Venice Biennial II: Argentine Pavilion...


Juan Carlos Distéfano (Bs.As. 1933) is the artist representing Argentina at the 2015 Biennial. His exhibition,  of 29 sculptures, is entitled "La rebeldía de la forma", and was curated by María Teresa Constantín. As most of the works represent real-scale human beings, it was decided not to use bases to display the sculptures: they rest on the wooden floors, specially made for the 500 sq-mts room. It was a good choice since the wood mixes well with the brick walls and the steel columns.
General view
Argentine Pavilion at Arsenale - 2015 Venice Biennial
The artworks are overwhelming. Some refer to Argentina's bloody history, while others reflect contemporary issues, such as drug abuse, violence and social injustice.  The materials Distéfano uses, with great skill, make the pieces even more touching, as if the soul caught in them asked the visitors for mercy, to be freed.
Kinderspelen, by Alfredo Distéfano
Argentine Pavilion (detail)
In Kinderspelen, a group of kids play a game, but there's another story hidden... If you take the time to bend down and look closely (remember the pieces have no bases), you'll see the violence in their small faces and guns hidden in their clothes.
Flotante II, by Alfredo Distéfano (1988)
Materials: reinforced polyester / Measures: 124 x 72 x 41 cm
La Urpila en Buenos Aires, Homenaje a Gomez Cornet II, by Alfredo Distéfano (2008-2010)
Materials: reinforced polyester and other materials
Measures: 110 x 100 x 60 cm
Argentine Pavilion
The most interesting artwork is Acción Directa: a man climbed into a light post, trying to cut the wires. Visually impressive, it looks like a Crucified Christ, and this in enhanced by its placement (near the end of the tour). 
Acción directa III, by Alfredo Distéfano (1998)
Materials: reinforced polyester, epoxi resin and other materials
Measures: 325 x 300 x 300 cm 
Argentine Pavilion
General view
Argentine Pavilion at Arsenale - 2015 Venice Biennial
Choosing Distéfano could not be more appropriate since his art usually reflects the same curatorial message Okwui Enwezor planned for this Biennial. However, the general display does not seem to help in the correct appreciation of the artworks.

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