Los iluminados II - 2000-2002
Juan Carlos Distefano comments on the present condition and his view of the future of Argentina. Starting from modeling clay, switching to lime and gypsum, then finishing with reinforced polyester and epoxy enamel or cast polyester, gives a unique transparency in the works. This effect emphasizes the expressiveness of the figures. The fusion of the sculpted body and the enveloping matter creates figures immobilized, unable to react and metaphorically trapped in their own bodies. Blank looks inhabit bodies without identity, scratched, injured, dismembered, anonymous messengers of violence, horror, degradation, cruelty, contempt, oppression. They are men who have suffered massacres, race riots, murders, genocides. Symbol of the physical and moral violence that has gripped Argentina during the dictatorship between 1976 and 1983, act as a spokesman for the inequality that still dominates the town. This is the history of Argentina, the story that he presents so emphatically so that something can change in the future. The exhibition appropriately titled "The rebellion of the form" fits well into the context of "All the World's Futures".
Los iluminados II - 2000-2002
Juan Carlos Distefano comments on the present condition and his view of the future of Argentina. Starting from modeling clay, switching to lime and gypsum, then finishing with reinforced polyester and epoxy enamel or cast polyester, gives a unique transparency in the works. This effect emphasizes the expressiveness of the figures. The fusion of the sculpted body and the enveloping matter creates figures immobilized, unable to react and metaphorically trapped in their own bodies. Blank looks inhabit bodies without identity, scratched, injured, dismembered, anonymous messengers of violence, horror, degradation, cruelty, contempt, oppression. They are men who have suffered massacres, race riots, murders, genocides. Symbol of the physical and moral violence that has gripped Argentina during the dictatorship between 1976 and 1983, act as a spokesman for the inequality that still dominates the town. This is the history of Argentina, the story that he presents so emphatically so that something can change in the future. The exhibition appropriately titled "The rebellion of the form" fits well into the context of "All the World's Futures".