Functional
If Libero Badii wanted to make a chair it would be uncomfortable because of the pins and bolts in the seat.
If this were a table the table top is a bit awkward with the round shapes of the table edge.
If this were a saw machine I don't see any functional parts. I only see shapes that look like clouds. What can you do with clouds? Ariadna will be an artwork. And the colors make me happy. In short: an functional artwork.
By Theo, www.artatsite.com
Functioneel
Als Libero Badii een stoel heeft willen maken zou het ongemakkelijk zitten door de pennen en bouten in het zitvlak.
Als dit een tafel zou zijn is het tafelblad een beetje onhandig met de ronde vormen van de tafelrand.
Als dit een zaagmachine zou zijn zie ik geen enkel functioneel onderdeel. Ik zie alleen vormen die op wolken lijken. Wat kun je nou doen met wolken?
Ariadna zal een kunstwerk zijn. En de kleuren maken dat ik er vrolijk van wordt. Kortom: een functioneel kunstwerk.
Door Theo, www.artatsite.com.
www.universes.art:
Libero Badii (1916 - 2001) a multifaceted artist, tireless creator, defender of a solitary creative freedom that lives up to his name Libero, is an emblematic figure of 20th century Argentine art.
His artistic investigations of the sculptural space at the intersection of pre-Hispanic art forms and European avant-garde languages, as well as his ability to capture the essential and universal through a humanized abstraction, marked his unmistakable singularity. He described his artistic quest as an exploration of 'the sinister', of the enigmatic energy of life, beyond any rational explanation.
The total of this legacy is estimated at some 135 sculptures, 72 paintings, nearly 100 prints and as many framed drawings, almost 200 folders of drawings and prints, 50 artist's books and ceramic pieces, produced by Libero Badii between the 1940s and 1980s. It includes, among other fundamental pieces, the sculptures 'The Point' (1967), 'Ariadne' (1969), 'Artistic Testament' (1974) and 'The Mother' (1976).
www.universes.art:
In September 1975, I began the definitive work in a size of two meters, putting all my passion, building up piece after piece of wood, and then the color, finishing it at the end of December 1975. When I brought it to my Almataller, I felt frightened by the sinister mood that it communicated, I believe that this feeling has been well achieved. I wish to have it here for a while in my Almataller [studio-soul], to see how communication correspondences develop.
www.lasnuevemusas.com:
On faces we can appreciate how the construction of Libero adheres to the geometric shapes, combining and inserting woods of different colors and shapes to distinguish eyes, nose and mouth, each of these details is painted with a different color, so also some faces are front and profile. similarly has painted Ariadna, Light and other works with the same technique. In all of them we highlight the round circles, which are repeated as a center radiating rays of light like a sun.
www.centroculturalborges.gob.ar:
Born in Arezzo (Italy), Libero Badii began in the sculpture in his father's marble workshop. Years later, based in Buenos Aires, he continued his training with Carlos de la C rcova and Ernesto Soto Aveda o.
At the end of his studies, he began a trip through the Argentine north, which then extended to Bolivia, Peru and Ecuador. America meant for him the possibility of opening up to new imaginative fields that broke with his academic training. Two years later, he visited France, Spain and Italy. In pursuit of his own plastic language that would renew the artistic tradition, his works are the result of the crossing between the forms of pre-Hispanic art and the language of the European avant-garde of the first half of the 20th century.
In the late 1960s, he began to develop the concept of the sinister, as a way of conceiving the artistic production opposite - the classic, understood as the aesthetic foundations inherited from the great masters. In the early 1970s, he continued to develop this idea, which began to associate with the American, and materialized in works built from assembled and polychrome woods with pure and contrasting colors.
He died in Buenos Aires on February 11, 2001, at the age of 85. His work is part of national and international collections, such as those of the National Museum of Fine Arts of Buenos Aires, the Museum of Modern Art of New York and the Museum of Modern Art of Paris, among others.
www.wikipedia.org:
Líbero Badíi (Arezzo, Italia, 2 de febrero de 1916-Buenos Aires, Argentina, 11 de febrero de 2001) fue un pensador y artista visual multifacético (escultor, dibujante, grabador, pintor) italiano nacionalizado argentino, generador (junto con Luis Centurión) del arte siniestro, como una forma de concebir la producción artística específicamente latinoamericana.
Vivió en Argentina desde 1927 y en 1947 se naturalizó argentino. Estudió en la Escuela Superior de Bellas Artes de la Nación Ernesto de la Cárcova.
En 1962, el Museo Nacional de Bellas Artes presentó una muestra retrospectiva de su obra.
En 1968 expuso en el Instituto Di Tella y en el Museo de Arte Moderno de París (1977).
En el Museo Nacional de Bellas Artes y en el Centro Cultural Borges de Buenos Aires en 1992.
En 1982 ganó el Gran Premio Fondo Nacional de las Artes y, en 1987, el Premio Consagración Nacional además del Premio Palanza (1959) y el Premio Nacional Bienal de San Pablo (1971).
Fue nombrado miembro de número de la Academia Nacional de Bellas Artes. Su obra figura en la colección del MOMA.
Recibió dos Premios Konex en 1992 y 2002, además del Konex de Honor en 2002 por su enorme aporte a la historia de las Artes Visuales, este último de forma póstuma.
El Museo Líbero Badii en la Casa Atucha del barrio de Belgrano cobija 300 piezas del artista.
Se casó con Alicia Margot Daulte con quien tuvo siete hijos.
