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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.
1979
With Griselda
With Romero Brest
He misses Argentina terribly, as well as his friends and his artistic references such as Emilio Renart and Norberto Gómez. He goes back at the end of the year for a brief period of time, and he stays in Don Bosco atelier where he works on On a road II.
After the selection made by two members of the Asociación Argentina de Críticos de Arte, Elena Oliveras and Jorge Glusberg, he is invited to participate in the exhibition 12 escultores de la Argentina (12 sculptors from Argentina) to be held in the auditorium Carlos Morel of the Teatro General San Martín in Buenos Aires, as part of the Jornadas Internacionales de la Crítica. On this occasion, he shows Spider’s Web and Smoke.
He draws The river at Sunset, a clear reference to the disappeared prisoners thrown into Río de La Plata during the “death flights” carried out by the armed forces during the dictatorship. Icarus and Jump can also be associated to the representation of this atrocious practice.
