Yang Fabr: Despair Knight - beauty warrior. Yang Fabr: artist in society - as a street animal Yang Fabre My Queen
Recommended for 16+. Jan Fabre Is One of the Most Fertile and Important Artists of His Generation. HE HAS CREATED A NUMBER OF NEW WORKS ESPECIALLY FOR THIS EXHIBITION NUMBERING MORE THAN 200 ARTWORKS.
THE CARNIVAL GIANT IN BRUSSELS
Series.
2016
20.3 x 16.8 cm
© Angelos BVBA / Jan Fabre
The Gilles of Binche in Full Regalia On Shrove Tuesday
Falsification De La Fête Secrète IV Series.
2016
20.3 x 16.8 cm
HB Pencil, Color Pencil and Crayons on Chromo
© Angelos BVBA / Jan Fabre
The Appearance and Disappearance of Antwerp I
2016
124 x 165.3 cm
BallPoint (BIC) on Poly G-FLM (Bonjet High Gloss White Flm 200gr), DIBOND
© Angelos BVBA / Jan Fabre
The Appearance and Disappearance of Christ I
2016
124 x 165.3 cm
BallPoint (BIC) on Poly G-Film (Bonjet High Gloss White Film 200gr), DIBOND
© Angelos BVBA / Jan Fabre
THE LOYAL GUIDE OF VANITY (II / III)
Series.
2016
227 x 172 cm
© Angelos BVBA / Jan Fabre
The Loyal Ecstasy of Death
Vanitas Vanitatum, Omnia Vanitas Series.
2016
227 x 172 cm
Jewel Beetle Wing-Cases on Wood
© Angelos BVBA / Jan Fabre
ELS OF BRUGES.
My Queens. Series.
2016
White Carrara-Marble
200 x 150 x 11.5 cm
© Angelos BVBA / Jan Fabre
Ivana of Zagreb.
My Queens. Series.
2016
White Carrara-Marble
200 x 150 x 11.5 cm
© Angelos BVBA / Jan Fabre
Jan Fabre (Antwerp, 1958), a Visual Artist, Theater Artist and Author, Uses His Works to Speculate In A Loud and Tangible Manner About Life and Death, Physical and Social Transformations, AS Well As About the Cruel and Intelligent Imagination Which is present IN BOTH ANIMALS AND HUMANS.
For More Than Thirty-Five Years Jan Fabre Has Been One of The Most Innovative and Important Figures on The International Contemporary Art Scene. AS A Visual Artist, Theater Maker and Author He Hascreated A Highly Personal World with Its Own Rules and Laws, As Well As Own Characters, Symbols, and Recurring Motifs. Influenced by Research Carried Out by The Entomologist Jean-Henri Fabre (1823-1915), He Became Fascinated by The World of Insects and Other Creatures AT A Very Young Age. In The Late Seventies, While Studying at The Municipal Institute of Fine Arts and The Municipal Institute In Antwerp, He Explored Ways of Extending His Research to the Domain of the Human Body. His Own Performances and Actions, from 1976 to The Present, Have Been Essential To His Artistic Journey. Jan Fabre's Language Involves A Variety of Materials and Is Situated in a World of His Own, populated by Bodies in a Balance Between The Opposites That Define Natural Existence. Metamorphosis Is a Key Concept in Any Approach to Jan Fabre's Body of Thought, in Which Human and Animal Life Are in Constant Interaction. HE UNFOLDS HIS UNIVERSE THROUGH HIS AUTHOR'S TEXTS AND NOCTURNAL NOTES, PUBLISHED IN THE VOLUMES OF HIS NIGHT DIARY. AS A Consilience Artist, He Has Merged Performance Art And Theater. Jan Fabre Has Changed The Idiom of Theater by Bringing Real Time and Real Action to the Stage. After His Historic Eight-Hour Production "This Is Theater Like It Was To Be Expected and Foreseen" (1982) And Four-Hour Production "The Power Of Theatrical Madness" (1984), He Raised His Work to A New Level in the Exceptional And monumental "Mount Olympus. To Glorify The Cult of Triady, A 24-Hour Performance" (2015).
Jan Fabre Earned The Recognition of A Worldwide Audience With "Tivoli" Castle (1990) And With Permanent Public Works in Sites of Historical Importance, Such As "Heaven of Delight" (2002) at the Royal Palace in Brussels, "The Gaze Worthin ( The Hour Blue) "(2011 - 2013) In The Royal Staircase of the Museum of Fine Arts in Brussels and His Latest Installation In The Antwerp Cathedral of" The Man Who Bears The Cross "(2015).
