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SILVIO FISCHBEIN

Silvio Fischbein Can the art of happiness, of body pleasure and of colour -as the kitsch has been defined- accept the ascetic harshness of the geometry, the unit and the concept? The artwork of Silvio Fischbein proves that this is indeed possible, and thus, it makes its way through the contemporary art scene.

Big plastic bins full of gift bows, placed on a 4x4 square. Book interventions using coloured bows (glued with epoxy resin) as if they were wigs matching the colour of the covers. A chair crammed with bows opposite a multicoloured carpet also made with bows. Three ideas that are actually only one: synthetic bows in quantity.

This is a prevailing motif which summarizes it all using a fundamental resource: accumulation. The process of accumulation has been used by artists like Arman and Tony Cragg, but Fischbein updates it for a different purpose. Here, waste is not collected, coloured bows are collected: a familiar object, devoiced of prestige, puerile, which belongs to the world of presents and parties. The question about the function -present in an unused chair, books that cannot be opened anymore, displayed precisely in a bookstore- faces an element which already has a paradoxical decorative utility.

The artworks expose an object barely seen, rather ignored, as it is a bow which one may put on top of any present. It reappears, then, the question about what dreams and desires are concealed in an element that is, silently, part of the action of giving; where the gift contrasts -maybe complementary- with a society ruled by exchange. Facing art which tries to shock using extreme methods, Fischbein fills a garbage bin with bows, and he questions our world of objects and relationships from the transfiguration of an unthinkable, maybe even ridiculous, object. The combination of candid and sinister, recurrent on the work of the artist (for example, in his accumulations of tiny plastic babies which create a gang environment) is absent in this occasion, where the bow fully exploits the colour which is not less important in the artwork of Fischbein.

This artwork appears as the reverse of the Ribbon Art, the branch of craftsmanship which produces the most diverse and incredible kitsch objects made with ribbons. Here, we are dealing with bows in its most simple and ordinary expression. The aristocratic past of the bow is erased by that gesture. Before our eyes, it appears the ordinary magic of the synthetic bows which we throw away without much thinking.

Florencia Abadi – 2014