“As soon as we become aware, in our society, that the work of art that we must take care of, that area where we must apply aesthetic values, is oneself, one’s own life, one’s own existence”
To think about Silvio FISCHBEIN’s visual production is to trace lines of a creation process of other worlds, a place where what remains alive in the material is sheltered and kept from where everything can go back to “taking land”, to reinvent a territory of possibilities. Understanding his production in a retrocollective fashion; thus, with multiple collaborations and encounters, not only within artworks but also betweenperspectives, it gives us the possibility of thinking and acting the different and what constitutes it, as another modality of subjectivation.
The principal line of flight that runs through his whole production seems to be a dialectic of questions, interrogations that affect and link us not only to generate other relationships between art-piece-audience but also, and more urgently, to connect his work-body between diaspora and regions in a production; between realities and dreams that keep it connected to a grid that creates meaning. A soft hospitality that invites us to recognize a revelating artist of a revision exercise and reaffirmation of personal territory although shared, open to accept that the question always assumes that the difference is clung to its other, that it does not have as a result the definition of a concept or of a unilateral distinction; on the contrary, the difference always alludes to a complex conjuncture where every element has always been- already affected by others.
In this affect, the visual is worked as a continuous demand; no longer is language taken as an aesthetic orthodox value but as a vital metaphor. Abandoning the idea of representing reality by means of language, what transports material is worked with in which a new vision permits, a new organization of the universe, a new diagram of associations, an affective genealogy in which the power of “the truth” is given by the same possibilities of the material the artist intervenes with without stripping it of its intrinsic history, its imprints, its formal weight and politics, its world, to make it last in other logics of meaning and temporary formulations.
Through the activation of the notion of art as a device that regains forces that act under representation and connect it with the domain of the sensitive, with diverse universes of reference and subjectivity; Fischbein’s production is a territory that resists to come to recognize in consistency itself the visual material a project of the world, destined for a cosmos that it does not hold or own, but to which it does not keep from heading to take charge of, as Foucalt points out, life itself, of our own existence.
María Laura Reginato – 2019