HE IS KNOWN FOR SOLO EXHIBITIONS SUCH AS "HOMO FABER" (KMSKA, ANTWERP, 2006), "Hortus / Corpus" (Kröller-Müller Museum, Otterlo, 2011) and "Stigmata. Actions and Performances", 1976-2013 (MAXXI, ROME, 2013; M HKA, Antwerp, 2015; Mac, Lyon, 2016). HE WAS THE FIRST LIVING ARTIST TO PRESENT A LARGE-SCALE EXHIBITION AT THE LOUVRE, PARIS ("L'Ange De La Métamorphose", 2008). The Well-Known Series "The Hour Blue" (1977 - 1992) Was Displayed in the Kunsthistorisches Museum in Vienna (2011), In The Musée D'Art Moderne Of Saint-Etienne (2012) and in the Busan Museum of Art (2013 ). His Research on "The Sexiest Part of the Body", Namely The Brain, Was Presented in the Solo Shows "Anthropology of a Planet" (Palazzo Benzon, Venice, 2007), "from the cellar to the attic, from the feet to the Brain "(Kunsthaus Bregenz, 2008; ARSENALE NOVISSIMO, VENICE, 2009), AND" PIETAS "(NUOVA SCUOLA GRANDE DI SANTA MARIA DELLA MISERICORDIA, VENICE, 2011; Parkloods Park Spoor Noord, Antwerp, 2012). The Two Series of Mosaics Made with the Wing Cases of the Jewel Scarab "Tribute to Hieronymus Bosch in Congo" (2011 - 2013) and "Tribute to Belgian Congo" (2010- 2013) Were Shown at the PinchukartCentre in Kiev (2013) and The Palais Des Beaux-Arts In Lille (2013) And Will Travel to 'S-Hertogenbosch in 2016 for the 500th Anniversary Celebration of Hieronymus Bosch.
As Emphasized by the Artist and Acknowledged by Critics and Researchers, His Art Goes Back to the Traditions of Classic Flemish Art, Which He Admiires. Peter Paul Rubens and Jacob Jordaens Are Important Inspirations, And The Visitors Will (or Won't) See It for themselves. For the Exhibition Period, Fabre's Works Will Make Part of the Museum's Permanent Exposition and Enter In A Dialogue with the Absolute International Masterpieces. The Idea of \u200b\u200bthe Exhibition Appeared After Jan Fabre Had Had A Large Scale Solo Exhibition Jan Fabre. L "Ange de la Métamorphose at the Flanders and The Netherlands Rooms at the Louvre in 2008.
AT The Hermitage Halls, This "Sketch" Will Develop Into a Major Art Event That Is Suce to Spark A Great Interest and Many Debates, Which Are to Be Held At Another Intellectual Discussion Marathon. The Exhibition Will Come with Series of Lectures, Master Classes and Round-Table Discussions. The Exposition Will Air Eight Films, Including The Performance Film Love Is The Power Supreme (2016) Featuring The Artist, Which Was Filmed in the Winter Palace in June 2016. This Work Will Remain in The Collection of the State Hermitage Collection. As a Grandson of a Famous Entomologist, Jan Fabre Widely Uses The Wildlife Aesthetics. He Use Beetle Shells, Animal Skeletons and Horns, As Well As Stuffed Animals and Images of Animals in Various Materials. The List of Unusual Materials Goes Beyond That and Covers Blood and Bic Blue Ink.
The Exhibition Has Been Organized by The Contemporary Art Department at the State Hermitage In A Frame of the Hermitage 20/21 Project. IT IS UNDER PATRONAGE OF V ST. Petersburg International Cultural Forum.
On October 21, the Ermitage opened the exhibition "Yang Fabr: The Despair Knight - Warrior Beauty, prepared by the Department of Contemporary Art of the State Hermitage in the framework of the Hermitage 20/21 project. One of the largest masters of modern European art Belgian artist Yang Fabr presented two hundred thirty works in Hermitage: graphics, sculpture, installation, films. The exhibition caused an ambiguous reaction from the visitors of the museum, which indicates the unconditional interest of the St. Petersburg audience to the creative statements of the author. The Hermitage comes letters from visitors to the museum with criticism of the works of Fabra and the request to remove some works of the artist from the exposure. We have prepared an answers to the most frequently asked questions.
- Why is FabR exhibited not only in the main headquarters, which spectators have already accustomed to associate with contemporary art, but also in the main museum complex?
Indeed, Fabra work. The idea to present Farbri in the Hermitage - in a dialogue with Flemish Masters of the XVII century, originated seven years ago, when the Museum Director, Mikhail Borisovich Piotrovsky, and Dmitry Ozerskov, Head of the Department of Contemporary Art, visited Yana Fabra in Louvre, where the artist's installation neighboring the masterpieces Rubens. According to the curator of the project D. Ozerkova, "This is not an invasion. Fabre, a modern artist, comes to our museum not in order to compete with him, and to bow the knee in front of the old masters, before beauty. This exhibition is not about Fabra, it is about the Ermitage Energy in its four contexts: painting old masters, the history of buildings, the cradle of the revolution and the place where the kings lived "(The Art Newspaper RUSSIA).
Photo by Alexander Lavrentiev
The flickering green compositions of the Belgian, created in the genre of Vanitas Vanitatum (vanity vanity) on the motive of Memento Mori (remember the death), are introduced into the walls of the new Hermitage (the Hall of Flemish and Dutch painting). Yang Fabr is a slim colorist. In the twelve-column hall, it works in the colors of gray marble and decorative gilding. His precious emerald panels resemble the viewer about the Hermitage Malachite Bowls and Countertops, about the decoration of the Malachite living room of the Winter Palace.
Photo of Cyril Iconnikova
His drawings with a "BIC" handle are close to Lazarith VAZ of big lumen of the new Hermitage.
The laconic and strict reliefs of the Fabra with the "Queen" are adjacent to the front portraits of the English nobility and the court ladies of Antonis Brushes van Dake.
