Jan Fabre would seem to have taken into account what Lucio Fontana had affirmed in the Manifiesto Blanco (1946) – ‘reason does not create’ – throughout his whole artistic career to date. And to have fully implemented, or I would even say developed, that crucial thought by the Italo-Argentian maestro, when in the same text he declared: ‘We need a change in essence and form. We need to go beyond painting, sculpture, poetry and music. A greater art is needed in keeping with the demands of the new spirit’.1
In effect, there are few contemporary artists who can boast, like Fabre, not only to have achieved that ‘change’ and to have ‘gone beyond’ that picket fence dividing the forms of expression, including theatre, but above all to want to contribute with forays into the irrational and with radical gestures to the process to transform a dualistic thought that has kept humanity in a condition of stalemate for some millennia, as it hesitated before apparently insoluble antinomies. Antinomies then dissolved simply by gaining awareness of the universal, endless alteration of every form of matter. […]

Bruno Corà, Jan Fabre. The knight of a future humanism, testo in catalogo