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Every production, the artistic included, is indebted to the ones that precede it.

But for the weight of tradition not to be the only way of legitimation, after the contributions of Dadá and Pop, some artists envisage their work consciously getting rid of good manners and the wisdom of cultural teaching, and facing the operating processes with the random uncertainty of game-playing, turning that past into pure matter, color and texture. Thus, each preceding sign is no longer unalterable and pre-dictable inheritance.

However, it is not cultural amnesia which permeates the works of Silvio Fischbein, it is rather, doubling the stake, a meditated disassembly of the myth of the artist as a romantic maker, that who leaves the indelible mark of his work in the matter, to turn him into a joyful planner and organizer of the “already given” . The material of his work, tiny plastic objects from the mass and serial industry, loses its identity and use as piñata souvenir to turn into a modular component of vast sets of saturated colors and complex weaving.

This process reminds us of the bricoleur concept elaborated by Levy-Strauss in his time: “His universe of instruments is closed and the rules of the game are always to be satisfied with “what is at hand,” that is with a limited and heterogeneous set of instruments and materials, it is the contingent result of renewing or enriching stock and of keeping it with the remains of previous constructions and destructions.” This way of proceeding, often found in the artistic behavior of aboriginal villages and in children, in Silvio Fischbein’s case acquires new meanings, since it does not deny the urban context or the industrial origin of his compositions.

Whether they are a metaphor of the intricate evolution of the civic imaginary, a reflection of the processes of homogenization and standardization, or criticism of super consumption, these works keep, however, in that fascinating oscillation between perception and representation, and in that lack of nostalgia for the past, a latent state of affirmation of the playful qualities where sincerity, humor and intended simplicity surpass any social comment.

Hector Medici
December 2010.