the former's stay in his native town in the 1970s is an important body of documents, written in a significant stage of his work. These letters allow us to question the relationship between the new sculptural languages, the European tradition, and the conception of what is Latin American, in addition to pointing out the social networks in which the artists insert themselves. Paparella's reflections address the redefinition of his already fully developed work (particularly with Monumentos inútiles made beginning in 1971, using cardboard, plaster, and rags), after considering it from his hometown and Mediterranean culture. In this letter, Paparella mentions Alberto Heredia (1924-2000), renowned Argentinean sculptor who was creating his series Amordazamientos [Muzzling] in the1970s. This mention is seminal to grasp within the art milieu the network of sculptors with their own autonomy. Heredia's artwork—in particular the idea of the object as well as the box—establishes a nexus with Paparella's work.