Documents of Latin American and Latino Art

Hugo Monzón welcomes León Ferrari to Buenos Aires on his return from exile. Monzón mentions the 1960s political art and Ferrari’s various forms of creative art making, describing his work by means of a concept: “module for repetition [...]

León Ferrari exhibits his work in Brazil, explaining the technical side of the instrument as well as the theoretical aspects of visual, auditory, and tactile relationships. He ponders some possibilities of expression in the curved lines of space, [...]

León Ferrari presents his sonorous sculpture Percanta, with technical explanations about the instrument, the title of the work, and non-figurative music. His mention of the use of the inverted pendulum in a series of sculptures formed with steel [...]

The Brazilian critic reviews Ferrari’s work in terms of the period, exploring the concept of time and the labyrinth in an obvious comparison to the work of the writer Jorge Luis Borges [...]

The art critic here composes a poetic account of how León Ferrari showed him the variety of ranges in his work, comparing it to the medieval construction of cathedrals, and evaluating how the representation of motion is carried out [...]

The critic mentions Ferrari’s return to Argentina and the art milieu of Buenos Aires. He also talks about the works in this exhibition as well as the ones that Ferrari created in São Paulo [...]

The (anonymous) critic sets forth the relationship between technique and popularization, both in its materials and in its art market value. He even mentions the process in the series by León Ferrari (Planta, Ciudad, Kamasutra, [Floor Plant, City, [...]

The (anonymous) critic mentions the public’s reception of León Ferrari’s performances. The writer of this text discusses both the instrument sculpture — the inverted pendulum — and the music, which the artist himself describes as non- [...]