Successfully Neighborhood of Fabra with "shops" of Sneiders, a modern artist does not quote the Flemish Master, but only gently adds a skull's motif - an obvious sense for the historian: the topic of vanity and bustle of being.
Photo by Valeria Zubarova
Fabre himself at a meeting with Petersburgers in the Atrium of the General Staff said that his work in the halls of art of Flanders are designed to force the audience to "stop, to pay time art." "Visitors pass by Rubens, as a large store showcases, they do not look at the details," the artist says.
- I appeal to all services of the State Hermitage! As a kindergarter and volunteer, I consider unacceptable for deployment to all age categories and a dismantling dog's disguised psyche on the hooks! The exhibition Jan Fabra is blessing. Especially it is immoral in the light of a huge response in cases of Luggage in Khabarovsk. Please remove animal stuffed from exposure!
Yang Fabre has repeatedly told reporters that dogs and cats that appear in its installations are homeless animals who died on the roads. Fabre is trying to give them a new life in art and, thus, to defeat death. "Many of my work devoted to life after death. Death is part of life, I respect death, "says the famous Belgian. The dead dog in the installation of Fabra is a metaphor, a kind of self-portrait of the artist. Fabre approves: "The artist is a stray dog."
Fabre calls for a careful attitude towards animals that many centuries accompanied humanity by entering history and mythology. Today, the attitude of a person to the animal consumer. Cats are left at dachas. Old dogs are expelled from home. Accentuing cats and dogs in old art, Fabr shows that in all its qualities they are like people, and therefore their love and joy, their illness and death should be disappearing from our consciousness.
Presenting stuffed pets, Fabr, along with the zooferships around the world, opposes consumer attitudes towards them.
Often we love not animals, but their love for them. Calling them with our smaller brothers, we often do not understand how cruel to them. We are ready to get rid of them at the first opportunity, it is worth the animal to get sick or to be aged. Against this is Yang Fabr. They found along the aircraft of the body of animals shot down by cars, he turns from the waste of consumer society - to the reproach of human cruelty.
- Why could Fabre could not use artificial materials instead of stuffed animals? Modern technologies allow them to make them completely indistinguishable from the present.
"Why marble, not plastic?", Asks Fabre, responding to this question at a meeting in the main headquarters. "Marble is a tradition, Michelangelo, this is a tactile other material. Material is the content. " This thesis of Fabra can be compared with the idea of \u200b\u200bRussian formalists about the unity of form and content.
For Yana Fabra, "erotic relationship with the material", the sensual component is very important. He recalls that Flemish artists were alchemists, for the manufacture of paints, they used blood and crushed human bones. The artist considers the body as an "amazing laboratory and a battlefield." For him, the body is "something beautiful and very powerful, but at the same time vulnerable." Creating its monks for the installation of Umbroculum, Fabre uses bones - hollow, "spiritual bodies" of his characters have an "external skeleton", they can not be injured, they are protected.
Photo by Valeria Zubarova
- Stuffed not a place in the Hermitage, they must be in the Zoological Museum.
In the Knight's Hall of the new Hermitage, horses from the Tsarsko Selo Arsenal Nicholas I (these are horse skins, stretched on a wooden base). In the Winter Palace of Peter I (Controve of Peter the Great), the dog's scarecrow is exhibited, this is an orphanage, one of the favorite emperor. Their finding in the Hermitage does not seem to visitors strange or provocative, does not cause fear and indignation.
Photo by Valeria Zubarova
The artist uses certain funds based on the principle of internal necessity and its own supercount. For the perception of contemporary art, there is not enough easy-to-face glance, it requires (from each of us) internal work and spiritual effort. This effort is associated with overcoming stereotypes, prejudice, fear, ideological and psychological clichés, religious installations. It requires courage and patience, makes us expand the boundaries of our perception. Contemporary art is something that cannot be fully prepared. Fabre himself says that his work "is associated with the search for reconciliation and love. Love is the search for intensive dialogue and politeness. "
Photo by Valeria Zubarova
Text: Tsibulya Alexander, Dmitry Ozerkov
We offer you also to get acquainted with the following materials:
"Our goal is achieved, people talk about the protection of animals": Dmitry Ozerskov - about the scandal around the stuffed at the exhibition in the Hermitage (Paper)
Exhibition "Yang Fabr. The despair knight is a beauty warrior ", passing in the Hermitage, in the past weekend" woke up by the famous ": the public has again needed to mice, and literally. The audience was indignant by the fact that the FabR in their facilities and installations uses stuffed animals, and loudly demands to prohibit the exhibition "of this stigro". Anna Matveyeva went to Hermitage and amounted to a short guide to the exhibition of Famra, who disappointed its absence of any belughous behalf.
