(Antwerpen, 14 december 1958 )
4 c-prints mounted on foam board, from an edition of 40. Provenance: Deweer Gallery, Otegem, acquired in 2000.
Exhibited: Stedelijk Museum Schiedam, 'Kunst uit huis V: collectie Ron Klein Breteler', 24.5 - 23.8.2009.
Jan Fabre’s work cannot be pigeonholed because it is inextinguishable, exploring all the areas of art’s intermediary role (theatre, opera, video, choreography, performance, drawings, installations). In pursuing his burning quest for beauty and freedom, Jan Fabre does not wish to reveal the labyrinth of his art. He is an exacting man, who allows you to journey towards his imaginary realm, but offers no keys to reading his marvellous world.
The installation of small blue crosses, carefully arranged using the model of military cemeteries is a moving allusion to the parallel fate of insects and people. On each one of the crosses is carved the Flemish name for a family of insects, a metaphor of the fate of the common man. Like some anonymous, vulnerable shield, ontologically associated with sacrifice, he champions the ideologies and philosophies of a social life that is ordered, hierarchical, violent, cruel and cannibalistic. In the collective unconscious, the insect is the pariah, the creature that is unworthy of divine creation, and yet the oldest living being on the planet. It is the living, seething evidence of our most primitive and bellicose instincts. Fabre chooses the marvellous to describe the abjectness of our desires and senses.(Source: website: FRAC Lorraine, text: Béatrice Josse)