Piety of the Belgian Jan Fabre in the Biennial one of Venice

Piety of the Belgian Jan Fabre in the Biennial one of Venice

 

 

Jan Fabre (Antwerp, Belgium, 1958) is a multidisciplinary artist, playwright, stage manager, choreographer and designer. He studied in the Municipal Institute of Decorative Art and the Royal Academy of Fine arts of Antwerp. Between 1976 and 1980 he wrote its first scripts for the theater and did its début in performances. From 1980 there began its career as stage manager and theatrical designer, and in 1986 there founds Troubleyn / Jan Fabre, a company of theater.

 

Jan Fabre has presented in the Biennial one of Venice (54th edition, it is possible to meditate until November 27) Pietás an installation composed by five sculptures installed in Big Nuova Scuola I gave Santa Maria della Compassion, Venice.

 

There are five sculptures in which the artist has re-interpreted the topic of the Piety in terms of the feelings of compassion and conciliation. Its main work is “compassionate Sleep. Piety V” recreates the well-known, traditional image, of Christian iconography. It is even realized in the same marble of Carrara that Miguel Ángel used in its famous work.  

 

On having contemplated the image, something moves you (I do not know if inside or out of the body) but this Piety does not stop indifferently. Often the declarations of the contemporary art for what they look is the provocation and they invite us to the reflection. Of a widespread form this reflection takes us, often, to the familiar question: and is this an art? For me here this question does not fit. This is an art. It takes me to me to wonder for the power of suggestion that has this image.

 

The head of the Virgin has been replaced with a skull. A clear and clear allusion to the death. We all, sooner or later, will have a meeting with her, with the death, and up to the most beautiful and virginal faces they will decompose. We can assure that. According to the proper Fabre this allegory illustrates the desire of every mother to occupy the place of its son in the suffering and the death.

 

Christ's body is dressed and shows a contemporary outfit with tie and belt. Its face is a self-portrait. Fabre has been autoimmolated in the sculpture. Its right arm, it hangs inertly and in its hand it supports a brain. This small piece, this small detail is of what more creaks in the composition. The whole composition is almost a believer relejo of the sculpture of Miguel Ángel. But the brain is a proper contribution. “There are the neurons those that make feel the compassion feeling and that's why I have represented the brain, on which everything depends, even the soul of the individual” Jan Fabre has shown.

 

On the bodies there settle these animalcules that so much the Belgian artist is desirable to represent: beetles, butterflies, snails … For him the insects are the memory of the planet and we might not survive without its knowledge (they have survived 40 million years). They are you present in almost all its works.

 

I consider this work to be a big masterpiece. Neither provocation nor irreverence. Art. An invitation to the spirituality that our society lacks and that she can be the causer of many of the evil through that right now we live.

 

The installation is completed by another four pieces that make alike enormous brains on which crossings, bonsais or turtles are erected. A set that combines science, art and spirituality.

 

This reportage put me on the track of this work.

http://www.elpais.com/articulo/portada/artista/tierra/cielo/elpepuculbab/20110813elpbabpor_43/Te

 

 

 

 

Square Luisjo

 

 

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Piety of the Belgian Jan Fabre in the Biennial one of Venice | Magazine Atticus

Piety of the Belgian Jan Fabre in the Biennial one of Venice

Piety of the Belgian Jan Fabre in the Biennial one of Venice

 

 

Jan Fabre (Antwerp, Belgium, 1958) is a multidisciplinary artist, playwright, stage manager, choreographer and designer. He studied in the Municipal Institute of Decorative Art and the Royal Academy of Fine arts of Antwerp. Between 1976 and 1980 he wrote its first scripts for the theater and did its début in performances. From 1980 there began its career as stage manager and theatrical designer, and in 1986 there founds Troubleyn / Jan Fabre, a company of theater.

 

Jan Fabre has presented in the Biennial one of Venice (54th edition, it is possible to meditate until November 27) Pietás an installation composed by five sculptures installed in Big Nuova Scuola I gave Santa Maria della Compassion, Venice.

 

There are five sculptures in which the artist has re-interpreted the topic of the Piety in terms of the feelings of compassion and conciliation. Its main work is “compassionate Sleep. Piety V” recreates the well-known, traditional image, of Christian iconography. It is even realized in the same marble of Carrara that Miguel Ángel used in its famous work.  

 

On having contemplated the image, something moves you (I do not know if inside or out of the body) but this Piety does not stop indifferently. Often the declarations of the contemporary art for what they look is the provocation and they invite us to the reflection. Of a widespread form this reflection takes us, often, to the familiar question: and is this an art? For me here this question does not fit. This is an art. It takes me to me to wonder for the power of suggestion that has this image.

 

The head of the Virgin has been replaced with a skull. A clear and clear allusion to the death. We all, sooner or later, will have a meeting with her, with the death, and up to the most beautiful and virginal faces they will decompose. We can assure that. According to the proper Fabre this allegory illustrates the desire of every mother to occupy the place of its son in the suffering and the death.

 

Christ's body is dressed and shows a contemporary outfit with tie and belt. Its face is a self-portrait. Fabre has been autoimmolated in the sculpture. Its right arm, it hangs inertly and in its hand it supports a brain. This small piece, this small detail is of what more creaks in the composition. The whole composition is almost a believer relejo of the sculpture of Miguel Ángel. But the brain is a proper contribution. “There are the neurons those that make feel the compassion feeling and that's why I have represented the brain, on which everything depends, even the soul of the individual” Jan Fabre has shown.

 

On the bodies there settle these animalcules that so much the Belgian artist is desirable to represent: beetles, butterflies, snails … For him the insects are the memory of the planet and we might not survive without its knowledge (they have survived 40 million years). They are you present in almost all its works.

 

I consider this work to be a big masterpiece. Neither provocation nor irreverence. Art. An invitation to the spirituality that our society lacks and that she can be the causer of many of the evil through that right now we live.

 

The installation is completed by another four pieces that make alike enormous brains on which crossings, bonsais or turtles are erected. A set that combines science, art and spirituality.

 

This reportage put me on the track of this work.

http://www.elpais.com/articulo/portada/artista/tierra/cielo/elpepuculbab/20110813elpbabpor_43/Te

 

 

 

 

Square Luisjo

 

 

Bookmark

Filed file: Exhibitions

Did he like this article? Subscribe to my RSS feed and to obtain more discharges!

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