Daniel Silvo

My output is disparate, my investigations are erratic, the aesthetics of my pieces are motley, and there is no consistency or even continuity in my choice of themes, but none of that concerns me. That constellation of forms seems to draw random lines between distant points, but I am confident that it will all make sense eventually.
Among other things, I’m interested in observing the political implications of everyday realities whose ideological significance goes unnoticed.

In the same vein, I’ve analysed how these objects and phenomena behave, as well as the hidden political and social realities that lurk behind food, money, cars, artworks, trips, borders and architecture. In my latest works, I’ve explored the ideas of original and copy, fetish and documentary record, loss and conservation, destruction and renewal. These pieces are generally in video format, and the genres range from documentary (Lecciones de Mecánica Política, 2010) and fiction (La casa, el búnker, la ruina, 2012–2014) to road movie (Viento y Polvo, 2015) and video performance (Copy, 2016). The video productions are completed and complemented by other related works in different media (drawing, sculpture, installation) that incorporate materials such as glass, marble and leather.