“Lo que queda es lo que sirve” or “What remains is what serves”. These words echo through the Museo Casa de Batato Barea. They were uttered by Batato Barea himself to his mother Nené. Batato said this in his final days. He burned many possessions in a container outside his house. What remained, he declared, was what mattered.
Welcome to the Museo Casa de Batato Barea. This museum is more than just a collection of artifacts. It’s a portal into the vibrant, transgressive world of Salvador Walter Barea. He was best known as Batato Barea. Batato was an Argentinian performer, actor, and clown.
Batato was born in Junín in 1961. He died far too young in Buenos Aires in 1991. Yet in his short life, Batato became a pivotal figure. He was a star in Argentina’s underground art scene of the 1980s. Batato defined himself as a “literary transvestite clown”.
This house was Batato’s home. It is located in the Abasto neighborhood. The area retains a raw, authentic spirit. This museum is not easy to reach. You must navigate a roofless corridor. Then climb a staircase through the family home. Finally, ascend a winding staircase. Your reward is a colorful and nostalgic space. It commemorates the life of Argentina’s first literary transvestite clown. He was one-third of a legendary trio. Alejandro Urdapilleta and Humberto Tortonese completed the group. The entire journey to reach the Museo Casa de Batato Barea is part of the experience.
Inside the Museo Casa de Batato Barea, you will find objects chosen by Batato himself. His close friend Seedy González Paz curated the museum. Seedy transformed the attic into a miniature theater. The Museo Casa de Batato Barea’s layout encourages a circular journey. It begins with photos of Batato as a baby. A curl graces his forehead in the images. It ends with his last photos taken in Uruguay. He traveled there shortly before his death to perform “La Carancha”. It was a tribute to María Julia Alsogaray.
Posters, flyers, fanzines, magazines, and newspapers adorn the walls. These items showcase Batato and other figures from the era. You might recognize Chabán or Fernando Noy. Seedy will share stories and memories. He will display treasures. A Rivadavia notebook contains Batato’s handwritten poems. They include works by Alejandra Pizarnik and Adelia Prado. There are also film critiques and personal maxims. Costumes used by Batato are on display too.
The Museo Casa de Batato Barea also displays artwork inspired by him. Marcia Schwartz’s painting and Alejandro Kuropatwa’s photographs capture his essence. Organizing this material must have been complex. Batato’s life was chaotic. Documentation from that era is scarce.
The Museo Casa de Batato Barea has a festive and melancholic atmosphere. It feels like a late-night carnival. A mother founded this museum. It celebrates a person whose work was largely immaterial. His legacy lives on in poems scribbled in a Rivadavia notebook.
There are three published books about Batato Barea. Jorge Dubatti wrote “Batato Barea y el Nuevo Teatro”. His mother Maria E. Amichetti de Barea penned “Un pacto impostergable”. Fernando Noy wrote “Te lo juro por Batato”.
Batato Barea’s performances defied conventions. He was a regular at the Parakultural. He also performed at the Cemento discotheque. Batato was a member of “Los Peinados Yoli” and “El Clú del Claun”. Batato’s work combined clowning and performance art. He invited audience interaction. He created playful actions. These included lying down, listening to music, and drawing.
Batato’s impact on Argentina’s cultural landscape is undeniable. He was a “cultural scavenger”. He found treasures in the trash. Batato transformed them into art. He challenged norms and celebrated individuality. He was ahead of his time.
The Museo Casa de Batato Barea preserves his spirit. It ensures that his unique voice continues to resonate. It is a testament to his enduring influence. It is a reminder that what truly matters is what remains.