The example of the Biennale

The immigrant current that arrived from devastated Europe from the late nineteenth century until the mid-twentieth century, settled in its virgin territory and by its work arose the cities at the edge of the railways. They have created hundreds of schools in places, towns and cities where teachers have come from all over the country, as well as doctors and other professionals who helped lay the foundation for the new Chaco which became in the province in 1951.

Dynamism and strength were what created this province which, despite all the vicissitudes and many losses of what had been accomplished and give up on several of the objectives that have been fixed, continues in the struggle and in the creation of new spaces and new businesses.

What has happened since last Saturday and will continue until the 21st of this week, the new edition of Bi Enal Internacional de Escultura, and that this year is already realized after decades, is the proof. It is, according to its organizers, the largest outdoor sculpture contest in the world

There is no doubt that hand-picked cotton, in unprecedented quantity, has gone to mills all over the world. world. world, today the sculptures and their contest make the Chaco known all over the world. The climate of the world coincided, this time with this unique artistic competition on the planet.

Those who dreamed it in this way deserve the title of pioneers hanging on to a utopia that, they confirm, is not it. In a province full of deprivations, with many poor and already with crises that had driven thousands of families to the outskirts of the big cities, with the largest number of illiterates in the country and many others faults, investing an international event might

However, they did it and what happens right now gives more reason for their daring. Resistencia, capital of Chaco Province, one of the poorest of Argentina, is the world capital of sculpture.

A History Turning Three Decades

It all began on June 18, 1988, when the "First National Wood Sculpture Competition" began at Plaza 25 de Mayo de Resistencia. Thirty-five sculptors from all over the country took part, including five from the Chaco, who carved, under the public eye, until June 24.

The organization was the Tourism Directorate in coordination with the Undersecretariat for Culture. The first prize went to the sculptor Hernán Dompé of Capital Federal, for his work "Totem".

The awards were given to a crowd and in a festive atmosphere. Sculptors from all over the country carved an urunday chest, made of very hard wood, in the open sky and in front of the public's eyes. Although the contest began in its origins with a local and national character, it has slowly moved into the international arena.

Its name has changed over the years, according to the characteristics of the moment: National Wood Sculpture Competition (6 editions: 1988 -1993), International Woodcarving Competition (2 editions 1991 – 1994), National Triennial of Sculpture on wood (1995), American Triennial Sculpture (1996), Millennium Competition (1999) and finally International Biennial Sculpture since 1998.

In early editions, the only material allowed was the Urunday hardwood, a tree strongly linked to the development of Chaco.

However, since 1996, the use of other materials, such as travertine marble and different metals. For the 2006 edition, the scene was modified and it was performed on the Paseo Costanero, next to the Centennial Dome, on the banks of the Negro River, where the Sculpture Museum also operates.

All of Chaco

However, when we talk about the Biennial, there are two names, Fundación Urunday and Fabriciano, his alma mater, who were the promoters supported by the entire Chaco community: government, businesses and the whole city, who took like yours, this initiative.

What you see today is an eloquent proof of this. All manifestations of art, gastronomy, craftsmanship and what we imagine were added, surpbading the physical capacity of the facilities that were remodeled and redeveloped a few days ago.

The different agencies of the Government, the Municipality, the cultural entities, have joined forces to give sparkle to the event which also leads to more and more demonstrations that serve to support this which puts us to consider the world.

Today we are all proud of this Chaco event with a global impact and all this through the work of some visionaries who did not faint in the face of difficulties and who believed against all hope. The 700 or so sculptures that populate the streets are honored as they deserve. This is a demonstration that the initiatives, ideas and projects that everyone can hear can be captured.

This is a lesson for those who now lead the country and the province. Thirty years have pbaded and each edition has consolidated. This may also be possible in other areas where Argentineans are disunited.