What began as an unconventional venture by renowned Chaco sculptor Fabriciano Gómez (1944-2021) 36 years ago has now evolved into a prestigious event that sculptors from around the globe aspire to participate in. The city of Resistencia has rightfully earned the title of the World Capital of Sculpture, featuring an impressive open-air museum that showcases 700 works made from various materials and in different sizes. Most of these pieces are displayed in the expansive 14-hectare Parque 2 de Febrero, as well as in various locations throughout the city.
Since its inception in 1988, the Biennial has not only thrived due to Fabriciano’s dedication but also thanks to the ongoing support from the Urunday Foundation, currently led by the tireless Josese Eidman. The foundation has successfully gathered contributions from private patrons and public institutions, securing the political and financial backing of local and provincial governments, regardless of their political affiliations. In this year’s edition, which highlighted metal sculptures after two previous events focused on marble, over 800,000 people flocked to witness this unique celebration where art and community spirit coexist along the banks of the Río Negro.
Selecting ten invited artists to participate—each receiving $5,000 for their work—required careful consideration from a pool of 157 applications spanning 55 countries. For seven days, the chosen artists created their masterpieces in full view of the public, allowing visitors to closely observe the transformation of sheets of metal into remarkable sculptures.
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Latvian artist Solveiga Vasiljeva won the top prize with her piece titled “Tiempo,” an exquisite work that contemplates the various dimensions of time, resembling a galactic gyroscope. After receiving the award, she expressed her joy, saying, “I’m really exhausted because I worked so hard, especially on the last day, but I’m very happy. Winning feels like a dream.” Vasiljeva made history as the first woman to win this award. The second place went to Chilean sculptor Alejandro Mardonez Guillen for his piece “Multiplicidad,” which he described as having multiple interpretations. Spanish artist Carlos Iglesias Faura took third prize for “Habitus Antihabitus,” which embodies a fusion of tradition and progress.
The venue, which offers free admission, transforms each visitor into a jury member. Not only does it feature ongoing artistic endeavors, but it also boasts seven stages with performances of all kinds, areas for invited artists (including popular sand sculptures by Alejandro Arce), artist shops selling their creations, dining options, and a vast tent showcasing artisans from across the country. This includes craftsmen like leatherworkers, jewelers, ceramists, and weavers, along with a dedicated space for Indigenous Masters of Artisans. Simultaneously, various congresses, seminars, workshops, and discussions took place, promoting inclusivity, such as allowing visually impaired individuals to cast votes after feeling each piece.
Another beloved activity was the “Desafío Hierros Líder” award, which involved 27 art students from around the country creating different-sized and shaped works from large pieces of red timber in just 48 hours. The students from the National University of Misiones emerged as the winners.
The record number of visitors at this year’s event would have been unimaginable in Fabriciano’s initial dream without the continued dedication of the Urunday Foundation and its current president, Josese Eidman, who emphasizes the event’s success as the result of collective effort and collaboration within the community. The sculptures, which remain free from vandalism, are cared for by a certified maintenance team following IRAM ISO 9001 standards. The organization of the Biennial itself is also certified, and its carbon footprint is monitored to mitigate environmental impact.
In addition, the public choice award went to Argentine artist Luis Bernardi for his work “Simpleza,” rendered in shades of verdelima. There were special mentions for pieces like “Mensaje” by New Zealand’s Anna Corver, which reinterprets childhood paper airplanes in metal, and “Reflejo de luna” by Romanian Bogdan Adrián Lefter. The list of participants includes American Jimmy Lee, Kosovo’s Butrint Morina, Peru’s Percy Raúl Zorrilla Soto, and Turkey’s Emrah Önal. At the conclusion of the event, organizers announced the dates for the next Biennial, set for July 11-18, 2026. Once again, applause resounded for this extraordinary celebration of art and creativity.
Source: https://www.perfil.com/noticias/cultura/bienal-del-chaco-una-fiesta-que-no-para-de-crecer.phtml
