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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.
1977
Catalogue cover of the exhibition Once Espacios (Eleven Spaces), Ruth Benzacar gallery, 1977
He participates in the exhibition Once espacios (Eleven Spaces), organised by Samuel Paz at the Ruth Benzacar gallery with The Dried Peach Always Falls Face up. A prominent group of sculptors such as Horacio Coll, Carlos de la Mota, Norberto Gómez, Noemí Gerstein, Claudio Girola, Alberto Heredia, Enio Iommi, Aldo Paparella, Emilio Renart, and María Juana Heras Velasco take part, as well. He is also part of Homenaje a Aldo Paparella (Tribute to Aldo Paparella), exhibition held in Galería Birger, to which he sends Cavalcade.
The Dictatorship forbids Griselda Gambaro’s novel Ganarse la muerte (Making a killing), considering it immoral and with a subversive background. Because of this situation, the Distéfano decide to distance themselves and they move to Barcelona, where they live for almost three years. Apart from his tools, Juan Carlos takes his three works of reduced size with him: Nude. The same elsewhere, Nude. With or without Reason and King and Queen I, in an attempt to include in his luggage identity references, testimonials of who he has been or what he has
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