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Libero Badii affirms the importance of spiritual continuity implicit in artistic creation. He discusses his ideas concerning woman, man, and his conception of the portrait, based on the notion of “life equals art.” He presents a timeline of an autobiographical nature that outlines his periods of study, his major works, and his concepts. Badii mentions the travels that influenced his work (1945 in South America; 1948 and 1958–59 in Europe). He explains the development of his artistic thinking organized in periods as follows: academic education, gaining an understanding of artistic creation, and a period assimilating concepts.


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 relevant because it presents Libero Badii taking a retrospective look at his work with the aid of an autobiographical timeline. He writes here about life imitating art, but does so from a different perspective to the one proposed in the 1960s neo-avant-garde discourse. For Badii the determining factors in that dynamics are spiritual continuity, the mystery of creation, and the revelation implicit in the act of seeing (particularly seeing works from the past in the present). On the other hand, this document is important because it highlights the importance of travel as a means of expanding the awareness of Latin American artistsespecially when their travels took them through both South Americas (exposing them to Pre-Colombian art) and Europe.

Photography by Francisco Vera. 

Roberto Amigo.
Fundación Espigas, Buenos Aires, Argentina
Courtesy of Marta Rosa and Ana Luisa Badii, Buenos Aires, Argentina
Museo Nacional de Bellas Artes, Buenos Aires, Argentina.