solution that I should have thought of right from the start: to put two more poles, in the upright position, that held the diagonal with their respective cable. And when I saw it, I said to myself: ‘This looks like a crucifixion.’

[...] I am agnostic, but what can I say, that crucifixion was there. It’s not that I tried to do it, but I did somehow. Afterwards, of course, the sculpture provokes different interpretations. And I added a text (on the kite) to that crucifixion, which is a fragment of Cansancio, a poem by Oliverio Girondo, published in La Masmédula, 1956.”

He takes part in Otro mirar. Arte contemporáneo argentino (Another glance. Contemporary Argentine art) organised by painter María Helguera and Catalan Luisa Ortínez which takes place at the Museo Nacional de Bellas Artes in Buenos Aires during the month of April, and at the Centre d’Art Santa Mònica in Barcelona, from June to August. The show, which covered the time between the 60’s and present day, emphasised the artists’ perspective on reality, with a socio-political slant. Apart from Distéfano’s –whose set was formed by The bathroom. Tribute to Roberto Páez, The Insatiable One, Under the Other’s Skin and The little truck from Dock Sud– there were also works by Antonio Berni, Jorge de la Vega, Norberto Gómez, Víctor Grippo, Luis Fernando Benedit, Luis Felipe Noé, Pablo Suárez, Roberto Elía, Marcia Schvartz, Marcos López, and Adriana Lestido. The catalogue included texts by Jorge Glusberg, Nelly