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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.
1980
Catalogue cover of the exhibition Juan Carlos Distéfano. Sculptures 1976-1980. Jacques Martínez gallery, 1980
When his children have finished school, and about to return with his family to Argentina for good, Distéfano weighs his time in Europe, gathered in an article written by critic Elba Pérez. Living in Barcelona, he sees Catalan artistic environment as local and endogamic, although he admits to the blinding effect that the romantic art of the region has had in him. He also praises the appearance of a new-fangled realism in the artists from Madrid, and he highlights the work by painter Antonio López García and sculptor Luis Doñate. 
With a very favourable reception, he holds an individual exhibition called Juan Carlos Distéfano, esculturas 1976-1980 (Juan Carlos Distéfano, sculptures 1976-1980) at Jacques Martínez gallery in Buenos Aires between 27 August and 20 September. He shows fifteen works among which are Nude. The same elsewhere, Nude. With or without Reason–both from 1977–, Icarus I and II, King and Queen I and II, Yellow Head, Self-portrait, On a road I –all from 1978–, Jump, On the Swing, Person, and the first version of The river at Sunset
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