Searching the Unknown
Carlos Regazzoni was born in 1943 in Argentina, Chubut. During his youth, Carlos worked in countryside labours and he helped his family business in Oil, he was a vivi young boy, with character and very hard worker, beside all his hobbies, he read and worked and started forjing that creativeness and spirit of labour. In 1991, he became known in France through Franck Joseph’s film, El Hábitat del Gato Viejo, which won an award at a Vendôme short film festival. After an exhibition of paintings at the Gare de l’Est, the SNCF is providing it with a disused hangar in the 18th arrondissement La Halle Pajol. SNCF is interested in its way of recovering railway furniture. For ten years, he transformed this hangar into a 6,000 m2 workshop with paintings and frescoes, sculptures, kitchens and bathrooms, offices, and small workshops for artists passing through such as the sculptor Paco Puyuelo2 or the French photographer Marc Lavaud. His reputation as an alternative artist is recognized and he is invited to participate in the exhibition on the Hundred Years of French Aeronautical History, these event marked his prosperous period.In 2006, the ZAC Pajol project forced him to move; he is invited to deposit his breathtaking sculptures in a provincial castle in Fontaine-Française3,4. He returned to Argentina and found his workshop in Buenos Aires, at the exit of Retiro central station. He found his favorite tool there, the acetylene torch. He regularly welcomes visitors to his atelier. Whether in Paris during his years of pseudo-artist residency or in Argentina, in what he calls his railway castle, the disused hangars are so many workshops or exhibition places that house his creations and his recovery equipment; as for the abandoned wagons, it reconverts them into places of habitation. He draws his inspiration from the “unimaginable power of scrap metal” extracted from the carcasses of planes or trains. The first heroes of Aéropostale, Mermoz, and especially Saint-Ex, who linked Argentina to the rest of the world on their whimsical Latécoère 28, were also his first personal heroes. Everything about the idea of a network is a source of emotion: «Planes and trains are the greatest epics of the industrial era». His world is described as Dantesque, and he is often compared to Dali both for his outrageous behavior as for his mode of communication or his relationship to money. He does not recognize any master (aesthetic). Argentinian sculptor Roman Alegre, a railway plastic artist, calls himself a student. Its open-air workshops resemble a rusty metallic zoo where insects and birds sneak among monsters and dinosaurs. Sometimes, around a hangar, a knight cousin of Don Quixote watches, dressed in his recovery armor, or it is a helmeted driver who occupies the cockpit of a racing car but will not participate in any competition.