|The First Art Newspaper on the Net
||Established in 1996
|| Friday, August 26, 2016
|This summer, Antwerp presents exhibition of Jan Fabre's Pietas in renovated Park Spoor Noord|
Jan Fabre, Merciful dream Pieta. Photo Pat Verbruggen. ®Angelos bvba.
ANTWERP.- From 25 May until 23 September 2012, the city of Antwerp presents the exhibition Pietas Jan Fabre. Created by Jan Fabre in 2011, this marble sculptural suite was featured for the first time during the 54th Venice Biennale, where it occupied the prestigious Nuova Scuola Grande di Santa Maria della Misericordia. In the artists home city of Antwerp, PIETAS will be the first exhibition to be held in the renovated Parkloods in Park Spoor Noord.
Jan Fabre is best known in Flanders for his 1998 sculpture The man who measures clouds, and for his 2002 work Heaven of Delight, a permanent installation in the Mirror Room of the Royal Palace in Brussels made from 1,400,000 jewel beetle shields. He is also renowned for his deep Bicblue ballpoint drawings entitled The Hour Blue, created between 1977 and 1992, and for his innovative theatre work. However, for over thirty years Jan Fabre has also surprised an international audience with his diverse and highly original work. The PIETAS exhibition brings together his supremely personal language of imagery and canonical highlights of art history, confirming his reputation as one of the most important artists working in Belgium and internationally.
In PIETAS, created in 2011, Fabres five white marble sculptures describe variations on the theme of the Pietà, the iconic image of Mary cradling the dead body of her son Jesus in her arms. Fabres interpretation presents concepts such as grief and acceptance, death and rebirth as well as mans capacity for imagination, inventiveness and art. As was the case in the Anthropology of a Planet (2007) and From the Feet to the Brain (2008-2009) exhibitions, the brain also plays a key role in this work. Pietà I-IV are large brain sculptures that figure as a base-world-cosmos for a range of naturalist and Christian symbolic systems. In the manner of mile poles or stations of the cross, the four brain-sculptures compel viewers along the path to the exhibitions apotheosis: the Merciful Dream (Pietà V). In this impressive piece, a challenging interpretation of Michelangelos iconic work, Fabre puts himself in the place of the Christ figure, and replaces Marys face with a skull. The four brain sculptures and the reinterpretation of Michelangelos Piëta are rendered in white Carrara marble and placed in geometrical orientation on a platform covered in 24-carat gold leaf. Hung around them are the Cocon I-X amulets, covered in shiny green jewel beetle shields.
Through PIETAS, Jan Fabre gives poetic shape to his deeply personal inner world. The pure language of the shapes in the installation recall the utopian self-consciousness of the Renaissance. Baroque and symbolic details obscure a complex mythology, while countless insects and plants suggest ties to mother nature and her cycles of growth and decay. References to art history and to the artists own work add additional dimensions to the sculptures. PIETAS appeals not only to our physicality, but also to our senses. The lush colours and textures of the materials are hypnotic, enhancing the ritual nature of the experience of viewers who don felted slippers and mount the platform to see the sculptures.
The dialogue between material and spirit, reality and fantasy, explicitness and the power of suggestion lends PIETA an almost supernatural aura. Nevertheless, Fabres sculptures are more sacred than religious in nature. By rearranging his iconic framework, the artist presents questions and asides to our culturally-determined assumptions about art and religion, life and death. As timeless and inviolable as the sculptures are, as a group they reduce the human body, along with its organs and experience, to a key to a world that is in a constant state of flux, but which we can also set in motion of our own volition.
The eternal process of metamorphosis is the driving force behind Fabres work, and it is its essence. While on the one hand PIETAS is a confronting reminder of our own inescapable mortality, it also marks the sculptural group as a late stage of suffering, and identifies birth and rebirth as a natural sequel to death. The provocative and sensual poetry of PIETAS sparks the viewers imagination. Fabres art can be experienced both as a modern synthesis of the age-old dilemmas inherent to life and as an allegory of our will to live. His oeuvre celebrates the ecstasy of creativity, and is an ode to human existence.
May 28, 2012
Christie's Spring Sales of Asian 20th Century and Contemporary Art achieve $81,076,863
Vancouver Art Gallery presents "Collecting Matisse and Modern Masters: The Cone Sisters"
Christie's announces it will sell one of the oldest artworks ever offered at auction
Bonhams achieves fifth sell out auction of the snuff bottles from the Mary & George Bloch Collection
Prized portrait of Consort Chunhui sold for almost HK$40 million at Bonhams Hong Kong 2012 Spring Auctions
Tracey Emin comes home to Margate with an exhibition of new works at Turner Contemporary
Solo exhibition of new sculpture by David Altmejd opens at Stuart Shave/Modern Art
Galleri Lars Olsen presents new Marianne Grønnow paintings in the exhibition Light. Dusk. Darkness.
Six young artists respond to the iconic sculptures of highly respected artist Lynn Chadwick
DeCordova Sculpture Park and Museum presents second nature: abstract photography then and now
This summer, Antwerp presents exhibition of Jan Fabre's Pietas in renovated Park Spoor Noord
Christie's New York announces Luxury Week, a bi-annual auction series devoted to the finest
'Who More Sci-Fi Than Us, contemporary art from the Caribbean' opens at KadE, Kunsthal Amersfoort
Acker ends spring season in Hong Kong on high note with impressive results of HK$70+ million/US$9+ million
Craft and Folk Art Museum opens exhibition of baseball-related traditional folk art
Final voyage: USS Iowa on way to Southern California home
Renovated Middelheim Museum in Antwerp reopens to the public
Who's afraid of black, yellow, red, blue and yellow?
Luis Gispert's first solo exhibition in Australia opens at Mclemoi Gallery in Sydney
Frieze Masters 2012: Participating galleries announced
Most Popular Last Seven Days
1.- Goya's Black Paintings reveal their secrets 200 years later
2.- 500-year-old German engraving by Albrecht Durer surfaces at French flea market
3.- X-ray flourescence and image processing unmask the woman Degas painted over
4.- Swimsuit mural of Hillary Clinton creates a stir in Australia
5.- Dali and Lempicka paintings stolen from museum 'found after seven years'
6.- Japan exhibition mourns fading sex culture
7.- Steven and Ann Ames collection to lead Sotheby's New York sales this November
8.- Ancient Australian flesh-eating marsupial discovered
9.- Swimsuit mural of Hillary Clinton creates a stir in Australia
10.- David Huddleston, 'The Big Lebowski,' dies at 85
Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .
|Royalville Communications, Inc|
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.