For several years now, it has been possible to read Silvio Fischbein's work as a display of dichotomies: there, the pleasant coexists with the cruel, modules and discipline with the rupture of order and accumulations, in other words, rationalist order with the emergence of the irrational. His objects and installations offer a dual perspective as well as a double experience: amongst the seduction of colour and light and disturbing situations resolved with the same materials that initially catch the eye.
Small toys, cups and glasses, buntings, empty tubes of oil and acrylic paint and, above all, tiny plastic babies in a saturated range of colours are either framed within geometric boundaries, transgress them or climb up and get piled on old windows, furniture scraps, an easel. Sometimes these elements dialogue with knives, axes or nails; more recently with smashed glass and with brooms, sweeping materials and dolls as remnants, as ruins. Fischbein honours his various professions -architect, artist, film-maker- working on structure, design and texture, harmony of colour and materials at the same time; in this occasion, venturing on video art through a proposal resolved in a similar key: primary colours for each section of a film where, for the first time, the individual breaks away from the mass, from the collective, like a leftover, drifting, swept away amongst autumn leaves.
However, it is not the individual who prevails. When entering the exhibition, you will find a multicolored carpet made of balanced and self-sufficient modules. About 12 square meters, 48 plastic structures with 24,000 coloured babies: a sort of an all-over painting created with synthetic materials. Nevertheless, what at a distance may look like an attractive design, could be shocking in close view. The paving grids, used in parks and parking lots, carry a content that prevents us from “stepping on” them. The artist reminds us of a phrase heard some years ago in a course at the mythical Instituto Di Tella: "The crowd, a thousand-headed monster". While uttering these words, he continues to invade spaces, walls and floors, making highly-ironical comments.
Dra. Graciela Sarti
Buenos Aires University.