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.
In this text, written in 1959, Libero Badii expresses his own opinions concerning the nature of artistic creation, as distinct from the usual categories mentioned in the artistic discourse. He views creation as a mysterious event, inextricably linked to the birth of seeing, which requires being ready for the revelation. This in turn requires a certain familiarity with the forms of the past. He analyzes the idea of "creating volumes," from ancient cultures through the present day, based on ideas about "need" and "work-time."
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]. Originally published in Libero Badii, "La creación artística" [Artistic Creation] Cuadernos Australes no. 2 [Southern Notebooks no. 2] (1959), this document provides important insights into the artist's artistic thinking. It is one of his first meditations on the subject of artistic creation—his encounter with Pre-Colombian art as part of the revelation implicit in seeing. Here we find some of Badii's plastic ideas fused with his concept of "the sinister." The notion of work-time also became a constant fixture in his later writings since he saw that sculpture ("the making of volumes") is not solely involved with space. The durability of some of his ideas was extended when he decided, in 1978, to publish the same text towards the end of his polychrome wood sculpture period.Photographs: Caldarella y Banchero Studio.