Exercising other times

The work of Silvio Fischbein creates a new interpretation of time. The pieces are not chronologically ordered. However, in parallel according to series. The same ones -in turn- are the only anchoring device we refer to to pose hypotheses.

Each action has in itself the alteration of the time it unfolds in. Specifically, each piece and its exhibition can alter the ideology it belongs to. At the same time, the historic production of an artist constantly interrupts its productive development in the present. Dialogues are created, resources are found. Even, for those of us who are silent testimony: a piece from the past can resignify a whole new series.

When we gather the ceramics produced in the year 1965 with works of the series “of EVERYDAY LIFE” (2014), we prove how both take on new meanings. The pieces created a coherent story in Fischbein’s poetic. The essay that incorporated as a theoretical-practical frame the characteristic polysemy proved the hypothesis: the pieces are capable of going beyond the series and -also- the chronology.

A critique by Basilio Uribe (1916-1997) was incorporated in the exhibit which in the magazine Criterio on November 10th, 1966 proposed interpreting Fischbein’s ceramics as functional objects defunctionalized through a morphological operation. That line of interpretation applied perfectly to the most recently intervened objects. All of them have lost their utility. Opening the archive and bringing it to the present transformed it into another way of interpreting the entire body of work. In the same way the pieces from 2010 coexist with the 2017 ones: the anachronic perspective creates a new contemporaneity.

The coexisting of Fischbein’s pieces in their anachrony extends as well to his audiovisual work. For example, the critical view and humanity remains within one of his first pieces – “Without Forget” (1983) – and his most recents productions in videoart: “everyone, THE SAME” (2014).

The productive and poetic investigation of Silvio Fischbein, then, poses upon us another take on Art History. It calls us to have an active presence before what we see. Interpretations, perceptions, including time/space notions seem to stagger. Remaining in front of the piece by this artist requires confrontation before what we believe we are and the times we live in.

Federico de la Puente – July 2018

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