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 the context of his stay in Europe, the Argentinean sculptor Aurelio Macchi writes to Libero Badii about his visit to the Musée de l'homme in Paris, underscoring a key aspect of "primitivist" art. He mentions the Argentinean sculptors Luis Tomasello, Marino Di Teana, Alberto Heredia, and the artist Luis Centurión, who are in Europe.
Libero Badii (Arezzo, Italy, 1916–Buenos Aires, Argentina, 2001) primarily developed sculpture with symbolic meanings. In the1950s, 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].
Aurelio Macchi (1916), an Argentinean sculptor awarded with different prizes, among them the 1975 Palanza Prize. In the 1940s, he was educated in Europe with Ossip Zadkine, later developing a sculptural kind of "primitivism."
The 1960s Argentinean art is usually read through the very same pair of networks: first, the one shaped by the Center of the Visual Arts at Instituto Di Tella, and the other, the network of artists that come together in the growing politicization process. Nevertheless, it is interesting to think about the existence of another network created out to connect the specificity of an art language like sculpture. This last network goes through the aesthetic and the political as well as generational pigeonholing. This document is critical in order to understand the visual complexity underneath the Argentinean sculptors' background, as well as the relationship these artists had with Libero Badii, the key man of reference. The outlook on Latin America is expressed in this document both in comparative overview with other cultures and by means of curatorial practice in French museums.