Type of exposition of the exhibition "Yang Fabr. Despair Knight - beauty warrior "in the State Hermitage. Photo: Valery teeth
The Fabra exhibition in the Hermitage is divided into two places: part of it passes in the historical halls of the Winter Palace and the Small Hermitage, where the work of Fabra enters the dialogue with Rubens, Sneiders, Wang Dequee and other old masters, and part - in the building sharpened under the display of contemporary art The main headquarters, where, however, suffered several necessary for the rhymes with the works of the phabrus of ancient paintings. The rhymes here is a key concept: according to almost all critics (we will advise, for example, in Kommersant Weekend), Fabr is not at all innovator. Its main goal is a dialogue with great artists of the old days, and in the direct neighborhood with the canvas of Rubens or Yordans of his work in its place, and alone is lost. There was no other place than the Hermitage, for such an exhibition and could not be: the goal of Fabra - to talk to the great predecessors in one of the best collections of the world, and not to shove the modern public at all. Come on the museum chairs.
Fabre represents in the Hermitage not only objects and sculptures, but also the video that are most often the performance of performances. To the honor of the Hermitage's curatorial team, they managed to combine directly creativity and his documentation so that the gap between them almost did not feel. Monitors with video at exhibitions are often lost in comparison with the "real things", but even in a pompous, packed by super-zered historical exhibits - stuffed horses, knightly lats, - the Knight's Hermitage Hall Screens with a joint performance of Fabra and Marina Abramovich "Virgo / Warrior" confidently The cargo of Narabawa takes: Even confident than the fabrics of the fabrics, which are both lats from steel (almost indistinguishable from historical) and lats and weapons from the overflowing hollow beetles; According to Far, the natural exoskeleton of insects can serve as a metaphor of that psychological armor, which each of us is increasing in the course of life to resist the blows of fate.
Type of exposition of the exhibition "Yang Fabr. Despair Knight - beauty warrior "in the State Hermitage. Photo: Valery teeth
"Hey, what a pleasant madness!"
The madness of Fabra heads his favorite birds - owls. He turns the symbolism of owls as a symbol of wisdom: a perfect sage can afford to behave like a fool, and he also says that he is nice. "Madness" at Fabra is not madness, namely, the lack of mind, smallness, stupidity. In this sense, he directly inherits the traditions of Flemish painting with her countless rustic fools, extracting "stones of nonsense" and edifications, as it should not be done. Glass owls are sitting on falseland in the Rubens Hall, Golden Owls Pokhat Eyes from the showcases in the Apollo Hall, and in the southern Pavilion of the Small Hermitage "Defended Heralds of Death" - seven owls, again made from real owl feathers (although it did not stuff, and needlework sculptures The size is much more real owl heads), - go to the surrounding glad eye in the viewer and on. Further, by the way, directly opposite the pavilion, there is an Hermitagous hall with one of the most popular museum exhibits - the clock "Pavlin", and Pavlins at Fabra are also present in the Rubens Hall as sanctified centuries symbols of vanity.
Jan Fabr. Carnival tent. 2016. Chromolithography, pencil, color pencil, coal. Photo: Pat Verbrugen, Angelos BVBA / Jan Fabre
"Carnival"
Very pretty, cozy series of small-format graphics of Raskidan in Petrovskaya and Romanov Gallery. Tiny, literally "Six Nine" Colored Fabra drawings resemble vintage postcards. To increase charming, they are taken to the passecut from the red velvet in the gilded carved frames and are equipped with brass signs with signatures, such in the Hermitage accompany painting purchased in the XVIII-nine-century. The "Carnival" series is the sketches of the carnival - and charming rhymes with the Bruegels exhibited here, and the symmetric series illustrating the sayings - "Make a cat Smetano Watching", "A cat from the house - mouse to dance", and at all without seams continues the cycle " Flemish proverbs. " Fabre does not refuse himself and in self-irony: his "in search of utopia" depicts the artist himself in the image of a small boy who saddled the turtle and tries to customize her whip. Fabre loves this story: In 2003, he did the same, only a very large, sculpture of polished bronze, which was exhibited in many cities of the world, from Florence to Prague.
Jan Fabr. Death dedicated ecstasy. 2016. Tree, Outcier beetles. Photo: Loven Gerreman, Angelos BVBA / Jan Fabre
Mosaic
Mosaic in the Hall of Jordan is hanging above the actual Yordans, as well as two paintings of his contemporaries selected by the fabric specifically for this exhibition: "Adam and Eve" Gendrik Goltsius and "Kefala and Princrida" Theodore Van Rhboots. From Yordans here "bean king" and "Pie Cleopatra". In all the paintings - sinful excesses, sexual and gastric. The Fabre opposes their mosaics - very beautiful, because they are made from the irrigation and green horses of the grocery beetles. In most paintings, from which Fabr is repelled, they figure the dogs, but in the mosaics of Fabra they become the main characters: on a par with clocks and turtles, mandatory participants of Vanitas, his dogs are widespread. They, as in classical painting, symbolize loyalty and devotion, but they are alone on the mosaics, so the question arises: devotion - to whom? Where is the owner? He could die, could just throw PSA - and the dog from the personification of love and loyalty turns into the personification of loneliness.
Here, in the center of the hall, two symmetric sculptures of Fabra: Skeletons of dogs, again the beetles laid out green-pearly peculus, compress in the teeth stuffed parrots Ara: Parrots symbolize vanity, for the external brightness of which nothing is worth it.
