This article examines the ways in which the work of the Argentine artist Antonio Berni (1905–1981) proposes renewed forms of realism engaged both with aesthetics and the socio-political order. Through the examination of Berni’s trajectory and with a special focus on Berni’s monsters made from reclaimed waste, this study draws on Jacques Rancière’s notion of dissensus to argue that art and politics come together in Berni’s monstrous constructions in the way in which they overturn customary modes within the realist representational order and simultaneously engender a transgressive and controversial art. In this, Berni’s work constitutes an original and daring proposal speaking to then-urgent political problems, such as unequal capitalist relationships and poverty, as well as delivering new insights on current ecological calamities.

本文探讨了阿根廷艺术家安东尼奥·伯尼（Antonio Berni，1905-1981年）的作品提出的新形式的现实主义形式，这些形式既涉及美学又涉及社会政治秩序。通过研究伯尼的轨迹，并特别关注伯尼的废料制成的怪物，这项研究借鉴了雅克·兰契尔（JacquesRancière）的“异议”概念，认为艺术和政治在伯尼的庞然大物中融合在一起，从而颠覆了传统的模式。现实主义的代表秩序，同时产生了一种具有侵略性和争议性的艺术。在这种情况下，伯尼的工作构成了一个原始而大胆的建议，用于应对紧迫的政治问题，例如不平等的资本主义关系和贫困，以及就当前的生态灾难提供新的见解。