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In the beginning, far from our days, was the pottery. Then was the painting, and since five years ago, are boxes with assembled shapes inside that occupied Silvio Fischbein’s time as an artist, no neglect his activities as a filmmaker and as an architect.
It’s about interesting transitions from many fields of the expressive language that took place at his early studies –Fischbein was then fourteen year old- at Batlle Planas’s school. The boxes that he presents in Tandil in May and in Buenos Aires in July join objects that belong mostly to the infancy place.
He works always in variations about the same theme of the boxes, with small objects inside, nevertheless, the evident risk of the repetition get an answer because the abilities of Fischbein to find different formal solutions.

In many works the infancy world appears recreated as if it were a distant obsession. The apparently coldness of the evocation complain a suspect lecture that allowed us to put in evidence the artist subjectivity.
Surprise the attention about the use of the contrast. From one hand, it’s constitute the presented theme: objects that are presented as an horror vacui suffocated, in this kind of “ants’ nets in where the different are declared invalid”, as could say Octavio Paz, with a lot of symbolic charge, and on the other hand, the formal resource that the artist decides for the plastic organization of the narrative elements.

If we stop in what concern to the formal aspect, we can recognize with out too much effort that we are in front of an artist very attempt to the resolution of the form in terms that we can qualify as a “Constructivist” (what shows his formation as an architect). From this point he gets a reticule that’s allowed an order of his little figures and imposes the color as an element in order to obtain a clear lecture.
A perturbed game of opposite go trough every work of this series: the chaos of this obsessive mix of figures gets its order to make up a geometric composition. The little dummies are upside down, in a lot of different positions –arbitrary and fussy- rationally uncompressible, but in where the color appears appropriately to put in calm the vision in chromatic harmony well balanced.
These little plastic figures, far from the domestic place, not yet usually, gets a kind of anxiety charge when its write now under the dark domain of the subcontinent. From this point of view, breaking the quotidian, Fischbein create the surprise.

The perturbation produced by the big number of figures is neutralized because of the harmony of its formal resolution. There is an ambiguity game in this visual strategy that requires the spectator to open big question marks who unfold multiple interpretations (this is one of the most evident sign of the contemporary art).

Is not about to please the spectator faces his point of view to the searching of the beauty –at least not as a imperative-, it’s about to express new worlds with the language of the art in where can meet the disconcert, the surprise, the beauty or the anxiety. It’s to allow us to find new horizons of an unknown dimension.

This square or rectangular boxes, as uterus or geometrical nest, are really simple shapes that give an interior force to the work and ask the spectator in a curious road with a lot of answers.

Fischbein breaks the tradition of the geometrical constructivism with his series of objects and figures that mix between each other in webs that could multiply to the infinity if there weren’t contains by the reticules.

Once, the Polish artist Henryk Stazewski said “The art never stops in emotionally desert of convenience contemplation or just to follow olds roads”. The new constructivism that Fischbein bring to us –a reflex of a rich internal world-, could be uncomfortable about the theme and ambiguous in his sense, but it is far, very far, from an indolent contemplation.

Malena Babino
February 2006