Documents of Latin American and Latino Art

In this brief note, Libero Badii describes the impact of his travels in the highlands of Bolivia and the awakening of his desire for a "sculptural communication" concerning three themes: family, students, and siblings. He mentions his later trip to [...]

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 [...]

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 [...]

Libero Badii writes about the impact created by Papeles de Recienvenido [Newcomer’s Papers] (1929) by Macedonio Fernández. Badii also outlines his thoughts on graphic works and the "symbol sculpture [...]

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 [...]

Libero Badii describes his work as an expression of the "sinister" beauty of the land in the Americas. He provides a timeline for the creation of El Poder [Power [...]

On the one hand, Libero Badii describes his work, Conocimiento siniestro Nº 1 Los Muñecos (1967-68) [Sinister Knowledge no. 1 The Puppets (1967-68)] as a new direction in the "vision of seeing reality." On the other hand, the work Testamento artí [...]

Libero Badii discusses the actual physical aspect of the artistic endeavor, tracing the historical evolution of the materials he uses in his work (stone, cast iron, polychrome wood, paper, and gold). He views the concept of "the sinister" as using [...]

Libero Badii explains that his transition from sculpting to painting demonstrated that he was an artist in his prime. According to him, painting could express the communicative meaning of his work. He mentions the "sinister" sense of his artistic [...]

In a short statement, written in 1960, Libero Badii renounces any form of salon exhibition, in keeping with his other disengagements from, for example, academic continuity, material progress, and official teaching [...]