Jan Fabr. Joanna Gent. From the "My Queen" series. 2016. White Carrara Marble. Photo: Pat Verbrugen, Angelos BVBA / Jan Fabre
"My Queen"
The Hermitage Hall of Wang Dequean was conceived as the entrance hall of the new Hermitage: the audience should have been from the stairs to get right there. So the hall served also by the hall of Russian glory: it is decorated around the perimeter profiles of outstanding culture figures - here and the Bullels, and the sullen, and Leo background Klenze. Fabre was inspired by this ommage to cultural figures and made his own Pantheon of cultural figures: his big reliefs of the precious carrarian marble - profiles of his own idols. Assistants, or rather assistant, the artist. Ordinary women, almost all the elderly, wrinkles, glasses, - one is responsible for the sculpture, the other - for the performance, the third - for the video, and without their nameless and invisible viewer, the efforts of Fabre would not take place. To reduce pathos, Fabre dresses them into the carnival caps. And in the middle of the hall there is a statue of a teenage girl in jeans - this is the truth of the queen (true, future) Belgium: Princess Elizabeth Teresa Maria Elena Belgian, now she is fifteen years old. Fabre attracts his invisible assistant, and the princess of blood depicts a regular girl, equalizing them in respect: even Carrara marble begins to look like a democratic plaster.
Type of exposition of the exhibition "Yang Fabr. Despair Knight - beauty warrior "in the State Hermitage. Photo: Valery teeth
"I let yourself expire"
The sculpture that meets the viewer at the beginning of the exhibition (if you go on its official route) in the Apollo Hermitage Hall - a man in jeans and a coat, drunk in the reproduction of the painting of Rogiram Van der Waiden "Portrait of the tournament judge." This, it is necessary to assume, and there is Fabr himself. In Van der Waiden, he didn't just crook on his nose, and this nose actually discovered himself: on the floor under the feet of an artificial man smashed a puddle of blood. Perhaps it is difficult to come up with a more direct metaphor of what the artist wanted to say with all his work: it is not so much interested in the reaction of contemporaries, how much the opportunity to "fit" in the history of art, find out the relationship with the classics, maybe even somehow merge with them. And this does not always pass cloudless - there are artists and injuries on this path. Fabro injury is not in a novelty: many of his drawings, including in this room, are made by brown pigments - this is your own blood of the artist.
Other works are also a tense dialogue: the fabrary of the Fabra Salvator Mundi ("Savior of the World") - the sphere laid out by his favorite golden-green loops of beetles, with someone's vertebral pillar sticking out of it, - rhymes with the canvas exhibited here The blessing "unknown author of the XVI-XVII century, where the Savior also keeps the sphere with a crowned cross in his hand, only reflecting the whole world. And three golden beetle-scarabs, exhibited at high, under the ceiling, podiums in three corners of the hall, carry the symbols of worship: a cross, olive tree and a bishopian rod.
Type of exposition of the exhibition "Yang Fabr. Despair Knight - beauty warrior "in the State Hermitage. Photo: Valery teeth
"Skull with a hare"
Hall of Sneders in the Hermitage was fueled by still lifes. Sneders wrote food shops, his contemporary and compatriot Paulvel de Vost - scenes of hunting. It was to one of the "shops" of Sneiders, where in anticipation of the buyer superbly lies with the guts to the murdered game, the Fabre closed the inlaid all the same with his favorite shrews of Zhukov Skull, in the teeth whose stuffed hare dangles. This object, along with the chockerels of dogs and cats exhibited in the building of the main headquarters, caused a perturbation of the public: how can I, innocently killed bunny in the museum?! The fact that here in the pictures of classic-still-litters innocently killed bunnies and other animals are presented much more naturally, for some reason no one worries. Meanwhile, a bunny and his holding a skull in the teeth - only a part of the installation of 17 skulls in this room, and everyone in the teeth also someone is dead (mouse, chicken, but they are not so sorry as a bunny) or a bug of wool - The very wool of protein, speakers, pork bristles, from which artistic brushes are made of the century. In the center of the hall, exacerbating Vanitas, there are two objects, also made of stuffed: on the horned hubs, the fragments of the human skeleton were skewed (vanity symbol) and swan (symbol of nonsense). They are also called: "Stupidity relies on mortality" and "vanity relies on mortality."
Type of exposition of the exhibition "Yang Fabr. Despair Knight - beauty warrior "in the State Hermitage. Photo: Valery teeth
"Carnival of the Dead Rocks" and "Protest of the Dead Homeless Cats"
Those the very works of fabr with stuffed pets, which caused a wave of hysterical protest. Motherland Fabra, Belgium, signed the Convention on Pet Pets (which, by the way, did not sign the Russia), guaranteeing domestic pets the right to a decent life and decent death. In particular, in Belgium, the owner cannot simply bury his deceased pet somewhere under the tree: it is obliged to dispose of the corpse through a special service, which is quite expensive. The consequences were unpleasant: some of the Belgians, in order not to pay money, they just began to endure their only dead, and sometimes even still living sick animals on the roads so that their cars move and the animal would pass on documents as a homeless who died in an accident. That's where the cruelty is, and not by Fabra.
Fabre collected these corpses and "revived" by Taxidermia. It is not known how much of these dogs and cats on the highway on the highway were really homeless, and how many rushed "owners." Fabre shows the cruelty of death, and human cruelty in all unsightly: his beasts froze in mortal poses. Fabr apologizes in front of them for all unavoiding humanity: in front of the cats, he puts bowls with milk, in front of dogs - with butter, trying to give human satellites that they did not receive in life. Animals, like the models in "My Queen", are also dressed in the carnival caps, there are multi-colored ribbons of serpentine around them: Fabre emphasizes that the life and death of each of us, be it a man or a homeless cat, as fast as a carnival. And then death is waiting.