If Libero Badii wanted to make a chair it would be uncomfortable because of the pins and bolts in the seat.
If this were a table the table top is a bit awkward with the round shapes of the table edge.
If this were a saw machine I don't see any functional parts. I only see shapes that look like clouds. What can you do with clouds? Ariadna will be an artwork. And the colors make me happy. In short: an functional artwork.
By Theo, www.artatsite.com
Functioneel
Als Libero Badii een stoel heeft willen maken zou het ongemakkelijk zitten door de pennen en bouten in het zitvlak.
Als dit een tafel zou zijn is het tafelblad een beetje onhandig met de ronde vormen van de tafelrand.
Als dit een zaagmachine zou zijn zie ik geen enkel functioneel onderdeel. Ik zie alleen vormen die op wolken lijken. Wat kun je nou doen met wolken?
Ariadna zal een kunstwerk zijn. En de kleuren maken dat ik er vrolijk van wordt. Kortom: een functioneel kunstwerk.
Door Theo, www.artatsite.com.
www.universes.art:
Libero Badii (1916 - 2001) a multifaceted artist, tireless creator, defender of a solitary creative freedom that lives up to his name Libero, is an emblematic figure of 20th century Argentine art.
His artistic investigations of the sculptural space at the intersection of pre-Hispanic art forms and European avant-garde languages, as well as his ability to capture the essential and universal through a humanized abstraction, marked his unmistakable singularity. He described his artistic quest as an exploration of 'the sinister', of the enigmatic energy of life, beyond any rational explanation.
The total of this legacy is estimated at some 135 sculptures, 72 paintings, nearly 100 prints and as many framed drawings, almost 200 folders of drawings and prints, 50 artist's books and ceramic pieces, produced by Libero Badii between the 1940s and 1980s. It includes, among other fundamental pieces, the sculptures 'The Point' (1967), 'Ariadne' (1969), 'Artistic Testament' (1974) and 'The Mother' (1976).
www.universes.art:
In September 1975, I began the definitive work in a size of two meters, putting all my passion, building up piece after piece of wood, and then the color, finishing it at the end of December 1975. When I brought it to my Almataller, I felt frightened by the sinister mood that it communicated, I believe that this feeling has been well achieved. I wish to have it here for a while in my Almataller [studio-soul], to see how communication correspondences develop.
www.lasnuevemusas.com:
On faces we can appreciate how the construction of Libero adheres to the geometric shapes, combining and inserting woods of different colors and shapes to distinguish eyes, nose and mouth, each of these details is painted with a different color, so also some faces are front and profile. similarly has painted Ariadna, Light and other works with the same technique. In all of them we highlight the round circles, which are repeated as a center radiating rays of light like a sun.
www.centroculturalborges.gob.ar:
Born in Arezzo (Italy), Libero Badii began in the sculpture in his father's marble workshop. Years later, based in Buenos Aires, he continued his training with Carlos de la C rcova and Ernesto Soto Aveda o.
At the end of his studies, he began a trip through the Argentine north, which then extended to Bolivia, Peru and Ecuador. America meant for him the possibility of opening up to new imaginative fields that broke with his academic training. Two years later, he visited France, Spain and Italy. In pursuit of his own plastic language that would renew the artistic tradition, his works are the result of the crossing between the forms of pre-Hispanic art and the language of the European avant-garde of the first half of the 20th century.
In the late 1960s, he began to develop the concept of the sinister, as a way of conceiving the artistic production opposite - the classic, understood as the aesthetic foundations inherited from the great masters. In the early 1970s, he continued to develop this idea, which began to associate with the American, and materialized in works built from assembled and polychrome woods with pure and contrasting colors.
He died in Buenos Aires on February 11, 2001, at the age of 85. His work is part of national and international collections, such as those of the National Museum of Fine Arts of Buenos Aires, the Museum of Modern Art of New York and the Museum of Modern Art of Paris, among others.
www.wikipedia.org:
Líbero Badíi (Arezzo, Italia, 2 de febrero de 1916-Buenos Aires, Argentina, 11 de febrero de 2001) fue un pensador y artista visual multifacético (escultor, dibujante, grabador, pintor) italiano nacionalizado argentino, generador (junto con Luis Centurión) del arte siniestro, como una forma de concebir la producción artística específicamente latinoamericana.
Vivió en Argentina desde 1927 y en 1947 se naturalizó argentino. Estudió en la Escuela Superior de Bellas Artes de la Nación Ernesto de la Cárcova.
En 1962, el Museo Nacional de Bellas Artes presentó una muestra retrospectiva de su obra.
En 1968 expuso en el Instituto Di Tella y en el Museo de Arte Moderno de París (1977).
En el Museo Nacional de Bellas Artes y en el Centro Cultural Borges de Buenos Aires en 1992.
En 1982 ganó el Gran Premio Fondo Nacional de las Artes y, en 1987, el Premio Consagración Nacional además del Premio Palanza (1959) y el Premio Nacional Bienal de San Pablo (1971).
Fue nombrado miembro de número de la Academia Nacional de Bellas Artes. Su obra figura en la colección del MOMA.
Recibió dos Premios Konex en 1992 y 2002, además del Konex de Honor en 2002 por su enorme aporte a la historia de las Artes Visuales, este último de forma póstuma.
El Museo Líbero Badii en la Casa Atucha del barrio de Belgrano cobija 300 piezas del artista.
Se casó con Alicia Margot Daulte con quien tuvo siete hijos.