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 writes in emotional terms about Aldo Paparella, who died three years earlier. He speaks of the daily contact they used to have, and about some of the issues galore they talked about.
Aldo Paparella (Minturno, Italy, 1920-Buenos Aires, Argentina, 1977) fought in Africa during the Second WW and was taken prisoner in France. He arrived in Argentina in 1950, bringing a new approach to non-figurative and Informalist sculpture. In the late-1950s, in his Sugerencias [Suggestions] series, he started working with waste materials. His aggressive use of sheet metal gave it an informal quality, and Paparella began to think from the perspective of the object itself, rather than from any traditional concepts rooted in the language of sculpture. 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.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 is an important document because it sheds light on the relationship between these two sculptors. Written in the late-1970s, it also provides some insight into a frequently forgotten fraternity within the 1950s Argentinean art milieu—a group of sculptors working in many different styles, some of which even seem to be aligned with oppositional aesthetics. In spite of that, they discussed each other's works, sharing a bond based on their common Italian heritage and their choice of an artistic language (sculpture) that requires technical mastery. The reference to their daily contact helps in understanding the direction that sculpture was taking at the time. This note, from one artist to another, speaks to the very heart of this issue.