Yang Fabr, Ilya Kabakov. A meeting. 1997. Frame from video. Photo: Lima.
"A meeting"
In 1997, Jan Fabr met with Ilya Kabakov. Two noble insect lovers decided to talk about them. Artist and model, so to speak. Fabr dressed up in the costume of the beetle - of the very beetle, whose overflowing pulp was his favorite material, and Kabaki, of course, in the costume of flies. And now they were ready to talk for hours about beetles and flies, that the structure of the body of the beetle is perfectly the anatomy of a person, that flies are afraid of beetles, that the fly - the personification of municipal life, and the beetle - superman, whose exoskell is much more reliable Protects bugs internally than our imperfect body protects our vulnerable soul ... The dialogue, which begun as a mental conversation on so beloved Kabakov kitchen, switched to the performance itself, the performance entailed a series of drawings, and all this can be seen in the main headquarters building, Where, by the way, in a permanent exposition there is a "red car" of Kabakov, so everything is to the place.
In the design of the material used a fragment of the photograph of Valery Zubet, made at the exhibition "Jan Fabr. Despair Knight - beauty warrior "in the State Hermitage.
On Friday, the Hermitage opens the exhibition "Yang Fabr: Despair Knight - Warrior Beauty" - a large retrospective of one of the most famous modern artists. Projects like on the scale (and under the exhibition will be involved in the halls of the Winter Palace, the new Hermitage and the General Staff), not a single modern author has not yet been honored. The reasons for the museum gives Fabro special rights, several, but the main lies in his reverent attitude to the classical art, in the dialogue with which he builds most of its installations.
The experience of such Hermitage projects in Fabra also has. Eight years ago, he already did something similar in the Louvre: in the hall of the front portraits laid out the tombstones, among whom a giant worm with a human head, in the other, was put out the iron bed and a coffin encrusted with overflowing grains of grains, and animal stuffed, and Gold plated sculpture and drawings. Fabr - Grandson of the famous French Entomologist Jean-Henri Far, whom Viktor Hugo called "Homer insects." It is important to keep in my head at the form of shells, skeletons, horns and dead dogs, which he often uses the stuffed - to understand that all these shocking unprepared viewers are not an end in itself, but a natural way to understand reality by a person who has been surrounded by collections since childhood Holded creatures in the flasks.
Stuffed will inevitably become the most discussed exhibits. For example, several works from the series "Skulls", Fabre places in the Snederes Hall near his still lifes, abundant child, fish, vegetables and fruits, as if hinting at the Tlen, which stands behind begging on the tables. But stuffed - only a small part of what will be shown in the Hermitage as part of the artist's exhibition.
The Village made a brief guide for the work of Fabra and asked the Curator's Assistant Anastasia Chaladze to comment on individual works.
Science and Art
In 2011, in the Venetian Biennale, Fabre presented the replica of Michelangean "Pieta", in which the figure of Death holds the body of the artist with the human brain in his hands. The exhibition then made a lot of noise: someone did not like the borrowing of the canonical Christian image, someone saw in the work only an attempt to shock the public. In reality, the idea should be explained by the genuine delight, which Phamber causes the ghost of a medieval scientist artist. At the same time, considering that since the days of Vinci, Science stepped forward and really promote scientific progress. Modern authors cannot, the Fabre remains one to idealize and romance to the image of a person who knows the world.
"The person who measures the clouds" (1998)
comment Anastasia Chaladze:
"This is the first job that the viewer sees if it starts familiarizing with the exhibition from the Winter Palace: the sculpture meets people in the yard, immediately behind the central gate. In my opinion, this image perfectly reveals Fabra as a sentimental man and artist. We are accustomed to the fact that modern authors are often addressed to the political and social spheres of society, and Fabr remains a romantic: someone is an image of a person who measures the clouds of the line, may seem nonsense, but for him this hero - a symbol of serving his idea and a dream " .
Blood
One of the first exhibitions of Fabra, which he showed in 1978, was called "my body, my blood, my landscape" and consisted of blood written by blood. The idea of \u200b\u200busing your own body for work was no longer Nova, however, it was possible that the Fabre first managed to move the experience from the plane of an artistic experiment to the area of \u200b\u200ba conscious statement, not just hinting at his own exclusivity, but also emphasizing the sacrificial nature of art. In addition to early works, it was brought to the Hermitage to the Hermitage "I allow myself to expire" - a hypereal silicone self-portrait-mannequin, which stands, bolding with a nose in the reproduction of the painting of Rogira Van der Waiden "Portrait of the tournament judge."
