At Art Basel Miami back in December, in addition to Seydou Keita, the other exhibit that majorly caught my eye was this series by Jan Fabre.

Each of these iridescent, irresistibly shiny pieces is about eight feet tall, so it is hard not to notice them, but then they become much more intriguing when you realize that their enticing appearances and glossy surfaces belie a controversial subject– the Belgian Congo.

THEN, you read the placard to see what that shiny green stuff is, as it is slightly dimensional and doesn’t seem to be paint (maybe a synthetic thread, woven into images?), and find out they are BEETLE SHELLS.

So now you realize you have a fraught subject represented not only in a rather eerily beautiful way, but also that the medium that underlies the intense shine of the facade is totally creepy (for a lack of a less-pun-ish, more erudite term), and the entire exhibit takes on a chilling effect that turns out to be perfectly appropriate for representing the colonial period unforgettably described by Heart of Darkness. You are literally looking at pieces that appear beautiful but have a heart of darkness. Pretty powerful. Oh, and in between the large canvases, in a rather Damien Hirst-esque move, are beetle-covered skulls with beautiful (taxidermied) birds in their mouths.

Interestingly, Fabre also once covered a ceiling (and chandelier) in the Belgian palace in over a million beetle carapaces:

For more on Jan Fabre, check out the gallery that presented this exhibit– Magazzino, out of Rome.

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