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Unique and Replicable

According to Silvio Fischbein, his work is “to roam the world”. A current world is toured from the visual language made up by everyday life objects, which give you a glimpse of recreations of human situations. Man and the world around him are examined, making a game between fact and fiction. Self-referentiality as a starting point in these aesthetic constructions seeks, at the same time, to mobilize the spectator from the possible discursive appropriations without restrictions on his production.

His works refer to contemporary life, to the relationships that are woven within it, and to a mass society that absorbs man until it is turned into distant textures, textures where man gets lost and cannot achieve identification, where he stops being a subject to turn into an object. However, within the image of a chaotic world that depersonalizes the human being, the artist rescues the particularity of each individual.

In this way, a game which is not naïve at all is incorporated, a game which seeks to commit the spectator to reflecting on his role in the present world. Play as a resource uncovers emotions, turning them into cuttings of a space-time where the daily vision of the world around him is revealed.

From a compositional viewpoint, the works convey a sense of freedom, though simultaneously limited from the support, with a projective and constructive attitude, a clear influence of architecture (another passion of his) where the need for volume and spatial organization is evident. There is a random order in the works, a temptation for matter to overflow and overcrowd that causes tension and uncertainty at times, that confines and liberates at the same time, creating a rhythm and harmony that does not destabilize but mobilizes.

He takes advantage of these resources to risk textures and play with colors, which imposes the need to constantly draw away and near again, bewitching the spectator, who looks through the work in search of new journeys. Thus, the artist proposes several readings, where closeness and remoteness are fundamental parts of the relationship with the work. He places flashes of color in the fluctuation of little manipulable objects, though recognizable in a direct approach, with a veiled discursive intension that creates contrast with the color uniformity of the whole.

In these times we have to live in, where a mass and serial exploitation of man and image has been generated, where everything is industrialized and repetition is produced to infinity, it is necessary to rescue the idea of the unique. Thus, flooded by an evident neo-baroque style, his work poses a discourse from the paradox of post-modernity, where the contradictory and the ambiguous prevail “like a doubtless emotional and imaginary activation that enables flight, the acceleration of a run, some uncontrollable wandering, because of order and symmetry principles.” [1]

Cecilia Quinteros Macció and Florencia Tagliaferri

[1] Rosa María Ravera, “Proyecto y Memoria: en torno al eje moderno/post-moderno”, Cuadernos Gritex N° 3- 4, pp. 46-61. UNR Publishing House.