"I let yourself expire" (2007)
comment Anastasia Chaladze:
"This is a metaphor of invasion of a modern artist in the history of art. On the one hand, the result is sad: bleeding from the nose - an illustration of the defeat of a modern artist in front of the masters of the past. On the other hand, the installation will be placed between two polychrome portals with the image of the scenes from the life of Christ, and this gives the whole composition a new meaning, hinting that Fabr thinks himself by the Savior from the world of art. This is a pretty bold statement, but there is nothing fundamentally new in it: since the Middle Ages, artists have been made to carry flour on themselves to experience the states of the sacred history, refusing to wealth and entertainment to be closer to the state of the characters that they portrayed on their Pictures. "
Mosaics from the beetles of beetles
One of the most famous techniques of Fabra is the mosaics that he lay out from the transfusing shecue of the grocery beetles. They laid out the ceilings and chandeliers of the Royal Palace in Brussels and countless more compact installations and sculptures. Zhukov Fabr absolutely sincerely considers almost the most perfect living beings and admires natural logic that managed so simple and effectively protect these very fragile creatures from dangers.
"After the Pir of King"
(2016)
comment Anastasia Chaladze:
"Vanitas - a phenomenon, which was very popular in the XVII century, is such a negative, negative perception of entertainment, a hint that the joy of life is empty and must be thought of some more important things. In the hall, the famous canvas Jacob Yordans "Bean King" with the image of a feast, and nearby - the work of Fabra "after the Pera King", which is not a direct comment, but in some sense it shows what happens after the holiday. We see the emptiness, bones and flies flew to Padal, and in the midst of this is a lonely dog \u200b\u200bthat remained right is unknown what. "
Figures ball handle Bic
Another unusual technique in the Fabra collection - the drawings that it does with the help of simple BIC ball pens. The most famous work in this technique is a giant panel "Blue Hour" from the collection of the Royal Art Museum of Belgium. For the Hermitage, the artist painted a special series of replicas on the works of Rubens, who during the exhibition will hang in one room with originals. Their value is especially high because Rubens in Farbar plays a special role. Actually, it was after visiting in childhood a house of Rubens in Antwerp at Far, according to his recognition, and an interest in art.
For quite a long time in the Hermitage there is an exhibition Yana Fabra. The way this exhibition is organized for me in a novelty: In addition to the halls, only the author's works are presented, the works of Fabra are integrated into the permanent exhibition of the Main Museum of St. Petersburg. Moreover, it is so that the constant exposition and exhibits of the exhibition echoes, complementing each other, and part of the work, the artist created exclusively for the Hermitage.
Of course, the most scandalous exhibits that are most discussed in the press and in society - "Carnival of the Dead Rocks" and "Protest of the Dead Cats" - the hall, where among the bright garlands and tinsel on the hooks hang stuffed dogs and cats. Honestly, it looks a bit frightening, especially dogs. And it's really interesting that in the spaces of the Zoological Museum, hundreds of stuffed do not look back, do not cause any perturbation. But as an art object (?) Already nervous.
Some works are surprised, for example, work performed by a blue BIC handle. I am striking the scale, but the meaning remains a mystery to me.
But you know why I really wanted to go to this exhibition? Because of several works performed in an unusual technique. A couple of years ago I told about about which we learned in Thailand. In the Hermitage, several "paintings" of Fabra from the same materials were exhibited. And when I learned that the author of the green ceiling from Naccryli in one of the halls of the Brussels Royal Palace is still the same Fabre, I certainly needed to see his work.
Inspection We S. doktor_watson.
Started from the General Staff.
Text allocated in italics from the accompanying tablets of the exhibition.
In 1997, the "Meeting" performed was arranged for Jan Fabrome and Ilya Kabakov. Fabre created for himself a beetle costume, and for Kabakov - flies. These insects appeared as creative alter-ego masters. The choice was not accidental. For Kabakova, the fly was an important hero, an annoying inhabitant of his communal spaces. Fabre was also interested in insects from his youth (...). The artist was impressed that the scarab beetles have a more advanced body structure rather than people. The human skeleton is closed in a soft and vulnerable flesh, and the beetles it is hidden under the rigid shell. Fabre makes Panciri suits for making metamorphosis - creating a superssentee combining the body of an insect and human mind. Following the costumes, artists talk about art and history.
Installation "Carnival of the Dead Rocks" (2006) and the "Protest of the Dead Cats" (2007) can be correlated with the picture of the Flemish Masters of the XVII century Paul de Vra and Jacob Yordans "Cook at the table with a game." Installation Characters - Dead Street Animals. Fabre "Returns" them to life by incorporating into the macabric carnival in the traditions of medieval alchemy, the purpose of which there was always carrying out the rebirth of an animated or inanimate object.
The next hall contains early Far sculptures.
The artist gives tribute to his grandfather-entomologist Zhana-Henri Fabro, showing a figure working for a microscope. In this work, he again speaks about loneliness, closets and abundance as the necessary states for the artist. The entire surface of the sculpture is covered with nails. This technique, widespread in the sculptural and installation practice of the 1970s, creates an amazing effect - blur, ambiguity of the outlines and form. The same hero with a downstream head and in the kittelet is limply depended on the ground in the work "Having heated II" (1979-2003). Wald of death permeates all the work of Fabra.
Silk curtain called "The road from the ground to the stars is not paved" (1987), pictured by a ballpoint handle as if separates the real world from the mystical world of night visions.
