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Juan Carlos
Distéfano
Distéfano
by
Adriana Lauria and Enrique Llambías
January 2003
January 2003
The dossier on Juan Carlos Distéfano spans from the time of his beginnings
as a painter to his recent works as a sculptor, a first for the CVAA. It covers
over forty years of his work and his commitment to art and reality. A special section offers a view on his work as a graphic designer, which he carried out mostly at the Di Tella Institute.
as a painter to his recent works as a sculptor, a first for the CVAA. It covers
over forty years of his work and his commitment to art and reality. A special section offers a view on his work as a graphic designer, which he carried out mostly at the Di Tella Institute.
1966
Catalogue cover of Distéfano’s show in Rubbers gallery, 1966.
He discovers polyester resin through Emilio Renart and Pablo Suárez. Renart introduces him to the engineer López Quiroga, a specialist in polyester, who continues to be his advisor to the present day.
In March, La Nación highlights his entry to the Salón de Mar del Plata, pointing that Distéfano “[...] definitely abandons the conventional forms of canvases to paint on silhouettes with some reliefsof singular vigour and personal colour”. 
He participates in the Festival Americano de Pintura, Lima, Peru, and from 5 to18 August he puts on a solo show at Galería Rubbers in Buenos Aires. With a text by Aldo Pellegrini, he exhibits his big relief-paintings: Everyday and Triptych, both from 1965, and Tribute, Monday Man, Three Versions, and Frogs on One’s Head, of that year. The show has a good critical reception. The profound, heartbreaking representations of a threatened and threatening humanity, as well as the originality and neatness of his production stand out, finding, in the reinforced polyester reliefs covered in cloth and polychromed
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