“Art unites the difference. Based on this assumption, we enter the space of this art show , conceived by Architect Ernst Hunzinger, where six artists, coming from different backgrounds, express their creative energy.
Silvia Fubini shows three sculptures of great poetic and intellectual power. They are kinetic sculptures, mobiles flying over our heads while developing three Platonic Solids, symbols of perfection, They unveil the true nature of the photographic landscapes printed on the outer face of the polyhedrons”

Gabriele Fasolino, 2017 From the introduction to the show

“Each of the four faces of the pyramidal solid, Tetraedro senza Inizio, showed at Palazzo Ducale in Genova and Museo Borgogna in Vercelli , contains a landscape: a city panorama connected with art and mysticism , or a glimpse of natural elements like water and air charged with symbolic meaning as well. Tetrahedron is one of the five platonic solids, a regular polyhedron whose faces are perfectly equilateral. It’s an absolute solid reminding us not only of Geometry but also of Spirituality, it makes us think of the East (evoqued by the image of a gigantic Buddha) and also of the West (the glass pyramid of the Louvre). The prevalent color is sky-blue, Kandinskij’s favourite, who used to match it to the triangle and to the highest idea of spirituality. Every face of the tetrahedron is an opportunity for a thought, for a journey into the world and inside ourselves, like a magical game of mirrors, of reflections, of transparencies”.

Lorella Giudici,
Professor of Storia dell’Arte all’Accademia di Brera, Milano.
From the catalogue ‘End in Nation’ Vol.2, 2016

“Silvia Fubini turns her attention both on city landscapes and private ones. I am thinking of her series about New York and of her show ‘Moving Back’ where she shot personal pieces of her life.
A common element of her works is a poetic vision, first developed and then shared.
This is particularly clear in her recent reportage about construction sites in Torino.
Silvia Fubini has followed the entire evolution of Palazzo del Nuoto by architects Isozaki and Maggiora with her ‘Architectural Moments’ thirty photographs suspended on panels along the stands and the sides of the main swimming pool. She searches in hidden corners, in temporary environments, amid sacks of concrete, suspended wires and pools deprived of their element. Juxtaposing a structure’s full and empty spaces, Fubini is able to create images that evoke the unconscious and a human element, the vital contribution of businesses and workers.
Never indulgent with an aseptic point of view, the photographs are always more then a reportage, they become poetry.”

Edoardo di Mauro Professor of Storia della Critica, Accademia Albertina, Torino
From the catalogue ‘Palazzo del Nuoto’, Città di Torino

“Silvia Fubini looks at the existing connection between construction and destruction, decay and restoration. This process in not always a logical, linked together sequence; on the contrary it leads to the dislocation of objects, the disorientation of time and vision.”

Lorella Giudici, from the presentation of the show End in Nation

“This exhibition plays with the thread of memory and documents different moments of Silvia Fubini’s recent relocation to Italy from New York. The artist does not employ photography as a means to reproduce the dullness of daily life, but rather uses it in an intimate, psychological way. Her shoots symbolically bring back reminiscences of her recent past pointing out apparently unimportant details”.

Edoardo di Mauro
Presentation to the show Moving Back, 2005

“The train goes, but we are still. Our minds may wander, looking out of the window
or focusing on ourselves stimulated by the colorful shadows passing fast in front of our eyes and helping us to recall fleeting moments.
In this show Silvia Fubini suggests what a train can tell: the ride, the impatience, the anxiety to arrive at a destination, but also the pauses, the instinct to stop what is running too fast, the desire to make our thoughts travel to rest at the final station. And her pastel colors interposed among the big dark shapes of wagons and locomotives remind us of passing images and memories kept in the windows of these gigantic machines, of how much of us is in them and how much of them is in us”.

Valter Giuliano, Department of Culture, Environment Protection, Province of Turin
From the catalogue: “Si Viaggia”, 2004



Per quale ragione,
Altrove ma sempre lontano
Riflesso sul finestrino del treno
Che scorre con i paesi oltre
Me stesso al di qua del mondo
Non scelsi anch’io di sospendermi
O lago che da te ti stacchi
E sei appena la tua trasparenza
E voi sempre davanti piante
Che a vicenda la corsa eterna
In un solo verde e il fischio
Non distoglie a fianco del binario
Tra i sassi e il precipizio
Aggrappate per le radici
Agli interstizi della terra
Ma indietro protese e ferme
Verso il turchino di Baveno
Di Verbania, sempre più lievi,

Nicola Gardini, from “Atlas”, Crocetti, Milano, 1997
From the catalogue “Si Viaggia”, 2004


“In these images by Silvia Fubini the facade becomes ‘persona’ in the Latin meaning of the word, a true mask generating and hiding at the same time a new essence, an entity appearing in front of my eyes through an osmotic process. That young girl, still beating with life, is superimposed on the Selinunte Greek temple and becomes the soul of it. The two images blend so perfectly that it is impossible to draw clear lines between them. Where does the temple begin, where the human being?”

Leila Mebert,
America Oggi, 2002