Umbroculum is a yellow-red silk umbrella, in Catholicism symbolizing the Basilica Minor, but understood wider, as a place where a person can hide from the material world, think and work away from everyday life. Yang Fabr fills this image with many meanings, presenting it and as a place outside of time, where the cyclicality of life and death ceases, and as the world of mysterious spirituality, forcing the vulnerability of human existence. This is a tribute to modern philosophy, according to which a person is only an image created by knowledge, unstable and short-lived. Michel Foucault predicted that the culture would be released from this image as a result of a shift in the space of knowledge, and then "the person disappears, as the face stuck in the coastal sand disappears.
Details of installation created from bones - only through shells that do not hide their emptiness. The new bone "skeleton", which was made in the outside - an analogue of the beetle shell hiding an abusive body. The new Fabre says that a person needs some durable "shelter". The image of the museum in some way can also be interpreted as a calbulum. Hermitage created by Catherine, also "covered" a collection of artistic works and has become a genuine tiny of art today.
Overcrower bigger. All these crutches and strollers are essentially an exoskeleton like solid shells of beetles.
Now I will move to the main building of the Hermitage. In the courtyard there was a hand to the sky "a man who measures the clouds." Well, in St. Petersburg there is always a job for him.
Hermitage halls are beautiful and without exhibits :)
The most popular work at the exhibition is a man who broke his nose about the picture. A mannequin stands in a pink of a false blood, overlooking a copy written copy of the most beautiful, perfect male portrait of Rogira Van der Waiden. If a viewer suddenly, there is a viewer, doubting the work in the sense, the name dispels his doubt: "I let myself expire (dwarf)." The meaning of art in the art itself, the mystery of his incomprehensible, no matter how anyone.
Power.
Hall, where the constant exposition is mixed with the works of Fabra. Work miniyurns, bright, belong to several series. Red background makes it easy to catch a look "alien" work and at the same time focuses on the image.
There are strange work. "Man with a wand, smeared by bird glue" (1990), Bic ballpoint pen. I looked at the image of a man thoughtfully frown: "And where is the wand? .."
"The appearance and disappearance of Antwerp I". The same ballpoint pen + glossy photo paper. To view the image, you need to approach it at an acute angle, then outlines appear from the blue darkness.
Owls - the heroes of the installation "Defended Heralds" (2006), equipped like an altar, - rushed their cold look at the viewer, his silent and solemn presence reminding the border existence in the stage of posthumous being, about the transition from life to death. This message is enhanced by the winter landscapes of the Gacebrecht Lieucenes (1586-1656), from the Hermitage collection, which are located on the sides of the composition.
Here he is, the very cold look!
And finally, the images for which I came here.
The dog is a symbol of loyalty, sincerity and obedience - is present on many canvases of a constant exposition of the hall. The works of Fabra are presented here are addressed to this image. Eight green mosaics with images of dogs surrounded by Vanitas (skull, bone, clock), placed among the four selected headbands from the Museum collection: "Adam and Eve" Hendrik Goltsius, "Bob King" and "Pie Cleopatra" Jacob Yorders, "Kefal and pruriting "Theodore Romauta.
According to Farbri, an internal psychological balance is disturbed, leading to the transgression, which the artist understands as a certain act of excess, leading the experience of sin, betrayal and deception. A correlated theme of Vanitas reflects not only the imperfection of the world and its guidance, but also the idea of \u200b\u200bpunishment associated with the feeling of guilt. The two sculptures of Fabra, created specifically for the exhibition, are decorated with gosets and skeletons of dogs with parrots in pastes - a symbol of "death bite", which inevitably interrupts the completeness of life. (...) Green color, according to Fabra, combined with green tones of landscapes in the paintings of the hall and symbolizes the loyalty inherent in the dog.
"Developed Sphynx Metamorphosis and Non-Contractions" (2016)
"Devotion wakes time and death" (2016) from the series "Justa fuss, all the fuss"
The hall was conceived by Nikolai I as an Avanzal of the new Hermitage. He was designed to acquaint visitors with the history of Russian art. Remembrance to this is the relief profile portraits of famous domestic artists who have become the source of phabrus inspiration to create a new "My Queen" series. Heroine series - Women of the XXI century, girlfriend and patroness of the workshop of Fabra, whom the artist perceives like music. The majesty of the graceful portraits from Carrarsky marble is leveled by ironic fabric outlets - he puts on his models the judovo caps.
The Hall of Flemish masters, where, in my opinion, the works of Fabra fit the most organically. I would even leave this exposure constant. Installation brightly shows that the perception of depicted dead nature and directly the dead nature differs significantly.
On the way to the Knight's hall, the exhibition continues. How do you like this dress?
It causes some rejection to me: there is no more neat orderliness, the bodies of the beetles are a mescan.
In the Knight's hall again there is a jewelry accuracy.
Interestingly, the shells created to protect, the attack weapons are decorated here. Although, maybe this makes sense: use weapons only to protect?
On both sides of the knights, new inhabitants of the hall appeared:
In these armor, Fabr, together with Marina Abramovich, arranged a perfomb called "Virgo / Warrior", in which two knights, chained in the lats as beetles in the Panciri, conducted endless ritual fights inside a glass showcase. "For me to be a knight - this is the most romantic, from everything that I can imagine," says Fabr. "There is hope in creativity. It's always faith in the hope that the artist creates the best world. When I cannot improve the world around him or someone. -In, I will stop being an artist "